308 Best Film & TV Releases Translated Into Burmese (Page 6)

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 →

American remakes of British television shows haven’t earned the best reputation despite a few gems over the years. The newest series to make it successfully across the pond, FOX’s new crime drama, Accused, does so with a premise you just can’t mess up.   Continue Reading →

The military drama Heroic overcomes cliché to capture structural horror. A significant string of recently released movies centralize crises of faith. The lead suffers abuse, boiling until they burst. Perhaps it’s a sign of the times, a subconscious metaphor for how authoritarianism and the crushing realities of oppressive institutional forces are increasing the temperature and pressure of the citizenry that will inevitably lead to a rupture. In 2022 there was God’s Country, The Beasts, and Women Talking. Now at Sundance, we have Heroic, a Mexican drama unfolding inside a military school. Director David Zonana’s film may resemble several movies that use this same arc. However, it distinguishes itself with careful direction and surreal depictions of how the mind processes abuse and vengeance.   Zonana films hazing rituals and routine drills with an eye for visual geometry that distinguishes power levels. Young recruits, referred to as “potros” (colts), always move on the sides of the frame or undistinguished as square or triangular squadrons when conducting gun rituals. Officers remain centered, maintaining authority with both direct physical presence and as a distant watchful eye.  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 →

Grief hits us all differently. For therapist Jimmy Laird (Jason Segel, also one of three Shrinking creators), the death of his wife led him to a year-long bender. The audience encounters him on his last night of drinking, drugs, and sex workers whom he pays not for sex but just to hang out with him. His neighbor Liz’s (Christa Miller) repeated pleas to stop waking her and her husband Derek (Ted McGinley) in the middle of the night with his “parties” finally break through. Continue Reading →

Alice, Darling may tout itself a psychological thriller in its marketing, but that leads audiences astray. This isn’t Repulsion or Mulholland Drive. Instead, it’s a startlingly accurate portrayal of domestic abuse. 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 →

When last we left Kingstown, MI, the town was recovering from a brutal prison riot that left plenty of guards and scores of prisoners dead. Mike McLusky (Jeremy Renner) has proven nowhere near the adept fixer his deceased brother (Kyle Chandler) was. The town paid the price. Continue Reading →

I was a fretful child who was scared of her own shadow. A victim of an overactive imagination fed by parents who didn’t monitor what I read or watched, there wasn’t one thing I was particularly afraid of, it was all things. Vampires, werewolves, serial killers, alligators in the sewer, Michael Myers, they all lurked in the recesses of my mind, waiting to jump out at me when I wasn’t paying attention. Luckily I was always on high alert: I never slept in complete darkness or silence, and, much to my mother’s chagrin, I kept both my closet and the space under my bed stuffed full of clutter so there’d be no place for the monsters to hide. Even then, I always jumped in and out of bed far enough away that nothing could drag me underneath. The way I saw it, you just couldn’t be too sure. Continue Reading →

The character of Velma Dinkley inhabits a strange place in the Scooby-Doo franchise. In the context of the shows, she is arguably the most integral member of Mystery Inc, as her intelligence and skepticism make her most likely to solve the mystery first. However, as a supporting character in a franchise that focuses on Scooby and Shaggy’s antics, she is pushed to the sidelines and most viewers remember her catchphrase of “Jinkies” more than they remember her. Continue Reading →

AMC’s newest installment in Anne Rice’s ‘Immortal Universe’ may not blow you away, but it’s intriguing enough to warrant a longer look. With the Disneyfication of mainstream television, it’s a relief to know that some networks are still willing to take a risk on a less well-known franchise. While not as much as a household name as its predecessor Interview With the Vampire, Mayfair Witches presents a slowly unraveling southern gothic, whose promise far outshines its performance.  Continue Reading →

Hello! Continue Reading →

Episode one begins with a chorus of pig screams. The camera pans through endless cages with the poor little oinkers cramped inside. Then we cut to a woman being strangled. We can’t see her face or who’s attached to the hands squeezing the life out of her. The victim cries out, but we can’t hear anything over the pigs.  Continue Reading →

In many ways, M3GAN is as much about its marketing as it is about the movie being marketed. That's hardly a revelatory statement, especially when it comes to horror films: Studios and producers have breathlessly promised thrills and chills with ever more outrageous gimmicks ever since the days of William Castle offering life insurance policies for audiences who "die of fright." With Blumhouse's M3GAN, the secret lies in its titular robo-tot, a cutesy android with snatched wig, Union Jack dickie bow, and murderous dance moves primed for TikTok virality, all of which have been over the film's marketing for months now. So it's a relief to learn that M3GAN has bite to go with its meme-ready bark, a horror-comedy as much about the ways we use technology to fulfill every human need as it is a sassy robot tween popping and locking with a paper cutter in its hand. 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 →

As conceived in the 1987 Tom Clancy novel The Hunt for Red October, Jack Ryan was an antidote to the typical hypermasculine action hero that had gripped pop culture. Despite a tour in the Marines, he was an intellect-first guy who only ended up in the field because he outthinks everyone else. Unfortunately, Tom Clancy’s Jack Ryan season 3 is a reminder that that version of the character ceased to exist long ago. 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 →

Babylon is a frenetic crash course in Hollywood history that plays fast and loose with most of its facts. However, it still paints a vivid portrait of Tinseltown from its birth to the behemoth it is today. You won’t find the meticulous and mind-boggling commitment to detail of Mank (most of Margot Robbie’s costuming looks more 2010s than 1920s). Still, director and screenwriter Damien Chazelle is less interested in getting everything right than translating that history into something an audience can feel in their bones. Continue Reading →