1229 Best Film & TV Releases Translated Into Czech (Page 42)

In an environment where film festivals are struggling to figure out how much access to give both attendees and press, The Montreal-based Fantasia International Film Festival has always been a godsend of genre offerings, especially for American press who want to cover virtually. Here we are with the 25th edition of the fest, and the first few days' worth of films have been well worth it. We'll be covering all month long, so keep an eye out for these dispatches as we go. This year's fest opened with writer/director Julien Knafo's absurdist zombie comedy Brain Freeze, in which an affluent island community off the coast of Quebec suddenly falls prey to an infestation of zombies -- created by the mutant fertilizer from a Monsanto-like agro conglomerate meant to keep the rich golfing all year long. These zombies don't necessarily lust for brains; they just want to bite and murder and spread their numbers. The only folks who don't fall prey, of course, are a slothful teenage boy named André (Iani Bédard), who drinks nothing but Diet Coke, and his baby sister Annie. They run into a paranoiac survivalist security guard named Dan (Roy Dupuis), who hauls around his zombified daughter (Marianne Fortier) in search of a cure. Zombie movies are never short on social commentary, and Knafo certainly has plenty of targets here, from the uncaring companies who do anything to hide accountability to the idleness of the rich and the obliviousness of smartphone-addicted kids. But that obviousness sometimes get in the way of more sophisticated laughs or thrills, Knafo's approach sometimes proving too dry for the Shaun of the Dead-level gags the film's clearly going for. Some jokes work great -- I'll never not laugh anytime someone has to use a severed hand to unlock a phone -- but it's in service to some pretty creaky, unoriginal commentary. (One subplot involving a far-right radio host goes particularly nowhere apart from serving as an unnecessary Greek chorus. And don't get me started on the mute, sexy twin lady corporate assassins.) Continue Reading →

Marvel’s latest Disney+ series, What If…?, seems likely to be the biggest “for the nerds” MCU endeavor since Tony Stark first built Iron Man in a cave with a box of scraps. It should present an interesting test of just how completely Marvel superheroes have permeated our current pop culture landscape. Continue Reading →

When we think back to actors of the 80s, we often think of the Brat Pack, that group of young charismatic stars whose impossible good looks occasionally compensated for middling acting ability. They were cute, and likable, but often lacked that element that makes certain actors more interesting, that sense of danger and mystery. Those actors, like Mickey Rourke, Sean Penn, and Nicolas Cage, didn’t get “Dream Date of the Month” write-ups in Teen Beat, but were more talented, more versatile, and more compelling to watch.  Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. Dinosaurs are the ultimate symbols of The Past. They represent deep time, natural history, and the chaos of the wild. It's no wonder that cinema has always been fascinated by them. One of the first exhibitions of what we might now call "cinema" was presented in 1922 by Sherlock Holmes' own Sir Arthur Conan Doyle, “footage of moving dinosaurs” from the exhibition at the center of his 1912 novella, The Lost World. From the very beginning of the medium, creatives have sought to reanimate the awesome creatures on the silver screen. When dinosaurs appear on film, they frequently bring with them a host of cultural and ideological anxieties. Dinosaurs threaten humanity's imperial dominance on the planet. When they appear, we become prey. And they remind us that even the mightiest powers can be reduced to dust. Continue Reading →

As if chomping at the bit to show its true self, Annette immediately disrobes. Director Leos Carax, off-screen during the opening credits, tells the audience to stay silent. Audio tracks spray over shots of Los Angeles and, in a studio, he asks his musicians, “So, may we start?” He’s now speaking not to us but Ron Mael and Russell Mael of Sparks. Both of them share a story by credit, the latter having written the screenplay, and already, the film has dived feet first into its own joke. But Carax’s latest doesn’t just strip itself naked. It takes off its own skin, as a rock opera and as a movie. Continue Reading →

Vivo, the third Sony Pictures Animation film on Netflix this year, certainly opens on a promising note. We get a full scope of a pristine, modern Cuban setting, awash in warm, vibrant colors and a more textured approach to characters compared to their previous, still-admirable effort, Wish Dragon, though still a milestone away from The Mitchells vs. the Machines, one of the best movies of the entire year. Then, well, Lin-Manuel Miranda starts rapping. Continue Reading →

In Tom McCarthy’s Stillwater, Matt Damon wears a baseball hat. He notches his sunglasses, a pair of knockoff Oakleys, on the brim of his cap; the rest of his body is covered by an assortment of denim, flannel, plaid and Carhartt products. These costume choices are the movie’s way of telling us that Damon’s character, Bill Baker, is a “regular guy.” Unfortunately, outside of his wardrobe, there’s nothing that really defines Bill, and even less that makes Stillwater worth watching.  Continue Reading →

Let me start by saying this: Evangelion 3.0+1.0: Thrice Upon a Time is the best film I have seen in 2021 so far. It's a gorgeously animated conclusion to one of 20th and 21st-century science fiction's great works. It executes both its quiet, still moments and its grand setpieces with care and precision. The voice cast (who have been playing these roles for decades, going back to the original 1995 television series Neon Genesis Evangelion) and the animation team give the cast an excellently detailed life and liveliness. 3.0+1.0's editing—particularly during its extended, tone-jumping climax—is downright sublime. The imagery? To paraphrase Sam Peckinpah, I will not be forgetting what I've seen in Evangelion 3.0+1.0 any time soon. I do not think I could. From a ruined piece of pre-Impact infrastructure twirling in a patch of broken gravity to one of the titular gargantuan combat androids going to work on a swarm of bizarre, disturbing opponents, it's indelible. Whether familiar or bizarre, beautiful or horrifying, 3.0+1.0's imagery is, without fail, flabbergasting. Continue Reading →

Documentarian Sonia Kennebeck has become consumed with whistleblowers and their stories. Known for her interest in how the United States government interacts with their citizens, especially citizens willing to damage the country's reputation, Kennebeck’s latest, Enemies of the State, becomes no different, devolving from a story about a small-town military family to one with espionage, hacking, anthrax, torture, and deportation. More than just a fascination, Kennebeck’s films examine the heroic complex of these people, and if they warranted the supposed justice they received. Continue Reading →

From the second Sabaya begins to play, director Hogir Hirori’s mission is crystal clear: he doesn’t merely want to document what’s happening to the Yazidi women kidnapped by ISIS or the group set on rescuing them. He doesn’t only want to educate you on the conflict. He wants you to feel what it’s doing to these people. And by god, does he ever succeed. Continue Reading →

In the last decade, there have been numerous shitty attempts to replicate the success of the Marvel Studios formula, but Suicide Squad (2016) may be the worst of the worst. Writer/director David Ayer’s dark and gritty tone clashed with the pop music-heavy trailers, marketing that included songs already used by – and meant to remind viewers of – Guardians of the Galaxy. In the end, the studio hired that same trailer company to re-cut the movie, which was released into theaters as an incomprehensible mess. Noticeably missing a “2” in its title, The Suicide Squad is essentially a 200 million dollar do-over. It’s the movie Warner Brothers should’ve made five years ago.  Continue Reading →

When it comes to rebooting iconic cartoon characters for a modern TV program, the go-to mantra now is to hearken back to the classics. Rather than give familiar animated figures makeovers to appeal to the youths of today, now such individuals get designs and storylines evoking their appearances from back in the 1930s and 1940s. Continue Reading →

The phenomenon of Disney adapting its own theme park rides to the silver screen will never not be fascinating to me. It's the ultimate act of corporate synergy: watch Disney movies, come to Disneyland to experience them in real life, come ride our rides, then watch the movie based on the rides. What's even more fascinating are the ones that work: Gore Verbinski's Pirates of the Caribbean pulled off a minor miracle in adapting a pretty groan-worthy theme park ride into a vibrant, Errol Flynn-like adventure. And in an attempt to recapture that kind of heat, we now have Jungle Cruise, which gets points for referencing the right things, even as it refuses to reinvent the wheel. Continue Reading →

The small, fictional town of Jellystone is like other close-knit communities across America. It’s quaint, charming, and filled with jittery citizens on the edge of a nervous breakdown. HBO Max brings back the beloved characters of Hanna-Barbera (the first since their deaths in the 2000s) for a newer, more anxious generation with, an animated show that’s as hilarious as it is self-aware. Continue Reading →

It’s no more than a few minutes into its 132-minute runtime that The Green Knight lays its cards on the table. It doesn’t really subvert expectations here; it’s not like it immediately carves out its identity. Rather, it makes itself clear in the most literal of ways, although in one that doesn’t register as such immediately. After an opening in which Sir Gawain (Dev Patel) wakes up hungover and half-naked, the camera tracks him from behind through sweaty medieval corridors and out into the cloud-covered morning. As he walks through the village, text flashes across the screen declaring itself “a filmed adaptation.” Continue Reading →

Netflix's new animated show Centaurworld, created by Megan Nicole Dong, is a whimsical show set in a world of centaurs. It's chock full of catchy songs and comedic moments that adults and kids will enjoy, but it also bogs itself down with complicated mythology that steals time from its lovable characters. Continue Reading →

While author Jojo Moyes doesn’t confine herself to the romance genre, her works do share a rosy bloom. Light-heartedness and melodrama and historical settings and yes, love, all abound. So without even reading it, you’ll probably have some idea of what to expect from the newest adaptation of her work, The Last Letter from Your Lover. There’s the French Riviera and 1960s fashion and mystery and a torrid love affair—the works. And director Augustine Frizzell doesn’t seem too interested in taking this tale off the tracks.In short? It’s your classic Netflix weepie, though perhaps a little more star-studded than usual. Felicity Jones (Rogue One) stars as Ellie, a modern London reporter with a bad case of heartbreak and a crappy attitude. While researching a basic assignment, she stumbles upon an old love letter that’s so intoxicating she becomes determined to track down who it belongs to and what happened to the couple in question. In between scenes of Ellie’s search, we see the romance play out. Jennifer (Shailene Woodley, Big Little Lies) is a 1960s housewife with a husband who doesn’t seem to know or care that she exists. So when she meets dashing reporter Anthony (Callum Turner), it isn’t long before the two become swept up in each other and fall madly in love. But you won’t know if their romance ends in tragedy or happily ever after until Ellie gets to the bottom of it. Continue Reading →

Masters of the Universe: Revelation, Netflix's animated reimagining of the iconic He-Man and his amazing friends begins on a familiar note. It kicks off as a continuation of the 80s cartoon—sadly skipping over the Cartoon Network series entirely while still borrowing some of its modern art direction. Revelation checks in with the classic Masters of the Universe just before all magic vanishes from the world. The annihilation of magic (including the Power of Grayskull) paves the way for a bold, watercooler-worthy reset of all that has come before. Given this dramatic paradigm shift, Revelation almost feels like a spin-off, rather than a sequel series. Continue Reading →

No cute jokes, no games. Let’s just get the pun out of the way from the top: Old is not a film that ages well. It’s an idea movie. It’s one that pegs itself on a concept, and yet, for the first 40 minutes or so, is bolstered by its more baffling choices. The dialogue feels like it was run back and forth through Google Translate a half-dozen times. The delivery is startlingly stilted, so much so that the sheer artifice combined with the ostentatious camerawork often borders on Camp. As hard as it is to pin down, it’s actually quite stimulating. What it gives us is too specific to dismiss as naive, so why doesn’t it actually working in the end? Continue Reading →

In the decade since his cult hit Rubber, French provocauteur Quentin Dupieux has been churning out small, absurd movies at a steady clip. Mandibles – his third U.S. release since the start of the pandemic – is yet another wonky tale of le ridicule, clocking in at a mere 77 minutes. Beach bum Manu (Gregoire Luig) is hired by a rich benefactor to transport a mysterious suitcase; specifically told he must do so in a car, he stumbles on an unlocked, dusty yellow Mercedes, and picks up his buddy Jean-Gab (David Marsais). Everything’s going smoothly until the pair notice an odd rumbling emanating from the trunk of their stolen automobile. Turns out, they’ve been riding around with an enormous, disgusting fly.  Continue Reading →

Takashi (Masanori Mimoto, Yakuza Apocalypse and one of Hydra's action coordinators) is a quiet, reserved man. He's the chef at Hydra, a Tokyo bar well-loved by its regulars. To those regulars, he's a mystery wrapped in an enigma, but damn can he cook. To Rina (Miu, Netflix's Followers)—Hydra's bartender and Kenta (Tasuku Nagase, Kamen Rider Wizard)—its waiter, he and his stillness are a regular part of their lives. Rina considers him an adoptive big brother/uncle since he knew her vanished father. Kenta both admires his cool and resents his (relative) closeness to Rina. Takashi is Hydra's constant. He knows just what to cook for a regular in the middle of a bad break-up who orders "anything." He stops potential fights before they can start. And he keeps a leary eye on a sleazeball he suspects of being a sexual predator—making sure that the women the creep might be targeting get home safely. When the schmuck does indeed out himself as a date rapist, Takashi puts the fear of death into him. How is he able to do all this? He's observant. Why is he observant? Because he's a retired assassin. Continue Reading →