1190 Best Film & TV Releases Translated Into Hebrew (Page 49)

The apocalypse is never further from our minds in science fiction, to the point where any civilization set after mankind's inevitable collapse invariably lands on a host of tropes and conventions touched on by a million stories before it. Tribes of Europa, Germany's latest addition to Netflix's sci-fi television stable after the incredible Dark, makes the head-scratching decision to use all of them. There's a Mysterious Cataclysm that knocks out all technology, roving bands of survivors battling each other for resources and power, a Magic MacGuffin that might lead to salvation and must be protected at all costs, the list goes on. And yet, there's an ineffable charm to the six too-brief episodes of its inaugural season, chiefly due to the stalwart effects work and production design, and game performances from a cast that recognizes the story's innate schlock factor. Continue Reading →

Ed Helms and Patti Harrison charm in Nikole Beckwith's refreshing, pleasurable dramedy. (This review is part of our coverage of the 2021 Sundance Film Festival.) Nikole Beckwith’s Together Together doesn’t break any new ground. But it doesn’t have to -- the film’s greatest pleasure lies simply in watching every part of the story fall into place the way we predict and expect it to. The dramedy is only Beckwith's second feature, but despite its familiarity, it's a pleasurable and refreshing experience. It’s light and witty, often packed with laughs and touching moments, with two stellar lead performances at its heart. Continue Reading →

In 1979, the Village People released the song “Ready for the 80’s” on their double-LP Live and Sleazy. The song is upbeat and bright, full of hope and promise. The group sings “I’m ready for the 80s / Ready for the time of my life” throughout the chorus, and one verse starts “Everything is gonna work out fine / I have faith in this old world of mine / We'll be loving in the bright sunshine.” Listening to this song over 40 years later, you can’t shake a sense of dramatic irony. In the end, the 80’s weren’t kind to the Village People, disco, or queer men in general. As I watched the opening episode of Russell T. Davies' latest mini-series, It’s a Sin, I kept thinking of this song and its optimistic outlook for a new decade, an optimism echoed in the fresh faces of its cast, blissfully unaware of the heartbreak awaiting them.  Continue Reading →

Like any human being, I am predisposed to like Dwayne Johnson, aka The Rock. The man is charisma incarnate, a shockingly charming person who has proven to have not just skill, but that ineffable something that true stars possess. So know I don’t take lightly what I am about to say. Continue Reading →

It’s easy to feel like time’s been stuck in an infinite loop recently. Especially when two movies are released within a year of each other that both ask the question, “What if we remade Groundhog’s Day, but with two people instead of one?”. Unfortunately for The Map of Tiny Perfect Things, a Y.A. drama streaming on Amazon Prime, it’s now the Volcano of time loop romances (the superior Palm Springs is the Dante’s Peak, of course). Continue Reading →

Following off the success of Bridgerton, the next bestseller to be spun into Netflix gold is Sarah Pinborough’s Behind Her Eyes, a book that was so aggressively marketed around its super-secret third act twist that early readers were encouraged to use the hashtag #WTFthatending. They aren’t kidding. WTF that ending, indeed.  Continue Reading →

At one point during Ghostbusters , Dan Aykroyd’s character is discussing the bizarre architectural features of the apartment building where much of the supernatural action takes place and says “I mean, the architect was either a certified genius or an authentic wacko.” My guess is that there was a similar reaction among executives at Warner Brothers after they took a look at the screenplay for Aykroyd’s other elaborate and expensive horror-comedy vehicle for him and a number of his SNL and SCTV pals. I cannot say for certain which side those suits would have opted for but however they voted, they did pull the trigger on what would eventually become known as Nothing But Trouble , a peculiarity that would bomb so hard that it is now pretty much forgotten by everyone except of SNL alumni film completists and the few souls brave or foolhardy enough to—gulp—actually find good things to say about it. 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 →

Part melodrama, part gold rush adventure story, part soulmate fable, and part astrology app come to life, The Luminaries, Starz’s 6-episode adaptation of Eleanor Catton’s 2013 novel, is much like the gold its characters seek: shiny, ephemeral, and ultimately cold. Adapted by Catton and directed by Claire McCarthy, The Luminaries wastes no time in unfurling several plot points in media res, with dramatic but confusing results.  Continue Reading →

Watching the first cut of Richard Kelly’s ultra-ambitious Donnie Darko follow-up is like riding a wave of mutilation. Southland Tales, director/writer Richard Kelly’s apocalyptic epic of a world gone berserk in the run-up to a paranoia-riven presidential election, is at long last a little closer to completion. Thanks to the fine folks at Arrow Films, the 158-minute cut of the picture that played at Cannes – as opposed to the 145-minute theatrical cut – is now widely available for the first time. Compared to the theatrical cut, The Cannes Cut lays out Kelly’s bigger picture more clearly and deepens the (famously odd) ensemble’s work. For good and ill, The Cannes Cut is still Southland Tales. It’s one of the great whatsit movies of the early 21st century, an artifact of the mid-to-late Dubya years that captures the specific tenor of the United States’ anxieties and fears from that time in amber. It’s a kinky, surreal Armageddon wounded by its early-aughts-sour-bro treatment of its ensemble’s leading women. It is, in other words, an extremely 2006 movie. In its best moments, it describes and invokes the overwhelming sensation of being alive at a time when everyone and everything has come undone. Continue Reading →

In the wide world of algorithmically-derived Netflix teen romantic comedies, surely one of the finest was 2018's To All The Boys I've Loved Before, the syrupy-sweet story of adorable bookworm Lara Jean Covey (an always-radiant Lana Condor) and her shockingly-resilient relationship with too-good-to-be-true-except-he-is jock Peter (Noah Centineo). The film did well enough to spawn an entire trilogy based on Jenny Han's YA romances; while the second, To All the Boys: P.S. I Still Love You, still had its fair share of charms, it started to show the cracks in the sunny, conflict-free firmament of Lara Jean's fairy tale romance. Now, the trilogy closes with To All the Boys: Always and Forever, and this time, the decision isn't between Peter and some other boy: it's between Peter and the rest of her life. Continue Reading →

A decade after their 2011 hit film Bridesmaids, Kristen Wiig and Annie Mumolo are back as co-writers and costars in Barb and Star Go To Vista Del Mar. Their new comedy romp follows Barb (Wiig) and Star (Mumolo), two Midwestern middle-aged suburbanite gal-pals looking to get “their shimmer back” on a trip to the ocean oasis of Vista Del Mar. The wide-eyed duo discovers sea-shell bracelets, hooks up with mysterious Edgar (Jamie Dornan), and accidentally becomes embedded in a murder plot involving super mosquitos. Barb and Star Go To Vista Del Mar plays like a five minute SNL sketch that stretches into an hour and forty-five fever dream peppered with talking crabs, musical numbers, and culottes.  Continue Reading →

Rebecca Hall adapts Nella Larsen's novella about Black social mobility (and its corresponding resentments) to haunting effect. (This review is part of our coverage of the 2021 Sundance Film Festival.) Nella Larsen's 1929 novella Passing is a fascinating text, a frank but elegant discussion of the intersections of race, class, and gender as cold and delicate as its subject matter. It makes sense, then, that Rebecca Hall's adaptation is similarly airy and ominous, an intimate portrait of resentment and racial/social mobility set amid the stifling backdrop of 1920s New York. 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 →

Before its release, Sia’s Music has generated controversy regarding the handling of its titular autistic character, including the decision to cast neurotypical actor Maddie Zeigler in the role. Sia’s responses to these critiques have only enflamed the hubbub, but tragically, those concerns are immaterial. Not because Music does a good job of handling the perspective of an autistic person, but rather quite the opposite. Continue Reading →

I never feel the need to apologize for loving a movie. I might be more inclined to defend that love, but not apologize for it. When I see a movie so beloved and come out the other side largely unaffected, though, I feel bad. Is it my fault? Is it just that I’m a cold person? I shouldn’t feel bad for being in the minority, but maybe I should feel bad that I didn’t feel a ton else. I kind of do, to be honest. Of course everyone’s tastes are different. Of course I’m far from likely to always agree with the majority. Continue Reading →

Jerrod Carmichael's grim bromance straddles a delicate balance of tones between comedy and dark thriller, buoyed by a couple of strong performances. (This review is part of our coverage of the 2021 Sundance Film Festival.) On the Count of Three, the directorial debut from comedian Jerrod Carmichael, walks a tonal tightrope. It’s obvious from the first five minutes that this tightrope exists, and from the first 15 minutes, that it’s not always walked to perfection. Following lifelong, struggling best friends who agree on an end-of-day suicide pact, On the Count of Three combines Carmichael with the recent indie explosion that is Christopher Abbott. Playing Val and Kevin, the two characters spend their final day rewriting old wrongs, revisiting old foes, and seeing if they still can hop on a BMX bike and not shatter their ankles. Continue Reading →

Patch Adams is full of shit. I truly can’t think of a better way to describe it. I could come up with some convoluted metaphor and tell you that watching Tom Shadyac’s 1998 catastrophe is like going to a restaurant and having the waiter spit on your food. I could call it “Jojo Rabbit for the Clinton Era” or label it a “misguided crowd-pleaser.” But I won’t do any of that because I – unlike Patch Adams – refuse to bullshit you.  Continue Reading →

Based on an Aja Gabel short story and directed by Chad Hartigan, Little Fish follows a married couple as they try to hold onto what they love in a world ravaged by a pandemic. In a lot of ways, there are eerie similarities with our present reality, but the main difference is that the virus in this film slowly takes away memories – functioning very similarly to Alzheimer’s. In the midst of a flurry of pandemic-themed media coming out which tries to reflect the situation which the world is presently in, Little Fish manages to distinguish itself from the crowd with its brilliant leads and emotional resonance. 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 →

Netflix’s new romantic drama Firefly Lane, based on the 2008 novel by Kristin Hannah, follows the multi-decade friendship of brash and bold Tully (Katherine Heigl) and smart and nerdy Kate (Sarah Chalke). They meet at age fourteen living on Firefly Lane. From there they spend years cultivating their journeys: Tully is a journalist with a wildly popular daytime talk show, and Kate took a break in her career to marry fellow journalist Ryan (a stilted Ben Lawson) and raise a daughter.  Continue Reading →