587 Best Film & TV Releases Translated Into Croatian (Page 11)

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 →

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 →

Vesper (Raffiella Chapman, His Dark Materials), a lone teenager clad head to toe in weatherbeaten cold-weather gear, expertly ferrets her way through a blighted field. She's looking for the remains of dead crops—critical samples for her ongoing bio-engineering research. A floating drone—humanized by an awkward, endearingly childish face that's been carved on it—accompanies her. Her father, Darius (Richard Brake), pilots the drone. Left paralyzed and fragile by war and a relentless artificial biosphere, Darius does what he can for his daughter. In the distance stand colossal machines long left to rust, their purpose obscure. 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 →

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 →

Catastrophe strikes about half an hour into The Poseidon Adventure, in a sequence that remains ingenious and exhilarating to this day. Slammed on New Year’s Eve by a tsunami caused by an underwater earthquake, the ocean liner SS Poseidon capsizes in swift, spectacular fashion. The bridge is first to go, instantly obliterated by the brunt of the wave, before death and destruction spread to the ballroom where the passengers have gathered to celebrate. Furniture slides and then tumbles, pianos plummet in an avalanche of ivory, pulverized glass commingles with confetti in an ominous flurry, partygoers are hurled like ragdolls and brutally crushed, with the last to fall clinging hopelessly to the floor (now the ceiling) before gravity inexorably claims them. 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 →

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 →

Shudder’s Christmas Bloody Christmas, about a killer Robo-Santa that wreaks havoc in a small town, is that present that catches your eye under the tree. The wrapping paper is beautiful, and the object hidden within looks big and expensive. You finally get to open it. Alas, the magnificent gift in your head turns out to be nothing more than an Amazon box with an ugly sweater inside.  Continue Reading →

No recent film has understood the Internet quite like Searching. Aneesh Chaganty’s 2018 thriller follows John Cho as David, a father desperately searching for his missing daughter. The film is formatted entirely on screens, a new form of visual storytelling called Screenlife. We see David’s investigation through video calls, websites, and digital files. But at the heart of the story is a deep understanding of the way people, especially young people, can take on new lives through technology. Continue Reading →

At the risk of sounding a bit hyperbolic, there’s been something kind of magical about Doom Patrol. That trend continues into the fourth season's first six episodes, this writer is delighted to note. Continue Reading →

Willow didn’t catch on as a pop culture phenomenon like fellow Lucasfilm properties Star Wars and Indiana Jones upon its release. Still, it did ultimately achieve cult status. In these IP-obsessed times, that made a return to its fantasy realm all but inevitable. After all, Disney is giving every nostalgic property it owns a streaming sequel. Continue Reading →

It’s Christmas time, and a man at the breaking point finds himself at the wrong place at the wrong time. But he isn’t retired cop John McClane this time. Instead, it’s Saint Nick with a sledgehammer he’d like to swing into your bowl full of jelly. The premise of Violent Night is simple (Die Hard but with Santa), and the filmmakers mostly pull off the kill-fest thanks to some game performers and one inspired sequence.   Continue Reading →

One thing you can say about Christmas and the Guardians of the Galaxy is that both tend to go a bit over the top. One’s affection for either depends greatly on how you feel about a good thing taken to excess. For this critic, The Guardians of the Galaxy Holiday Special hits that delicious “too much, but I can’t help but like it” sweet spot like seconds on the pecan pie. Continue Reading →

A little over 24 hours after seeing it, there are two sequences in Steven Spielberg's The Fabelmans that I've run on repeat back and forth. One dramatic, the other comedic—both illustrate the strengths of Spielberg's semi-autobiography. 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 →

“Not great, not terrible.” 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 →