1216 Best Film & TV Releases Translated Into Italian (Page 17)

While Anna Winger’s new series Transatlantic is visually and textually lush, it opens a stark portrayal of the refugee experience. It’s painful, watching as they struggle with the terrain, carrying everything they have in their arms. You hear every labored breath, see every sweat stain. This long opening sequence sets the tone for the rest of the seven-part series–it isn’t glamorous or glossy, just beautifully filtered misery, fear, and hope. Continue Reading →

The acclaimed documentarian joins The Spool to discuss Brooke Shields, her work, her life, and her relationship to "Brooke Shields" the image. In 1981, Roger Ebert wrote a profile on Brooke Shields in which he—quoting a press agent—said, “She will be with us for the rest of our lives.” That turned out to be remarkably prescient, but neither the agent nor Ebert could have anticipated the myriad number of ways Shields has been with us in that time. Yes, she is extraordinarily beautiful. But many equally attractive people have come and gone, while Shields remains a consistent part of pop culture’s firmament. From her early appearances in films like Pretty Baby (1978), The Blue Lagoon (1980), and Endless Love (1981) and her controversial TV ads for Calvin Klein jeans, all of which focused on her sexuality while she was literally a child, to her shift in the later Eighties to become America’s Virgin to her reinvention as a comedic actress in the Nineties to becoming an advocate for those suffering from postpartum depression (and suffering the slings and arrows of Tom Cruise in full asshole mode as a result), Shields has been a persistently relevant figure in the American popular consciousness.  While Shields has lived much of her life in the public eye, Pretty Baby: Brooke Shields, a fascinating two-part documentary from Lana Wilson now streaming on Hulu, proves that she still has a great deal to say. Given access to nearly a half-century’s worth of archival material, which she presents alongside contemporary interviews with Shields, Wilson paints a fascinating, eye-opening portrait that demands a new consideration of Shields and her career. Much of her story is harrowing, be it specific to her life—her wrenching descriptions of sexual assault and her tumultuous relationship with her mother—or experiences too many young women in the spotlight share. (If you think having someone inquire about the state of your virginity sounds awful, imagine having talk show hosts do so on live television.) And yet, not only has Shields survived, she is thriving. She has found peace with herself and is able to look back on her life with a sense of control over it.  Continue Reading →

When you insert the Blu-Ray of Schlock, John Landis’s 1973 directorial debut, the first thing that comes up—even before the menus—is a brief clip of Landis himself informing you of the film you are about to watch. He concludes by sheepishly adding, “I’m sorry.”  Continue Reading →

There’s been no shortage of pieces lately decrying the state of the romcom—is it on life support? Dead? In danger? If you’ve been lamenting the dearth of gems like You’ve Got Mail and Bridget Jones’s Diary, then Hulu has good news for you with its release of director Raine Allen-Miller’s feature debut: Rye Lane. It’s a quick and quippy romp through London’s Peckham neighborhood as two heartbroken twentysomethings bond over breakups and, far more deliciously, how to get back at their rotten exes. It’s a return to form that doesn’t feel stuck in the past. Rather, it’s a joyful reminder of why everyone loves a rom-com to begin with.  Continue Reading →

Unstable appears to be a deeply personal show for lead actor and co-creator Rob Lowe. After all, it revolves around a father/son duo played by Lowe and his real-life son, John Owen Lowe. Rob Lowe’s headlined worse stuff than this, for sure. Nonetheless, you’d think a series that seems rooted in something this personal would be more engaging to watch. At least, it might take some bold swings. Tragically, Unstable is a mostly just average comedy that leaves little in the way of an impression for good or ill.  Continue Reading →

As Melissa (Cicely Strong) explicitly points out, the musicals that inspired the first season of Schmigadoon! were all of a relatively similar happy-go-lucky and “they all lived happily ever after” cloth. Her attempt to return to that mystical world with her now husband Josh (Keegan-Michael Key) in Schmigadoon! Season 2 takes them instead to Schmicago. It is another mythic town that mirrors musicals, but this time out, it’s the shows of the 60s and 70s. The Broadway shows of that era were darker, more complex, more violent, and far less likely to deliver a happy ending. That, paired with their motivation to flee the drudgery of day-to-day life and the heartbreak of infertility, means escaping will take something far more challenging to find than “love.” Continue Reading →

Season one of Showtime's surprise hit Yellowjackets left us with as many questions as it answered. With the show's sophomore season—launching this week—creators Ashley Lyle and Bart Nickerson take us deeper into their strange, terrifying wonderland, doling out mystery, horror, humor, and some exquisite needle drops. Prepare for a Tori Amos renaissance in the vein of Kate Bush's success on Stranger Things 4.  Continue Reading →

The John Wick films are, simply put, the standard-bearer for American action in the 21st century. When the first came out in 2014, it shook the foundations of what we felt was possible in a Hollywood action landscape predominantly concerned with CGI energy blasts: It put stuntwork front and center, crafted labyrinthine mythology as dense and unnecessary as it was innately compelling in its flavor, and -- most importantly -- brought Keanu Reeves back to the public consciousness in a big way. Basically, it's some of the few times American action movies can even hope to compete with what comes out of Eastern Europe and Asia. And now, that saga comes to a close with John Wick: Chapter 4, a film that took two years after completion to come out, and feels like a final exhale of relief after hours of unrelenting, inventive action. Continue Reading →

Every episode of Amazon’s Swarm begins with a title card that reads, “This is not a work of fiction. Any similarity to actual persons, living or dead, or actual events, is intentional.”   Continue Reading →

If only there were a word I could scream that would turn me into a superhero. I wouldn’t fight crime or fly in the heavens above. Instead, I would run really fast until time went backward. Then I would sprint into the DC Film offices circa 2020 and yell, “Please do not make Shazam! Fury of the Gods. Nobody needs this!” Alas, I have no such power. So, here we are.  Continue Reading →

There’s a subset of “Will they or won’t they?” stories that are perhaps best described as “They will, then they won’t, then they will again, then they won’t again, and so on.” There are certainly fans of this kind of story. Arguably the most popular sitcom of the past 40 years, Friends, had Ross and Rachel bouncing together and apart repeatedly. Hulu’s new musical series Up Here is the latest example of that rom-com subset of a subset. Continue Reading →

It’s a year ending with a number, so, once again, someone’s launching a live-action TV show rooted in Batman’s mythology but doesn’t star Batman. That show, following in the footsteps of Gotham and Pennyworth: The Origins of Batman’s Butler, is none other than Gotham Knights. A brand-new CW production, it aims to be a “next generation” tale of sorts. The audience follows a motley group of teens possessed of assorted connections to Batman characters, old and new. By the time the first episodes wrap, viewers will undoubtedly want to shine a signal into the sky to summon a better TV show.  Continue Reading →

Considering the lurid details of it (let alone that it was never solved), it’s curious that Netflix, America’s number one source for grisly true crime documentaries, has yet to cover the Boston Strangler. It’s a fascinating story largely because the man who was long believed to be the Strangler, Albert DeSalvo, almost certainly didn’t act alone, and may not have even killed all of the thirteen women whose deaths were originally attributed to him. DNA evidence years after the fact conclusively linked DeSalvo, convicted of rape and later murdered in prison, to just one victim. At the time of his arrest, both police and the media were so eager to bring the city-wide hysteria to an end that they pointed at him for all the murders, only quietly conceding after DeSalvo was in jail that there was likely more than one strangler, and that the case was still open. Nearly sixty years later, the other twelve murders remain unsolved. Continue Reading →

For a movie about the power of faith, hope, and belief, The Magician’s Elephant is markedly unsure of itself. Based on the 2009 children’s book, Wendy Rogers’ feature debut creates a visually stunning fantasy world that ends up feeling completely hollow. A modern fairytale, it follows young boy Peter’s journey to find his long-lost sister after a traveling fortune-teller informs him that she’s alive and all he needs to do to be reunited with her is “follow the elephant.” As luck would have it, a magician’s act gone awry has dropped an elephant in the center of town and the king declares that Peter can have it if he performs three impossible tasks. Continue Reading →

If nothing else, 65 proves that Adam Driver plays a marvelous survival hero. After his ship crash-lands on an uncharted world, his Mills is dazed and wounded—but not to the point that he does not remember what to do in an emergency. He's got a checklist memorized, and he can follow it until he's back together. As Mills treats his wound, catalogs the damage to his ship, and ultimately dons an environment suit to survey his crash site, Driver's body language shifts. Wooziness gives way to groundedness, and halting movements become smooth. Driver makes it clear that even when despairing and terrified, Mills knows what he's doing. Continue Reading →

Director Alberto Vazquez has said his latest work of animated annihilation, Unicorn Wars, is inspired by three tentpole texts: Apocalypse Now, Bambi, and the Bible. We rarely see a film that’s such a clear summation of its sources. Vazquez has taken these familiar stories and ran them through an organ grinder made of rainbow-colored steel. Continue Reading →

The Scream franchise's strength has always been in its self-awareness. Initially, it turned the camera towards the audience, demanding that they ask themselves why it's so entertaining to see other people being made to suffer, and what happens if, as the tagline went, someone took their love of scary movies too far. Then it mocked the inevitability of sequels, then the movie industry in general, then how the media treats trauma victims like celebrities, with varying levels of success. The 2022 reboot, directed by Matt Bettinelli-Olpin and Tyler Gillett, sought to address all of it in some fashion, with toxic fandom on top of that. It was mostly successful, despite being at times aggressively meta. Scream VI does much of the same, although this time the knowing winks and nods are starting to feel a little tired. Continue Reading →

Much of the pre-release buzz about AppleTV+’s new original series Extrapolations was concerned with its potential to be preachy. In much the same way this writer doesn’t mind a bit of emotional manipulation in entertainment, I can be fine with preachiness. Some things are worth preaching about. Extrapolations’ flaw isn’t that it has a soapbox and is using it. It’s that it’s such a mess. Continue Reading →

Considering the number of statues, attention, and fans the series has collected over two seasons, it may feel odd to call Ted Lasso Season 3 a chance at a comeback. However, given the backlash that seemed to accumulate during the back half of the second season, it isn’t entirely off the mark. Viewers and critics (not this one, make of that what you will) expressed frustration with the show’s messier tone and longer episodes. Additionally, even as the show pierced it, people’s appetite for Ted’s (Jason Sudeikis) positivity had rapidly grown thin in some quarters. Continue Reading →

You Season 4 Part 1 depicted its antihero protagonist, Joe Goldberg (Penn Badgley), at his most straightforwardly heroic. He was teaching classes, avoiding romance, and trying not to commit any more murders. At least, that’s what Joe told himself and the audience in his omnipresent narration. It was a notable and perplexing turn for a character who viewers first met stalking, kidnapping, and murdering the object of his demented affections.  Continue Reading →