99 Best Releases Translations German on Fubotv (Page 3)

CONTENT WARNING: This piece contains frank discussion of suicidal thoughts and ideation. If you find yourself struggling with thoughts of suicide or self-harm, please contact resources such as the National Suicide Prevention Hotline at 800-273-8255. Continue Reading →

In practice, most video game movies don’t have to worry about sequels. The likes of Assassin’s Creed and Warcraft failed to make anywhere near enough money to justify follow-ups. But there are still theatrical video game movie sequels here and there, now including Sonic the Hedgehog 2.   Continue Reading →

Halo is a big deal. It's the game series that made the Xbox, the game series that drew the blueprint and set the standard for first-person shooters in the 21st century. Its most recent installment, Halo Infinite, drew rave reviews and was a major financial hit. In addition to the stories told in the games themselves, Halo also boasts an extensive transmedia presence—novels, audio dramas, and animated anthologies, amongst other mediums—that's beloved by the lore-digging side of fandom. That passion, and the infamously spotty history of video-game-to-other-medium adaptations, means that Paramount Plus' Halo: The Series faces an uphill battle. Continue Reading →

As the discourse rages over how tame the mainstream movie scene can be—with its sexless heroes and bloodless violence—it can be tempting to elevate any film that hearkens back to "the good old days" of sex and slashers just for the sake of its own supposed transgressiveness. But luckily, Ti West's X largely earns that title, a playful and idiosyncratic ode to both ends of the '70s sleaze cinema spectrum (hardcore porn and Wes Craven-esque slashers) alike. Not only that, it's blissfully literate towards its influences, with a nod to larger points about the aesthetics and politics of desire, the fetishization of youth, and so much more. Continue Reading →

The love of an animal can be transformative. The mix of companionship and responsibility that taking care of a pet entails can help create stability in an otherwise chaotic life. So it's no surprise that several movies explore the relationship between humans and canines. Continue Reading →

Even if you’re not familiar with Agatha Christie’s vast body of works—she wrote sixty-six detective novels alone—you’ve probably heard of Hercule Poirot. He’s the world’s most famous literary detective, next to Sherlock Holmes. Death on the Nile marks Kenneth Branagh’s second outing directing one of Christie’s Poirot stories and starring as the mustachioed detective himself, following 2017’s tepidly received Murder on the Orient Express. Dogged by COVID-19 delays and scandals surrounding star Armie Hammer, Death on the Nile sometimes feels like it’s scrambling to justify its own existence, and only half-succeeds. Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. Caper films are competitions. Outside of the obvious cops and robbers struggle, they, more importantly, dispute the value of things and who deserves to own them. While classically most capers are individuals vs institutions, there is a subgenre of capers that features an Odd Couple pair of thieves in a competitive mentorship and centers the push and pull between them. Semi-recent entries like Entrapment (1999) and The Score (2001) are examples where the struggle between the thieves is a generational one with the old and new guards having to learn from each other. Couched within the larger struggles of value and property, these interpersonal battles between thieves play out an additional competition over cultural differences and ideas. Continue Reading →

Kogonada's sci-fi followup to Columbus is just as mournful and architecturally-minded as its predecessor. (This review is part of our coverage of the 2022 Sundance Film Festival.) Science fiction is a genre that, when handled with care, can wield the ability to explore intimate parts of life through narratives that explore the unknown. Kogonada’s sophomore effort, After Yang, seamlessly blends common sci-fi components with a narrative deeply rooted in humanism, while looking beyond the typical action-packed tropes that make up much of the genre, to paint a poignant portrait of the complexity of human nature.  Continue Reading →

Into every generation, a teen horror drama is born: one series in all the media landscape; a chosen show. It alone will wield the quips and metaphors needed to fight the supernatural villains, social pressures, and other various youthful troubles. To stop the spread of standard high school melodramas and the swell of their number. It is...the newest supernatural young adult T.V. series. Continue Reading →

(This review is part of our coverage of the 2022 Sundance Festival) Continue Reading →

The sleeper hit of 2022 (so far) has undoubtedly been Showtime’s Yellowjackets, a grisly, enthralling tale of a 1990’s all-girls high school soccer team forced to survive the Ontario wilderness after a plane crash, it hit audiences like a bolt of lightning. The simplest way to describe it is “LOST meets Alive meets Lord of the Flies with Riot Grrl energy” - but even that does a disservice to the stunning character development, the devolution into savagery—a particular kind of savagery that only young women are capable of—and the relentless pacing that creates as many questions as it answers. The brilliance of Yellowjackets is that you know these girls will descend into madness, and yet you come to love them knowing the ritualistic cannibalism that awaits them. Yes, there is cannibalism, but funnily it becomes the least interesting part of Yellowjackets as the first season progresses.  Continue Reading →

Early in the King's Man, Orlando Oxford (Ralph Fiennes) reads a newspaper chronicling the human cost of the then-nascent World War I. The headline for all this carnage reads "When will this misery end?" It’s fitting since I found myself constantly asking myself the same question as The King's Man dragged on and on. For some reason, a franchise that’s previously leaned heavily on anal sex jokes and Elton John beating up evil henchmen wants to get serious in the most superficial way possible. Continue Reading →

Back in 1998, Gus Van Sant released his remake of Alfred Hitchcock’s Psycho. It wasn’t a good movie, but it provided two decent critical talking points. Firstly, was it actually a remake, or was it another adaptation of Robert Bloch’s novel? Given that Van Sant’s film was a shot-for-shot recreation of its 1960 predecessor save for two or three differences, it was a rarity in that, given its context, it ended up being the former. It, for all its failures in execution, used semiotics to circumvent the aforementioned semantics of its identity. Continue Reading →

Mike Wade (Scott Adkins) thought he could make it in Mixed Martial Arts, he really did. He couldn't. With his career definitively over, Mike and his pride have to figure out what to do with themselves. A temporary gig on the crew tearing down Birmingham, Alabama's infamous Castle Heights hospital is better than nothing—it even leads to a friendship with fellow crew member George (Vas Sanchez, Cobra Kai seasons one and two). But Mike's still lost in himself, still processing the fact that his dream is capital letters DONE. And then, on the last day of demolition, mere hours before the explosives are set to go off, Mike finds a $100 bill. A $100 bill that leads to a cool three million in cash, hidden in a wall. Continue Reading →

Paul Thomas Anderson set out to make a love story with Licorice Pizza, and ended up creating his most joyful flick to date. Seemingly lacking is the dark heart so many of his stories contain, whether it’s in the wildly toxic relationship between designer and muse in Phantom Thread or brutal depictions of loss and loneliness in Magnolia. Instead, Licorice Pizza has a lightness he hasn’t truly approached since Punch-Drunk Love.  Continue Reading →

Stories revolving around single men suddenly thrust into the father’s role (even if only temporarily) obsess about men’s ineptitude. Whether they think their failure to take naturally to childcare is biological or sociological or better played as comedy or tragedy doesn’t really matter. For whatever reason, the takeaway is still men aren’t cut out for fatherhood of any kind on their own. In a shocking breath of fresh air, C’mon C’mon says, to put it bluntly, fuck that.  Continue Reading →

Plenty of Star Trek shows hit their stride in season four. The timing makes sense. After four years together, the cast and crew have all had time to jell. The writers have had long enough to hone the show’s voice and course correct for any missteps. And there’s still enough mileage left in the original premise and characters to take them to interesting places. Continue Reading →

One of the few moments of genuine humanity from Ghostbusters: Afterlife comes before the movie starts. In the press screening intro video, director and co-writer Jason Reitman shows up to tell everyone to please enjoy the movie. Then he briefly mentions the high stakes pressure of taking up the mantle of a beloved film property from his father, Ivan Reitman.  Continue Reading →

Kingstown, Michigan is as much an industry city as Bay Lack, FL, or McDonald, OH. Except, as Mike McLusky (Jeremy Renner) tells us in Mayor of Kingstown’s opening voiceover, the company that Kingstown answers to doesn’t run theme parks or make steel. They incarcerate. Continue Reading →

It is difficult to imagine the people who, after Dexter’s largely despised series finale, felt that more Dexter would solve the problem. When you recall the last season of Dexter was also largely despised, it becomes even more challenging. Add in that, for many, the writing on the wall started even earlier, and it becomes damn near impossible. And yet, here is Dexter: New Blood. Continue Reading →

With her abuser out of her life, one would think it’d be easier for Julie (Honor Swinton Byrne) to move from day to day. In some ways, it is; she’s no longer directly in the clutches of Anthony’s (Tom Burke) patterns of insults, flattery, and disposal. He’s now dead as a result of his drug addiction. She, however, still lives with his memory. She discusses him with her psychologist (Gail Ferguson) just as often as others refer to his passing as a “loss.” But he’s still there: in her mind, in her health, in her art. Now, in The Souvenir Part II, Julie is finalizing her graduation film for school, repurposing and compartmentalizing her emotions into her work. Continue Reading →