1269 Best Film & TV Releases Translated Into German (Page 41)

Julia Ducourneau's followup to her stunning debut Raw makes for brutal, beautiful, brilliant body horror. (This review is part of our coverage of the 2021 Toronto International Film Festival.) Titane begins with the pluck of banjo strings and an extreme closeup of chrome. It’s a clash that’s jarring and compelling: the earthy, fire-and-brimstone howl of David Eugene Edwards’s take on the American folk standard “Wayfaring Stranger” set against an almost voyeuristic tour through a car’s inner workings. Continue Reading →

Eva Husson directs Odessa Young to a stupendous performance of a young woman's birth as a writer in a story about the lingering impact of love. An adaptation of Graham Swift's 2016 novella of the same name, Mothering Sunday begins as a story about wartime loss and forbidden love. Directed by Eva Husson from a script penned by Alice Birch, it mostly takes place over one spring day in 1924 England, just five years after the end of the first World War. It's Mother's Day and the orphaned Jane Fairchild (Odessa Young), who works as a maid in the Nivens (Olivia Colman and Colin Firth) household, is given a day off. Since she doesn't have a mother to celebrate the holiday with, Jane decides to spend the day with the only person in her life, her secret lover Paul Sheringham (Josh O'Connor). The couple makes plans to meet at Paul's house. But on this very special day, Jane doesn't have to sneak in from the backdoor like usual. Paul's parents are not home—they're lunching with the Nivens and the Hobdays, whose daughter Emma (Emma D'Arcy) will marry Paul in about two weeks. As the three families gather at the lunch table near a beautiful river, Jane and Paul seize the opportunity to express their love for each other. They're aware that this afternoon will most likely be the last time they get to be in each other's company, so they make the most of it. Continue Reading →

Melanie Laurent's adaptation of Victoria Mas' novel about a young woman's incarceration in a cruel asylum is disappointingly flat. With its literary pedigree and reasonably lavish trappings, The Mad Women's Ball wants to be seen as a sweeping and powerful drama that examines the subjugation that women suffered in the past in large part because of their gender while suggesting that too little has changed between the late 1800s and today. In practice, it feels more like a period version of those old Women-In-Prison movies that Roger Corman produced back in the early 1970s that blended obvious exploitation elements (Nudity! Sadism! Sex! Violence!) with unexpected moments of satire and social commentary and, depending on what up-and-coming filmmaker was at the helm, perhaps even a sense of genuine cinematic style. Unfortunately, this effort from writer-director Melanie Laurent is a well-appointed, well-meaning but ultimately misfired take on an all-too-familiar narrative. Eugenie Clery (Lou de Laage) is a feisty young woman rebelling against the restrictions placed on her because of her gender. This causes a great deal of consternation for the members of her well-to-do family. And yet, despite her sneaking off to the smoke-filled cafes of Montmartre or to attend Victor Hugo's funeral, it is when Eugenie claims to be able to speak to spirits that her father elects to do what was too often done to women who refused to politely follow society's conventions—commit her to the Salpetriere Asylum.Salpetriere, a "hospital" run by noted real-life French neurologist Jean-Martin Charcot, swiftly proves to be little more than a warehouse in which the patients are treated for their alleged maladies with a variety of brutish quackery. Continue Reading →

"We all come from everywhere, so we all come from away," Come from Away's ensemble crescendos. It's a rousing thesis statement about acceptance, inclusion, and multiculturalism told with a folksy slant and a slap on the knee. A filmed version from the 2017 Broadway success, the Canadian musical by Irene Sankoff and David Hein tells the true story of 38 planes, their crew, and the passengers, who made an emergency landing in the tiny town of Gander, Newfoundland and Labrador during the 9/11 attacks, and the townsfolk who welcomed them into their homes and hearts. Continue Reading →

Ben Platt's age is the least of our problems in Stephen Chbosky's misguided adaptation of an already misguided high school musical. (This review is part of our coverage of the 2021 Toronto International Film Festival.) There’s a scene toward the middle of Dear Evan Hansen where Larry (Danny Pino) finally allows himself to grieve the loss of his stepson, Connor (Colton Ryan). With his reserve and face crumbling in tandem, he bursts into the family home and reaches for his wife. The camera lingers behind Cynthia (Amy Adams) as Larry tucks himself into her shoulder and her hair sweeps to the side a little. This means that, in this moment of catharsis, the audience is treated to a perfectly framed Lululemon logo on the back of her jacket, right in the middle of the screen, right between a ponytail and a portrait of conquered repression.  Continue Reading →

While we spent a lot of time debating whether or not “elevated horror” is a real thing or just something film snobs made up so they didn’t have to be embarrassed about liking a scary movie, gore fell to the wayside. There was a period when we weren’t getting an acceptable amount of blood and guts, in favor of understated chills and psychological trauma. Not that there’s anything wrong with that, of course, but it’s left something lacking in the genre. With Nia DaCosta’s take on Candyman and the upcoming Halloween Kills, however, it looks like old-fashioned look-between-the-fingers horror is back in all its splattery glory. Add to that list James Wan’s Malignant, often very silly, but always with a self-aware wink at the audience, with a body count that will satisfy even the most jaded horror fans. 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 →

American Rust has the unfortunate timing of debuting in the wake of HBO's Mare of Easttown. They’re not the same show, to be clear. Or anywhere near, really. However, the Dan Futterman that created Rust—adapted from the Philipp Meyer book of the same name—bears a logline that is too similar to escape comparison. Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. I’ll admit it. I believe in sea monsters. We know more about space than we do about the Earth’s watery, cavernous depths. I don't know what's out there! But what I do know is that the monsters in my mind, like all-natural monsters throughout history, embody all that is awesome and terrifying about Nature. Deep Rising (1998) and The Strangeness (1985), two films recently released on home video by Kino Lorber, render such monsters on screen. They play on our deepest fears about the unknown natural world as well as our precarious place within it. Though opposites in terms of budget and financing, both of these pictures touch on similar themes and deliver similar results. Tangled together, these two tentacular tales teach us both about movie making and the deep anxieties lurking beneath the surface of our culture. Continue Reading →

Mary Elizabeth Winstead as the next cinematic revenge thriller brawler is too brilliant not to at least try. Her bonafides in 10 Cloverfield Lane as lead and then clutch supporting turn in Birds of Prey do more than enough to establish precedent. Throw in a unique location (Tokyo) with an urgent, grisly hook (an assassin only has 24 hours to enact revenge), and Kate should be one of the most satisfying Netflix originals to presumably hit the Top 10 in 2021. Sadly, the only watchers who might find this satisfying have either watched too many action revenge thrillers or not nearly enough. Continue Reading →

It’s been said (okay, only I’ve said it) that sitcoms shouldn’t run more than three or four seasons. Any longer than that, and they run the risk of getting stale, resorting to tired tactics like flashback episodes, forced romantic relationships, and adding cute wisecracking kids. So it’s a wondrous thing that, in its third season, What We Do in the Shadows, shows no signs of flagging, of having to fall back on retreads, or even having a musical episode. Despite what feels like a limiting premise, it’s as fresh and funny as ever before, somehow managing to maintain a remarkable balance between raunch and sweetness. Continue Reading →

Nothing better encapsulates the derivative nature of Kay Cannon’s Cinderella than the presence of a trio of comic relief mice (played by Romesh Ranganathan, James Acaster, and, sigh, James Corden). These rodents were not a part of the original Cinderella story; the concept of this lady hanging out with talking mice came about solely due to the 1950 Disney cartoon. Why, then, is this new Cinderella, hailing from Sony Pictures and being released by Amazon, cribbing something from Disney? Because it’s familiar, easy, and cloying, all of which characterize this most recent adaptation. Continue Reading →

Like its stars, Hulu original Only Murders in the Building, a 10-episode series focused on murders, podcasts, and murder podcasts, mixes the old with the new. Created by Steve Martin and John Hoffman, the often-light dramedy stars Martin alongside Selena Gomez and Martin Short, three tenants of a high-rise, upper-class New York City apartment complex. It attempts to appeal to the widest of audiences, from upstart New Yorkers to murder aficionados to TV-watchers who need their grandchildren to set up streaming services. And it (mostly) succeeds. Continue Reading →

Where are you when you’re “on Broadway”? The name conjures images of flickering marquee lights, huddled lines brimming with anticipation, spectacular chorus numbers, actors yelling something Very Serious at each other, and the heartbeat of The American Theater. But underneath these ideal projections lie twelve concrete blocks of prime Manhattan real estate. Continue Reading →

As a queer child of the early Internet, I've seen my fair share of gay erotic animation. Netflix's new adult animation series, Q-Force, might be one of the best. Continue Reading →

Just in time for spooky season, Michelle and Robert King’s Evil is back from mid-season hiatus with a couple of corkers that loyal viewers will no doubt find worth the wait. Evil is the rare show that manages to successfully mix scares, humor, and genuine human emotion and still be as sophisticated as it is weird, and these first two episodes are no exception.  Continue Reading →

We’ve all had that experience where we can laugh about something with our friends or family members and poke fun at one another’s foibles without anyone batting an eyelash. And yet, if someone from outside of that circle of trust were to make the same kind of joke about one of our pals, we’d be ready to tear them a new exhaust manifold. Continue Reading →

It’s apparent that anyone at Disney or 20th Century Studios wanted with Vacation Friends was a 100-minute movie to accompany a thumbnail of John Cena and Lil Rel Howery on the front page of Hulu. That’s it. There’s no other purpose to this film’s existence. It’s just another piece of “content” that can gather dust on Hulu. Save for Space Jam: A New Legacy, you won’t find a more fitting representation in the summer of 2021 of what hollow cinema the age of algorithms and monopolistic streaming services has wrought. Put simply, Vacation Friends makes Mike and Dave Need Wedding Dates look like Safety Last! 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 →

Hugh Jackman chases down the ghost of Rebecca Ferguson through futuristic memory tech in Lisa Joy's ponderous, limp tech-noir pastiche. It would only be frustrating to recount exactly how many opportunities writer-director Lisa Joy (Westworld) throws away in her desperate effort to please in Warner Bros.’ latest, Reminiscence.  It’s not just that Joy fails to follow through on the noir tropes she so clearly wants to pay homage to while attempting to subvert, or a cast that features Thandiwe Newton and Hugh Jackman as jaded private gumshoes in a dystopian Miami, not to mention the near-perfect timing of this movie’s release. Noirs didn’t just come into their own in the years around WWII: some of the best examples of the genre came in the wreckage after, as people still flailing in the trauma of the Great Depression and genocide wondered what the hell was next in a new era of peace and prosperity that some found just as terrifying as what preceded it. Continue Reading →

As sparse as it is specific, Nia DaCosta’s Candyman feels like falling into a nightmare. It has the context, but the context feels increasingly shifted. It has the gravity, but the weight at hand seems to fall onto its audience in slow motion. It has a sense of remove but also a sense of intimacy, and as the picture develops, those schisms manage to lean into one another. Bernard Rose’s 1992 original was about the outsider looking in. DaCosta’s, on the other hand, is about the insider being forcibly removed from himself, and it’s a film as attuned to its own legacy as it is the legacy that’s been hoisted upon it. Continue Reading →