1191 Best Film & TV Releases Translated Into Hebrew (Page 29)

In practice, most video game movies don’t have to worry about sequels. The likes of Assassin’s Creed and Warcraft failed to make anywhere near enough money to justify follow-ups. But there are still theatrical video game movie sequels here and there, now including Sonic the Hedgehog 2.   Continue Reading →

It takes a special sort of show to go from a terrorist bombing to a fart joke. Continue Reading →

Justin Kurzel’s Nitram rarely features violence. Instead, it’s often subdued in anger, existing in long stretches of loneliness and isolation. The tone follows its lead, played by a phenomenal Caleb Landry Jones. He wanders through a small Australian town without friends or steady way to spend his time outside of fireworks. He exists in a muted state of prolonged sadness, taking enough medication to dampen his emotions. He's unable to make any lasting relationships. Kurzel’s film, based on the 1996 mass shooting in Port Arthur, Tasmania, simmers towards an inevitable conclusion, constructing and examining the events leading to a tragedy, frightening in its intimacy.   Continue Reading →

Much of the pre-release publicity about Moon Knight focused on the heightened brutality of the new MCU on Disney+ series. In doing so, all involved failed to mention how much stranger it would be than the average MCU streamer. Continue Reading →

Robin Williams already proved he could do serious, but in this trio of very different movies released the same year he also did creepy. To watch footage of Robin Williams’ stand-up career is to be both amused, and a little startled. He’s a non-stop joke machine, the words pouring out of his mouth, jumping from subject to subject and impersonation to impersonation. He seems to be a man possessed, jittery, sweating, eyes wide and manic. The obvious explanation was that, up until friend John Belushi’s death in 1982, Williams was famously addicted to cocaine. More than that, though, and what would be the thread that ran through virtually his entire career, was an aggressive, occasionally off-putting need to entertain, at all times. When Williams did comedy, whether on stage or in films, his dial was almost always stuck on 11. Sometimes this frenetic energy worked to excellent effect, such as in Aladdin. But too often it resulted in a run of exhausting yet mediocre movies like Father’s Day, where Williams and co-star Billy Crystal seemed to be engaged in a competition over who could serve up the biggest pile of ham. Even in the relatively charming Mrs. Doubtfire, he’s so relentlessly “on” that you can absolutely understand why Sally Field would divorce him. Williams eventually became synonymous with the image of a desperate for approval theater kid, as presently exhibited by James Corden, only (in Corden’s case) without the talent.   Continue Reading →

I first came to Bright Star through gifs and screenshots, posts on #aesthetic Twitter and Tumblr accounts devoted to sharing loving looks at beautiful people on film. I was already a fan of Ben Whishaw when I became aware of Bright Star, having fallen wholly in love with the entrancing actor in Cloud Atlas and Perfume: The Story of a Murderer. With his swoopy hair, his sad eyes, and his impossibly-beautiful waif-like frame, Whishaw can convey longing like few others on screen, positively vibrating in both films with unfulfilled artistic promise and an aching desire to be known, to be loved, to be seen. Continue Reading →

Sandra Oh has always had range, and her demonstration of it for viewers has always been spectacular. However, the feat she’s pulled this month will be tough to trounce. Oh has folks turning red one Friday and blanch white the next. And she pulls off the jaw-dropping swing in an on-screen mold as traditionally restrictive as “mother to a teenage daughter.” That said, whereas Mrs. Lee in Turning Red strives to adapt whenever possible, Amanda (Oh) in Umma refuses to. Continue Reading →

The news that Apple TV+ would shell out top dollar for a limited series based on Min Jin Lee’s family epic, the 2017 novel Pachinko, was generally well-received by fans of the book. With book to small screen adaptations like Station Eleven and My Brilliant Friend growing both increasingly common, and popular, it seemed like a natural fit for the sprawling story of a Korean family displaced by the Japanese occupation of their homeland during the 20th century. Continue Reading →

Bridgerton is back this week, and yes, there will be bodices ripped, smelling salts fetched, and pearls definitely clutched. But before getting into all of that, let’s do a little housekeeping. While you’re not going to find a bigger romance fan than this reviewer, that doesn't mean this review will overlook Netflix using actors of color to bolster what are mainly white characters and storylines. Continue Reading →

What happens when you feel a connection with a person, but life and lifestyle seem determined to keep you apart?  Continue Reading →

Halo is a big deal. It's the game series that made the Xbox, the game series that drew the blueprint and set the standard for first-person shooters in the 21st century. Its most recent installment, Halo Infinite, drew rave reviews and was a major financial hit. In addition to the stories told in the games themselves, Halo also boasts an extensive transmedia presence—novels, audio dramas, and animated anthologies, amongst other mediums—that's beloved by the lore-digging side of fandom. That passion, and the infamously spotty history of video-game-to-other-medium adaptations, means that Paramount Plus' Halo: The Series faces an uphill battle. Continue Reading →

Campion followed The Piano with a Henry James adaptation dedicated to the magnificently fraught question of desire or duty. Artwork: Felipe Sobreiro In the wake of the critical success of The Piano, Jane Campion’s 1996 adaptation of Henry James’s The Portrait of a Lady barely made a splash at the box office, grossing only a fraction of The Piano’s $140 million US earnings. It too seemed to puzzle critics. Some called it  “claustrophobic” and “stifling,” and to be fair–they’re not wrong. The world that James creates in his masterful 600-page novel is at once lush and chilling, thrillingly intimate and so frustratingly tragic that as a whole it’s nearly impossible to quantify. James’s Portrait is not necessarily Campion’s, and vice versa. But few authors have had such a clear-eyed view of the inner lives of women, so it’s fitting that Campion–a director who has always portrayed women as they are, without pretense or romanticization–should be the one to adapt James’s greatest work.   Continue Reading →

“The voice you hear is not my speaking voice,” Ada (Holly Hunter) explains in The Piano’s opening voiceover. It is her “mind’s voice” explaining that she has been mute since she was six and no one, not even she knows why. There is no medical explanation, so those around her think her silence grows from sheer will, that she is determined and refuses to bend. She can only communicate through sign language, which has to be translated by her daughter Flora (Anna Paquin), or through notes written on a small notepad she keeps around her neck. Yet, she doesn’t think of herself as silent; she has her piano. The music she has studied her entire life has become her form of communication, her way of making noise and announcing herself to the world around her. But, as soon as she lands in New Zealand and enters her new life as the bride of a farmer, she is separated from her piano–it is simply too large to carry from the beach to her new home with her husband. She arrives in her new world voiceless, deprived of her primary means of expression.  Continue Reading →

Andrea Riseborough and Marc Maron shine in a study of a one-time lottery winner years after her life has gone bust. (This review is part of our coverage of the 2022 South by Southwest Festival) To Leslie tells a story of painful loss and possible redemption as familiar as the ones recounted in the country songs born out of its West Texas setting. In the case of Michael Morris’s feature debut, familiarity does not breed contempt. What To Leslie lacks in originality, it more than makes up for in terms of its craft and very impressive central performances from Andrea Riseborough and Marc Maron.  Continue Reading →

Without any awareness of the Hitchcockian tag—impossible, what with it being The Point in the marketing, but let’s try—Windfall is the best advert yet for Ojai, California. Right from the get-go, director and co-writer Charlie McDowell serenely guides viewers around a gorgeous hacienda with an Eden of Pixie tangerines and the Topatopa within eyeshot. In short, this is a fetching property, easily bearing a price tag in the millions. It’s an item someone in the style of our unofficial tour guide (Jason Segel), a daring blend of off-duty Sheriff Hopper and the designer-disheveled-ism of modern tech bros, would possess. Or maybe host the Roys if they are to reattempt family therapy. Continue Reading →

As the discourse rages over how tame the mainstream movie scene can be—with its sexless heroes and bloodless violence—it can be tempting to elevate any film that hearkens back to "the good old days" of sex and slashers just for the sake of its own supposed transgressiveness. But luckily, Ti West's X largely earns that title, a playful and idiosyncratic ode to both ends of the '70s sleaze cinema spectrum (hardcore porn and Wes Craven-esque slashers) alike. Not only that, it's blissfully literate towards its influences, with a nod to larger points about the aesthetics and politics of desire, the fetishization of youth, and so much more. Continue Reading →

(This review is part of our coverage of the 2022 South by Southwest Festival) Continue Reading →

(This review is part of our coverage of the 2022 South by Southwest Festival) Continue Reading →

(This review is part of our coverage of the 2022 South by Southwest Festival) Continue Reading →

There’s no good time in history to make war into entertainment. This is possibly one of the worst times to try to do so. Now clearly, the creators of DMZ, HBO Max‘s newest miniseries, had no idea what was going to happen in history when they were creating the show, but there’s a faint bad taste in watching a woman search for her son in a war zone in a time when actual women are doing that actual thing.  Continue Reading →

It may seem strange to label a show all about making pornography in the 70s “charming.” And yet, charming is precisely the correct term for Minx. Continue Reading →