162 Best Releases Translations Arabic on Netflix (Page 5)

Ever since Rob Zombie dug through the ditches, burned through the witches, and slammed it in the back of his Dragula, it was inevitable his career would lead to The Munsters. It’s where the coffin car originated and feels like the Rosetta Stone for Zombie’s lifelong passions for the weird and macabre. The TV show aired on CBS in 1964, just six days after the premiere of that other spooky household, The Addams Family. Both shows were satires of the lily-white (and, thanks to racially discriminatory laws, literally White) suburbs that were taking over America. The Munsters was the more popular show then--and the kitschier--which might explain why it holds a special place in Zombie’s heart.  Continue Reading →

Since Lou greets you with the logo of J.J. Abrams’ production company Bad Robot, a question surfaces: Is this a Cloverfield project? Or, like 10 Cloverfield Lane, it isn’t one until it is? Continue Reading →

Don’t Worry Darling, director Olivia Wilde’s latest film, is neither a masterpiece nor a disaster. Based on the amount of behind the scenes drama that has surrounded the entire production filming to promotion, this review will surely come as a disappointment to some. But if not for the gossip about the filming of the movie and the celebrities involved, this deeply forgettable film would probably fade from the public eye in no time at all. Continue Reading →

Social media has normalized behaving as though we know and can even speak for celebrities. Going beyond the concept of the “number one fan,” we address them directly, make demands of them, and attack anyone perceived as meaning them harm, acting as though we’re under personal orders. It peaked during the Amber Heard defamation trial, then that angry energy transferred over to Olivia Wilde, largely for committing the crime of dating Harry Styles. The mere tweeting of Wilde’s name seems to summon antagonistic replies listing her sins, accusing her of everything from being a rape apologist to a pedophile to preventing Styles from being with the person he truly loves, fellow One Direction member Louis Tomlinson. Though Styles and Tomlinson have both denied (many times) that they’re in a secret relationship, their “true” fans insist that they know better, and that it’s all subterfuge to fool the press. So it’s up to the fans to aggressively defend them, even threatening those they perceive as “enemies.” Continue Reading →

Gina Prince-Bythewood is indisputably one of the most interesting directors working in Hollywood today. Since breaking out with the hit sports romance Love & Basketball, her work has ranged from intimate family dramas and love stories (The Secret Life of Bees, Beyond the Lights) to action-packed superhero movies (The Old Guard). It took Prince-Bythewood seven years to bring her new film, The Woman King, to the screen. Epic, thrilling, and jam-packed with delightful character beats, The Woman King understandably feels like the culmination of Prince-Bythewood’s work so far. As masterful at shooting stunning fight sequences as she is wringing emotions from intimate dialogue scenes, Prince-Bythewood delivers a crowd-pleaser for the ages. Continue Reading →

Mike Pondsmith, creator of the tabletop RPG Cyberpunk—which video game studio CD Projekt Red adapted into Cyberpunk 2077 and which in turn led to the creation of Studio TRIGGER (Promare)'s 10-episode anime Cyberpunk: Edgerunners—said this: Continue Reading →

Better Call Saul is a tragedy. From the beginning, it focused on a rough-edged, yet decent man whom the audience knows will one day become an unrepentant merchant of death and destruction. What makes it so tragic, beyond the known destination, is that the series is riddled with missed exits. Time and again, Jimmy McGill (Bob Odenkirk) faced situations where -- if he’d just pulled back from the brink, if he’d only taken his lumps instead of wriggling out of them, if he’d simply chosen not to push things too far -- all of this could have been avoided. Continue Reading →

It’s fascinating to watch a movie that could have been made any time within the past 30 years. That’s not the same thing as “timeless,” I’m talking about a movie that just feels like the script lingered in development hell for possibly decades before finally getting made, with only the slightest bit of tweaking to bring it up to date. Netflix’s new horror-comedy Day Shift could have been made in 1996, 2005 or 2012, and the only thing that would need to be changed is the cell phone technology. Like a lot of Netflix’s original content, it’s polished, yet dull, with a budget that doesn’t explain how forgettable it is. Continue Reading →

Five strangers with deadly ambitions sit on a train speeding from Tokyo to Kyoto in the middle of the night, all connected by one mystery yet to be solved. It sounds like the setup for a modern Agatha Christie whodunit, but make those strangers dangerous hitmen, and switch out the intrigue with violent mayhem, and you get Bullet Train. Continue Reading →

Being a pet owner can enrich your life and open your heart to certain movies you may otherwise ignore. If I had watched DC’s new animated children’s film, League of Super-Pets, before being a proud doggy dad, I would have rolled my eyes. I likely would’ve declared it a blatant cash grab that distracts kids with cute talking animals, loud explosions, mediocre animation, and plenty of needle drops that date the film quicker than Shrek.  Continue Reading →

The Kung Fu Panda universe is no stranger to the small screen. Previously, Kung Fu Panda: Legends of Awesomeness and Kung Fu Panda: The Paws of Destiny ensured that audiences could watch more antics of Po the Panda in the comfort of their home. But the newest expansion of this franchise, the Netflix program Kung Fu Panda: The Dragon Knight, breaks new ground by being the first of these shows to feature Jack Black reprising the role as Po.  Continue Reading →

The one thing that no one can deny is Stranger Things Season 4 remains aggressively itself right up to the end. Its final two episodes, feature-length films onto themselves, serve everything that one could enjoy about the first seven episodes with a side of everything that frustrates and annoys. The good news is that the bad bits remain a side dish, not the main course. The better news is that ratio tips even further in favor of what’s enjoyable. Continue Reading →

In the opening seconds of Baz Luhrmann’s Elvis, viewers are blasted with the sight of the Warner Bros. logo – a variant glowing in gold and crimson, practically exploding with flair and moving parts – accompanied on the soundtrack by a remix of “Suspicious Minds.” Within the first few minutes, sweeping shots of Las Vegas clash with Ocean’s 11-style split screens, and the editing juggles between slowmo and cranked-up fast motion, in classic Luhrmann fashion. Continue Reading →

Adam Sandler doesn’t need to earn any good karma. With a comedy career spanning 25 years and a dramatic career consisting of two decades worth, though more sparingly, of working with auteur filmmakers, the Sandman has been given the green light around Hollywood. And more importantly, he’s been given a blank(ish) check by Netflix, the service most associated with streaming despite its recent struggles. Continue Reading →

Action films love using Nazis as the villains because they’re unquestionably evil, wear scary uniforms, and are fun to watch get punched in the mouth. Now that modern-day Nazism hides behind bad haircuts on television and schlubby dudes wearing hunting jackets, it’s harder to achieve that visceral thrill of seeing a Nazi get his ass kicked. The Takedown makes a strong attempt, though.  Continue Reading →

Who doesn't love a good redemption arc? We want to believe the best in people. We want to believe people can change for the better. It's no surprise, then, that the reformation of a character from an unrepentant villain to a heroic figure provides a very satisfying type of catharsis.   Continue Reading →

If the new Mark Wahlberg movie Father Stu were a person, it would have to stay in a confessional for a whole year to list its endless shortcomings. Continue Reading →

Andrea Riseborough and Marc Maron shine in a study of a one-time lottery winner years after her life has gone bust. (This review is part of our coverage of the 2022 South by Southwest Festival) To Leslie tells a story of painful loss and possible redemption as familiar as the ones recounted in the country songs born out of its West Texas setting. In the case of Michael Morris’s feature debut, familiarity does not breed contempt. What To Leslie lacks in originality, it more than makes up for in terms of its craft and very impressive central performances from Andrea Riseborough and Marc Maron.  Continue Reading →

Without any awareness of the Hitchcockian tag—impossible, what with it being The Point in the marketing, but let’s try—Windfall is the best advert yet for Ojai, California. Right from the get-go, director and co-writer Charlie McDowell serenely guides viewers around a gorgeous hacienda with an Eden of Pixie tangerines and the Topatopa within eyeshot. In short, this is a fetching property, easily bearing a price tag in the millions. It’s an item someone in the style of our unofficial tour guide (Jason Segel), a daring blend of off-duty Sheriff Hopper and the designer-disheveled-ism of modern tech bros, would possess. Or maybe host the Roys if they are to reattempt family therapy. Continue Reading →