1102 Best Film & TV Releases Translated Into Greek (Page 50)

With the announcement last month that Amazon Prime Video's The Expanse will end after season six, it's bittersweet for many fans (including myself) to see the true end of the show in front of us. Still, it's a miracle we got three more seasons of the show at all, considering Amazon's hail-Mary save after Syfy's cancelation of the show post-season 3. Season 4 (the first after its move to Amazon) was an ambitious, if slightly slower and atonal, adventure; if the first three episodes of season 5 are any indicator, The Expanse is back to what it does best, expanding its scope while getting more personal than ever. Continue Reading →

The more “normal” a villain seems in a film, the scarier they seem to be when the mask comes off. It’s a chilling reminder of how many of these people we’ve encountered in our lives, without realizing what they really were. True evil does its work undetected, behind closed doors, like in Shudder’s Anything for Jackson, a horror-comedy about what happens when one refuses to accept death as a part of life. Continue Reading →

Steven Soderbergh may be best known for his remake of Ocean’s Eleven, a commercial hit featuring a cast of dashing male stars (and Julia Roberts). Who needs eleven when you’ve got Meryl Streep, Dianne Wiest, and Candice Bergen aboard a real-life ocean liner? In Soderbergh’s newest, Let Them All Talk, he embarks on a return trip to his indie filmmaking roots, bringing along celebrity pals and a few tricks of the trade he’s learned in his prolific career. Continue Reading →

It’s appropriate that the first part of “Terra Firma” debuts during the holiday season since the episode plays like a Star Trek version of A Christmas Carol. Emperor Georgiou (Michelle Yeoh) is our Scrooge, the grumpy, cynical curmudgeon who sees nothing but weakness and folly in everyone around her. Continue Reading →

Back in mid-March, Simon Boyes called Adam Mason about an idea for a pandemic thriller. The two writing partners quickly sketched out a plot outline, it began to pick up traction, and it was only a matter of days before Michael Bay came on to the project as a producer. The name would be Songbird. It’d also begin filming that July with Mason directing and come out in December, less than nine months after its inception. All of this said, it’s hard to dissect what’s worse: the fact that people exploited a global tragedy so quickly, or the final result. Continue Reading →

An adaptation of his play Outside Mullingar, which was panned by Irish critics, John Patrick Shanley’s Wild Mountain Thyme follows a pair of neighboring farmers as they try to find love despite an ongoing land dispute they get caught up in. When the trailer to this film came out, it was immediately mocked for awful accents and a questionable depiction of Ireland. From watching, it turns out those criticisms were correct. This is a soulless film that does little more than create some pretty shots for the Irish tourist board. Continue Reading →

Adrienne (Sienna Miller) and Matteo (Diego Luna) are miserable together, that much is immediately clear. They snipe at each other over the course of their date night, a substitute for therapy they can’t afford that of course Matteo has forgotten about. They have a new baby at home and a new mortgage and a lot of old, festering issues that all seem to be bubbling to a head when the unthinkable happens. A car careens into theirs, cutting their argument short, killing Adrienne. Probably. She thinks. She… isn’t exactly sure. Continue Reading →

Although it’s since been cemented as a derided flop upon its release 30 years ago this month, The Godfather: Part III (1990) was neither the critical nor critical disaster people remember it to be. It was a decent financial success and would go on to be nominated for seven Oscars, including Best Picture. However, a number of factors cropped up to help trash its reputation. It had a chaotic production that reached its apex when red-hot star Winona Ryder, cast as Mary Corleone, left the production just before her scenes were to be shot. Francis Ford Coppola replaced her with his non-actress daughter Sofia. Continue Reading →

Netflix's latest overstuffed fantasy adaptation is a challenge for viewers' time & patience. Visiting the source material before watching an adaptation can be a difficult decision to make. On the one hand, going into a viewing experience as fresh and free of expectations as possible typically feels like the best-case scenario. On the other hand, some level of awareness can make it easier to follow the early installments of, say, a six-episode Netflix series. To be a little less opaque, not being familiar with The Letter for the King’s source material -- the Dutch 60’s fantasy novel De brief voor de Koning -- makes the early goings of the Netflix series a bit of a slog. The first episode of newcomer showrunner Will Davies’s effort in particular feels very nearly inert. Too many characters are introduced with little clarity on their back story, and there's too much switching from location to location without giving us a true feel for the world. It's so much setup to achieve so little connection with the audience. However, as Tiuri (Amir Wilson) begins to undergo the trials of becoming a knight more in earnest in episode 2, the world starts to take shape. More important, the show starts to develop a personality. In addition to finally separating Tiuri out as our lead, the supporting characters snap into relief. We see the mix of nobility, arrogant callousness, and underhandedness of Tiuri’s adopted father and namesake Sir Tiuri the Valiant (David Wenham). Sir Fantumar’s (Omid Djalili) thirst for power and disgust for others starts to reveal itself. Additionally, characters who ultimately do not figure stronger into the narrative become easier to spot. Continue Reading →

Vin Diesel nicely keys into more stoic shootouts, but the movie around him can't weld together its medley of genre inspirations. As Ray Garrison aka Bloodshot (Vin Diesel) tumbles down an elevator in midair combat with Jimmy Dalton (Sam Heughan) and Tibbs (Alexander Hernandez), one may experience deja-vu. This, in some ways, is unsurprising—Bloodshot rarely seems interested in breaking new ground. However, the scene brings a deeper kind of recognition derived not just from familiar story beats, but also the visuals. The plasticine nature of these CGI constructs turns out to be a covert bit of nostalgia, smuggling Sam Raimi’s Spider-Man-level effects into a nastier superhero film 18 years later. The extent to which this will please viewers will, of course, vary. For this critic, there’s something charming about it. This is the kind of movie comic book fans would have been nearly thrilled to see in the early 2000s: a not-quite-faithful adaptation animated by competent direction and actors willing to embrace the content without tipping into self-seriousness. That said, it feels likely to get a different reception in 2020. The superhero film has grown so much in scope and depth so much in the past two decades. As a result, Bloodshot feels a bit unstuck in time. It’s a throwback to an era that’s passed and, depending on how inclined audiences are to take a sidelong glance at it, the film also operates as a sort of commentary. It seems to be reflecting the evolution of the action movies from their ‘80s ascendance to their superpowered present. Continue Reading →

The Erwin Brothers' Christian romance aims for crossover appeal, but can't quite rock its way into the free world. How does one deal with grief? For many, the loss of a loved one can be devastating and lead them into depression and feelings of hopelessness. For others, the pain of loss can be used to create something beautiful and give others hope. Directing duo Jon and Andrew Erwin (I Can Only Imagine) use the story of popular Christian artist Jeremy Camp and the loss of his first wife, Melissa, as a way to inspire others who are dealing with grief in I Still Believe. The result is a movie that is often touching, but won’t do much for those outside of its target audience. Unlike most musician biopics, which tend to showcase the artist’s entire life, I Still Believe focuses entirely on Jeremy’s relationship with Melissa. While there are multiple scenes of concerts and radio interviews, Jeremy’s musical career only features in the movie insofar as to facilitate the love story. Indeed, to call this a biopic is almost inaccurate. Although the film is biographical it’s more of an examination of love and faith than the story of Jeremy’s life.  Indeed, the first act of the film feels like your typical romantic drama. A wide-eyed Jeremy Camp (KJ Apa, Riverdale) manages to talk his way backstage for musician Jean-Luc (Nathan Parsons, Roswell: New Mexico). While there, he spots Melissa (Britt Robertson, A Dog’s Purpose) in the crowd; it’s love at first sight.  Continue Reading →

David Simon and Ed Burns' adaptation of the Philip Roth novel paints a harrowing picture of an alternate America that feels all too prescient. HBO’s latest miniseries imagines a world where renowned pilot, isolationist, and anti-Semite Charles Lindbergh runs for president and defeats FDR in 1940. What follows is a rise in anti-Semitic hate and fascism throughout America. And as you watch the series, you’d be forgiven for thinking this a pretty in-your-face way to address the Trump administration. That might be true, but the series is based on the Philip Roth novel of the same name which was released more than 15 years ago in 2004. If anything, Roth’s The Plot Against America has been frustratingly, dishearteningly prescient. It’s no wonder showrunners David Simon and Ed Burns (The Wire) were drawn to it. The show follows the Levin family (originally the Roths in the novel) as they deal with the shifting political tide and how it strains their family bonds. Father Herman (Morgan Spector) is an outspoken liberal who finds Lindbergh distasteful and disgusting. Wife Bess (Zoe Kazan) frets constantly for the safety of her family, remembering all too well how isolating it was to be the only Jewish girl in her class growing up.  Michele K. Short/HBO Cousin Alvin shares Herman’s political leanings, but is determined to act, eventually signing up for the Canadian army in order to “kill Nazis.” Meanwhile, impressionable young Sandy (Caleb Malis) grapples with his hero Lindbergh’s politics while his little brother Phillip (Azhy Robertson) tries to make sense of it all. Things are only further complicated when Bess’s sister Evelyn (Winona Ryder) falls for Rabbi Bengelsdorf (John Turturro), a staunch Lindbergh supporter.  Continue Reading →

Netflix breathes new life into the tired stand-up comedian sitcom genre. The stand-up comedy dramedy is dead. It was tired after Seinfeld, and the only person that got it right since turned out to be a monster. Every other offer in the genre has either struggled with a relationship with the world outside of comedy, or an obsession with the inside world of comedy, which is not that interesting. I am sorry to say, but I do not care about anyone’s struggles to impress a booker.  The thing that Feel Good, Netflix’s new British comedy centered on the life of queer comedian Mae Martin, gets right is that stand up is still work. It doesn’t matter if your work is talking in front of other people, or working in an office. Most of the time it’s not that interesting. Our current society is so obsessed with work that the obsession tends to bleed into our media. Feel Good isn’t a show about a stand-up comedian. It's about a person who happens to be a stand-up comedian.  Mae as a character has more important things to think about than comedy. The show navigates through its first six episodes mostly focused on Mae’s relationships with George (Charlotte Ritchie), a teacher who’s never had any queer experiences, her mother, Linda (Lisa Kudrow), and her sobriety. Martin proves themself a capable actor, painting a well-made version of a person who doesn’t just love cocaine but loves getting high on any sort of obsessive behavior. Feel Good isn’t about drugs or about being queer. It's about the day to day struggle to fight our worst aspects.  Continue Reading →

Brian De Palma's bizarro, big-budget blastoff is rocky, but it remains an effectively fun entry in the director's filmography. Although primarily known for dark suspense thrillers, Brian De Palma’s filmography is studded with a number of seemingly offbeat projects that one might not normally associate with the director of Carrie and Dressed to Kill. Even among his most ardent fans, though, a project like his 2000 effort, Mission to Mars, continues to serve as a bit of a bafflement. If you had to select the least suitable project imaginable for one of Hollywood’s most iconoclastic and cynical filmmakers, you could hardly do better than propose he make an expensive, optimistic PG sci-fi epic for Disney that was loosely inspired by one of their theme park attractions.  The results were perhaps not very surprising. Aside from France, where it screened as part of that year’s Cannes Film Festival and was ranked #4 on Cahiers du cinema’s list of the best films of the year, it was a financial and critical failure. It’s rarely discussed today even amongst De Palma scholars. (De Palma himself only briefly touches on it in the documentary De Palma.) And yet, to watch it again 20 years after its initial release is an interesting experience. It clearly pales in comparison to such works as Blow Out, Phantom of the Paradise, and Femme Fatale and it’s still wildly uneven in many ways. At the same time, to watch De Palma attempt to embrace new things in both genre and mindset is fascinating. It even contains one of the most absolutely spellbinding set pieces in a career that is not exactly wanting in that regard and as such, the end result makes sense in the grand scheme of his career. Continue Reading →

As King-Lu (Orion Lee) takes Cookie (John Magaro) to his hut, he starts preparing a fire. The sound of the axe hitting wood continues at a rhythmic pace and the woodland ambiance, tapered to an almost therapeutic constant, cushions each blow. Then, as the camera rotates to its right, Cookie grabs a blanket. He stands in the doorway and whips it back and forth. The air crashes around it. The wood continues to bonk. The walls hold against the Oregon breeze and the camera, snugly within a makeshift cave of dust and dampness, views both men in one frame and their own respective prosceniums. Continue Reading →

Amazon's adaptation of the Agatha Christie mystery keeps the author's innate spirit for intrigue. The dreary insistence of death permeates every fiber of The Pale Horse, a new mystery miniseries from BBC arriving on Amazon Prime Video this Friday the 13th, if you dare. Composed of just two hour-long episodes, The Pale Horse is a loose adaptation of the 1961 detective novel by Agatha Christie, one of her final works. To adapt the story’s complex web of intriguingly dark characters, Sarah Phelps (EastEnders) innovates the material through clever addition and subtraction, while maintaining the harrowing spirit of Christie’s pen. Set in 1960s London, The Pale Horse follows the stoic Mark Easterbrook (Rufus Sewell), a rich antique dealer whose wife Delphine (Georgina Campbell) tragically died a year prior. Though she haunts Mark at seemingly every moment he’s not awake, the aging socialite has already taken in a new young wife, Hermia (Kaya Scodelario), who appears to have a more violent temperament hidden beneath her cold, pristine exterior.  It’s not long before a string of coincidental deaths and unexplainable occurrences begin to take shape all around Easterbrook. The woman he’s been cheating with dies mysteriously and suddenly in her sleep and the seemingly unrelated death of a shopkeeper turns up a list in her possession with his name on it. Bewildered by the stink of death all over him and now his world of friends and acquaintances, Easterbrook sets out on a personal investigation to discover what’s really happening, all while being hounded by the unrelenting Inspector Lejeune (Sean Pertwee). Continue Reading →

Peter Berg and Mark Wahlberg's latest exercise in macho posturing is both aesthetically and thematically ugly. “It would be so easy,” I whisper to myself. My finger hovers over the little red button that would close Netflix, and grant me freedom. “I made it through almost an hour. I’ve got more than enough to write about, my editor would never know the difference.” Instead, I poured myself a stiff drink and hit resume; blame a foolhardy dedication to craft or sheer stupidity, but I watched all one hour and fifty-one minutes of Spenser Confidential. Do yourself a favor: don’t make my mistake. Has director Peter Berg started making movies on iPhone? No, that would be an actual aesthetic choice; still, I’m scratching my head as to why Spenser looks like a poorly shot student film. A de-saturated, opening flashback is particularly ugly and juvenile, not just because we see the titular Spenser (Mark Wahlberg) beat up an unarmed man – an opening that’s all the more uncomfortable considering the star has done something similar in real life. But instead of leading to a prosperous career as a leading man, Spenser’s violence towards his police captain (at his home) lands him in prison – according to an enormous title card that reads “PRISON.” We cut to five years later, the day before this now ex-cop’s release. For some reason, global superstar Post Malone saunters into the frame, and eventually stabs Marky-Mark in the side with a rusty shiv. Continue Reading →

Every month, we at The Spool select a filmmaker to explore in greater depth — their themes, their deeper concerns, how their works chart the history of cinema and the filmmaker’s own biography. For March, we celebrate the birthday (and the decades-long filmography) of one of America's most pioneering Black filmmakers, Spike Lee. Read the rest of our coverage here. The world still isn’t ready for Spike Lee. In 1986, Black cinema wasn’t in a renaissance. In fact, it had barely been uplifted, except for a few short spaces of time. Oscar Micheaux (often heralded as the first major African-American filmmaker) produced his own works in Chicago during the ’20s and ’30s: He made race films in fact—and did so when filmmaking still ran akin to the Wild West. Like Micheaux’s works, Blaxploitation flicks during the early ‘70s were originally made by Black directors and existed outside the traditional Hollywood system.  But when Black creatives did hold some agency, even during these brief periods, the economics of the Hollywood system would change that. Race films, for instance, were stymied when World War II began and Hollywood absorbed the Black actors who starred in them (like Sidney Poitier). In the '70s, white directors began to take over Blaxploitation films from its Black originators, the form losing its boldness under the guise of stereotypes.  Continue Reading →

Amazon's adaptation of the Roberto Saviano novel is far too passive and jumbled to capture your interest. “Look at cocaine and all you see is powder. Look through cocaine and you see the world,” says the tagline to Roberto Saviano’s book, ZeroZeroZero. Now an eight-part mini-series on Amazon Prime, the show promises the same. It purports to be the whole picture of the cocaine trade from the Italian buyers to the Mexican sellers to the American brokers. We follow the effects of a single shipment of cocaine on the lives of people spread across multiple continents. Unfortunately, showrunners Stefano Sollima, Leonardo Fasoli, and Mauricio Katz’s attempt is unwieldy and unfocused. Reviews of the source material reported similar issues, with Saviano’s narrative often lacking, well... narrative structure. You’d hope that the show would seek to correct this by streamlining Saviano’s many interviews into a cohesive picture, but it ends up replicating them instead. It does simplify the cast of characters, however. We focus mainly on three sets of people: the tumultuous relationship between an Italian mobster grandson (Giuseppe De Domenico) and his grandfather (Adriano Chiaramida) who plan to buy the cocaine shipment; the American brother (Dane DeHaan) and sister (Andrea Riseborough) brokering the deal; and the Mexican soldier turned narco (Harold Torres) doing the selling.  Continue Reading →

The much-memed movie star finds his footing again in a familiar but satisfying redemption story. Unfairly relegated to memedom thanks to his disastrous press appearances (“Darkness, my old friend…”) and midlife crisis moments like getting a dragon tattoo that Ed Hardy would call too gaudy, Ben Affleck has nonetheless experienced a fascinating and emotional onscreen transformation over the last decade of his career. Still undoubtedly a movie star in the classic sense, Affleck’s cocksure marquee attitude has now melted into a malleable melancholy. And while the rest of Affleck’s performances this decade have orbited around Gone Girl’s masterful lead role, his last few performances have been girded with a deadened soul, whether it be the jaded mercenary of Triple Frontier or the brick wall façade of his Batman performance - which always felt like it could smolder into rubble at any moment. Gavin O’Connor’s throwback addiction film, The Way Back, then feels like an apotheosis of the actor’s new persona. Reuniting with Affleck after The Accountant (yes, the autistic assassin one), The Way Back is a familiar but satisfying take on the redemption story strengthened by the palpable pain of its onscreen protagonist. Continue Reading →

Apple TV+'s reboot of the Spielberg-created anthology series gets off to a lackluster start. There’s something really special about an anthology series: it allows show creators to let their imaginations run wild and try different concepts that may not work for a movie or longer series. Apple TV+’s latest series, Amazing Stories, has the fledgling streaming service trying its hand at the format, but the episode available for preview doesn’t live up to the show’s title.  It’s actually kind of odd that Apple is rebooting Amazing Stories. The 1985 original run wasn’t a hit and while reruns played on The Sci-Fi Channel before it became Syfy, it doesn’t seem to have a large cult appeal. Still, the series does boast a producing credit by Steven Spielberg and its showrunners are Edward Kitsis and Adam Horowitz of Lost fame, so at least Apple has some star power to bolster the lagging nostalgic appeal.  Name recognition can only get you so far, however, and the success of the show will have to rely on its 5 episode run. Apple has only supplied one episode for critics, titled “The Cellar”, which was directed by Chris Long (The Americans). The story follows carpenter Sam Taylor (Dylan O’Brien, Bumblebee), who is restoring an old house with his brother Jack (Michah Stock, The Right Stuff).  Continue Reading →