727 Best Film & TV Releases Translated Into Bulgarian (Page 6)

If you like loud noise jump scares, you’re going to love The Exorcist: Believer.  Continue Reading →

After averting the Apocalypse and stopping a more militaristic Leaper from the near future by leaping into his own past, Ben (Raymond Lee) and everyone else at Quantum Leap expected him to leap home. Instead, he was nowhere to be seen. Continue Reading →

An often-overlooked decade for horror gets the spotlight, & we’ll tell you what to watch & what to skip. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the work being covered here wouldn't exist. Hurry up and finish watching everything in the Criterion Channel’s High School Horror collection, because they’re doing it again with a brand new one devoted to 90s horror, starting today. Unlike last year’s expansive 80s Horror offering, there’s just eleven films in this collection, with three more coming in November and December. That’s cleverly reflective of the state of horror in the 90s, as are some of the selected films stretching the definition of “horror.”  Continue Reading →

After the aggressively negative critic and audience response to 1980’s Cruising, William Friedkin took a curious “hell with it, I’m going to do whatever I want” approach to projects. None of what he directed over the next decade, save for To Live and Die in L.A., came close to receiving the kind of acclaim his early 70s career did. If anything, it seemed as though he had given up his precise, occasionally unreasonable eye for perfection in favor of churning out the most generic cable-friendly nonsense possible.  Continue Reading →

While difficult, it is essential when reviewing a film to evaluate it within the context of the era. To choose a relatively inoffensive hypothetical, if a movie made before 1980 refers to bipolar disorder as “manic depression,” you shouldn’t ding it for the outdated terminology. After all, at that moment, that was the proper parlance. Still, it’s not easy, especially when our understanding of an issue has changed significantly in the years since. This reviewer, for instance, struggled mightily to judge William Friedkin’s 1994 directorial effort Blue Chips on its own era-specific merits. Continue Reading →

Thinking about getting into the Saw franchise 10 movies in? Here’s what you need to know. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the work being covered here wouldn't exist. With an inevitability that is oddly comforting in such a scary and uncertain time, a new Saw movie is coming out at the end of this week. As you could assume by the “X,” Saw X is the tenth film in a franchise that, just based on its lack of continuity alone, could conceivably continue for the next three decades or so. If you’re thinking about now, after all this time, finally getting into the Saw franchise, here are a few tips to aid you in your journey towards redemption by way of giant bear traps clamping down on one’s skull. Continue Reading →

The Boys is good. Often, it is excellent. However, the Eric Kripke-created adaptation of the Garth Ennis-Darick Robertson-created comic book series sometimes overindulged in juvenilia and “is this too edgy for you, square?” baiting. To be fair, that isn’t exactly unfaithful to the source material. Ennis frequently vacillates between scathingly insightful critiques of the human condition and truckloads of dick jokes (see also, Preacher). Continue Reading →

Even before the internet, certain movies had reputations they didn’t quite live up to. Some, like Salo or 120 Days of Sodom, earn their mythical status as movies designed to make your skin crawl and your stomach clench. Others, like the Faces of Death series, while unpleasant to watch, were just empty, acting as a controversy delivery devices and nothing more. Others still, like William Friedkin’s Rampage, never courted outrage. But unlike those others, whatever reputation it earned before the public got a chance to see it didn’t much help. As a result, at least partially, it remains one of the more obscure releases in Friedkin’s filmography.   Continue Reading →

It must have been easy to be cynical about William Friedkin’s To Live and Die in L.A. in 1985. After a blazing hot early 1970s, his critical and popular reputation bottomed out with four straight disappointments. So, it makes sense that someone might think Friedkin’s return to the cop-on-the-edge genre was a purely commercial decision, a hope to rekindle the fire he lit in 1971 with The French Connection. After all, that movie was both a commercial and critical smash.  Continue Reading →

The most gripping moment in 2022’s Academy Award-winning documentary All the Beauty and the Bloodshed is when members of the now disgraced Sackler Family, whose pharmaceutical company manufactured and marketed the highly addictive painkiller Oxy-Contin, are ordered to attend a virtual hearing in which they're confronted by families who had been impacted by the drug. Listening to tragic stories of accidental overdoses, birth defects, and young men cut down in their prime due to a prescription medication that had been promoted as safe and non-addicting, the Sacklers could not look more bored, even slightly annoyed. It’s a chilling reminder that extreme wealth often results in a loss of empathy, if not one’s entire soul. Continue Reading →

If Sorcerer’s sole highlight was Roy Scheider's descent into hallucinatory madness amidst an almost lunar rock field, it would still be a special movie. Scheider is Jackie Scanlon, an American getaway driver turned washed-up exile in the isolated Columbian village of Porvenir. He’s the last survivor of a desperate mission to transport increasingly unstable dynamite to a burning oil well. The blaze is so bad that only controlled explosions to burn off its fuel stand a chance of extinguishing it. Everything that could go wrong has gone wrong, including Jackie’s kibashed truck giving out a long walk from the well. Haunted by—or just plain hallucinating—the laughter of his dead co-driver, he stumbles forward. Surrounded by the surreal with nothing but a rickety crate between him and the hair-trigger death, it’s all he can do besides die. Continue Reading →

There’s a moment in Sex Education Season 4’s first episode where a dark thought crosses one mind. “Wait…was this always JUST a sitcom?” Continue Reading →

About 75 minutes into Flora and Son, its script veers toward the self-reflexive. “What movie are you in?” Flora (Eve Hewson) snaps. “One without you in it,” her son, Max (Orén Kinlan), replies. This sort of exchange fits holistically into writer-director John Carney’s latest. It’s self-aware, sure, but it’s not meta. Like most of the film’s writing, it is entirely transparent in its machinations, going so far as to declare them at points. Supporting characters largely function as symbols rather than people. Continue Reading →

John Carney's new drama is just one of a diverse collection of features at this year's Toronto International Film Festival. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the works being covered here wouldn't exist. Irish filmmaker John Carney made his big breakthrough in 2007 with Once, a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. This was followed by Begin Again (2013), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. After that came Sing Street (2016), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. Continue Reading →

The first two entries in director/actor Kenneth Branagh’s foray into Agatha Christie adaptation lost the magic of the English writer’s mysteries. With his third attempt, A Haunting in Venice, Branagh decides to make considerable changes to the story. Using the bones of Christie’s Hallowe’en Party, writer Michael Green changes the setting from a small town in the English countryside to a palazzo in Venice. Branagh emphasizes the gothic elements of Christie’s story, leaning on the horror of the location, the manic nature of the children’s Halloween party, and the gruesome moments before and after an unexpected death.  Continue Reading →

In 1983, a group of crooks broke into a vault at the Heathrow International Trading Estate in London, patrolled by Brink’s Mat security conglomeration. The Brinks company was already famous for a famous robbery, one that was carried out in the '50s in the North End in Boston, an incident that turned into a charmingly strange movie by William Friedkin in 1978. Continue Reading →

Aaron Sorkin learned the hard way that no one takes TV as seriously as TV people. When he followed up his critically acclaimed The West Wing, a show about the inner workings of the White House, with Studio 60 on the Sunset Strip he discovered that you can’t treat everything with the gravity of a cabinet meeting and the wit of a theater major who gets straight Bs. His backstage drama about a fake sketch show pleased no one. When he tried to course correct with The Newsroom he tried to portray the American news media out to be brave warriors for the cause of truth. Both shows have lived rich second lives as meme generators about what Andrew Sarris would call "strained seriousness." Continue Reading →

The sea is always a great setting for a story. It’s both soothing and menacing; water is cleansing and purifying, and a consistently replenishing source of food. But it’s also dangerous and uncompromising. Water is one of nature’s greatest antagonists, it can get into virtually anything, softening it, weakening it, eventually breaking it apart. But nothing on earth would survive without it. It’s a brilliant metaphor for so many things, as it’s constantly changing and moving and covers wondrous and monstrous secrets. It works even better in visual mediums like TV and film because it’s beautiful to both look at and listen to. The CW’s new eco-thriller, The Swarm, makes good use of its watery locations in establishing an aura of tranquil menace: everything seems calm and orderly, but there’s trouble bubbling up just below the surface. Continue Reading →