148 Best Releases Translations Hungarian on Hulu (Page 6)

As Fantasia draws to a close, we're catching up on some of the smaller films from the fest before they slip from our fingers into the Montreal air. First up is Indemnity, a surprisingly lean and confident (albeit familiar) action thriller from South Africa's Gambit Films, proof positive that the most interesting action pictures are coming from places outside Hollywood. At its core, it's a meat-and-potatoes conspiracy caper At the center of Indemnity is a traumatized firefighter named Theo Abrams (Jarrid Geduld), still reeling from the mental anguish and PTSD that came from a particularly bad blaze that killed several people around him. Meanwhile, his wife Angie (Nicole Fortuin), an investigative journalist, gets wrapped up in a conspiracy involving defense contractors and shadowy government figures -- and despite failed warnings, she ends up dead in their bed one morning, with Theo suddenly becoming the prime suspect. From there, Theo goes on the run, becoming a tense mix of John Wick and Harrison Ford in The Fugitive, smashing and crashing his way through setpieces and plot beats that would feel familiar to anyone raised on 1990s Hollywood action films. But despite this familiarity, there's a certain charm to Indemnity that makes its pastiche sing a bit more than you'd expect. Maybe it's the committed performance from Geduld (who handles his choreography with a bruiser's brutality), or the comparatively homespun nature of the production. Indemnity does a lot with a little; it clearly doesn't have Hollywood's resources, but it uses those limitations in uniquely charming ways. Dustups in prison vans and elevators have a wincing vitality that only seems to come when a film feels like it's putting its actors in real danger. Continue Reading →

Big Little Lies and The Undoing creator David E. Kelley returns to the small screen for another collaboration with Nicole Kidman with Hulu’s Nine Perfect Strangers, an adaptation of Liane Moriarty’s 2018 bestseller. The book received mixed reviews, though, despite its commercial success, and the series struggles with the shallow nature of its story. Coming on the heels of The White Lotus, another show depicting rich, difficult people at a beautiful location, Kelley struggles to capture the suspense of his previous endeavors. Continue Reading →

The sense of rot in Pig is almost constant. There’s progression but no real growth for much of its short runtime, no feeling of true human connection through its first half. For a while, its empathy only comes from within. It comes within its hero; its intimacy only blossoms when there’s no one else to dry it from the roots up. The man in question is Robin (Nicolas Cage). He was a well-known chef but has since jumped ship, living in a shack in the Oregon wilderness and hunting truffles with his foraging pig. His only consistent human interaction is with a yuppie-type named Amir (Alex Wolff), but that’s strictly transactional. Continue Reading →

Let’s get one thing out of the way: the original Space Jam, released in 1996, isn’t a good movie. It’s an extended Nike commercial with an iconic soundtrack that tricked the brains of '90s kids into keeping it warm with nostalgia. So, it’s only fair that 25 years later, a new generation of children are forced to experience a similar kind of cash grab. Continue Reading →

Not all entertainment is for everyone. Continue Reading →

Adam Leon's foggy mood piece is as endearingly formless as its amnesiac protagonist, a moody reflection on creativity and youth. This review is part of our coverage of the 2021 Tribeca Film Festival. There's no explicit explanation given for why Alina Reynolds (Vanessa Kirby), a short story writer of some recent renown, finds herself aimlessly wandering the streets of New York City sans memory in Adam Leon's hypnotic Italian Studies. But if anyone was to thrive in the Big Apple in such a remarkable fugue state, it'd be someone so preternaturally attuned to listening and observing as Alina. And that she does for the vast majority of Italian Studies' runtime, creating a listless yet engrossing fever dream about the unexpected gifts of curiosity. Continue Reading →

Mickey Reece's latest eases you into a darkly comic take on the typical possession film, before turning an ambitious 180 into more solemn territory. This review is part of our coverage of the 2021 Tribeca Film Festival. Oklahoma City-based filmmaker Mickey Reece is as idiosyncratic as he is prolific; Agnes is his twenty-fifth movie in the past decade. And like his previous films (Mickey Reece's Alien, Climate of the Hunter), it's just as hard to categorize. Step into Agnes totally unfamiliar, and you might expect the typical possession-horror endemic of something like The Nun or, well, the obvious nod to Agnes of God. But right from its opening minutes, Agnes sets itself apart with a winningly dark humor; wait even longer still, and its halfway point will surprise you even further. Continue Reading →

Pregnancy sucks. Though we do it all the time, because otherwise god forbid more women would choose to not subject themselves to it, it seems almost morally wrong to sugarcoat it. Even an “easy” pregnancy is uncomfortable at best, when foods you normally love become repulsive, and even tasks as simple as putting on shoes become a comedy of errors, if your feet can even still fit in them. Childbirth itself is the most excruciating pain the human body can endure, and the effort for such a “natural and beautiful” process can result in vaginal tears that can make future intercourse difficult. Mostly, we just get real weird about pregnant people. Pregnancy is perceived as a communal event, with everyone, even casual friends and co-workers pushing advice and suggestions, while often dismissing (if not shutting down outright), the pregnant person’s needs and concerns. Ilana Glazer and John Lee’s False Positive is a chillingly effective look at an expectant parent’s sharp decline from excitement to unease to paranoid terror. Her fears are brushed off as part of “mommy brain,” but there may be something to it. Continue Reading →

Toni Collette has recently made a name for herself in the broader movie-going culture as a queen of creepy, suspense cinema, with her fantastic performances in Ari Aster’s Hereditary and Charlie Kaufman’s dark and whimsical I’m Thinking of Ending Things. It’s fun to see this resurgence of popularity nearly two decades after she gave what I consider her best performance of her career in M. Night Shyamalan’s The Sixth Sense.  Continue Reading →

The director-writer & star of Asia talk death, love & the immigration experience. A mother, her rebellious teen daughter, and an illness. It’s a story that’s been done and redone so many times that it’s basically become a subgenre. But in Ruthy Pribar’s feature directorial debut Asia, a tender and devastating character study about motherhood and loss, everything about the subgenre gets rejuvenated. Not because it breathes a new life into it, but because it tells the story in an understated way, with a level of realism that recalls the works of the Dardenne brothers more than it does The Fault in Our Stars. The titular character, Asia (Alena Yiv), is a 35-year-old single mother who immigrated herself and her daughter from Russia to Israel years ago to start a new life. By day (and sometimes night), Asia works tirelessly as a nurse. But when she’s not taking care of her patients, Asia likes to spend time at a bar, drinking alone and flirting with strangers, or having sex with her colleague in his car as if she’s still a teenager.  Continue Reading →

When Greg Berlanti’s Love, Simon arrived three years ago, it was hailed as groundbreaking — mostly because it was the first major studio rom-com centering on a gay character. But valid criticisms soon came from the queer community, saying that the movie is too white and its depiction of coming-out is a tad too tidy and sanitized. 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 →

In Four Good Days, when heroin-addict Molly is asked what her triggers are, what could get her to use again, she replies, “My life’s a trigger…” Fellow addict Amanda Wendler takes things a step further, though, proclaiming, “Reality’s a trigger.” But Amanda isn’t another character in Molly’s story—she’s the inspiration behind it. In 2016, the Washington Post chronicled a few days in her fight for sobriety in their much lauded article, “How’s Amanda? A Story of Truth, Lies and American Addiction.” Continue Reading →

M.O.D.O.K. isn’t set in the Marvel Cinematic Universe but it is firmly set in the newest trend in adult-sewing American animation. Popularized by Rick & Morty and BoJack Horseman, these cartoons put on an exterior dick jokes and fart gags but are actually about deeper explorations of weighty turmoil’s. Considering this phenomenon has produced shows like Horseman and Harley Quinn, it’s one of the better TV trends out there. The best parts of M.O.D.O.K. exemplify why. There’s something enduringly impressive about balancing out raunchiness with genuinely insightful drama. 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 →

In the last year, we’ve all been able to relate to The Outside Story protagonist Charles Young (Brian Tyree Henry) and his desire to just stay indoors. Whereas the general public’s inclination to stay inside has come from the danger of the COVID-19 pandemic, though, Young has been refusing to move from his couch due to a severe case of heartbreak. After learning that his girlfriend, Isha (Sonequa Martin-Green), cheated on him, the two have broken up. Now Young is so forlorn that he can do nothing but remain in his apartment working on video editing assignments from Turner Classic Movies. Continue Reading →

A lot of the discourse surrounding Pose tends to focus on how groundbreaking it is, and rest assured Ryan Murphy’s drama is certainly that. Prior to the 2010s, queer media almost exclusively focused on the G in LGBT+ and most of those gay men were white and cis. By contrast, Pose’s main cast stars people of color, most of whom are trans. This diversity is behind the camera as well, being partially created by Steve Canals with writing and directing credits by Janet Mock and Our Lady J.  Continue Reading →

In the spirit of full disclosure, I need to say this: I’m not a big fan of The Handmaid’s Tale. There’s something about a show that is so unrelentingly grim—without even the occasional glimmers of light—that just makes me feel like I’ve been ground down into a salty meat paste. This is why I checked out of Game of Thrones before I even knew the words “Red Wedding,” because I couldn’t bear to watch Sansa Stark beaten, humiliated, and tortured anymore. So while I can say that Handmaid’s has strong writing and still boasts some of the most gorgeous photography of any show out there, I still don’t enjoy it. Can anyone say they actually enjoy it?  And when did the incessant castigation of women become primetime entertainment? Continue Reading →

We Broke Up wastes no time cutting to the chase of its own title. The first scene quickly and efficiently introduces the breezy, playful dynamic between longtime partners Doug (William Jackson Harper) and Lori (Aya Cash) as they banter in a restaurant while waiting for takeout. By the end of the scene, Doug pulls a proposal out of nowhere and Lori proceeds to vomit right then and there. It's one of the few times We Broke Up even tries to push the comedy into its supposed rom-com format.  Continue Reading →

At face value, the original premise of Younger seems destined for a short run. After all, a story about a woman in her 40s who pretends to be 26 to get a job in publishing seems more at home as a Lifetime Original movie than a long-form series. And yet the comedy has lasted six years on TVLand, with the show never losing its charm and heart. While the seventh and final season has the series moving from TVLand to Paramount+, it still manages to keep the same spirit that won it so many fans.  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 →