122 Best Releases Translations Hungarian on Amazon Prime Video (Page 6)

Grear Patterson's debut feature is moody, evocative, and graciously efficient, but doesn't fill its world with characters you can care about. In a world where the average blockbuster runs closer to two and a half hours than 90 minutes, the 75- to 80-minute movie is often like a breath of fresh air. Kudos then to the filmmaker that can manage to make those minutes feel like 1,000 years. It’s an impressive feat, albeit one no one wants to sit through. Unfortunately, this is where all 78 minutes of Giants Being Lonely lands. Director and screenwriter Grear Patterson’s debut is a moody little exploration of the perils of growing up. Set in the warm days at the end of the school year in the south, we follow a group of teenagers as they wrap up the year and prepare for prom. The cast is mainly comprised of unknowns, which adds to the film’s feeling of “Anyplace, USA”. There’s wayward baseball star Bobby (Jack Irv), the coach’s battered-down son Adam (Ben Irving), and Adam’s crush, Caroline (Lily Gavin). From first loves to illicit affairs and parental abuse, the kids go through it all as they wait for summer to come. Continue Reading →

From the moment that it debuted in 1961, following months of negative headlines surrounding its schedule and cost overruns that all but sealed its fate long before it ever hit theaters, a debate has raged over One-Eyed Jacks, the jumbo-sized Western that proved to be the Heaven’s Gate of its day. It also marked the beginning and the ending of the directorial career of renowned actor Marlon Brando. Was it, as some people even back then noted, a one-of-a-kind masterpiece that dared to inject overt artistry and psychology into what was normally one of the most straightforward of screen genres? Or, as others suggested, was it a pretentious and bloated misfire that did nothing but underscore the dangers of letting an actor with overweening creative ambitions take charge of a project without any sort of controls? Continue Reading →

While there are many ways to adapt material to another medium, there do seem to be two prominent schools of thought. Some want adaptations of existing works to take the source material as a jumping-off point. The original text should inspire the creators of the new media, but should make their own perspective felt. On the other hand, there are those that crave pure accuracy. They want the new piece to resemble the original as closely as possible, in tone, point of view, and style. Continue Reading →

Coming 2 America Trailer: https://www.youtube.com/watch?v=x5lrkdvEZGg&ab_channel=AmazonPrimeVideo Continue Reading →

I am a great lover of camp media. I love the over-the-top, the ridiculous, the melodramatic, and the ostentatious. I love storytelling that delves so far into the extremes of the human experience that it departs from reality altogether. Unfortunately, camp can backfire, and when it doesn’t work, it can become so ridiculous that it’s hard to watch.  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 →

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 →

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 →

Where’s the line between a messy movie and a movie that’s a mess? Joel Schumacher’s clearly-flawed Flawless oozes with subplots while it tries to fulfill the obligations of an “unexpected buddy” movie. Like the pre-gentrification East Village that it’s built around, characters and cultures clash to chaotic, uneven results. Continue Reading →

Carlson Young writes, directs and stars in a baffling horror-fantasy about a young woman who deals with trauma by disappearing into an elaborate alternate universe. The nature of trauma, and how it impacts the human brain, is something that’s frustrating understudied, largely because it’s different for everyone. Some of us can take the terrible things we’ve experienced head on, moving past them and living a normal life. Some of us struggle to maintain that sense of normalcy, while our trauma lingers in the shadows just behind us. And some are so consumed by it that the entire world becomes a hostile, dangerous place. Carlson Young’s The Blazing World is an elaborate take on the latter, an ambitious spectacle for the eyes that lacks in comprehension. Based on her short film of the same name, Young writes, directs and stars as Margaret, who as a child witnessed the accidental death of her twin sister. The event leaves her haunted by visions of a mysterious man (Udo Kier) who might be the Devil, if for no other reason than every character Udo Kier plays might be the Devil. Some fifteen or so years later, he’s still hanging around, leering at her and trying to lure Margaret into some sort of portal.  Continue Reading →

Gabriela Cowperthwaite’s Our Friend stumbles from a surfeit of generosity. It’s perhaps inevitable given the scope of its approach. Adapted by screenwriter Brad Ingelsby from Matt Teague’s 2013 Esquire feature, the cancer drama vainly juggles the perspectives of three close-knit friends (Matt, Dane, and Nicole) as they weather the effects and repercussions of Nicole’s (Dakota Johnson) terminal cancer. Continue Reading →

Obvious to those in Ireland and the UK, Herself’s title carries a second meaning that will likely fly under the radar for most American viewers. It isn’t merely a reflexive pronoun, it’s a term of respect and familiarity that can also mean “a woman of consequence” or, more aptly for this film, “mistress of the house.” Because Herself is the story of how one woman ends up finding herself by building her very own home, brick by brick. Continue Reading →

NBC’s new sitcom Mr. Mayor will inevitably be compared to 30 Rock, the network’s previous sitcom from Tina Fey and Robert Carlock. Both feature rich men in power butting heads with their female colleagues. Both shows share a composer, Jeff Richmond (also an executive producer, and Fey’s spouse) crafting another bouncy score. Different from her New York-based shows (30 Rock, Great News, Kimmy Schmidt) Fey and company take on Los Angeles politics this time. While occasionally funny, the show fails to instill a vote of confidence in the future of the series.  Continue Reading →

The Expanse has always excelled at handling the sheer bigness of its stakes: events don't just impact individual characters, but the entire system -- and, I suspect, eventually the entire universe, given the underlying threat of the weapons that killed the Ring Builders. But as comparatively terrestrial as season five's stakes have been so far, episode four of season 5, "Gaugamela," leapfrogs off the last episode's shocking final moments to shake up the status quo in literally seismic ways. As bad as things got in the final moments of episode 3, here we see an episode of chickens coming home to roost, setting up a whole host of problems for our characters to resolve in the latter half of the season. Continue Reading →

There are two moments in The Wilds that so succinctly summarize the show’s tone, we have just have to start with them. In the first episode, Leah Rilke (Sarah Pidgeon) barrels directly down the lens of the camera and declares the life of a teenage girl in America in the 21st Century to be literal hell as if in direct conversation with the audience. Then, later in the series, Rachel Reid (Reign Edwards) searches for the word melodrama, applying it to the actions of her fellow island isolated survivors. And that’s The Wilds for you. Tremendously unsubtle and one-hundred percent aware of it. It also happens to be very good. Continue Reading →