829 Best Film & TV Releases Translated Into Danish (Page 15)

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 →

Disaster vacation films are a dime dozen. Audiences see a sun-drenched location and they know – something is afoot. Nonetheless, Hulu is looking to join the genre with their newest, The Drop. Directed by Sarah Adina Smith, The Drop follows a group of friends as they gather for a destination wedding, only to have a shocking incident disturb the celebration. The Drop may not reinvent the “trip gone wrong” trope. Still, its stellar cast and sharp director know how to dig deep to find the weird unease hanging around friends on vacation.    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 →

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 →

Hello! Continue Reading →

Welcome to 2023, Star Wars fans, and welcome to another season of The Bad Batch. Our band of unruly brothers (and sister) is back again, still running less-than-legal missions for Cid (Rhea Perlman) and finding themselves in every possible scrape as they do so. The first season of The Bad Batch was an adventure-filled romp through the aftermath of the Clone Wars and Order 66 (though not without its issues, as we’ll discuss later) and Season 2 is off to a strong start with its two-episode premiere: “Spoils of War” and “Ruins of War”.  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 →

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 →

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 →

Ambulance Michael Bay, whose 1990s actioners are—for good and ill—iconic parts of the decade’s cinema, and whose 2000s and 2010s work is reliably fascinating (from the terrific Pain & Gain to the baleful Transformers: Revenge of the Fallen) delivers a bombastic chase movie that doubles as a damn good character study. Loving but criminal brothers (Jake Gyllenhaal and Yahya Abdul-Mateen II) take an ambulance hostage to escape a heist gone sideways. Along for the ride are a masterful EMT (Eiza González) resigned to personal apathy, and a critically injured cop (Jackson White). Amidst the carefully shaped chaos of burnt rubber and bullets, Bay makes space for Gyllenhaal (frenzied and in denial about how badly everything’s gone) Abdul-Mateen II (trying to keep cool even as that becomes impossible) and González (who must break out of her self-built walls if she is to survive) to bounce off each other in a pile of compelling ways. [JH] 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 →

It’s almost difficult to imagine as much happened in one day of the year 1923 as happens in one episode of the television series 1923, the newest installment of the multigenerational Dutton saga from Taylor Sheridan’s Yellowstone and 1883 series. And if as much happened in 1923’s premiere episode occurred every day of the year 1923, what a truly exhausting year that would’ve been. Continue Reading →

If the National Treasure movies had existed in the ’80s, Disney totally would’ve made a TV show spin-off in the ’90s. They would’ve shifted to younger (and cheaper) teenage actors and depicted them scouring the globe for treasures connected to significant historical landmarks. It would’ve made a decent, but not exceptional mark on pop culture back in the day and now sit close to the hearts of countless 25 to 35-year-olds.  Continue Reading →

When people sit down to analyze the career of maverick filmmaker Sam Peckinpah, his 1972 thriller The Getaway is usually found wanting, and remembered mainly for the scandalous affair that developed between co-stars Steve McQueen and Ali MacGraw. Coming smack in the middle of a filmmaking stretch that was preceded by the highly controversial The Wild Bunch (1969) and Straw Dogs (1971), and followed by the wildly idiosyncratic Pat Garrett and Billy the Kid (1973) and Bring Me the Head of Alfredo Garcia (1974), it feels like an exercise in playing it safe from a director not exactly famous for doing such things. Despite that, it still works as a solid crime thriller that demonstrated that Peckinpah could play by Hollywood’s rules if he wanted to do so. 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 →

Lars Von Trier is a complicated figure. The Danish director has ardent fans, fervent critics, and a whole host of international film watchers in-between. After 25 years of varying other projects, he returns to his favorite hospital in The Kingdom Exodus, the five-episode third and final season of his acclaimed supernatural series. The sepia-toned world hasn’t changed much, though, as Von Trier has gone through several scandals, health concerns, and personal challenges over the last two-and-a-half decades. His vision remains undeterred.   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 →