1269 Best Film & TV Releases Translated Into German (Page 36)

Paul Thomas Anderson’s latest won’t be available in wide release until the end of December, so in the meantime here are a handful of movies that also capture that unique lurid sunniness of 70s & 80s Southern California to tide you over. This is that time of year when cineastes shake their fists at New York City and Los Angeles, which, in preparation for awards season, often get hot film releases more than a month before the rest of the country. So is the case with Paul Thomas Anderson’s long-awaited coming of age comedy-drama Licorice Pizza, which is currently in very limited release and unavailable to the rest of the world at large until December 25th. If you’re forced to wait, perhaps consider some of the following films to answer that call for the very strange, almost alien universe of 1970s Southern California, both its sunny facade, and the darkness that lies just beneath the surface. Boogie Nights (New Line Cinema) Boogie Nights (1997, dir. Paul Thomas Anderson) It may be a bit of a cheat to suggest one Anderson movie in place of another, but if you’re looking for the very specific feeling of an L.A. hangout film, you might as well go right to Boogie Nights. Anderson’s first major release, and one that immediately established him as a formidable talent in filmmaking, Boogie Nights is a sprawling comedy-drama about the porn industry, featuring career-best performances by Burt Reynolds and Mark Wahlberg. Reynolds is a porn mogul who treats his cast and crew like a wayward, misbegotten family, as drug abuse and the looming threat of cheaper, less artistic video porn threatens his business. When the film begins in the late 70s, the days are filled with sunshine and promise, but when the 80s come and things start to go sour, it feels like permanent nighttime has fallen. A decadent paradise now feels corrupt and ugly, a place where people go to follow a dream walk right off the edge of a cliff, never to be seen again. Continue Reading →

Across the rugged state of Uttar Pradesh in Northern India, a team of women journalists is bustling. Khabar Lahariya (‘Waves of News’), India’s only women-run newspaper, takes its responsibility to the community very seriously. These dynamic women are out amongst the people, documenting their stories, sharing them, and seeking answers on their behalf, often at great personal risk. Continue Reading →

To quote Mystery Science Theater 3000, “It’s the 80s! Do a lot of coke and vote for Ronald Reagan!” 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 →

The best sports movies uplift and invigorate. They often take their formulaic structures to greater heights than what seems achievable. They transcend the films that they’re modeled after, pushing forward different definitions of winners and losers. The classics, Rocky, Hoosiers, A League of Their Own, offer the catharsis that sports can bring; they unite an audience in rapturous applause, even if the underdog doesn’t win the title fight. Unfortunately, Halle Berry’s directorial debut, Bruised, neither elevates nor shifts this formula, resigned to a middling existence likely to get lost among the endless titles shuffling through Netflix.  Continue Reading →

Despite sounding like something one might hesitate to Google outside of a private browser, HBO Max's The Sex Lives of College Girls is a fairly wholesome dramedy about four young women starting off their adult lives as freshmen in college. Admittedly, yes, college freshmen who do have sex, but wholesome just the same. Created by Mindy Kaling and Justin Noble (who also write many of the episodes) TSLoCG quickly overcomes the gimmicky nature of its title.   Continue Reading →

Though their first project made exclusively for Netflix, Robin Robin brings animation studio Aardman back to familiar territory. Aardman’s big claim to fame was Wallace and Gromit shorts released as TV specials like A Grand Day Out or The Wrong Trousers. It may be dropping on a streaming platform rather than on broadcast television, but Robin Robin allows Aardman to once again cram a lot of beautiful animation and charm into 30 minutes of storytelling.   Continue Reading →

Pablo Larraín’s sympathetic “fable” about Diana, Princess of Wales, also compassionately addresses the secret shame of eating disorders. CONTENT WARNING: this article addresses eating disorders and self-injury. See our spoiler-free overview of Spencer here. If Pablo Larraín’s Spencer doesn’t change your mind about royalty being aspirational, then nothing will. Sure, you’ll have access to wealth and fancy clothes, but at the cost of your time and privacy. Every part of your life, every holiday, even “off time” with your family, is scheduled down to the last minute, and everything you do is judged according to tradition and propriety. Maybe it’ll be you who breaks tradition, who makes things different through sheer force of will. But probably not. You’ll be a dress-up doll in a glass case, to be taken out and shown off whenever the occasion calls for it, whether you want to be or not. Continue Reading →

What if they made an MCU show with almost no stakes? Would that be inviting or off-putting? Continue Reading →

Bong (Donnie Yen) is a hero cop. He's bold, decisive, and always gets his man. For good and ill, he's got no patience for the brass and their smirking politicking. And he's got even less patience for those of his peers who grin through the sleaze and kiss up to their superiors anyway. But Bong being a hero isn't the same thing as his being good. His derring-do, damn-it-if-it-doesn't-get-us-our-guy mode and his attempts to pass it on have cost people he's cared for terribly. And that cost isn't something he's fully faced. Continue Reading →

The temperatures are dropping and the stores are getting crowded, which can only mean one thing...it’s time for another installment of Netflix’s holiday cavity-maker...no, not that one. Noth that one either. That’s right, we’re talking Princess Switch 3: Romancing the Star, so grab your peppermint martinis and your fuzziest slippers as we delve into the film that begs the question “Is Vanessa Hudgens using Netflix as a vehicle to kiss cute boys?” Fair warning, there are some spoilers ahead.  Continue Reading →

There’s a word that exists in the Italian language that doesn’t quite have a counterpart in any other language: sprezzatura. What it essentially boils down to is the art of looking like you don’t care – a style of perfectly-studied imperfection. This idea goes back at least to the Renaissance, a time when the Gucci family earned its reputation as skilled saddlemakers to the rich and aristocratic. Or at least that’s how Aldo Gucci, the powerful and powerfully at-ease paterfamilias played by Al Pacino, relates the family history in Ridley Scott’s House of Gucci. It is against this backdrop – of wealth, power, history, and above all, style – that Scott and screenwriters Roberto Bentivegna and Becky Johnston weave their story, an uneven yet compelling story about the only person who became a Gucci through their own making rather than by an accident of birth, and yet was forever an outsider.  Continue Reading →

Once Upon a Time… Continue Reading →

Amazon Prime’s new high fantasy series, The Wheel of Time has arrived, and already a major part of the critical conversation seems to be “how much like Game of Thrones is this?” The answer is “not much,” which will undoubtedly disappoint some. For others (myself included) its differences from HBO’s leviathan dragons-and-politics series are welcome. Firstly, in the six episodes that were made available to reviewers, I didn’t spot a single sexual assault and only two women were tortured, so that’s something. Here, women don’t gain power through marriage or dragon-riding because they don’t have to. If there is anything you should bear in mind heading into The Wheel of Time, it’s the knowledge that this is a world where women already hold most of the power, in every sense of the word. Continue Reading →

There’s a moment in the second episode of Cowboy Bebop that captures the experience of the entire series. Spike Spiegel (John Cho) fights a man in a bathroom while a wedding takes place in the same building mere yards away. As Jet Black (Mustafa Shakir) tries to figure out what’s happening over comms—despite it seeming fairly obvious—Spike gets the upper hand. He pauses, shifts slightly, pauses again, and then kicks the man through a bathroom stall door. The man helpfully stayed in place throughout. Continue Reading →

The very idea of reviewing something like Procession is a task in and of itself. It’s not that it’s particularly difficult; it’s that it runs the risk of coming off less as reviewing a film than reviewing people and their realities. Am I, myself a rape survivor, to laud the subjects’ humanity that propels Robert Greene’s documentary? Of course.  Continue Reading →

It’s baffling to me that Apple TV+ is still making kids-centered programming. In the streamer’s two years of existence, none of their family-friendly shows, whether they be Helpsters or Doug Unplugged, have left any kind of footprint. You’d think they’d realize Disney+ and Netflix have got this market cornered and would instead pursue programming the bigger streamers aren’t making by the truckload. Instead, Apple TV+ keeps on raging, raging against the dying interest in their kid’s programming, with shows like the new animated take on Harriet the Spy.  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 →

New York City. January 29th, 1990. Composer and playwright Jonathan Larson (Andrew Garfield) turns 30 at the end of the week. SUPERBIA, the dystopian science fiction musical he's spent most of a decade writing, is about to have its first-ever full workshop. It's a critical moment for Jon, one that could well make his career (or break it irreparably). If SUPERBIA bombs, Jon will be washed up before he ever set out to sea. To crank up the pressure, the show is missing a critical song, a tune that the whole affair will turn on. 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 →