738 Best Film & TV Releases Translated Into Bulgarian (Page 22)

What if you were the only one in your entire family without magic? Disney's Encanto sets out to answer that question with music and charm as its fanciful powers. Continue Reading →

Disney brought out the nostalgia machine for Home Sweet Home Alone, the latest installment in the franchise of the same name. While it’s not a carbon copy remake, Home Sweet Home Alone lacks the charm of the original 1990 film. It narrowly slides into being a passable family film thanks to the work of a committed cast featuring Archie Yates, Rob Delaney, and Ellie Kemper. Continue Reading →

You can listen to the score for Only Murders in the Building on your preferred music streaming service courtesy of 20th Century Studios. Continue Reading →

People think the Cold War officially ended with the fall of the Berlin Wall in 1989. That may technically be the right answer, but the actual end of the Cold War happened in Moscow on Christmas Day, 1985. That’s when American boxing champ Rocky Balboa knocked out Russian behemoth Ivan Drago in such a humiliating fashion that even his own countrymen were Team Rocky by the end of the slugfest. It was such a blow to morale that the USSR never recovered.  Continue Reading →

Kingstown, Michigan is as much an industry city as Bay Lack, FL, or McDonald, OH. Except, as Mike McLusky (Jeremy Renner) tells us in Mayor of Kingstown’s opening voiceover, the company that Kingstown answers to doesn’t run theme parks or make steel. They incarcerate. Continue Reading →

If I were to tell you that Will Ferrell and Paul Rudd were starring in a comedic miniseries about a hapless, neurotic man whose entire life is taken over by his overbearing psychiatrist, you’d be forgiven for assuming that (a) Ferrell plays the psychiatrist and Rudd his patient, and (b) it’d be a pretty funny movie. In fact, the opposite is true: Rudd, in a rare villainous role, is the doctor, and the series, Apple TV+’s The Shrink Next Door, isn’t particularly funny. Oh, there are some amusing moments, but they’re more likely to elicit laughs of the uncomfortable kind, as the viewer is torn between sympathizing with its protagonist and wanting desperately to shake some sense into him Continue Reading →

Watching Clifford the Big Red Dog, it immediately becomes clear that the titular canine’s red fur represents represent the blood of the proletariat spilled at the altar of capitalism. After all, why else would Clifford populate the cast with kindly working-class humans while delivering antagonists in the form of big Pharma executives, cops, and even a pesky landlord? Clifford’s slapstick rampage is directed at the bourgeoise, whose massive number of sins are reflected in Clifford’s gigantic stature. Old Dogs auteur Walt Becker is putting the transgressions of the privileged class on display and introducing children to the concept of class consciousness.  Continue Reading →

Even after the umpteenth re-watch, I feel I’m only starting to scratch the surface of Paul Thomas Anderson’s The Master. Initial reviews and reactions gravitated towards the film’s relationship with Scientology and its co-founder L. Ron Hubbard. In the decade since, this fixation has dissipated, depriving confused viewers of an easy handhold while scaling this towering cinematic achievement. Make no mistake: Philip Seymour Hoffman’s Lancaster Dodd is a character clearly inspired by Hubbard. But labeling The Master “a movie about Scientology” is about as silly as thinking you can cure leukemia by accessing past lives.  Continue Reading →

In the final hours of the 1971 Attica Prison Riot, a helicopter circled the nearly 1,300 prisoners of the Attica Correctional Facility in upstate New York. It blared the words, “You will not be harmed,” assuming the inmates would be spared any violence if they cooperated. While this phrase repeats, correctional officers and state troopers open fire on the prisoners, killing and injuring those that were fighting for basic human rights. That moment could represent the entire carnage of those five days in Attica.  Continue Reading →

It is difficult to imagine the people who, after Dexter’s largely despised series finale, felt that more Dexter would solve the problem. When you recall the last season of Dexter was also largely despised, it becomes even more challenging. Add in that, for many, the writing on the wall started even earlier, and it becomes damn near impossible. And yet, here is Dexter: New Blood. Continue Reading →

Occupied France. 1941. The egomaniacal, romantic SS Colonel Von Brückner (Daniel Bernhardt) and his supposed French mistress Marie (Nina Bergman) are ambushed by the Resistance on their way to secret away gold pilfered from Von Brückner’s superiors. They survive. Continue Reading →

First things first. Just to be very clear, Animaniacs remains a funny show. The writing staff led by showrunner Wellesley Wild is undoubtedly clever. They can turn a phrase. They can develop an idea. Likewise, the voice talents, especially the trio behind Dot (Tress MacNeille), Wakko (Jess Harnell), and Yakko (Rob Paulsen, who also provides Pinky’s voice), are quite funny and haven’t lost their gift for motormouthed gab in the years since the first series. Continue Reading →

Remember when the Saved by the Bell reboot hit small screens? How it stunned critics and viewers alike by being a delightful, intelligent show? One that managed to both send up its previous incarnation and deliver the goods in its own right? Head of the Class is the show we were all anticipating. Continue Reading →

It's doubtful Dickinson Season 3 will convert any new subscribers to AppleTV+. Still, the final season provides a strong salute to wartime poet Emily Dickinson. Don't think of Dickinson in those terms? You're hardly alone.  Continue Reading →

The action all-star pushes his limits in James Nunn's tense, daring single-shot tactical shooter. Present day. Present time. A helicopter arrives on an island, home to a soon-to-be-shuttered US prison. Intelligence analyst Zoe Anderson (Ashley Greene Khoury, Accident Man) is in the field for the first time. She has come to the island to retrieve a prisoner, Amin Mansour (Waleed Elgadi, Mosul) who she believes knows the location of a dirty bomb set to go off in Washington. Anderson is accompanied by a small team of Navy SEALS, led by the cooly professional Lieutenant Jake Harris (Scott Adkins). Standing in Anderson and Harris' way is the arrogant prison chief Jack Yorke (Ryan Phillippe, The Way of the Gun), who'd rather brutalize the men in his custody to slake his desire for vengeance than do his damn job. It's about then that a joint army of Islamist radicals and bloodthirsty mercenaries attack and everything goes right to hell. Led by the cunning, sadistic, and supposed-to-have-been-dead French-Algerian freelancer Hakim Charef (UFC fighter Jess Liaudin), this vicious crew of mega-creeps wants Mansour dead. Boxed in, Anderson, Harris, his team (Emmanuel Imani, Dino Kelly, and Jack Parr) and prison staffer Tom Shields (Terence Maynard, The Witcher) must fight to re-establish contact with the outside world and keep Mansour alive. And Mansour, a grieving man with both reason to despise the U.S. and far more of a conscience than Charef, must do whatever he can to survive. Continue Reading →

Has any other director in recent years had as frustrating a creative decline as Edgar Wright? Discounting his feature debut—the 1995, no-budget A Fistful of Fingers—his streak was white-hot. Two series of Spaced both developed and prefaced his earnest eye for nerd culture, leading up to what would become his Cornetto Trilogy. His work was so loving, so finely tuned, and, especially in the case of Scott Pilgrim vs. the World, some of the most pop-culturally keen around. However, Baby Driver couldn’t help but sit in neutral; it was a pet project missing heart. With that out of the way, perhaps there was something more substantial to come next. Continue Reading →

It's funny to think about the mission creep that's escalated within the Marvel Cinematic Universe since its debut in 2008 with the first Iron Man. Watching Eternals, you can't help but wonder that all of this started, as Jeff Bridges once quipped, in a cave with a box of scraps. Now, with Thanos and the events of Eternals, the MCU truly delves into the cosmic -- the vast span of space and time, and the very fabric of the universe at stake. And yet, the bigger and longer the MCU grows (heh), the more weightless it all feels; there's heaps of ambition at play in Marvel's latest, at least within the meager confines of Kevin Feige's franchise stewardship, but its reach exceeds its grasp. Continue Reading →

Invasion, Apple TV+’s newest foray into sci-fi television, follows “ordinary” people around the world as an alien force, well, invades. Created by Simon Kinberg (who writes and directs several episodes) and David Weil (who also created Amazon’s Hunters), Invasion is an engaging slow-burn of a thriller series, building character and atmosphere with the ever-looming threat of an unforeseen enemy. Continue Reading →

This review is part of our coverage of the 2021 Chicago International Film Festival. Continue Reading →

Adam Randall’s Night Teeth, Netflix’s latest foray into vampire mythmaking, finds the streaming giant betting big on name recognition and slick visuals as blood splatters across Los Angeles. Following Benny (Jorge Lendeborg Jr.), a broke college student who picks up two vampires on a mission to take over the city, the film leans on its bright, exciting initial energy. It constructs a world in which vampires and humans have coexisted peacefully for decades, giving enough information to intrigue but not enough to answer all necessary questions.   Continue Reading →

Since seeing Red Rocket, I haven’t been able to stop listening to “Bye Bye Bye.” The hum of the song’s wonky strings overlays the opening shot. As the camera zooms out from a jarring close-up of a bus seat, the synthetic beat kicks in, revealing Mikey Saber (Simon Rex), battered and bruised. NSYNC’s upbeat, indignant track lends a pulsing momentum to the opening montage as Mr. Saber disembarks from his steel chariot and starts the long walk to his ex-wife Lexi’s (Bree Elrod) domicile. “I know that I can take no more, it ain’t no lie,” indeed.   Continue Reading →