1198 Best Film & TV Releases Translated Into Hebrew (Page 15)

It’s difficult to explain to an average human the madness that is I Think You Should Leave with Tim Robinson. You could say it’s a sketch comedy show that combines surrealist imagery, social satire, and existential dread into tiny bursts of joyful chaos. Or you could point to the title. Every sketch--usually three to five an episode--features a character that’s so annoying or goes against social norms in such extremely inappropriate ways you want to scream at them to leave the room immediately.  Continue Reading →

When The Purge film series began, it attempted to create a heightened, ultraviolent version of the future that was both laughably over-the-top and an accurate reflection of the current political climes. They created a dystopia that was vaguely familiar but could still leave you rolling your eyes at its implausibility. For those unfamiliar with the franchise, the concept is as follows: On one night each year, the US government legalizes all crime, including murder, in the hopes of providing an outlet for Americans’ rage. It ultimately leads to an overall decrease in crime and an (ostensibly) utopian society. Continue Reading →

Gerard Butler's CIA-agent-on-the-run thriller aims to be more than a power fantasy, but for all its virtues, it doesn't stick that landing. There's an expected cognitive dissonance that comes with watching a man-on-a-mission genre piece set in the Middle East. Whether it's a glorified shooting gallery or a power fantasy where the hero stops just short of bleeding red, white, and blue - one needs to practice a mental limbo to either ignore or maybe be pleasantly surprised with the bare minimum concessions to showing the opposite side's perspectives.  Ric Roman Waugh's expertly mounted, ambitiously scattered Kandahar is, at its core, a Stagecoach riff. One where our leading man, career CIA operative Tom Harris (Gerard Butler leveraging his soulful full-time divorced dad essence), has 30 hours to make a mad 400-mile dash across an Afghanistan desert from an impossibly large group of following forces. It's a foolproof premise, yet intriguingly, Kandahar refuses to embrace its conceptual neatness.  Continue Reading →

Mulligan may be an animated comedy about a ragtag group of survivors of an alien attack on Earth. However, Hardcore 30 Rock fans will quickly discover Netflix’s new animated series feels pretty familiar to the early-aughts sitcom. First, there’s the fast-paced comedic timing, a signature of producers Robert Carlock, Tina Fey, and Sam Means. Next, both series feature the infectious, bouncy music of Jeff Richmond. Finally, both got off to a bit of a rough start. Still, just like hang gliding over an apocalyptic alien attack, Mulligan’s an amusing, wild journey that rewards viewers who hang on for the ride.     Continue Reading →

What did your boogeyman look like? Continue Reading →

As a group, humanity has spent entirely too much time asking, “Can men and women ever be friends without sex getting in the way.” Thankfully, Platonic, by creators Nicholas Stoller and Francesca Delbanco, asks a different, perhaps more germane question. “Can women and men be friends without ruining each others’ lives?” Continue Reading →

Full disclosure: influencer culture is baffling to me. Though it’s hardly a new thing at this point, I simply do not understand the concept of looking to strangers on the internet (not even celebrities, just regular people!) for advice on everything from what to wear to what to eat to whether or not to vaccinate your children. How does this happen? Where do these people come from? Frankly, it’s a little creepy. Kurtis David Harder explores some of the aspects of it in Influencer, which doesn’t answer those questions, but is a tense, fun little thriller that takes some unexpected turns. Continue Reading →

The white lie at the center of You Hurt My Feelings isn’t harmless, nor does it spiral out to reveal lie upon lie, turning a marriage into a house of cards. Instead, it lies somewhere less explored: a trivial thing whose impact is understandably real. It’s a fine line to walk, but Nicole Holofcener does just that, and with a razor-sharp wit to boot. Continue Reading →

The spate of recent live-action Disney remakes has run the gamut in quality from pleasantly diverting (Cinderella, Pete’s Dragon) to unwatchable abominations (The Lion King, Beauty and the Beast.) Even the most well-received entries of the bunch struggle to find reasons they should exist in the first place. Rob Marshall’s The Little Mermaid is no different, but for one crucial factor that sets it apart from the rest: Halle Bailey as Ariel. Bailey is so captivating and winsome in the titular role that this remake almost feels worth it just to launch her into movie stardom. Unfortunately, sub-par CGI effects and clunky changes to Howard Ashman’s classic songs often make it feel like Bailey is left to carry the movie on the strength of her remarkable talent alone. With a shaggy runtime of two hours and fifteen minutes—a full hour longer than the original cartoon—it’s a heavy load for one performer to bear. Continue Reading →

Television has entered a new era of the citizen detective. If the boys of Only Murders In the Building are Jessica Fletcher for the 2020s and Natasha Lyonne’s Charlie of Poker Face is today’s Columbo, High Desert’s Peggy (Patricia Arquette) is the inheritor of the con artist crime fighter mantel. Think those “Characters Welcome” staples Psych or White Collar. Then trade the charismatic 30-something man running a scam for a charismatic middle-aged woman looking for an angle and maybe some pills. Continue Reading →

Folks, maybe I’m wrong, but I just don’t think we’re ready for Nazi redemption stories yet. Granted, there have already been a few, but those were from a time when the threat was neutralized. Now, in our current upside down world, they’re being normalized by both the media and Republican politicians, some of whom, like Alabama Senator Tommy Tuberville, would rather pretend they don’t know what “white nationalism” is than denounce it. We really don’t need a “but what if they can change?” story right now. But Paul Schrader is doing it anyway with Master Gardener, a movie that is surely well-intentioned, but ill-timed at best, and clumsy and borderline offensive at worst. Continue Reading →

Let's face it: At this point, you're either in for the overamped, Saturday-morning-cartoon lunacy of a Fast and Furious movie or you're not. Building from its humble roots as a 2001 street-racing Point Break riff to the gargantuan action tentpole it's after a whopping ten movies (eleven if you count Hobbs & Shaw), the series has built quite the convoluted lore over the decades. There are dead characters who come back to life (Sung Kang's Han), living characters who can never come back because their actors are no longer with us (see: Paul Walker's Brian), sworn enemies who join the familiar just one film later. It's dudebro soap opera, fueled by nitrous oxide and every weird, bonkers thing the filmmakers can think to do with a car. Continue Reading →

This year's first program of Chicago Critics Film Festival shorts focus on the dark side of family, community & living with mental illness. The films in the first program of shorts at this year’s Chicago Critics Film Festival all concern those mythic American values of “life, liberty, and the pursuit of happiness.” And they do this in both content and form. Though these films never exceed twenty minutes, they are unbounded examples of the human imagination. We open on the “happy family” of Nicole Daddona and Adam Wilder’s deliciously unsettling The Mundanes. This surreal nostalgic PSA about the ideal American family is a delightful work of surreal suspense. What begins as a richly designed comment on the facelessness of the perfect family in the white nostalgic imagination soon amps up into an amusing work of comedy horror. Unspeakable delights feed the happiness of the Happy Family. You can bet ambrosia salad won’t be the most unappetizing thing on this 50s-inspired tablescape. The Mundanes serves up a sensational visual style and keen directorial perspective on a silver platter with a healthy helping of disturbing social commentary on the side. Continue Reading →

Cecilia (Leonor Varela) is in a bad way. She’s been twisted by years of neglect and disappointment into a coil of razor wire. She’s short with her co-workers and her children, especially queer Tomas (Enzo Ferrada Rosati), whose gender identity is taken as a personal slight. Her brother Bernardo (Marcial Tagle) is so used to her undermining him that he preempts their first meeting with an admission of his weight gain and a refusal to embrace her like a hit dog. Continue Reading →

There's at once too much, and somehow not enough, of the whimsical DIY spirit of writer-director Robert Rodriguez in his latest film, the shaky B-thriller Hypnotic. The Austin native made his name in the halcyon days of '90s indie filmmaking, shooting his first feature (El Mariachi) for a mere $7,000 at the tender age of 23. Since then, he's leveraged that inventiveness into a cottage industry of his own based out of his hometown of Austin, Texas, whether it's kid-friendly fare (Spy Kids), big-budget CGI blockbusters (Alita: Battle Angel), moody noirs (Sin City) or grindhouse splatterfests (Planet Terror, From Dusk Till Dawn). Hypnotic is all and none of those things, a chintzy lo-fi Christopher Nolan riff that doesn't have nearly enough life to work. And yet, there are just enough charming elements to save it from outright dismissal. Continue Reading →

Throughout the near-240 minutes of Showtime’s Ghosts of Beirut, the four-part espionage thriller introduces dozens of characters scattered across the Middle East. CIA agents, Mossad operatives, and various members of the Islamic Jihad Organization all get time within these four hours of television. Creators Avi Issacharoff and Lior Raz attempt to give all perspectives in this story, including that of terrorist Imad Mughniyeh, the central figure of this story, and so, the series consistently remains too limited.  Continue Reading →

If you’re a Shakespeare purist, Baz Luhrmann’s 1996 rendition of Romeo and Juliet might make your skin itch. Luhrmann’s signature frenetic style would seem ill-suited to the most famous romantic tragedy of all time, and, indeed, the traditional text recited in a hyper-contemporary setting, where even the Priest has a giant Celtic cross tattooed on his back, is often jarring. But it turned out to be a perfect fit to illustrate the noisy melodrama of first love and was one of the most successful films in the 90s trend of stylish, modernized adaptations of the Bard. Despite its detractors, it became, for Millennials and Gen Z, the most beloved, familiar rendition of it, even used as a supplement in schools.  Continue Reading →

It’s hard to do something genuinely awful with The Muppets. Yes, it's true, even if The Muppets’ Wizard of Oz certainly gave that a try. These pop culture icons are so innately endearing in their personalities and so fully realized as glorious puppets that figures like Kermit the Frog or Gonzo feel extremely real. Whether they’re shilling for coffee, reciting the words of Charles Dickens, or realizing that life truly is a filet of fish, The Muppets are irresistible.   Continue Reading →

Crater begins centuries into the future in an era where man has colonized the Moon. Rather than being home to thriving cities, though, Earth’s only natural satellite is the site of a run-down mining colony. People toil away, hoping to make it to another luxurious planet known as Omega. This is where Caleb Channing (Isaiah Russell-Bailey) lives. It’s also where he receives the news that his miner father (Scott Mescudi) has died. As part of his death benefits, Caleb will be transferred, via 75 years of traveling, to the bustling world of Omega.  Continue Reading →

As an act of nostalgia, City on Fire has plenty to offer anyone who lived or spent lots of time in New York City in the summer of 2003. The new series, created by Josh Schwartz and Stephanie Savage, evokes the era matter-of-factly. Besides nailing the look of early 21st Century Manhattan, it captures the sense of a city in transition. The groundwork for the gentrification that swept across Manhattan and Brooklyn had just been activated. Mayor Bloomberg was taking what Giuliani had begun and pushing it farther and faster than “America’s Mayor” ever managed. And while the series eventually stomps the theme into the ground, the tendency to wonder if every adverse event was evidence of terrorism was very alive. Continue Reading →

Welcome to the future. America is “the safest country on Earth,” as FBI Agent Tayo Michaels (Brian Tyree Henry) assures us. And it is all thanks to a program that is one part Minority Report, one part that computer Lucius Fox gets all bent out of shape about in The Dark Knight. It started as a sort of interrogation tool, but it has blossomed into a prediction machine that lets the FBI anticipate criminal activities. Comic book fans, think Force Works. Law enforcement has gotten “proactive.” Continue Reading →