223 Best Releases Translations German on Netflix (Page 9)

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. Dinosaurs are the ultimate symbols of The Past. They represent deep time, natural history, and the chaos of the wild. It's no wonder that cinema has always been fascinated by them. One of the first exhibitions of what we might now call "cinema" was presented in 1922 by Sherlock Holmes' own Sir Arthur Conan Doyle, “footage of moving dinosaurs” from the exhibition at the center of his 1912 novella, The Lost World. From the very beginning of the medium, creatives have sought to reanimate the awesome creatures on the silver screen. When dinosaurs appear on film, they frequently bring with them a host of cultural and ideological anxieties. Dinosaurs threaten humanity's imperial dominance on the planet. When they appear, we become prey. And they remind us that even the mightiest powers can be reduced to dust. Continue Reading →

Vivo, the third Sony Pictures Animation film on Netflix this year, certainly opens on a promising note. We get a full scope of a pristine, modern Cuban setting, awash in warm, vibrant colors and a more textured approach to characters compared to their previous, still-admirable effort, Wish Dragon, though still a milestone away from The Mitchells vs. the Machines, one of the best movies of the entire year. Then, well, Lin-Manuel Miranda starts rapping. Continue Reading →

In the last decade, there have been numerous shitty attempts to replicate the success of the Marvel Studios formula, but Suicide Squad (2016) may be the worst of the worst. Writer/director David Ayer’s dark and gritty tone clashed with the pop music-heavy trailers, marketing that included songs already used by – and meant to remind viewers of – Guardians of the Galaxy. In the end, the studio hired that same trailer company to re-cut the movie, which was released into theaters as an incomprehensible mess. Noticeably missing a “2” in its title, The Suicide Squad is essentially a 200 million dollar do-over. It’s the movie Warner Brothers should’ve made five years ago.  Continue Reading →

Netflix's new animated show Centaurworld, created by Megan Nicole Dong, is a whimsical show set in a world of centaurs. It's chock full of catchy songs and comedic moments that adults and kids will enjoy, but it also bogs itself down with complicated mythology that steals time from its lovable characters. Continue Reading →

While author Jojo Moyes doesn’t confine herself to the romance genre, her works do share a rosy bloom. Light-heartedness and melodrama and historical settings and yes, love, all abound. So without even reading it, you’ll probably have some idea of what to expect from the newest adaptation of her work, The Last Letter from Your Lover. There’s the French Riviera and 1960s fashion and mystery and a torrid love affair—the works. And director Augustine Frizzell doesn’t seem too interested in taking this tale off the tracks.In short? It’s your classic Netflix weepie, though perhaps a little more star-studded than usual. Felicity Jones (Rogue One) stars as Ellie, a modern London reporter with a bad case of heartbreak and a crappy attitude. While researching a basic assignment, she stumbles upon an old love letter that’s so intoxicating she becomes determined to track down who it belongs to and what happened to the couple in question. In between scenes of Ellie’s search, we see the romance play out. Jennifer (Shailene Woodley, Big Little Lies) is a 1960s housewife with a husband who doesn’t seem to know or care that she exists. So when she meets dashing reporter Anthony (Callum Turner), it isn’t long before the two become swept up in each other and fall madly in love. But you won’t know if their romance ends in tragedy or happily ever after until Ellie gets to the bottom of it. Continue Reading →

Masters of the Universe: Revelation, Netflix's animated reimagining of the iconic He-Man and his amazing friends begins on a familiar note. It kicks off as a continuation of the 80s cartoon—sadly skipping over the Cartoon Network series entirely while still borrowing some of its modern art direction. Revelation checks in with the classic Masters of the Universe just before all magic vanishes from the world. The annihilation of magic (including the Power of Grayskull) paves the way for a bold, watercooler-worthy reset of all that has come before. Given this dramatic paradigm shift, Revelation almost feels like a spin-off, rather than a sequel series. Continue Reading →

The final installment in the Fear Street trilogy takes things back. Way back. While the first two entries were set in the 1990s and 1970s, Fear Street Part 3: 1666, as the title implies, shifts the backdrop to 1666. Going this far backward allows the audience to discover the true story of Sarah Fier (Elizabeth Scopel), a local woman who was reportedly a witch and still curses the town of Shadyside. However, as you’d expect if you’ve seen anything ranging from ParaNorman to The VVitch, this origin yarn reveals that Fier was a much more complicated figure who was doomed due to society’s innate desire to punish women perceived as “different.” Continue Reading →

It’s time once again to return to Sherman Oaks High as Mindy Kaling and Lang Fisher’s bittersweet teen comedy Never Have I Ever returns to Netflix. Picking up right where season one left off, we reunite with Devi Vishwakumar (Maitreyi Ramakrishnan), her friends, family, and the surprisingly rich cast of secondary characters.  Continue Reading →

Nadja (Peri Baumeister, The Last Kingdom), a cautious, brittle woman battling a terrifying illness, boards an overnight flight from Germany to the United States. With her is Elias (Carl Anton Koch), her sweet, precocious son. They're hoping to make a new start in America, where a talented team of doctors wait to help Nadja find a cure for her sickness. While at the gate, Elias befriends Farid (Kais Setti, Dogs of Berlin)—a kind young man bound for a conference. Continue Reading →

Much like the Backstreet Boys or white nationalism in American politics, the Fear Street movies are technically “back” even though they never had a chance to leave. Fear Street Part 2: 1978 is the second in a trilogy of Fear Street films being released weekly on Netflix. While its predecessor was a pastiche of both Amblin and Kevin Williamson horror, this next entry is directly inspired by slasher movies of the late 1970s and early 1980s. The summer camp setting alone makes it so clear that the project is paying tribute to Friday the 13th that one may be surprised Kevin Bacon doesn’t show up for a quick cameo. Continue Reading →

*Peter Cullen Voice: On* Continue Reading →

Adapted from Matthew Logelin’s Two Kisses for Maddy: A Memoir of Loss and Love, written/directed by Paul Weitz, and co-written by Dana Schwartz, Fatherhood follows Matt (Kevin Hart), a father forced to raise his daughter alone when his wife Liz (Deborah Ayorinde) dies just after giving birth. Hart’s first big foray into dramatic acting has some heartwarming moments but is too bogged down by an awkward script and lack of dramatic weight. Continue Reading →

Isabelle Furhman's relentless lead performance as an obsessive aspiring athlete propels the Tribeca rowing drama forward. “Rhythm is everything,” a crew coach tells Alex (Isabelle Fuhrman) at one point during The Novice, which won awards for best U.S. narrative feature, actress, and cinematography at the Tribeca Festival this week. The coach could well be explaining how this movie, about a college student with an obsessive drive to be the best at varsity rowing, differentiates itself from Black Swan (the movie about a young woman with an obsessive drive to be the best at ballet) or Whiplash (the movie about a young man with an obsessive drive to be the best at jazz drumming) or The Social Network (the movie about a college student with an obsessive drive to be the best at something, even if it winds up destroying the world, in part because there’s no way that he can row crew)—all of which The Novice resembles in content, and sometimes form. Writer-director Lauren Hadaway’s rhythm is her own, distinct from Darren Aronofsky’s, David Fincher’s, and Damien Chazelle’s, the triumvirate of dude directors who made those previous, excellent studies in obsession. Perhaps informed by her own college rowing experience, Hadaway keys into a relentless push-pull, especially as Alex drives herself further, further, and further still before picking herself up off the floor. Continue Reading →

Lisa Hanawalt’s beloved animated show Tuca & Bertie was prematurely canceled by Netflix back in July 2019. But less than a year later, Adult Swim took a risk by giving the show another life. If the first four episodes of the new season are anything to go on, the show only gets stronger, funnier, and more mature in its sophomore outing. Continue Reading →

In the world of Awake, the plague that’s fallen over mankind is one we’re all at least vaguely familiar with: insomnia. A brilliant flash and satellites falling from the sky, and suddenly the entire world has lost its ability to sleep. Bleary, desperate citizens watch helplessly as their sanity slips away, forming classic post-apocalyptic factions. There are criminals that run rampant, violent zealots, and creepy militias. Continue Reading →

After a four-year absence, Master of None returns to Netflix with a new tone and new focus, but it still grapples with the same emotional beats of the first two seasons. This time around, creator Aziz Ansari focuses his efforts behind the camera, only appearing in two brief cameos in season three’s five-episode arc. Instead, all of the action is focused on Denise (Lena Waithe) and her partner Alicia (Naomi Ackie), who are rusticating in a cottagecore fantasy that not even TikTok could call sustainable. Rather than the buzz of traffic and the cramped quarters of the city, we see Denise and Alicia’s relationship develop against the bucolic splendor of open fields and towering trees. Continue Reading →

While Those Who Wish Me Dead is coming out in theaters this weekend (be safe, especially if you're not vaccinated!), it's probably the movie to benefit most from Warner Bros. pandemic-fueled decision to simultaneously throw their releases up on HBO Max. From stem to stern, Taylor Sheridan's latest feels like the kind of movie you'd find on old-school HBO in the '90s, or FX or TNT, watching with your dad over a holiday weekend. It's silly, forgettable schlock, and yet I can't get too mad at it. Continue Reading →

In the not too distant future, Las Vegas has become even more of its own world. A wall of armored shipping containers has sealed off the Entertainment Capital of the World. Sneering armed guards patrol a vicious hybrid of quarantine and refugee camp at the wall's edge. And on July 4th, on the orders of a dopey, malignant, unnamed president, Sin City will burn in nuclear fire. Why? The zombie apocalypse. Fortunately for the world, the plague of undeath was stopped in the sleepless city. With the zombies contained, Vegas was left to rot. But while the city crumbled, its infamous fortunes were preserved - sealed away in counting rooms, slot machines, and vaults. Why risk going in to retrieve it when insurance covers disaster (brain-eating or otherwise)? Because it's money. And that is the pitch Bly Tanaka (Hiroyuki Sanada) gives to haunted, lonely, zombie war hero Scott Ward (Dave Bautista).When Tanaka abandoned the Bly Casino, he left $200 million untaxable, untraceable dollars in its vault. If Ward assembles a team to go into Vegas, crack the vault, and retrieve the money, $50 million of the haul is his to do with as he will. Ward, a lost man searching for some sort of purpose and looking for a way to make things right with his estranged daughter Kate (Ella Purnell), agrees. Ward gathers his crew - his war buddies Maria Cruz (Ana de La Reguera) and Vanderhoe (Omari Hardwick), bitterly caustic helicopter pilot Peters (Tig Notaro), zombie-killing influencer Mikey Guzman (Raùl Castillo), Guzman's warrior pal Chambers (Samantha Win), oddball safecracker Dieter (Matthias Schweighöfer) and, at Tanaka's insistence, oily security man Martin (Garret Dillahunt). Kate, the mercenary coyote Lilly (Nora Arnezeder), and a loathsome guard called Burt (Theo Rossi) join them at the city proper. Continue Reading →

Hollywood's year-long hiatus on major comic-book adaptation movies has left ample room for streaming services to pick up the slack and then some. Amazon, for example, has wisely curated high-profile releases from existing superhero stories that subvert the genre in ways that would probably ring unfamiliar if attempted by the more mainstream Marvel and DC fare. The Boys is all about poking a gory hole in how superheroes can be vapid, unchecked, and even monstrous celebrities. Invincible just ended its first season with a bang of a finale, taking its colonizer version of Superman to task. And then there's the curious case of ‌Netflix's Jupiter's Legacy.  Continue Reading →

I sat down with Trapanese for a lengthy chat about the challenges of scoring an entire series of such grand scope, the creative inspirations he took from the books, and the interconnecting, interweaving musical motifs of the major characters. In a first for the podcast, Trapanese also provides commentaries explaining his process for the cues "Erase the Past" and "Royal Archives Heist." Continue Reading →

Japan. 1582. The samurai general Akechi Mitsuhide betrayed his liege lord Oda Nobunaga and sets his castle alight. Trapped by the blaze, Nobunaga elected to die by seppuku - ritual suicide. His friend and retainer Yasuke - a Black man and the first foreigner ever granted the rank of samurai - acted as his second. Not long after Nobunaga's death, Yasuke vanished from the historical record. Continue Reading →