162 Best Releases Translations Arabic on Netflix (Page 4)

A household name (and one of the most in-demand creators of color) in network TV and Hollywood over the last decade, Kenya Barris has shepherded tv sitcom universes like Black-ish/Grown-ish/Mixed-ish, collaborated on box office smashes like Girls Trip, and developed franchise revival attempts like Shaft and Coming 2 America. Within these projects, his central preoccupation has been negotiating authenticity in relation to race, class, family, and the self. Continue Reading →

What would you do to know your parents? Not just as parents, but as people—even long after their deaths? How would you make the most of a horrendous moral quagmire you had no choice in getting dragged into—and what would you do when that quagmire, for all its familiarity, finally became too much to bear? On a broader level, what makes us human—and what remains when we're gone? Director/writer Yeon Sang-ho asks and answers these questions in his out-now-on-Netflix science fiction film JUNG_E. It's a solid, thoughtful film that shines thanks to its leading trio and Sang-ho's skill at depicting and delving into the uncanny. Continue Reading →

That ‘70s Show That ’70s Show first aired on Fox in 1998. Throughout the seasons, viewers watched Eric Forman (Topher Grace) and his motley crew of friends as they got into hijinks in ’70s Wisconsin. The friends often met in Eric’s basement, forging bonds through pot-fueled smoky clouds. There were highs, both metaphorically and literally, culminating in a finale in 2006. It’s only fitting that the nostalgia trip continues with the spinoff That ’90s Show. It’sa fun sequel series that plays with elements of the original series while establishing its own path.  Continue Reading →

There is a Tom Hanks factor that ends up elevating whatever material he takes on. As has often been observed, he’s the closest thing to a modern-era Jimmy Stewart. Like Stewart, Hanks has made an effort to complicate his nice guy persona in this third act of his career. A Man Called Otto is the latest comparison point. While not especially risky, this remake of the 2015 Danish film A Man Called Ove still has an edge. That the film survives its journey to the States with that sharpness intact is something audiences can chalk up to the Hanks Factor. Continue Reading →

No doubt Netflix’s goal in releasing the Witcher spinoff The Witcher: Blood Origin was to tide audiences over. They wanted to give the fans a little something while waiting for Henry Cavill’s final season as Geralt. Conveniently framed as a tale told to Jaskier (Joey Batey) by Elf storyteller Seanchaí (an always welcome Minnie Driver), Blood Origin finally digs into the Conjunction of the Spheres, which created the world of men and monsters we’ve already seen.   Continue Reading →

What makes a novel “unfilmable”? Often, it’s because it’s simply too large in scope and scale, like Gabriel Garcia Marquez’s One Hundred Years of Solitude, which depicts the lives of seven generations of the same family. Or, as with Mark Z. Danielewski’s House of Leaves, it’s too dense and labyrinthian. The more successful attempts, such as Denis Villeneuve’s Dune and Netflix’s adaptation of The Sandman, have been filmed in multiple parts, while failures like 2017’s The Dark Tower condense the story down to its most basic components, checking off the most salient points (“there was a tower, it was dark”) and nothing more. Continue Reading →

Scott Cooper’s sense of place and his sense of dread go hand in hand. He was born in Abingdon, Virginia, a city with a population under 10,000, and the place’s melancholy struck him like lightning. Every one of his films is concerned with the impossibility of calling somewhere home, and he shows that even places meant to hold promise are forbidding and corrupt. From the dying factory town of Out of the Furnace to the blood-soaked frontier in Hostiles to the addiction-ravaged backwoods of Antlers, nothing can make Cooper’s America feel anything but haunted. And that's the case in his latest, The Pale Blue Eye. Continue Reading →

Look, I grew up a lonely gay kid. Locking myself in the dark and blasting Whitney Houston is what I do best. If Kasi Lemmons set out to make a divinely mixed greatest hits experience for Whitney fans to do so collectively, then she has certainly succeeded.  Continue Reading →

From The Flight Attendant to The Rookie, there’s no shortage of comedy action series, flipping the script of formulaic procedurals and infusing a dose of relatable, if often quirky, characters as leads. Netflix looks to add to the roster with the new series The Recruit, which follows a dashing but stumbly new CIA lawyer Owen (Noah Centineo), as he falls deeper into internal espionage. While The Recruit gets muddled with an unbalanced tone, Centineo jumps in with enough charm and comedy to keep viewers coming back. Continue Reading →

As Puss in Boots: The Last Wish begins, it’s evident that this movie is aiming for a different vibe compared to not only the first Puss in Boots but the greater Shrek series as a whole.  A visual aesthetic that evokes hand-drawn animation and rapid-fire editing summons memories of Spider-Man: Into the Spider-Verse or fellow 2022 DreamWorks Animation project The Bad Guys rather than Shrek the Third. Even the handful of pop culture references are more specific and idiosyncratic—Nicolas Cage’s take on The Wicker Man, for instance—than the very broad references the original Shrek movies became famous for.  Continue Reading →

Lars Von Trier is a complicated figure. The Danish director has ardent fans, fervent critics, and a whole host of international film watchers in-between. After 25 years of varying other projects, he returns to his favorite hospital in The Kingdom Exodus, the five-episode third and final season of his acclaimed supernatural series. The sepia-toned world hasn’t changed much, though, as Von Trier has gone through several scandals, health concerns, and personal challenges over the last two-and-a-half decades. His vision remains undeterred.   Continue Reading →

Jenna Ortega is having quite the year. Between the success of Ti West’s brilliant slasher X and leading the new Scream franchise, she’s poised to become our next reigning Queen of Creepy. This looks even more likely now as she brings the definitive goth teen to life in Netflix’s Wednesday, helmed by Tim Burton. Continue Reading →

Little Nemo is a property rife for play. The dream world of Slumberland is vast, its rules deliberately obtuse — it’s a wonderland full of slippery dream logic where its only limit is a child’s imagination. That Netflix’s spin on the 100-year-old tale should feel so dull and bloated is only the beginning of its problems. Continue Reading →

Trust is a fundamental aspect of any relationship. Whether it’s a friend, co-worker, or relative, developing trust in each other is what can make a beautiful bond flourish. But trusting someone is also giving them the ability to hurt us, leaving us always with the possibility of trusting the wrong person, and suffering because of it. Such is the case of Tobias Lindholm’s The Good Nurse, a film based on the real-life case of serial killer Charles Cullen. The overall tone of the movie is as gray as the dull hospital rooms in which the story takes place, taking away the energy from what would otherwise be a stellar thriller. Continue Reading →

At this moment, combining Lindsay Lohan and Christmas movies sounds like a gift to viewers. It worked for Vanessa Hudgens with The Princess Switch. Her fellow Mean Girls co-star Lacey Chabert has cornered the market. Now Lohan returns from a 3-year acting hiatus after various setbacks to take on the holiday season in the direct-to-Netflix fluff Falling for Christmas. It seems a sure thing for loyal Netflix and chill folks. Unfortunately, the film fails to capture any true romance, landing flat on its face.   Continue Reading →

Can you have Starfleet without Starfleet? That’s the essential question Star Trek: Prodigy asks in the back half of its first season. As the villainous Diviner (John Noble) told his daughter last time, the advanced vessel ferrying the series’ young heroes contains a weapon that could decimate the Federation. If that weren’t enough, the flesh-and-blood Vice Admiral Janeway (Kate Mulgrew) has reason to think whoever’s piloting the Protostar stole the ship and marooned her dear friend, Chakotay. So despite how badly the show’s main characters want to join Starfleet, there’s a plethora of reasons to stay far, far away for the time being.  Continue Reading →

(This review is part of our coverage of the 2022 Chicago International Film Festival) Continue Reading →

We’re officially in the third decade of Dwayne “The Rock” Johnson being a movie star. The former WWE legend made his cinema debut in the forgettable sequel to The Mummy, where he’s introduced as the dreaded Scorpion King, one of the most infamous early CGI debacles. Special effects have since improved, along with Johnson’s abilities as an actor and charismatic leading man. However, it feels like now we’ve come full circle with DC’s Black Adam.  Continue Reading →

I didn’t realize watching Wendell and Wild how much I’d missed Keegan Michael-Key and Jordan Peele bouncing off one another. Though restricted to just voice-over performances here, their incredible chemistry remains intact. The moment their demonic characters started exchanging dialogue, I felt like I was right back in 2014, watching sketches like “Gremlins 2 brainstorm” or “Fronthand Backhand” on YouTube, in awe of the witty rapport these performers shared. Continue Reading →

Cobra Kai has always been about comebacks. Each season plays with its cast of characters — from the old guns to the new blood — like action figures in an elaborate playset, constantly shifting relationships, rivalries, and set-ups to drive home the most bingeable drama-lite comedy it can muster. But ultimately, when you strip it down to basics, the show only really cares about how the characters get back up after falling flat on their faces.  Continue Reading →

Stephen King is best known for his massive novels that require weight training just to hold. Entire forest ecosystems have been destroyed so we can have The Stand on our bookshelves. These epic tales are his bread and butter, but if you want to get a pure distillation of what makes King a gifted horror writer and storyteller, check out his short story collections. They provide the strong, grounded characters facing terrifying circumstances that he’s famous for in his longer novels, but in a digestible format. He can be hit or miss (even the best writers may have stinkers when they write an astonishing ten pages a day like King) but if one short story is garbage, chances are the next one will be a fun time.   Continue Reading →