67 Best Releases Translations Dutch on Disney Plus (Page 3)

What if you were the only one in your entire family without magic? Disney's Encanto sets out to answer that question with music and charm as its fanciful powers. Continue Reading →

Disney brought out the nostalgia machine for Home Sweet Home Alone, the latest installment in the franchise of the same name. While it’s not a carbon copy remake, Home Sweet Home Alone lacks the charm of the original 1990 film. It narrowly slides into being a passable family film thanks to the work of a committed cast featuring Archie Yates, Rob Delaney, and Ellie Kemper. Continue Reading →

It's funny to think about the mission creep that's escalated within the Marvel Cinematic Universe since its debut in 2008 with the first Iron Man. Watching Eternals, you can't help but wonder that all of this started, as Jeff Bridges once quipped, in a cave with a box of scraps. Now, with Thanos and the events of Eternals, the MCU truly delves into the cosmic -- the vast span of space and time, and the very fabric of the universe at stake. And yet, the bigger and longer the MCU grows (heh), the more weightless it all feels; there's heaps of ambition at play in Marvel's latest, at least within the meager confines of Kevin Feige's franchise stewardship, but its reach exceeds its grasp. Continue Reading →

Ron’s Gone Wrong has some lofty goals: it’s a bold attempt to talk about how social media addiction, consumerism, and technology at large has taken over kids’ lives in a way that’s not just unhealthy, but that’s actively leaving them lonelier. And if anything can be applauded about writer and director Sarah Smith’s film, it’s in the way it wants to tackle all of this head on. Only in this world, swap the iPhones and tablets for “B-bots”—cute little AIs proudly labeled “your best friend out of the box!” They follow you everywhere, learn everything about you, and use that info to help you make new friends via other kids’ B-bots. It’s the tech solution to friendship! ...And a handy little metaphor for the way tech once designed to bring us together has mutated into something else entirely. Continue Reading →

Hollywood’s love for familiar brands has long since transcended parody and probably reached that point when a generic Transformers knock-off got slapped with the name Battleship. It’s almost scary how unsurprising the thought of somebody reviving the 1990s TV show Doogie Howser, M.D. as a streaming show is despite there being no clamor from the general public for such a property. As far as I know, no die-hard Doogie stans are taking to the streets demanding more stories about teenage doctors getting into shenanigans.  Continue Reading →

This year's Fantasia Festival offered a solid selection of horror, low-fi science fiction, and quietly paced drama. It remains unclear if movies really are back, baby, but the festival circuit continues undaunted. Montreal’s Fantasia Festival leans towards the esoteric and the out there, and this year’s selection in particular offered a strong lineup of quirky comedies, artsy horror and low-key drama. Here’s but a small sampling of some of the more notable features: Perhaps the most promising feature is Hellbender, a genuine group effort by the Adams Family, directed by dad John Adams, co-written by mom Toby Poser and daughter Zelda Adams, and starring Toby, Zelda, and other daughter Lulu Adams. Zelda plays Izzy, a lonely teenager raised in isolation by her mother, who’s convinced her that she is gravely ill with a disorder that prevents her from getting too close to other people. They spend their days alone together, either exploring the woods around their house, or playing catchy grunge rock tunes in a two person band, even wearing costumes despite not having an audience. It’s an idyllic existence, until Izzy starts asking too many questions and pushing too many boundaries, and must learn the truth about her existence. 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 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 →

Blaise Pascal invented a philosophical concept that came to be known as Pascal’s Wager. He presented a pragmatic argument for belief in God. Pascal held that if you believed in the Lord and He did, in fact, exist, you would gain the infinite rewards of Heaven. And if He turned out to be a myth, well then you’ve lost nothing, or comparatively little. If you don’t believe, though, and the Creator is real, you risk the infinite horrors of Hell, the prospect of which would, in Pascal’s estimation, outweigh any meager reward disbelief might grant you on this mortal coil. Continue Reading →

TV shows based on hit movies are nothing new. However, programs like The Real Ghostbusters and Buzz Lightyear of Star Command had only the barest connection to their source material and had no chance of scoring any of the performers from the original features. In the age of interconnected cinematic narratives, though, the new Disney+ cartoon Monsters at Work, a sequel to Monsters Inc., goes in the opposite direction.  Continue Reading →

When Greg Berlanti’s Love, Simon arrived three years ago, it was hailed as groundbreaking — mostly because it was the first major studio rom-com centering on a gay character. But valid criticisms soon came from the queer community, saying that the movie is too white and its depiction of coming-out is a tad too tidy and sanitized. Continue Reading →

Cruella de Vil is an A-List villain in a B-List franchise. Sure, 101 Dalmatians and its spinoffs have their charms, but no other aspect in the franchise has the staying power of Cruella and her iconic theme song. It’s no surprise that Disney would release an origin story for the character with Craig Gillespie’s Cruella. It’s a logical step for the company to take, but the iconic villain presents a major stumbling block: how can you make a villainess whose traditional motivation is to kill dogs for a coat into a likable hero, or at least an antihero? Continue Reading →

Star Wars fans, are we ready? Because it’s time for Star Wars content to return and both delight  and hurt us all in that inimitable Dave Filoni way. We love it, though. Star Wars: The Bad Batch is the newest Star Wars series to land on Disney+ and the first in their projected slate of new Star Wars programming. “Aftermath," the feature-length premiere of The Bad Batch, written by Jennifer Corbett and Dave Filoni, and directed by Steward Lee, Saul Ruiz, and Nathaniel Villanueva, is a sweeping introduction to new challenges and new characters, but also a love letter to the stories that have come before. Continue Reading →

There was a trend when YouTube first launched, one that still pops up from time to time, where a skilled editor will take a film such as Dumb and Dumber or Elf and recut the trailer as a horror film. These pet projects are amusing at first glance, and serve to highlight deeply disturbing elements of classic comedies generally played for laughs. They demonstrate the power certain filmmakers have to elicit a specific audience response often diametrically opposed to the given circumstances on screen.  Continue Reading →

Returning to score these characters for the first time since Captain America: Civil War, Jackman brings his usual fanfare and frenetic action scoring to the table, expanding themes he originated in his previous work to a much larger, longer palette. Sam's theme, formerly a three-note quick motif between action beats, gets its own blues-tinged variation to pay homage to his Louisiana roots; Bucky, meanwhile, gets a softer, more melodic version of the Winter Soldier theme to contrast with the cacophonous shriek that heralded him in his debut feature. And the Captain America theme gets its own complications, now that the man holding the shield is a little less trustworthy than he used to be. Continue Reading →

A thirty-plus-year veteran of film and TV scoring, Kiner's a chameleon who can work with the themes and motifs set by other composers and spin them into broader, more dynamic cues demanded by the rigors of television storytelling. That's borne out in his work for Star Wars, especially, where at this point he's written more music for the universe than John Williams himself -- while he finds moments to work in familiar motifs and themes, Kiner also carves out room for experimentation, which you can hear in the more synth-heavy scoring for Clone Wars: The Final Season. Continue Reading →

What if during one of your worst nightmares, you couldn't wake up, no matter how hard you tried? This the brooding question hanging throughout Come True, Anthony Scott Burns' sophomore horror thriller, coming off of Our House in 2018. The director (and now screenwriter) brings his visual effects background to develop an atmospheric wasteland of pure, spine-chilling dread with just a touch of analog sci-fi. The result is an ironically snoozy slog about the horrors of sleep paralysis that gets by more on vivid aesthetic than the sheer terror of what keeps us up at night.  Continue Reading →

(Note: We heavily encourage you to read reviews and criticism from Southeast Asian critics, who have a much more intimate and detailed understanding of the cultures from which Raya and the Last Dragon draws inspiration. This thread is a helpful primer.) Continue Reading →