222 Best Releases Translations Hebrew on Netflix (Page 8)

It’s common to think about each of us having a “role” in society, with costumes, positions, stages, and actions to be performed. Mexican director Alonso Ruizopalacios (Gueros, Museo) deputizes this idea in A Cop Movie, which investigates policing and the line between fiction and documentary with political precision. Continue Reading →

I wasn’t alive during the days of Kareem Abdul-Jabbar, Muhammad Ali, and Jim Brown’s stands against violent forms of discrimination. Therefore, Colin Kaepernick’s refusal to back down from his principles despite obvious NFL blacklisting makes him the closest my generation has to a genuinely revolutionary athlete. In refusing to stand for the national anthem in the wake of racial discrimination and murder by the U.S. Government, Kaepernick demonstrated he is who certain athletes (I’m looking at you, Kyrie Irving) think they are.  Continue Reading →

With her abuser out of her life, one would think it’d be easier for Julie (Honor Swinton Byrne) to move from day to day. In some ways, it is; she’s no longer directly in the clutches of Anthony’s (Tom Burke) patterns of insults, flattery, and disposal. He’s now dead as a result of his drug addiction. She, however, still lives with his memory. She discusses him with her psychologist (Gail Ferguson) just as often as others refer to his passing as a “loss.” But he’s still there: in her mind, in her health, in her art. Now, in The Souvenir Part II, Julie is finalizing her graduation film for school, repurposing and compartmentalizing her emotions into her work. Continue Reading →

When Star Trek: Deep Space Nine debuted in 1993, it was different. No longer were our heroes aboard Starfleet’s flagship. No longer did they hail exclusively from the Federation. No longer would they harmoniously explore the galaxy with a different destination every week. Instead, they were stationed on a backwater alien refinery. The show’s major players were a mix of Starfleet officers, local veterans, and civilian operators. The station was the destination, and the stories came from the various visitors passing through. Continue Reading →

Adam Randall’s Night Teeth, Netflix’s latest foray into vampire mythmaking, finds the streaming giant betting big on name recognition and slick visuals as blood splatters across Los Angeles. Following Benny (Jorge Lendeborg Jr.), a broke college student who picks up two vampires on a mission to take over the city, the film leans on its bright, exciting initial energy. It constructs a world in which vampires and humans have coexisted peacefully for decades, giving enough information to intrigue but not enough to answer all necessary questions.   Continue Reading →

Next year will mark, improbably, 25 years since Diana, Princess of Wales was killed in a horrific car accident while being chased down by aggressive photographers. Like Marilyn Monroe, another unlucky blonde who was mercilessly hounded by the press before dying too young, Diana’s image has only become more indelible in the years following her death. Also like Marilyn, lots of money has been made exploiting her, in endless bullshit attempts to tell her “true” story. Musician/lyricists David Bryan and Joe DiPietro cash in on her too with the Broadway musical Diana, filmed and presented on Netflix for our viewing “pleasure.” The producers of Dear Evan Hansen owe Bryan and DiPietro a great deal of gratitude, because Evan Hansen is no longer the worst musical of 2021. Continue Reading →

When I first heard the announcement of a new adaptation of Frank Herbert’s magnum opus Dune, I think I might have groaned and said, “God, not again.” Even with the cult followings that Lynch’s now-disowned 1984 version and SyFy’s plodding 2000 miniseries have amassed, there has yet to be a version that had the kind of mass appeal that gets butts in seats.  Continue Reading →

The ultimate representation both of making it, and of giving up, the soul-crushing blandness and hidden darkness of suburbia is a well drawn from many, many times. HOAs and smiling politely through block parties and feigning interest in rose bushes, moving to the suburbs is frequently painted as the end of adventure and creativity. What happens when the couple that moves to their shiny new house to start shiny new lives aren’t just leaving the city but also a trail of bodies behind? Can a relationship work when you’re not just newlyweds and new parents but are also trying your darndest not to murder any more people or each other? Continue Reading →

Contains spoilers about Netflix’s Midnight Mass (read our spoiler-free review here) Continue Reading →

The third season of Laurie Nunn’s raunchy, teen dramedy Sex Education kicks off with a montage of the characters engaging in all sorts of sexual activities—some with their partners, some with their secret lovers, and some with themselves. For a show that’s always had a positive attitude when it comes to sex, it’s a fitting choice. However, Sex Education has never been just about hormones and horniness. Since its first season, the show has also proven to be a charming, often heartfelt look at adolescence. In season three, it remains committed to that approach.  Continue Reading →

As evil witch Natacha (Krysten Ritter) exclaims in Nightbooks, she doesn’t like stories with “happy endings.” While it’s refreshing to have a children’s horror movie that doesn’t coddle the audience, Netflix's latest is hardly the spectacular, spooky adventure it packages itself to be. Instead, it’s more like the off-brand Halloween candy a kid might get trick or treating. It technically passes as a treat, but not one that will leave kids and parents coming back for more.   Continue Reading →

Netflix is trying really, maybe embarrassingly hard to make He-Man a thing again. With He-Man and the Masters of the Universe their throw-toys-at-the-wall-until-something-sticks approach is genuinely starting to wear out the patience of new and old fans alike.  Continue Reading →

Twelve years after her last film, Jane Campion returns to the scene of feature-length filmmaking with the slow-burn, neo-western The Power of the Dog. Based on Thomas Savage’s 1967 acclaimed novel of the same name, the movie is a character study of repressed desire and masculinity that operates like an unnerving Greek tragedy. The story takes place in 1925 Montana — though the Kiwi-born filmmakers shot the film in her native New Zealand, where big hills and thick clouds create a sense of isolation — and it centers on two rancher brothers who share no resemblance in their personalities. Continue Reading →

While we spent a lot of time debating whether or not “elevated horror” is a real thing or just something film snobs made up so they didn’t have to be embarrassed about liking a scary movie, gore fell to the wayside. There was a period when we weren’t getting an acceptable amount of blood and guts, in favor of understated chills and psychological trauma. Not that there’s anything wrong with that, of course, but it’s left something lacking in the genre. With Nia DaCosta’s take on Candyman and the upcoming Halloween Kills, however, it looks like old-fashioned look-between-the-fingers horror is back in all its splattery glory. Add to that list James Wan’s Malignant, often very silly, but always with a self-aware wink at the audience, with a body count that will satisfy even the most jaded horror fans. Continue Reading →

Mary Elizabeth Winstead as the next cinematic revenge thriller brawler is too brilliant not to at least try. Her bonafides in 10 Cloverfield Lane as lead and then clutch supporting turn in Birds of Prey do more than enough to establish precedent. Throw in a unique location (Tokyo) with an urgent, grisly hook (an assassin only has 24 hours to enact revenge), and Kate should be one of the most satisfying Netflix originals to presumably hit the Top 10 in 2021. Sadly, the only watchers who might find this satisfying have either watched too many action revenge thrillers or not nearly enough. Continue Reading →

As a queer child of the early Internet, I've seen my fair share of gay erotic animation. Netflix's new adult animation series, Q-Force, might be one of the best. Continue Reading →

Marie Kondo, the popular tidying-up expert, hit her mainstream stride back in 2019 with Netflix’s Tidying Up with Marie Kondo. Millions discovered the gleeful Kondo as she exclaimed “I love mess” while teaching families her “KonMari” method of decluttering and organizing their homes. Kondo’s back with her new Netflix series Sparking Joy with Marie Kondo, applying her method not only in homes but also in businesses, relationships, and communities, charming us along the way. Continue Reading →

While Nightmare of the Wolf's storytelling struggles to build momentum, this gorgeously animated prequel to The Witcher has a climax as tremendous as it is vicious. Actions have consequences. Or, as John Wick would put it, "everything's got its price." From an intimate promise to a precisely-worded declaration before a crowd, making a play sends out an echo. And that echo can be anything and everything from magnificent to apocalyptic. In the grim world of The Witcher, the apocalyptic is more likely, whether personal, national, or global. Kwang Il Han's animated feature The Witcher: Nightmare of the Wolf makes this clear through splendidly choreographed action and a great heaping murder of metaphorical crows coming home to roost.Adapted from the works of author Andrzej Sapkowski, Nightmare of the Wolf is a prequel to the main Witcher stories. A generation before series protagonist Geralt of Rivia walked the continent in the pages of Sapkowski's novels, the Lauren Schmidt Hissrich-run Netflix series, and the acclaimed video game trilogy, his mentor Vesemir (voiced in English by Theo James) was as much a roguish swashbuckler as he was a professional monster hunter. Vesemir is unique among his Witcher peers. As a youth seeking a life beyond indentured servitude, he joined the alchemically mutated monster hunters of his own free will, rather than being selected by or sold to them. Netflix The life of a Witcher is extraordinarily perilous. Even with their sense- and strength-enhancing mutations, expertly crafted weapons, and potent magics, they battle the most lethal creatures in the world for a living—to say nothing of the nightmarish process that goes into transforming a baseline human boy into a Witcher. But, provided they survive these perils, there's money in monster hunting. As much as people may despise Witchers as mutants, their knowledge and skills make them the people to turn to when there's a monster on the loose. And Vesemir's damn good at monster hunting. His glyphs, swords, and potions have won him luxuries he could only dream of as a servant boy.But as much as he'd like to go from hunt to hunt and pleasure to pleasure, the world will not allow Vesemir to while away his days with hot baths and good wine. After years in decline, monsters are resurging—and mutating into new, deadly forms. Elven girls are disappearing. A powerful sorceress and politician named Tetra Gilcrest (voiced by Lara Pulver in English) leads a growing movement to drive the Witchers out of civilization. Gilcrest's political opponent Lady Zerbst (voiced by Mary McDonnell in English) is running what interference she can, but her influence is waning. Secrets of all sorts will soon slither out of their hiding places, and Vesemir will have to face them and all that they bring with them. Continue Reading →

Director Brian Andrew Mendoza and Jason Momoa go back way before their newest collaboration, the Netflix feature Sweet Girl. Not only did Mendoza serve as the cinematographer for Momoa’s 2018 action vehicle Braven, but Mendoza has also produced several other Momoa projects and even made a small appearance in the actor’s 2011 Conan the Barbarian movie! Unfortunately, their rich history together doesn't inspire a greater level of depth (or basic entertainment value) in the latest entry in the Netflix DTV action world, Sweet Girl. Continue Reading →

KinoKultur is a thematic exploration of the queer, camp, weird, and radical releases Kino Lorber has to offer. Dinosaurs are the ultimate symbols of The Past. They represent deep time, natural history, and the chaos of the wild. It's no wonder that cinema has always been fascinated by them. One of the first exhibitions of what we might now call "cinema" was presented in 1922 by Sherlock Holmes' own Sir Arthur Conan Doyle, “footage of moving dinosaurs” from the exhibition at the center of his 1912 novella, The Lost World. From the very beginning of the medium, creatives have sought to reanimate the awesome creatures on the silver screen. When dinosaurs appear on film, they frequently bring with them a host of cultural and ideological anxieties. Dinosaurs threaten humanity's imperial dominance on the planet. When they appear, we become prey. And they remind us that even the mightiest powers can be reduced to dust. Continue Reading →