130 Best Releases Translations Dutch on Hulu (Page 6)
Marvel's M.O.D.O.K.
SimilarBatman, Birds of Prey, Family Guy, Marvel's Spider-Man, Power Rangers, Static Shock, Ultraman Tiga,
StarringSam Richardson,
M.O.D.O.K. isn’t set in the Marvel Cinematic Universe but it is firmly set in the newest trend in adult-sewing American animation. Popularized by Rick & Morty and BoJack Horseman, these cartoons put on an exterior dick jokes and fart gags but are actually about deeper explorations of weighty turmoil’s. Considering this phenomenon has produced shows like Horseman and Harley Quinn, it’s one of the better TV trends out there. The best parts of M.O.D.O.K. exemplify why. There’s something enduringly impressive about balancing out raunchiness with genuinely insightful drama. Continue Reading →
Spiral: From the Book of Saw
Watch afterAmerican Fiction (2023),
StarringSamuel L. Jackson,
StudioLionsgate,
If you happen to stumble upon the Wikipedia page for Spiral, the ninth and newest feature film in the Saw franchise, you find a goldmine full of stories, exaggerations, and words strung together that you hardly believe are real. Chris Rock, the star and executive producer of Spiral, ran into Michael Burns, the Vice Chairman of Lionsgate, at a friend’s wedding in Brazil. They chatted about the horror genre, with Rock expressing intent to take his career on a different path. Continue Reading →
Pose
NetworkFX,
SimilarDante's Cove, Oranges Are Not the Only Fruit,
StudioFX Productions,
A lot of the discourse surrounding Pose tends to focus on how groundbreaking it is, and rest assured Ryan Murphy’s drama is certainly that. Prior to the 2010s, queer media almost exclusively focused on the G in LGBT+ and most of those gay men were white and cis. By contrast, Pose’s main cast stars people of color, most of whom are trans. This diversity is behind the camera as well, being partially created by Steve Canals with writing and directing credits by Janet Mock and Our Lady J. Continue Reading →
The Handmaid's Tale
SimilarCigarette Girl, Millennium, Nightmares & Dreamscapes: From the Stories of Stephen King,
Roswell Soul Land 2: The Peerless Tang Clan,
In the spirit of full disclosure, I need to say this: I’m not a big fan of The Handmaid’s Tale. There’s something about a show that is so unrelentingly grim—without even the occasional glimmers of light—that just makes me feel like I’ve been ground down into a salty meat paste. This is why I checked out of Game of Thrones before I even knew the words “Red Wedding,” because I couldn’t bear to watch Sansa Stark beaten, humiliated, and tortured anymore. So while I can say that Handmaid’s has strong writing and still boasts some of the most gorgeous photography of any show out there, I still don’t enjoy it. Can anyone say they actually enjoy it? And when did the incessant castigation of women become primetime entertainment? Continue Reading →
Younger
SimilarSám vojak v poli, The Munsters,
At face value, the original premise of Younger seems destined for a short run. After all, a story about a woman in her 40s who pretends to be 26 to get a job in publishing seems more at home as a Lifetime Original movie than a long-form series. And yet the comedy has lasted six years on TVLand, with the show never losing its charm and heart. While the seventh and final season has the series moving from TVLand to Paramount+, it still manages to keep the same spirit that won it so many fans. Continue Reading →
Law & Order: Special Victims Unit
The Law & Order: SVU and Law & Order: Organized Crime crossover event on April 1st will mark not only the premiere of a new Law & Order spinoff, but also the return of one Elliot Stabler (Christopher Meloni). For the first 12 seasons of SVU Stabler and Olivia Benson (Mariska Hargitay) were the SVU team, the perfect partners. Continue Reading →
Godzilla vs. Kong
SimilarGodzilla Raids Again (1955), Night at the Museum (2006),
Watch afterBlack Widow (2021), The Suicide Squad (2021),
One of the most fascinating things about Godzilla -- whether in his original Japanese provenance in his long-running series of films, or in the comparatively-recent "MonsterVerse" Westernization of the big lizard, courtesy of Warner Bros. and Legendary -- is that he's so malleable. On the one hand (as with the original 1954 Ishiro Honda film and Gareth Edwards' flawed but philosophically-intriguing 2014 reboot), he can be a poignant vehicle to explore the apocalyptic anxieties of nations ravaged by atomic bombs and climate change. Continue Reading →
Babardeala cu bucluc sau porno balamuc
SimilarDead Poets Society (1989), Willy Wonka & the Chocolate Factory (1971),
Radu Jude's latest is as unsubtle as it is gripping, a strange tryptich about sex, justice, and communal madness.
(This review is part of our coverage of the 2021 Berlin Film Festival.)
In Radu Jude’s Golden Bear-winning tenth feature, the zanily titled Bad Luck Banging or Loony Porn, there is no subtlety. The message is loud and clear from start to finish: The world is a sick place and not a lot of people are capable of empathy. For Emi (Katia Pascariu), a teacher, not having empathy from others means she could her job for a ridiculous reason: An amateur sex tape featuring Emi and her husband is circulating all around the internet, and when the parents of Emi’s students find about this, they demand the school to fire Emi. Jude, however, doesn’t address this plot point right away. Instead, he toys around first, dividing the movie into three equally bizarre parts. Continue Reading →
Night Raiders
Watch afterEternals (2021),
Danis Goulet's sci-fi adventure intriguingly explores the systematic eradication of indigenous peoples through a Hunger Games lens, but falters when it leans too close to the conventions of that already-creaky genre.
(This review is part of our coverage of the 2021 Berlin Film Festival.)
Night Raiders is yet another story involving grim dystopian futures and a seemingly ordinary kid who gradually discovers that she possesses extraordinary powers that might help change things at last. In an effort to keep it from coming across as nothing but a clone of The Hunger Games, Divergent and the rest, writer-director Danis Goulet has constructed the story to also serve as a parable for the systematic eradication of the indigenous people of North America throughout history. Continue Reading →
The World to Come
Befitting the moodiness of the presentation is a similarly idiosyncratic score courtesy of musician and visual artist Daniel Blumberg, who makes his feature-film composing debut. An alumnus of London's free-jazz and experimental venue Cafe Oto, Blumberg leverages his love for improvisation and atmosphere into a fragile soundtrack that's foreboding and romantic in equal measure. Clarinets and strings fill the foggy New York air and the loaded silences between Abigail and Tallie, aided capably by musicians like saxophonist Peter Brötzmann and vocalist Josephine Foster. Continue Reading →
Petite maman
SimilarBend It Like Beckham (2002) Cléo from 5 to 7 (1962), Monster (2003), The Green Mile (1999), The Life Aquatic with Steve Zissou (2004),
Céline Sciamma's followup to Portrait of a Lady on Fire is a graceful tale of rediscovered childhood.
(This review is part of our coverage of the 2021 Berlin Film Festival.)
In the wake of the international success of her hypnotic, Gothic-infused romantic drama Portrait of a Lady on Fire (2019), it would have been natural to assume that Céline Sciamma's next film would be a major project and the center of great scrutiny. Perhaps recognizing and preferring to avoid that template, Sciamma instead went the other way. She not only follows up Portrait with the decidedly small-scale Petite Maman, she shot it so quickly and in such secrecy that most people didn't even know she was working on anything until its world premiere at Berlinale was announced. Continue Reading →
Ich bin dein Mensch
Watch afterEverything Everywhere All at Once (2022),
Dan Stevens stars as a seductive but malfunctioning robot companion in Maria Schrader's refreshing, tender exploration of longing.
(This review is part of our coverage of the 2021 Berlin Film Festival.)
It’s nearly impossible to not think of Spike Jonze’s romantic drama Her while watching Unorthodox creator Maria Schrader’s third feature I’m Your Man. Granted, both movies focus on a relationship between a lonely, messy human being and an AI. But where Jonze’s film tells the story from the male gaze, Schrader flips the narrative and gives the room to a complicated female character. The result is not only refreshing but also more tender and meditative, exploring love, loneliness, and longing over the technological ethics that tend to occupy these kinds of films. Continue Reading →
The United States vs. Billie Holiday
SimilarFreedom Writers (2007), La Vie en Rose (2007), Raging Bull (1980), The Pursuit of Happyness (2006),
An icon of the 20th-century jazz scene, Billie Holiday was an icon of Black culture, haunted by abuse and addiction. Her song “Strange Fruit”, based on a poem that describes a lynching, propelled her to fame – but also got the attention of the federal government, taking dramatic steps to stop her from singing the song in an effort to racialize the War on Drugs. In The United States vs. Billie Holiday, Lee Daniels tracks Holiday as the Federal Department of Narcotics begins to pursue her toward that end, in a film that ends up being a waste of potential. Continue Reading →
Cowboys
Gender itself is a societal construct, but in the realm of the Western, it doesn’t just exist but defines the genre. The quintessential Western protagonist is that of The Man with No Name, after all, while John Wayne’s various characters were primarily distinguished by traits largely associated with peak masculinity. Meanwhile, women typically occupy passive roles in these stories reflecting how general society tends to look at ladies. Love interests or workers at a brothel, that’s all women get to do in the majority of Western movies. Continue Reading →
Little Fish
Based on an Aja Gabel short story and directed by Chad Hartigan, Little Fish follows a married couple as they try to hold onto what they love in a world ravaged by a pandemic. In a lot of ways, there are eerie similarities with our present reality, but the main difference is that the virus in this film slowly takes away memories – functioning very similarly to Alzheimer’s. In the midst of a flurry of pandemic-themed media coming out which tries to reflect the situation which the world is presently in, Little Fish manages to distinguish itself from the crowd with its brilliant leads and emotional resonance. Continue Reading →
Flawless
Where’s the line between a messy movie and a movie that’s a mess? Joel Schumacher’s clearly-flawed Flawless oozes with subplots while it tries to fulfill the obligations of an “unexpected buddy” movie. Like the pre-gentrification East Village that it’s built around, characters and cultures clash to chaotic, uneven results. Continue Reading →
Summer of Soul (...Or, When the Revolution Could Not Be Televised)
Ahmir "Questlove" Thompson's documentary about the Harlem Cultural Festival is insightful and loving.
(This review is part of our coverage of the 2021 Sundance Film Festival.)
The word “Woodstock” enters consciousness at a young age. It has become synonymous with classic rock, with music festivals, and with a decade of counterculture. With an estimated 400,000, Woodstock cemented itself as a part of popular culture, an ironic shift in its original meaning and its now-reformed image. Continue Reading →
Censor
Niamh Algar learns the price of prurience in Prano Bailey-Bond's neon-soaked ode to the video nasty.
(This review is part of our coverage of the 2021 Sundance Film Festival.)
It's England in the 1980s - poverty is high, Thatcher is in office, and the so-called moral majority is sounding the alarm about the increasing ubiquity of "video nasties", gory, violent films that, as the hysteria goes, tap into the seediest, most antisocial impulses of the British people. Think Abel Ferrara's The Driller Killer, or Cannibal Holocaust: eerie exercises in sociopathy that thrill their fans and terrify their detractors. For Enid (Niamh Algar), a film censor, her job isn't about protecting a sensitive public from the disturbing films she's shown (ones with titles like Deranged and Beast Man), but merely to do her job well. Even so, she's buttoned up in more ways than one, from her uptight clothing to her lack of chemistry with her coworkers. Much of that is due to years of trauma sustained from the disappearance of her sister as a teenager, which she was present for but can't remember a thing about; her parents only recently chose to declare her dead and begin to move on with their lives. Continue Reading →
In the Earth
Ben Wheatley's pandemic-shot sci-fi effort is a derivative and predictable trip through the fog despite a few choice moments.
(This review is part of our coverage of the 2021 Sundance Film Festival.)
A few months ago, Ben Wheatley did what seems to be en vogue as of late: make a movie mid-pandemic. It was over 15 days in August 2020 when Wheatley shot his latest from his own script, and does this one tick a few of the usual boxes. Lethal virus outbreak? Check. Lethal virus that isn’t actually COVID-19 but clearly is? Check. A non-COVID-19 lethal virus that feels extraneous overall? Yep, and yet its predictability goes beyond that. In the Earth sees Wheatley aping Andrei Tarkovsky by taking liberally from Stalker, but it also sees him aping himself by rehashing A Field in England much more predictably.
It’s pretty clear stuff throughout. While the cities rage with illness, Dr. Martin Lowery (Joel Fry) heads on a mission to a test site deep in the forest. After getting to a lodge closer to civilization, he makes the acquaintance of Alma (Ellora Torchia). Alma is a park ranger tasked to guide him, and right after an anonymous figure attacks them, they come across a nature dweller named Zach (Reece Shearsmith). For whatever reason, they think he’s an all right guy to trust, but I forgot to mention that no one in this movie has even the most basic intuition, especially given their professions. Continue Reading →
The Empty Man
StarringRobert Aramayo,
Studio20th Century Fox,
Two-hours and sixteen minutes. There is a version of The Empty Man that’s a solid, efficient horror flick, and then there’s the version that’s two-hours and sixteen minutes. Unfortunately, we got the latter. Adapted from an independent comic book of the same name, this poorly paced, occasionally engaging exercise staggers along like its titular demon. If only there was a way to stop it, before it’s too late. Continue Reading →
Gunda
Watch afterBarbarian (2022),
Since its premiere at this year’s Berlinale film festival, much of the press around Viktor Kossakovsky’s involving, subtly radical Gunda has fixated on the intimacy of its form. Presented without any narration, subtitles, or extraneous context and shot in stark but crucially un-distracting black and white photography (Kossakovsky has been forthright about not wanting to draw attention to beauty), this is pastoral portraiture that’s keenly aware of reflecting — but not exerting its purpose. Continue Reading →