1096 Best Film & TV Releases Translated Into Greek (Page 11)

Despite their hue, not all TMNT films deserved to be greenlit. Kevin Eastman and Peter Laird created The Teenage Mutant Ninja Turtles back in 1984. Now almost 40 years later, what started as a comic book has inspired seven movies, five television series, and countless amounts of merchandise. This week the four ninja tortoises return in a new animated incarnation, Teenage Mutant Ninja Turtles: Mutant Mayhem. Considering I’ve been a fan of the Turtles since six years old, this seems like the perfect time to put an official rating on four decades of movies. Some are gnarly, some tubular, and there’s always a whole lot of cowabunga.   Writers Note: This list doesn’t include the recent Netflix installment Rise of the Teenage Mutant Ninja Turtles: The Movie, a TV-movie crossover Batman vs. Teenage Mutant Ninja Turtles, or the live recording of the 1990 Coming Out of Their Shells stage show. That one you can catch on YouTube, although I don’t know why you would.  Continue Reading →

So the idea of “having it all” was a big lie, right? It is nearly impossible to balance and give equal time to a fulfilling career, a stable relationship, and full-time parenting, with room for leisure time, hobbies, and staying fit. Something will fall to the wayside somewhere, sacrifices will have to be made that will either affect us now or affect us later. But women, we’ve been hearing this nonsense for decades, right, about how with the perfect day planner or the number one meal delivery service or the best ten-minute workout we can do it, we just have to want it bad enough. But not too bad, because ambition is an ugly thing in women. But, on the other hand, so is laziness. Add “find the right balance between too ambitious and not ambitious enough” to the list of things we have to do. Continue Reading →

Fantasa International Film Festival gets wild. Animals feature prominently in our first three films of the 2023 Fantasia International Film Festival. From the bottom of the ocean to the reaches of the Arctic, these films mix their natural settings with unnatural mediums to create enchanting works that are wondrous to look at. Though they have different objectives, these films remind us that cinema is a world of dreams that combines things from our lived reality with our limitless imagination.  (Tribeca Film Festival Deep Sea  Continue Reading →

How does anyone justify a revival? The original Justified gave viewers a conclusion in the first 30 minutes and an epilogue with the last 16. It gave Raylan Givens (Timothy Olyphant) a fitting third act, living in Miami as a part-time dad to his daughter and finally enjoying freedom from the town he worked so hard to escape. So how does a creative team go from “we dug coal together?” to that nearly happy ending to a brand-new Givens tale? The simple answer is to head north.  Continue Reading →

Things have been very bad for much of the world for a very long time, and they won’t improve any time soon. I don’t mean to start things off on a bummer note, but to point out that from such dire circumstances comes one benefit: the horror movie renaissance that started in the late 2010s only seems to be getting better. Just this year we’ve gotten the low-fi nightmares Skinamarink and The Outwaters, horror comedy with M3GAN and Cocaine Bear, another mostly solid entry in the Scream franchise, too many indie horror films to list here (Bad Girl Boogey and Brooklyn 45 are but a couple), and the roaring return of the Evil Dead series. Even if there weren’t another release for the rest of the year, it’d still be a great year for horror. Continue Reading →

Through the haze of nostalgia, someone might find themselves thinking, “I remember Twisted Metal being a fun video game. I don’t remember there being a story to it though.” If that’s you, good news: your brain is not playing tricks on you. While the series gained complexity over time and each character took on backstory and better-defined goals, the on-screen experience essentially boiled down to a demolition derby in which the victor received an ironic fulfillment of their biggest wish. Continue Reading →

The 2019 adaptation of Neil Gaiman and Terry Pratchett’s 1990 novel Good Omens was a charming show that succeeded in translating the book’s strengths and weaknesses to the small screen. It was clever like the book, with an ingenious plot (what if there had been a mix-up at the hospital and the Antichrist went home with the wrong family) that parodied The Omen while conjuring an apocalyptic tale all its about an angel and demon whose millennials-long rivalry grew from mutual antagonism, to grudging respect, and finally admiration and even a kind of love. But it also carried over the book’s weaker elements, its wonky pacing, plurality of uninteresting characters, and the fact that the first two thirds of the story is essentially table setting for the final third. Continue Reading →

How long can you hold your breath? A minute? Maybe? Kids time these sorts of things when swimming, but it's not something most of us think about in our waking lives. But I know that when I swim and misjudge the time it takes to surface, panic sets in almost instinctively. The body wants to live. It takes a particular personality to ignore the body's demands in apparent life-or-death circumstances. Stephen Keenan and Alessia Zecchini are two such people. Zecchini's first words in The Deepest Breath, Laura McCann's documentary about Keenan and Zecchini's goal to become legendary deep sea free divers, are about how she's never associated diving with death. I'll grant a writer is more likely to associate everything with death. But I cannot understand plunging into the darkest depths of the earth while holding your breath for minutes at a time and passing out before you can return without thinking of your own demise. Some of us, I suppose, see a Way where the rest see a void.   Continue Reading →

Happiness for Beginners happens when hundreds of hours of labor come together over months to create something so bland and ineffectual it feels years old even on a first watch.  Continue Reading →

Taylor Sheridan believes in a very particular strain of the badass woman archetype—steely-eyed, whiskey-drinking, stoic badasses who refuse to be seen as anything other than the HBIC. There's a poetry to their confidence, a mystery to their vulnerabilities. They have no time for feminine pursuits and will be the first to tell you their Myers-Briggs type (ENTJ, obviously). The world might implode if Yellowstone's Beth Dutton ever picked up an Avon Paperback Romance. Continue Reading →

As horror movies fans, we (and I’m very much including myself here) talk a good game about wanting to see something new and different in the genre, but there are plenty of old reliable tropes that still work with us. Zombies, kaiju, masked killers, all of those have a better than good chance of drawing in audiences, without trying too hard to bring a fresh new angle to anything. We also love child in peril and creepy kid movies, and Samuel Bodin’s Cobweb manages to incorporate both, to mixed results. Continue Reading →

The news that director Greta Gerwig’s follow-up project to her celebrated adaptation of Little Women would be a movie about Barbie dolls was met with skepticism and even disappointment when first announced in mid-2019. What did it mean for the future of one of Hollywood’s few high-profile female directors? Would she abandon her apparent passion for telling intimate stories about coming of age? Continue Reading →

At the end of Minx’s first season, setbacks and rivalries split the Bottom Dollar team apart. Doug (Jake Johnson) and Tina (Idara Victor) still have the company but no Minx or resources to print the magazines they retain. Joyce (Ophelia Lovibond) has the Minx name and rights plus centerfold towards Jack of All Trades Bambi (Jessica Lowe) and photographer Richie (Oscar Montoya). Continue Reading →

In 1995, way back last century, I went shopping for a dress to wear to my cousin’s wedding. Accompanied by my mother, it soon became apparent to us both that I, both a big and tall girl, wouldn’t be able to buy a dress in the Juniors section. My options eventually whittled down to one adult black velvet dress that, while the saleswoman assured us was totally chic for weddings, nevertheless showcased to the world that I could not fit into a fun or stylish dress for someone my age and that’s rough. It’s very rough. Continue Reading →

In Celine Sciamma’s Petite Maman, we see a young girl meet another in the woods. Soon we learn the latter girl happens to be a literal younger manifestation of the former’s mother. In Charlotte Le Bon’s debut film, Falcon Lake, a pre-pubescent boy falls in love for the first time with the daughter of a family friend in a campsite supposedly haunted by a ghost. Continue Reading →

Okay, fine, Bird Box Barcelona isn’t exactly a sequel. It’s more of a continuation, as Netflix gets a belated start on making a franchise out of 2018’s Bird Box, a perfectly fine but unremarkable film that inexplicably became a smash hit. Smash or not, five years is a long time, so you might need a refresher course. Much of Earth’s population has been decimated by malevolent beings with visages so emotionally overwhelming that anyone who looks at them immediately commits suicide, and the survivors are forced to navigate what’s left of the world with their eyes covered, lest they see whatever “they” are. That’s really all you need to remember. Continue Reading →

From De Palma's series launcher on, Cruise has used the tales of Ethan Hunt to ponder the nature of cinema as performance, perception, and manipulation. The Mission: Impossible movies begin in perhaps the most inauspicious fashion possible: a computer tech, played by Emilio Estevez, watching security camera footage of clandestine crime scene clean-up. One of the men he's watching happens to be Tom Cruise in heavy prosthetics and a wig. It's an odd opening for an eight-film mega-franchise, a globe-trotting stunt spectacular that has attracted some of the world's biggest stars and most interesting actors—America's answer to Bond movies. But as the opening to a Brian De Palma movie, it's a no-brainer. Of course it starts with a dorky guy in a cramped little room watching unappealing CCTV footage of a crime of passion. That's De Palma.   Though Robert Towne wrote the script (he and Cruise were friends and artistic confidants; Cruise produced his 1998 movie Without Limits), the film is thoroughly De Palma's, never more so than when indulging in its covert operations. He films the opening sting from Cruise's POV, and its dizzying effect is rather like the opening to Dario Argento's Opera or its fellow perverse Italian horror thrillers. It is always disconcerting when movie characters address us but speak to someone else when we see what the hero sees see but cannot control what they do. We are seeing a performance from the inside, knowing that if the scene doesn't go off without a hitch, it could mean death for the man whose eyes we've been given for the duration. The Mission: Impossible movies have since changed directors four times, but their central tenet remains: they are about performance. They are about making movies to make sense of a senseless world.   Continue Reading →

Season 5 of What We Do in the Shadows premieres tomorrow, and you might have some difficulty parsing that it’s already there. Many sitcoms tend to run out of steam by season 5 (you’ll note that exactly when Fonzie jumped the shark), resorting to dropping plot arcs without explanation, swapping out established characters for newer, less interesting characters, setting up tiresome romances, and relying on gimmick episodes, like flashbacks, clip shows, and musicals. Despite its supernatural premise, What We Do in the Shadows still follows much of the standard sitcom structure, so it’s a minor miracle that it’s still the freshest, funniest half-hour show on television right now, without anyone having to put on a fat suit or get stuck in an elevator. Continue Reading →

Seeing creators pull together disparate threads into a cohesive whole can often feel like a magic trick. “Oh, that woman on the train platform was the same one waiting outside the bodega. I get it!” and all that. For the attentive viewer, it can feel like an affirmation of one’s thoughtful focus. For the more casual audience members, it can impress and beguile. Push it too far, though, and one might feel less rewarded and more led by the nose. Full Circle dances on that line before stumbling, too far, into EVERYTHING is connected territory. Thankfully, several strong performances and director Steven Soderbergh’s gift for conveying immediacy through his imagery prove enough to redeem the series’ far too nicely wrapped up with a bow conclusion. Continue Reading →

Spare a thought for the white male writer in your life. Christian Petzold just roasted him so bad they’re beyond saving; just grab a marinade and sides. The enigmatic German formalist lets it all hang down in Afire, his loosest film in many moons, a comedy of ill manners, withheld emotion, and confusing flirtation, and his best film since 2014’s Phoenix. Continue Reading →