99 Best Releases Translations German on Fubotv (Page 2)

Season one of Showtime's surprise hit Yellowjackets left us with as many questions as it answered. With the show's sophomore season—launching this week—creators Ashley Lyle and Bart Nickerson take us deeper into their strange, terrifying wonderland, doling out mystery, horror, humor, and some exquisite needle drops. Prepare for a Tori Amos renaissance in the vein of Kate Bush's success on Stranger Things 4.  Continue Reading →

The Scream franchise's strength has always been in its self-awareness. Initially, it turned the camera towards the audience, demanding that they ask themselves why it's so entertaining to see other people being made to suffer, and what happens if, as the tagline went, someone took their love of scary movies too far. Then it mocked the inevitability of sequels, then the movie industry in general, then how the media treats trauma victims like celebrities, with varying levels of success. The 2022 reboot, directed by Matt Bettinelli-Olpin and Tyler Gillett, sought to address all of it in some fashion, with toxic fandom on top of that. It was mostly successful, despite being at times aggressively meta. Scream VI does much of the same, although this time the knowing winks and nods are starting to feel a little tired. Continue Reading →

Round three of twelve. Adonis Creed (Michael B. Jordan)—the fresh-out-of-retirement undisputed heavyweight champion of the world—faces Damian "Diamond Dame" Anderson (Jonathan Majors)—the ruthless-came-from-eighteen-years-in-prison reigning champ. Growing up in a group home, Adonis and Damian were brothers—united by care for one another in a callous system and a shared love of the sweet science. Continue Reading →

Taking a look at the offerings of Slamdance, Park City's more indie-minded festival. Initially developed in 1995 as an alternative to the more polished version of independent cinema presented at Sundance, the Slamdance Film Festival has evolved over the past 28 years. These days, with a few exceptions, most of Slamdance’s slate could easily compete with those films chosen for that other festival. In fact, several proved better made and more interesting than much of Sundance’s selections. This year’s winner of the Slamdance Grand Jury Prize for Best Narrative Feature, Linh Tran’s Waiting for the Light to Change, proved entirely worthy of the accolades. Set at a lake house in Michigan during winter’s last gasp, the film centers on a getaway trip gone wrong. For high school sweethearts Jay (Sam Straley) and Kim (Joyce Ha), the occasion is a chance to reunite with their friend Amy (Jin Park) after she’s been several hundred miles away in California working on her Masters. Jay’s stepbrother Alex (Erik Barrientos) and Kim’s cousin from China, Lin (Qun Chi), round out the quintet.   Continue Reading →

For some, the hyper-vocal smug handsome guy archetype quickly wears out his welcome. That’s likely why so many seem allergic to Ryan Reynolds these days. For this writer, however, that kind of performer is like catnip. So Joel McHale’s newest sitcom turn as Frank of Seattle’s Animal Control Division is very welcome indeed. Alas, the show wrapped around him sparks more ambivalence. Continue Reading →

I love mysteries and crime stories. And it's been a treat these past few years to have so many good detective stories on television (Under the Banner of Heaven, for instance) and in cinemas (Rian Johnson's Benoit Blanc mysteries, the quite charming Confess, Fletch). Would that I could count Neil Jordan's Marlowe among them. I cannot. It's a bad movie, and bad in a very frustrating fashion—no one's phoning it in, but nothing connects outside of a few stray moments save for David Holmes' no-disclaimers excellent score. Continue Reading →

Lunella Lafayette, aka Moon Girl (Diamond White), is a middle schooler with an intellect off the charts. Devil Dinosaur (Fred Tatasciore) is an interdimensional red T. Rex with a deep, abiding love for dirty water dogs. As odd couples go, they seem shoo-ins for the Hall of Fame. Continue Reading →

A saying goes for bad thespians: “They can’t act their way out of a paper bag!” When it comes to the ensemble for the latest Syfy channel original series, these people can’t act their way out of a deep space cryo chamber. The Ark, also streaming on Peacock, is an intriguing science fiction premise in search of capable hands that can live up to the material, but there are none to be found in this part of the galaxy.  Continue Reading →

When last we left Kingstown, MI, the town was recovering from a brutal prison riot that left plenty of guards and scores of prisoners dead. Mike McLusky (Jeremy Renner) has proven nowhere near the adept fixer his deceased brother (Kyle Chandler) was. The town paid the price. 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 Christmas industrial complex quickly consumes the whole of pop culture. One can barely slip the surly bonds of October 31st before being inundated with a whirlwind of tinsel-tinged music, decorations, and of course, T.V. specials. There’s nothing wrong with that! While the totality of it can be overwhelming at times, even for enthusiasts, there’s something downright pleasant about a big communal celebration touching the whole of society in some way, including our favorite television shows. Continue Reading →

Andor (Disney+) It’s strange how politics and bureaucracy are, in part, what made the Star Wars prequels such a stultifying affair while they give Andor a jolt that’s a large part of its charm. Nonetheless, thanks to excellent performances from the likes of Denise Gough as Imperial officer Dedra Meero and Kyle Soller as disgraced space cop Syril Karn, that was the reality of 2022. 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 →

To The End opens with activist Varshini Prakash, leader of The Sunrise Movement, as she tours the destruction left in a wildfire’s wake. A bleak landscape meets her. There are houses burned and left in ruin. A car drives into the area, flames licking at the road as smoke covers the terrain. It’s a hell of a stirring beginning to Rachel Lears’ timely and extensive climate change documentary To The End.    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 →

The Inspection, the narrative feature debut of writer-director Elegance Bratton, aims to be a fictionalized treatment of Bratton’s own real-life experiences as a young gay Black man attempting to turn his life around by, of all things, joining the Marines. As dramatic hooks go, that’s a compelling one, but the finished film seems strangely unwilling to grapple with it in any meaningful way. Instead, what could have been a unique, deeply personal narrative is eventually reduced to a well-meaning but largely undistinguished military melodrama that is ultimately too familiar for its own good.  Continue Reading →

With the exception of Clint Eastwood, Walter Hill is the contemporary filmmaker most closely associated with what was once the most American of film genres, the Western. They've been in relatively short supply for the last 50-odd years, but with projects like The Long Riders, Geronimo, Wild Bill, Broken Trail, and the pilot episode of Deadwood (not to mention modern-set takes on the form like Extreme Prejudice and Last Man Standing), Hill’s been doing what he can to keep the form and its traditions alive. His latest, Dead for a Dollar (his first film in six years), is unlikely to spur a revival anytime soon and its bypassing of theaters for a VOD release all but ensures that it will be overlooked by all but his most dedicated fans. The good news is that those fans—and any others who should come across it—will be rewarded with a sturdy, entertaining work that overcomes its occasionally apparent budget constraints to serve as a welcome reminder that Hill remains one of the most fascinating genre filmmakers of our time.  Continue Reading →

It's safe to say that no one necessarily asked for a sequel to Ti West's X, especially six mere months after its release. Not because it was bad, mind you; it was actually quite good, a nifty throwback to Texas Chainsaw Massacre with a hefty soupcon of Debbie Does Dallas tossed in the mix. But its tale of a ragtag amateur-porn crew besieged by a murderous old country crone envious of their youthful beauty and raging libidos hardly cried out for a followup. Yet here we are with Pearl, a prequel that dabbles in decidedly different genre homages but might just be the superior slasher of the two. Continue Reading →

Jon Hamm is a darn good comic actor, and he's a darn good comic actor with range. In Top Gun: Maverick for instance he played Naval Airboss Cyclone's abiding sternness and exasperation with Maverick for solid straight man work. Confess Fletch—which Hamm leads as unlicensed detective Irwin Maurice "Fletch" Fletcher (previously played by Chevy Chase in 1985's Fletch), by contrast, sees the Mad Men star go quietly goofy to strong effect. Even in a film packed with colorful and more openly eccentric weirdos, Hamm's Fletch is an odd man. Continue Reading →

Although histories of Hollywood in the 1970s tend to include Brian De Palma alongside the so-called “movie brats” who helped to revolutionize the film industry at that time (Spielberg, Lucas, Coppola), his films never came close to reaching the critical and/or commercial peaks they had.  Continue Reading →