775 Best Film & TV Releases Translated Into Arabic (Page 34)

Zoe Lister-Jones and Daryl Wein usher in the end of the world with a winsome indie comedy about seeking closure and reconciliation. (This review is part of our coverage of the 2021 Sundance Film Festival.) Directed by husband-and-wife duo Zoe Lister-Jones and Daryl Wein, How It Ends can be recognized immediately as a movie filmed during the COVID-19 pandemic. Cameos abound, with each minimal character appearing on balconies, across the street, on the other side of the table. These interactions, despite any emotional connection or progress, end with a wave goodbye, air kisses, or any other touchless way of leaving a situation. As the film meanders forward, this oddness grows, as two people share a genuine moment of importance, only to walk their separate ways with no physical affirmation of that moment.  Continue Reading →

The thing about guilt is that it can wear you down until you’re more a cluster of exposed nerve endings than a human being. That, at least, is the premise behind The Night, a new psychological horror and debut film from director Kourosh Ahari. Set in Los Angeles and spoken almost entirely in Farsi, The Night is a wonderfully odd mix of being spare and a bit too much all at once.  Continue Reading →

Niamh Algar learns the price of prurience in Prano Bailey-Bond's neon-soaked ode to the video nasty. (This review is part of our coverage of the 2021 Sundance Film Festival.) It's England in the 1980s - poverty is high, Thatcher is in office, and the so-called moral majority is sounding the alarm about the increasing ubiquity of "video nasties", gory, violent films that, as the hysteria goes, tap into the seediest, most antisocial impulses of the British people. Think Abel Ferrara's The Driller Killer, or Cannibal Holocaust: eerie exercises in sociopathy that thrill their fans and terrify their detractors. For Enid (Niamh Algar), a film censor, her job isn't about protecting a sensitive public from the disturbing films she's shown (ones with titles like Deranged and Beast Man), but merely to do her job well. Even so, she's buttoned up in more ways than one, from her uptight clothing to her lack of chemistry with her coworkers. Much of that is due to years of trauma sustained from the disappearance of her sister as a teenager, which she was present for but can't remember a thing about; her parents only recently chose to declare her dead and begin to move on with their lives. Continue Reading →

Ben Wheatley's pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments. (This review is part of our coverage of the 2021 Sundance Film Festival.) A few months ago, Ben Wheatley did what seems to be en vogue as of late: make a movie mid-pandemic. It was over 15 days in August 2020 when Wheatley shot his latest from his own script, and does this one tick a few of the usual boxes. Lethal virus outbreak? Check. Lethal virus that isn’t actually COVID-19 but clearly is? Check. A non-COVID-19 lethal virus that feels extraneous overall? Yep, and yet its predictability goes beyond that. In the Earth sees Wheatley aping Andrei Tarkovsky by taking liberally from Stalker, but it also sees him aping himself by rehashing A Field in England much more predictably. It’s pretty clear stuff throughout. While the cities rage with illness, Dr. Martin Lowery (Joel Fry) heads on a mission to a test site deep in the forest. After getting to a lodge closer to civilization, he makes the acquaintance of Alma (Ellora Torchia). Alma is a park ranger tasked to guide him, and right after an anonymous figure attacks them, they come across a nature dweller named Zach (Reece Shearsmith). For whatever reason, they think he’s an all right guy to trust, but I forgot to mention that no one in this movie has even the most basic intuition, especially given their professions. Continue Reading →

Sian Heder directs a touching & funny story of having to choose between dreams & obligation. The reason why so many movies about teenagers don’t work is because they often feature too-old actors playing characters who talk like jaded 35 year-olds (or rather, like the people who wrote them). Every once in a while, however, you find a real gem, like Sian Heder’s Coda, a low-key, moving story about a teenage girl who finds herself caught between doing the thing she loves, and having to help keep her family’s business afloat. 17 year-old Ruby, played by Emilia Jones (in what will hopefully be a star-making performance) is the only hearing member of her Massachusetts fishing family. On top of trying to get through school, she must also work on the family fishing boat, serving as the ears and voice of her father, Frank (Troy Kotsur), and older brother Leo (Daniel Durant), as they try to avoid (with mixed success) getting ripped off by the local fish buyer. It’s quietly expected that Ruby, who has no real plans for college, will simply stick around as long as Leo, Frank, and her mother Jackie (Marlee Matlin) need her. Continue Reading →

Syfy’s new show Resident Alien starts out with a bang: an alien crashes on Earth and hides out in the sleepy town of Patience, Colorado. The alien takes the human form of Dr. Harry Vanderspeigle (Alan Tudyk) in order to fit in and complete his as-yet-unclear mission. However, when the town doctor is found dead, local Sheriff Mike Thompson (Corey Reynolds), Deputy Liv Baker (Elizabeth Bowen), and Mayor Ben Hawthorne (Levi Fiehler) rope Harry into the murder investigation.  Continue Reading →

Tucked between Baton Rouge and New Orleans in the Southeastern corner of Louisiana, St. James Parish is home to several petrochemical plants. The state rewards billions in tax breaks for these places to operate, and in exchange, they pollute the water and air for nearby residents, who tend to live around the poverty line. This poisoning is so out of control that this stretch of highway earns the dubious title of “Cancer Alley”. Continue Reading →

Penguin Bloom director Glendyn Ivin is one of the leading names in Australian television, which checks out all too well given that the execution of this admittedly inspirational story has “made-for-TV” written all over it. Of course, the real frustrating part is that there are occasional glimpses of a better movie that's focused on exploring these characters beyond a surface-level peek of what it's like to come to terms with a disability or be a caretaker for someone who’s disabled. Continue Reading →

When it comes to matters of sex and desire, there are two Indias: One is the ‘land of the Kama Sutra’—the book on the art of love and lovemaking—where temples are intricately adorned with sculptures performing acrobatic-yoga sex. The other is the land that looks away from this heritage and has not only proudly adopted Victorian attitudes to everything carnal but is also violent in its defense of this misguided notion about “true Indian culture”. It is no wonder then that it breeds a sexually repressed (over)population. Continue Reading →

Gabriela Cowperthwaite’s Our Friend stumbles from a surfeit of generosity. It’s perhaps inevitable given the scope of its approach. Adapted by screenwriter Brad Ingelsby from Matt Teague’s 2013 Esquire feature, the cancer drama vainly juggles the perspectives of three close-knit friends (Matt, Dane, and Nicole) as they weather the effects and repercussions of Nicole’s (Dakota Johnson) terminal cancer. Continue Reading →

In Hulu’s new original TV miniseries The Sister, we follow Nathan (Russell Tovey) as his life is upturned by Bob Morrow (Bertie Carvel), a figure from his past bringing disturbing news about the missing and presumed dead sister of his wife Holly Fox (Amrita Acharia). This delves into the supernatural and the psychological as Nathan desperately struggles to keep his life and his sanity together. What ensues is a perfectly watchable series full of twists and turns which never quite manages to maintain its tension.   Continue Reading →

What’s a day in the life of Brandt (Philip Seymour Hoffman)? You work for a sham: though he may look like a wealthy, self-made entrepreneur, Jeffrey Lebowski (David Huddleston) – your employer – has nothing but his self-image, without much actual money or success to back up his lavish trappings. As personal assistant to Lebowski, your job is to keep up appearances. Try to keep Lebowski’s trophy wife from doing anything too unseemly. Convince anyone and everyone that Jeffrey Lebowski really is a paragon of upper class respectability. Day in, day out, play the thankless part.  Continue Reading →

Two-hours and sixteen minutes. There is a version of The Empty Man that’s a solid, efficient horror flick, and then there’s the version that’s two-hours and sixteen minutes. Unfortunately, we got the latter. Adapted from an independent comic book of the same name, this poorly paced, occasionally engaging exercise staggers along like its titular demon. If only there was a way to stop it, before it’s too late.   Continue Reading →

Ethan Hawke often plays characters who internalize their passions, who tend to smolder and keep their feelings under tight restraint. Not so in The Good Lord Bird, where as star and co-creator Hawke gives the biggest, grandest performance of his career playing radical abolitionist and fighter Captain John Brown, circa 1857. His Brown is a delusional, violent prophet, flecks of spit fleeing from his mouth as he screams scripture during guerilla warfare and is sent into fits of rage by his fellow whites’ refusal to “free the Negro”. But in a country anchored by the selling and owning of human beings, where survival is often precarious at best, Brown sometimes appears to be the sanest white man of them all (sometimes). Continue Reading →

Adapted from the Nickelodeon show Winx Club, Netflix’s new series Fate: The Winx Saga attempts to reboot the long-running favorite with gritty live action to fit on the homepage somewhere between The Chilling Adventures of Sabrina and Cursed. It’s a visually stunning fantasy quest centered around young women that has all the magic it needs to fly but hasn’t yet learned to focus its potential within. Continue Reading →

Now in 2021, the pandemic rages on, and most of us find ourselves stuck in lockdowns with no end in sight. We’ve dealt with glitchy video calls, adventures in cohabitation, and are stuck with the isolation blues. Here to steal our attention away from the mess is Locked Down, a diverting heist/romance film from Doug Liman, starring Anne Hathaway and Chiwetel Ejiofor. Continue Reading →

To watch the Apple TV+ series Servant is to frequently ask “What is this show about, exactly?” Is it about the dangers of gaslighting? The horror of postpartum psychosis? Something even more sinister than that? It seems to want to say something about all of these things, but in a sort of muddled, half-formed fashion. Season 2 is more of the same, while pushing the boundaries of how long the initial deception could last far beyond a realistic limit. Continue Reading →

Netflix has really made a play in recent years to corner the high-concept action movie market: Extraction, The Old Guard, 6 Underground, Project Power et al. feel like they fill the algorithm's innate need to fill the John Wick-sized hole in the moviegoing public's diet. It's that sweet spot that Outside the Wire is unabashedly trying to fill: sci-fi concepts right out of Black Mirror blended with brutal, highly-choreographed fight sequences. The trouble is, despite (or, more precisely, because of) its military sci-fi premise, Mikael Håfström's (1408) latest crumbles under its own sociopolitical weight. Continue Reading →

Like the best social justice documentaries, the outspoken Saudi journalist and Washington Post columnist Jamal Khashoggi was able to speak truth to power in ways that got peoples’ attention and showed us how we got into our current state, and what could be waiting for us in the future if we’re not careful. Continue Reading →

I've been told that at Christmas Time, we are honest, so in that spirit, allow me to start this look back review with my own bit of honesty. I've seen The Curious Case of Benjamin Button twice before watching it for this review. The first time I hated it. The second time, I hated it until I fell asleep about 20 minutes in. Continue Reading →

If anybody could find something new to add to pop culture’s fixation with serial killers and true crime, it would likely be David Fincher. Se7en announced him as a major director while Zodiac revealed him as a master. The Fincher style – dark lighting and sickly colors, obsessive attention to detail, unblinking looks at violence – has served as a template not just for other movies, but also for TV shows of both the prestigious and potboiler variety and for the ever-increasing number of investigative podcasts and Netflix documentaries. In 2017, Fincher returned to the serial killer subgenre by taking his project Mindhunter to the streaming service. Continue Reading →