96 Best Releases Translations Hebrew on Fubotv (Page 4)

Since seeing Red Rocket, I haven’t been able to stop listening to “Bye Bye Bye.” The hum of the song’s wonky strings overlays the opening shot. As the camera zooms out from a jarring close-up of a bus seat, the synthetic beat kicks in, revealing Mikey Saber (Simon Rex), battered and bruised. NSYNC’s upbeat, indignant track lends a pulsing momentum to the opening montage as Mr. Saber disembarks from his steel chariot and starts the long walk to his ex-wife Lexi’s (Bree Elrod) domicile. “I know that I can take no more, it ain’t no lie,” indeed.   Continue Reading →

Have you ever spoken to a friend who was tangentially involved in a big event? They know the players, they saw some of it go down, but they’re missing pieces of information. They lack the perspective of someone directly involved and the insights that come with that. That’s the experience of watching The Eyes of Tammy Faye. Continue Reading →

As Shakespeare famously opined: What’s in a name? Based on the religious nature of the character’s names in Valdimar Jóhannson’s debut film, Lamb, there must be something allegorical about the movie’s plot. Yet, as compelling as Lamb is, in the final analysis, its religious symbolism amounts to little. Continue Reading →

The Addams Family characters have existed since 1938 and yet they’ve never felt as tired as they do in The Addams Family 2. A “kooky and spooky” family once known for subverting the norms is now the star of a movie that couldn’t be more ordinary. If you’ve seen one subpar computer-animated kids film from the last 15 years, you’ve probably seen all the worst bathroom and slapstick gags The Addams Family 2 has to offer. Here’s a feature that can’t be called a success unless it’s intended goal was to make one yearn for the sophistication of Hotel Transylvania 2. Continue Reading →

To speak of No Time to Die is to speak of what came before it. Of course, that sounds obvious in theory; the Daniel Craig era of 007 comes to an end here. They lightly tied into each other until Spectre drunkenly tried and failed at deepening the mythology. While the quality of the films varied, at least they were all distinct. It's been fifteen years and five movies -- now it all comes to a head, the stakes ostensibly high and the emotions primed to be deeper. And yet, against all odds, Cary Joji Fukunaga's offering to the franchise is derivative enough of its most recent predecessors to fumble conceptually and concretely. Continue Reading →

There’s a certain reaction one has when watching a movie that opens with the Chicken Soup for the Soul logo, and that is a labored sigh. The company that made its fortune publishing collections of inspiring true stories about overcoming adversity and beating the odds quietly moved into the movie producing business some years back. You’d be forgiven if up to this point you hadn’t heard of anything they produced--the vast majority of their projects seemed to have been created specifically for the direct to streaming market, with titles like 12 Dogs of Christmas and Paris Countdown. After a recent deal with Redbox, however, they’re looking to move into more prestige fare, starting with the comedy-drama Best Sellers. Continue Reading →

Olivia Munn's spirited performance elevates what otherwise feels like a moralistic, obvious self-help treatise on trauma and accountability. (This review is part of our coverage of the 2021 Toronto International Film Festival.) There has been a significant shift in filmmaking and scripting recently where buzzy ideas like ‘trauma’ and ‘accountability’ have been explored in a very lazy and uninspiring surface-level fashion. The need for movies to be some sort of active moral life lesson and perhaps worse, a form of therapy, has overtaken the artistry with which human emotions and connections can be conveyed through the moving image. Continue Reading →

As sparse as it is specific, Nia DaCosta’s Candyman feels like falling into a nightmare. It has the context, but the context feels increasingly shifted. It has the gravity, but the weight at hand seems to fall onto its audience in slow motion. It has a sense of remove but also a sense of intimacy, and as the picture develops, those schisms manage to lean into one another. Bernard Rose’s 1992 original was about the outsider looking in. DaCosta’s, on the other hand, is about the insider being forcibly removed from himself, and it’s a film as attuned to its own legacy as it is the legacy that’s been hoisted upon it. Continue Reading →

It’s strange what grief does to us. Some end up reduced to quivering messes. Others feel inspired to seize their remaining days with vigor. For Beth (Rebecca Hall) in Night House, grieving the suicide of her husband Owen (Evan Jonigkeit) pushes her to sharp retorts and the kind of sarcasm that both obfuscates and reveals pain by day. By night, drinking, attempts to pack up her life, and the ever-growing sense that while Owen’s deceased, he hasn’t exactly left their home, the one he designed and built. Continue Reading →

It’s no more than a few minutes into its 132-minute runtime that The Green Knight lays its cards on the table. It doesn’t really subvert expectations here; it’s not like it immediately carves out its identity. Rather, it makes itself clear in the most literal of ways, although in one that doesn’t register as such immediately. After an opening in which Sir Gawain (Dev Patel) wakes up hungover and half-naked, the camera tracks him from behind through sweaty medieval corridors and out into the cloud-covered morning. As he walks through the village, text flashes across the screen declaring itself “a filmed adaptation.” Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. There are two documentaries available on KinoNow, filmed five decades apart, that bookend a period of queer masculinity marked by both visible changes and invisible wounds that remain all too familiar. The Queen (1968) and When the Beat Drops (2018), present queer masculine cultures -- the drag pageant and bucking dance competitions, respectively, as related to and inspired by feminine spheres of culture, but decidedly separate from them. Putting these two films side-by-side makes plain how much queer visibility has changed from the early days of liberation to the more recent days of America during the Trump administration, but there are chilling moments where we can also recognize that some harmful ideologies have yet to be rooted out. Continue Reading →

In the 30 years since it made its infamous debut, there have been bigger critical and commercial catastrophes unleashed upon multiplexes than Hudson Hawk (1991). And yet, while most of those disasters have been duly forgotten, it continues to loom large as the ultimate Hollywood cautionary tale of what can happen when a performer riding the absolute peak of their cultural ascendancy is given the chance to make literally anything that they want and it turns out to be something that evidently no one else wanted. Continue Reading →

If you’ve ever heard the phrase “May you live in interesting times,” understand this: we’re living in them right now. It’s a historically awful time of racial unrest, an ever-widening gap between the rich and the poor, and a global pandemic that’s coldly highlighted how little many of us care about our fellow humans. Optimism is in very limited supply at the moment, and so we cling to the little things that give us joy, and a reason to keep going the next day. Things like Lil Nas X’s Twitter feed, or Ted Lasso, or Lady Gaga branded Oreo cookies. Things like Barb and Star Go to Vista del Mar, which in better times might have made barely a blip on the pop culture radar, but right now feels like a cool drink of water on a very hot day, and is a cult hit in the making. Continue Reading →

If you happen to stumble upon the Wikipedia page for Spiral, the ninth and newest feature film in the Saw franchise, you find a goldmine full of stories, exaggerations, and words strung together that you hardly believe are real. Chris Rock, the star and executive producer of Spiral, ran into Michael Burns, the Vice Chairman of Lionsgate, at a friend’s wedding in Brazil. They chatted about the horror genre, with Rock expressing intent to take his career on a different path.  Continue Reading →

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What Francis Ford Coppola’s Godfather films portray is a perfect amalgamation of the magical and limiting aspects of Hollywood cinema in a perfectly composed, morally ambiguous fantasy. I’m only discussing the first two here because of their proximity to one another and them embodying a 70’s theme and aesthetic that prided on American stories – Five Easy Pieces, Nashville, Patton, Breaking Away, Dog Day Afternoon, and Rocky to name a few – make them distinctly different for what I want to say than the third movie, which seems like a forgotten stepchild of the 90’s.  Continue Reading →

The Law & Order: SVU and Law & Order: Organized Crime crossover event on April 1st  will mark not only the premiere of a new Law & Order spinoff, but also the return of one Elliot Stabler (Christopher Meloni). For the first 12 seasons of SVU Stabler and Olivia Benson (Mariska Hargitay) were the SVU team, the perfect partners. Continue Reading →

While the first movie in the series was stylish & unexpectedly moving, it was tainted by cheap, empty sequels that forgot what made it special. You don’t have to have seen The Crow to know the story behind it. It’s one of the great Hollywood tragedies, like the Twilight Zone crash, or the Poltergeist curse, where watching them feels a little forbidden and eerie. That’s particularly true for The Crow, because the scene in which star Brandon Lee was accidentally killed with a prop gun was left more or less intact. Granted, there’s some clever editing and use of a body double, but it’s close enough to raise the hairs on the back of your neck. I shan’t spend too much time recounting The Crow, because, again, even if you haven’t seen it, you’ve sort of seen it (and also it’s already been written about at length on this very website). I will say that I rewatched it for this project, and was surprised to see how well it holds up. It might be perhaps the most early 90s movie ever made, but unlike, say, Reality Bites, it’s in a way that’s still cool and stylish. The swooping urban landscape shots, created almost entirely with miniatures, are still a feast for the eyes, and would be put to even greater use four years later by director Alex Proyas, in his masterpiece Dark City. Sure, the villains, who have names like “Tin Tin” and “Funboy,” are laughably over the top, but they’re balanced by Lee, undoubtedly a rising star, who plays doomed hero Eric Draven with subtlety and genuine human emotion. Continue Reading →

When it comes to suffering, no one does it like Catholics. Consider Opus Dei, the secretive branch of Catholicism that still allegedly practices self-flagellation, or the hardcore worshipers who recreate Christ’s crucifixion every Easter, rather than dyeing eggs or baking a ham. Even when mortification of the flesh isn’t involved, no other religion promotes the idea of misery as the pathway to salvation. Rose Glass’s nightmarish Saint Maud digs deep into the pathology of that mindset, and is something you won’t likely forget for a long time. Continue Reading →

Robin Wright makes her directorial debut in a tender and understated drama about a woman who isolates herself from the world after an unimaginable loss. The pain of losing our loved ones is unimaginable. It’s overwhelming and often hard to overcome. Though healing is not impossible, there’s no timetable when it comes to processing this loss. It may take weeks or months or even years for people to finally be okay again and move forward. Robin Wright’s directorial debut, Land, understands this really well. The movie delves deep into the pain and the complicated feelings that people have to face when they’re dealing with the death of their loved ones. It’s an understated character study about grief and loss, and a moving celebration of human connection and resilience. Working from a script penned by Jesse Chatham and Erin Dignam, the movie follows Edee (Wright), a woman determined to isolate herself from everyone in the wake of a devastating tragedy. When we first meet her, she’s already on her way to a remote cabin in Quincy, Wyoming. She wants to abandon everything, staying away from everyone who wants her to get better, but never allow her to process the deep sadness she’s been feeling for a while. Before arriving at the cabin, she ditches her phone and even calls a local to get rid of her rental car, leaving herself with only a bunch of canned foods and a box of her most personal possessions. But Edee is not cut out for this kind of living, so the plan she’s made seems foolhardy. Continue Reading →