341 Best Film & TV Releases Translated Into Indonesian (Page 8)

Idris Elba has been playing DCI John Luther for over a decade. A mixture of James Bond and Sherlock Holmes, he’s a violent, angry, dedicated detective, doing whatever necessary to catch the grisliest criminals. Finally, after six seasons, Luther finds himself in a feature film, Luther: The Fallen Sun, with many of the trappings of his British series. A horrific serial killer is on the loose. The anti-hero detective must stop him, but there’s a major obstacle in his way. Specifically, he’s staring out at the world through the bars of a jail cell. Continue Reading →

Round three of twelve. Adonis Creed (Michael B. Jordan)—the fresh-out-of-retirement undisputed heavyweight champion of the world—faces Damian "Diamond Dame" Anderson (Jonathan Majors)—the ruthless-came-from-eighteen-years-in-prison reigning champ. Growing up in a group home, Adonis and Damian were brothers—united by care for one another in a callous system and a shared love of the sweet science. Continue Reading →

A few weeks ago, a picture of M. Night Shyamalan and his family at the premiere of his Apple TV show Servant surfaced on my social media timeline. All five of them dressed exquisitely, Shyamalan with his goofy dad smile, his Ph.D. wife Bhavna looking glamorous, and their three adult daughters, bright with talent, love, and creative potential.  Continue Reading →

First, some music to set the mood, with thanks to Paul Thomas Anderson. If it's 1985 and you've got something to do—say, going for a hike, cutting class to paint a waterfall with a pal, or retrieving a shipment of cocaine that your terrifying crime lord dad's good-for-nothing pilot dumped before getting himself killed— and it's a quiet day out, then Georgia's Chattahoochee–Oconee National Forest would seem like the place to go. The trees are tall, the grass is green, and the Cocaine Bear is on a murderous rampage. Continue Reading →

When Christoph Waltz is at his best playing a villain in films like Inglorious Basterds, he presents as gentle and almost naively sweet before revealing an endless capacity for cruelty. At his worst, as with his Blofeld, he presents as all menace and violence and ends up with the effectiveness of a kitten. The former is delightful to behold; the latter can crash an entire film. Unfortunately, The Consultant forces Waltz to be the menacing kitten. Continue Reading →

Hello Tomorrow! is a lot like its lead character Jack Billings (Billy Crudup). It looks great, for one. For another, it keeps dancing in the hopes that you won’t catch on to exactly how hollow its charms are, even when the music stops. And, like Billings, you almost want Hello Tomorrow! to get away with it. Unfortunately, they’re both running confidence games that they can’t land. Continue Reading →

We love movies about con artists, because they’re always glamorous, with attractive, elegantly dressed people slickly seducing their marks. It’s far sexier and intriguing than the sad reality of con artistry, which mostly seems to involve catfishing lonely people on dating sites, or swindling them out of cash on behalf of a made-up charity. No one likes to think about how easy it is to be fooled by someone who’s simply a good liar, it makes more sense that these things happen as part of an elaborate scheme created by a network of seasoned professionals alternately working together and stabbing each other in the back. Apple TV+’s Sharper scratches that particular itch, and looks good doing it, but ultimately feels a bit hollow, and has twists that are far more transparent than they should be. Continue Reading →

As the Marvel Cinematic Universe got bigger and bigger and bigger, it was downright refreshing to see something as fittingly small and low-stakes as the Ant-Man films break up all the universe-ending tension. It was nice; after watching the Avengers punch through an exhausting sea of robotic baddies and set up a bunch of Infinity Stone dross, along came Paul Rudd as a smirking, kinda-dumb thief who lucked his way into a shrinking suit he used on a tech heist. After Thanos snapped half the universe away, we flashed back to good ol' Scott Lang on a caper to bring his mentor Hank Pym's (Michael Douglas) wife Janet Van Dyne (Michelle Pfeiffer) back from the Quantum Realm. They were lighter, more carefree, a much-needed sitcom wing of the MCU. Continue Reading →

“Emotionally manipulative” is a criticism of television and film I’ve always struggled with evaluating. If it is doing its job, any show or movie should emotionally manipulate you, at least a bit. It’s why you can go into a dark cineplex feeling a bit in the grip of the blahs and emerge high on the story of Nic Cage and his best swine friend. So know, when I declare Dear Edward “emotionally manipulative as hell,” that’s not necessarily a bad thing. Continue Reading →

What would you do to know your parents? Not just as parents, but as people—even long after their deaths? How would you make the most of a horrendous moral quagmire you had no choice in getting dragged into—and what would you do when that quagmire, for all its familiarity, finally became too much to bear? On a broader level, what makes us human—and what remains when we're gone? Director/writer Yeon Sang-ho asks and answers these questions in his out-now-on-Netflix science fiction film JUNG_E. It's a solid, thoughtful film that shines thanks to its leading trio and Sang-ho's skill at depicting and delving into the uncanny. Continue Reading →

Grief hits us all differently. For therapist Jimmy Laird (Jason Segel, also one of three Shrinking creators), the death of his wife led him to a year-long bender. The audience encounters him on his last night of drinking, drugs, and sex workers whom he pays not for sex but just to hang out with him. His neighbor Liz’s (Christa Miller) repeated pleas to stop waking her and her husband Derek (Ted McGinley) in the middle of the night with his “parties” finally break through. Continue Reading →

In many ways, M3GAN is as much about its marketing as it is about the movie being marketed. That's hardly a revelatory statement, especially when it comes to horror films: Studios and producers have breathlessly promised thrills and chills with ever more outrageous gimmicks ever since the days of William Castle offering life insurance policies for audiences who "die of fright." With Blumhouse's M3GAN, the secret lies in its titular robo-tot, a cutesy android with snatched wig, Union Jack dickie bow, and murderous dance moves primed for TikTok virality, all of which have been over the film's marketing for months now. So it's a relief to learn that M3GAN has bite to go with its meme-ready bark, a horror-comedy as much about the ways we use technology to fulfill every human need as it is a sassy robot tween popping and locking with a paper cutter in its hand. Continue Reading →

There is a Tom Hanks factor that ends up elevating whatever material he takes on. As has often been observed, he’s the closest thing to a modern-era Jimmy Stewart. Like Stewart, Hanks has made an effort to complicate his nice guy persona in this third act of his career. A Man Called Otto is the latest comparison point. While not especially risky, this remake of the 2015 Danish film A Man Called Ove still has an edge. That the film survives its journey to the States with that sharpness intact is something audiences can chalk up to the Hanks Factor. Continue Reading →

As Puss in Boots: The Last Wish begins, it’s evident that this movie is aiming for a different vibe compared to not only the first Puss in Boots but the greater Shrek series as a whole.  A visual aesthetic that evokes hand-drawn animation and rapid-fire editing summons memories of Spider-Man: Into the Spider-Verse or fellow 2022 DreamWorks Animation project The Bad Guys rather than Shrek the Third. Even the handful of pop culture references are more specific and idiosyncratic—Nicolas Cage’s take on The Wicker Man, for instance—than the very broad references the original Shrek movies became famous for.  Continue Reading →

Lars Von Trier is a complicated figure. The Danish director has ardent fans, fervent critics, and a whole host of international film watchers in-between. After 25 years of varying other projects, he returns to his favorite hospital in The Kingdom Exodus, the five-episode third and final season of his acclaimed supernatural series. The sepia-toned world hasn’t changed much, though, as Von Trier has gone through several scandals, health concerns, and personal challenges over the last two-and-a-half decades. His vision remains undeterred.   Continue Reading →

No recent film has understood the Internet quite like Searching. Aneesh Chaganty’s 2018 thriller follows John Cho as David, a father desperately searching for his missing daughter. The film is formatted entirely on screens, a new form of visual storytelling called Screenlife. We see David’s investigation through video calls, websites, and digital files. But at the heart of the story is a deep understanding of the way people, especially young people, can take on new lives through technology. Continue Reading →

Disney released a “live-action” remake of Pinocchio earlier in the fall, which was greeted with the same indifferent to negative critical response their “live-action” remakes always receive. I put “live-action” in quotes because referring to them as such is a bit generous. They’re predominantly CGI, with barely enough human actors appearing to qualify as a regular feature rather than animation. As with the remakes of The Lion King and Aladdin, beyond the fact that there was simply no reason for it to exist, Pinocchio smacked of cynicism, and sent a clear message to audiences: we can keep making the same thing over and over, and you rubes will pay to see it.  Continue Reading →

The danger in revisiting anything surprising in its quality the first time around is the loss of that surprise. Once you know a book, movie, or TV series can tell compelling stories, crack great jokes, or create multi-dimensional characters, one can’t help but expect that from its follow-ups and sequels. When the shock is gone, can the work still deliver? If so, how? Continue Reading →

It’s Christmas time, and a man at the breaking point finds himself at the wrong place at the wrong time. But he isn’t retired cop John McClane this time. Instead, it’s Saint Nick with a sledgehammer he’d like to swing into your bowl full of jelly. The premise of Violent Night is simple (Die Hard but with Santa), and the filmmakers mostly pull off the kill-fest thanks to some game performers and one inspired sequence.   Continue Reading →

A little over 24 hours after seeing it, there are two sequences in Steven Spielberg's The Fabelmans that I've run on repeat back and forth. One dramatic, the other comedic—both illustrate the strengths of Spielberg's semi-autobiography. Continue Reading →

Jenna Ortega is having quite the year. Between the success of Ti West’s brilliant slasher X and leading the new Scream franchise, she’s poised to become our next reigning Queen of Creepy. This looks even more likely now as she brings the definitive goth teen to life in Netflix’s Wednesday, helmed by Tim Burton. Continue Reading →