1102 Best Film & TV Releases Translated Into Greek (Page 21)

North Carolina, 2032. Flynne Fisher (Chloë Grace Moretz) is a skilled gamer. Pro gaming (usually helping some rich schmucks win victories they couldn't on their own) is a viable way for her and her cyborg'd-former-Marine brother Burton (Jack Reynor) to earn extra cash. They live with their ailing mother Ella (Melinda Page Hamilton) a half-step ahead of financial ruin in a town more or less run by spiritual-cousin-to-Road-House-villain-Brad-Wesley Corbell Pickett (Louis Herthum, Westworld). Continue Reading →

(This review is part of our coverage of the 2022 Chicago International Film Festival) Continue Reading →

Park Chan-wook fans can rest assured that the director who gave us the twisty, blood-soaked passions of Oldboy, Stoker, and The Handmaiden has returned with another romantic crime-fueled drama. His latest, Decision to Leave, is high-grade neo-noir, the newest installment in Park’s ongoing exploration of the genre.   Continue Reading →

The modern age of sequels, spin-offs, and all other franchise extensions has amplified complaints about how derivative follow-ups can be. As a result, sequels have garnered a bad reputation, and it’s not unearned.  Continue Reading →

We’re officially in the third decade of Dwayne “The Rock” Johnson being a movie star. The former WWE legend made his cinema debut in the forgettable sequel to The Mummy, where he’s introduced as the dreaded Scorpion King, one of the most infamous early CGI debacles. Special effects have since improved, along with Johnson’s abilities as an actor and charismatic leading man. However, it feels like now we’ve come full circle with DC’s Black Adam.  Continue Reading →

I didn’t realize watching Wendell and Wild how much I’d missed Keegan Michael-Key and Jordan Peele bouncing off one another. Though restricted to just voice-over performances here, their incredible chemistry remains intact. The moment their demonic characters started exchanging dialogue, I felt like I was right back in 2014, watching sketches like “Gremlins 2 brainstorm” or “Fronthand Backhand” on YouTube, in awe of the witty rapport these performers shared. Continue Reading →

For the brave trick-or-treaters who venture to the front door of the old abandoned MCU Manor, a spooky treat awaits. All courtesy of one of Marvel’s more obscure characters—Werewolf by Night. Continue Reading →

The first season of Avenue 5 premiered in January 2020. The comedic show about a large group of people stuck in the same location for an extended period of time seemed to resonate with audiences who suddenly found themselves in a somewhat similar situation with the emergence of COVID-19. The show’s second season was delayed due to the pandemic and logistical scheduling hurdles of corralling its stacked roster of talent. Nevertheless, show creator Armando Iannucci and company persisted, and 2+ years later, we’re treated to another season of clever space satire in the second season of Avenue 5. Continue Reading →

Where do we even begin? Continue Reading →

After fifteen seasons, ever-escalating seasonal arcs, and literally thousands of trips to the afterlife for both Winchester brothers, Supernatural closed its final chapter. Once you’ve killed God, Lucifer, and Death, is there anywhere else to go? The CW, faced with the prospect of losing it’s biggest moneymaker, was already laying the groundwork with Jensen Ackles (who played older brother Dean) for a new spin-off/prequel focusing on John and Mary, the ill-fated parents of the Winchesters. A bold move, considering the story of Mary and John was well-trod ground in Supernatural, even featuring the boys time traveling back to the days of their parents' courtship. Bold, too, because who would want to watch a show about two of the most reviled characters in the show’s history? Supernatural historians will tell you that John was neglectful, with some heavily implied physical abuse. Mary, only getting to know her children as adults, was distant and cold, not the sainted paragon of motherhood she’d been painted as. Continue Reading →

Cobra Kai has always been about comebacks. Each season plays with its cast of characters — from the old guns to the new blood — like action figures in an elaborate playset, constantly shifting relationships, rivalries, and set-ups to drive home the most bingeable drama-lite comedy it can muster. But ultimately, when you strip it down to basics, the show only really cares about how the characters get back up after falling flat on their faces.  Continue Reading →

Stephen King is best known for his massive novels that require weight training just to hold. Entire forest ecosystems have been destroyed so we can have The Stand on our bookshelves. These epic tales are his bread and butter, but if you want to get a pure distillation of what makes King a gifted horror writer and storyteller, check out his short story collections. They provide the strong, grounded characters facing terrifying circumstances that he’s famous for in his longer novels, but in a digestible format. He can be hit or miss (even the best writers may have stinkers when they write an astonishing ten pages a day like King) but if one short story is garbage, chances are the next one will be a fun time.   Continue Reading →

The original Hocus Pocus has grown to be a cult favorite over the years. The 1993 film followed the Sanderson sisters: Winnie (Bette Midler), Mary (Kathy Najimy), and Sarah (Sarah Jessica Parker) as they terrorized Salem, Massachusetts after rising from the grave—until their apparently eternal banishment the end of the film. Now, in 2022, the Sandersons have been resurrected by the corporate magic of Disney. Luckily, Hocus Pocus 2’s spellweaving will delight both nostalgic fans of the original and draw in a new crowd of young fans. Continue Reading →

“What is Vietnam?” is not a question with an easy answer, but The Greatest Beer Run Ever tackles the challenge anyway. Like the plethora of media featuring the country—in any capacity—Peter Farrelly’s film runs headlong into the notion that what is an S-shaped piece of land in Southeast Asia can also be a dream after the Fall of Saigon. Or that the starry banner that international bodies recognize is not the triple-striped one flying overseas. Or that any example henceforth will possess the same gist: try to ring up nuance when discussing Vietnam. Continue Reading →

Ever since Rob Zombie dug through the ditches, burned through the witches, and slammed it in the back of his Dragula, it was inevitable his career would lead to The Munsters. It’s where the coffin car originated and feels like the Rosetta Stone for Zombie’s lifelong passions for the weird and macabre. The TV show aired on CBS in 1964, just six days after the premiere of that other spooky household, The Addams Family. Both shows were satires of the lily-white (and, thanks to racially discriminatory laws, literally White) suburbs that were taking over America. The Munsters was the more popular show then--and the kitschier--which might explain why it holds a special place in Zombie’s heart.  Continue Reading →

Near the beginning of Bros, Bobby Lieber (Billy Eichner) meets with a Hollywood executive. The exec wants our protagonist to write a script for a gay rom-com. The executive is after something easy, a script that is palatable to straight audiences, a story about “nice gay guys.” Bobby, of course, isn’t having it. He tells the executive that gays have different stories than straight people before leaving, movie deal dead in the room.   Continue Reading →

James Nguyen hammers down the end of his bad-movie trilogy with a true stinker of birdemic proportions... and not in a fun way. (This review is part of our coverage of Fantastic Fest 2022.) With its stilted acting, incompetent screenplay and direction, and special effects that looked like someone puttering around with After Effects for the very first time, James Nguyen’s "ecological horror" film Birdemic: Shock and Terror (2010) became a cult favorite among bad film fanatics, especially latecomers to the hoopla surrounding The Room looking for something they could claim as their own. Continue Reading →

Ryan White’s Good Night Oppy is a documentary about one of the technological marvels of our time, but it's less interested in science than its subject matter would suggest. It throws several elements into its mix—archival footage, contemporary talking-head interviews, voiceover narration from a big star (Angela Bassett in this case), and long sections of CGI recreations of moments not caught on camera. But instead of using them to edify viewers about the genuinely amazing accomplishments being achieved (the kind that might encourage younger viewers to get interested in science), White seems more inclined to deploy them in a manner meant to suggest a (mostly) live-action version of a Pixar film.  Continue Reading →

Since Lou greets you with the logo of J.J. Abrams’ production company Bad Robot, a question surfaces: Is this a Cloverfield project? Or, like 10 Cloverfield Lane, it isn’t one until it is? Continue Reading →

Though the problems of bored wealthy white people don’t amount to a hill of beans in the grand scheme of things, a startling amount of TV and film is still devoted to them. Where at one time they were supposed to be relatable and earn sympathy from the viewer, now there seems to be some sadism in their depiction, where the audience is meant to enjoy it. It always seems to come down to the same thing: what do these people have to be so unhappy about? How much of their problems are their own doing, and could be simply resolved instead of just whining about them? Being “trapped” for these characters isn’t the same as it is for everyone else. Continue Reading →

With the exception of Clint Eastwood, Walter Hill is the contemporary filmmaker most closely associated with what was once the most American of film genres, the Western. They've been in relatively short supply for the last 50-odd years, but with projects like The Long Riders, Geronimo, Wild Bill, Broken Trail, and the pilot episode of Deadwood (not to mention modern-set takes on the form like Extreme Prejudice and Last Man Standing), Hill’s been doing what he can to keep the form and its traditions alive. His latest, Dead for a Dollar (his first film in six years), is unlikely to spur a revival anytime soon and its bypassing of theaters for a VOD release all but ensures that it will be overlooked by all but his most dedicated fans. The good news is that those fans—and any others who should come across it—will be rewarded with a sturdy, entertaining work that overcomes its occasionally apparent budget constraints to serve as a welcome reminder that Hill remains one of the most fascinating genre filmmakers of our time.  Continue Reading →