1216 Best Film & TV Releases Translated Into Italian (Page 24)

Patricio Guzman directs the rare political documentary that leaves viewers with a bit of optimism. (This review is part of our coverage of the 2022 Toronto International Film Festival) From his landmark three-part work The Battle of Chile to the recent The Cordillera of Dreams, documentarian Patricio Guzman has made the subject of political unrest in South America, primarily regarding the 1973 coup d’etat in his home country of Chile, the central focus of his work. His latest film, My Imaginary Country, is yet another project along those lines, but viewers expecting more of the same may be as surprised as Guzman clearly was to discover that while the images of chaos captured here may appear to be more of the same, there is something different in the air that suggests something new and hopeful is unfolding as well. Continue Reading →

Social media has normalized behaving as though we know and can even speak for celebrities. Going beyond the concept of the “number one fan,” we address them directly, make demands of them, and attack anyone perceived as meaning them harm, acting as though we’re under personal orders. It peaked during the Amber Heard defamation trial, then that angry energy transferred over to Olivia Wilde, largely for committing the crime of dating Harry Styles. The mere tweeting of Wilde’s name seems to summon antagonistic replies listing her sins, accusing her of everything from being a rape apologist to a pedophile to preventing Styles from being with the person he truly loves, fellow One Direction member Louis Tomlinson. Though Styles and Tomlinson have both denied (many times) that they’re in a secret relationship, their “true” fans insist that they know better, and that it’s all subterfuge to fool the press. So it’s up to the fans to aggressively defend them, even threatening those they perceive as “enemies.” Continue Reading →

It’s a familiar scene. A writer finds success on the independent scene with something artistic and boundary-pushing. They take a meeting and the Hollywood content machine devours them. The difference in Reboot is the writer, Hannah (Rachel Bloom), has bought into the system without hesitation. She’s after something far more compelling than art or commerce. She seeks revenge. Continue Reading →

The difficult thing about reviewing a reboot/reimagining/update/sequel of an older property with plenty of accumulated goodwill is taking the new series on its own merits. It may be tempting to simply declare, “it isn’t as good as the original!” and call it a day. However, that isn’t exactly playing it fair. And yet, the temptation is there. Continue Reading →

Most of Generation X has received our AARP memberships in the mail, as our lurching journey down the road towards irrelevance comes to an end. Both the smallest generation in numbers, and the first generation to not do better than our parents financially, we’ve long been caught in the middle of the endless battle for dominance between Boomers and Millennials, and now with Gen Z steamrolling over them both, we’re fading out of the cultural picture altogether, like Marty McFly’s brother and sister. Continue Reading →

Gina Prince-Bythewood is indisputably one of the most interesting directors working in Hollywood today. Since breaking out with the hit sports romance Love & Basketball, her work has ranged from intimate family dramas and love stories (The Secret Life of Bees, Beyond the Lights) to action-packed superhero movies (The Old Guard). It took Prince-Bythewood seven years to bring her new film, The Woman King, to the screen. Epic, thrilling, and jam-packed with delightful character beats, The Woman King understandably feels like the culmination of Prince-Bythewood’s work so far. As masterful at shooting stunning fight sequences as she is wringing emotions from intimate dialogue scenes, Prince-Bythewood delivers a crowd-pleaser for the ages. Continue Reading →

In the unforgettable Looney Tunes cartoon Duck Amuck, director Chuck Jones posits a question to the viewer. What is Daffy Duck? Are his qualities recognizable even if he was in a different body? Entirely invisible? The various visual manifestations of this fowl, complete with a consistent personality emanating from the character’s voicework and body language, make it clear that Daffy Duck is more than just one physical vessel. He transcends form. Continue Reading →

It's safe to say that no one necessarily asked for a sequel to Ti West's X, especially six mere months after its release. Not because it was bad, mind you; it was actually quite good, a nifty throwback to Texas Chainsaw Massacre with a hefty soupcon of Debbie Does Dallas tossed in the mix. But its tale of a ragtag amateur-porn crew besieged by a murderous old country crone envious of their youthful beauty and raging libidos hardly cried out for a followup. Yet here we are with Pearl, a prequel that dabbles in decidedly different genre homages but might just be the superior slasher of the two. Continue Reading →

Ask someone if they’ve seen 2014’s Goodnight Mommy, and if their immediate response is to shudder, you’ll know they have. The Austrian cult horror film combines so many tropes – psychological horror, body horror, paranoia, twins, creepy kids, creepy moms, etc. – that it seems like it should be an incoherent mess, but is instead a tightly paced, relentless assault on the nerves. Even the trailer is creepier than many mainstream horror films, while only showing a tiny bit of how bad things get in it. Continue Reading →

God’s Country shows a place in America rarely described. There’s a vastness, an emptiness to Sandra Guidry’s (Thandiwe Newton) home. She’s moved from New Orleans out to the country. It’s the sort of place where a single man in law enforcement covers hundreds of miles of terrain. A Black professor in an all-white department at a local university, Guidry lives in her house alone on acres of land, prime hunting ground for those hoping to shoot and score. Julian Higgins’s thriller plays out like a matchstick, a burn that erodes everything until there’s nothing left to destroy.   Continue Reading →

“You’ve seen one you seen them all," says the dastardly movie director from beyond the grave. It’s the recently murdered Leo Köpernick (Adrien Brody), telling us early in the film about how stale the murder mystery genre was even by the 1950s, when See How They Run takes place. It’s also a warning to the audience that this movie will not be adding anything new, revelatory, or exciting to whodunnit cinema. Everything here has been done before, and better.  Continue Reading →

Mike Pondsmith, creator of the tabletop RPG Cyberpunk—which video game studio CD Projekt Red adapted into Cyberpunk 2077 and which in turn led to the creation of Studio TRIGGER (Promare)'s 10-episode anime Cyberpunk: Edgerunners—said this: Continue Reading →

Jon Hamm is a darn good comic actor, and he's a darn good comic actor with range. In Top Gun: Maverick for instance he played Naval Airboss Cyclone's abiding sternness and exasperation with Maverick for solid straight man work. Confess Fletch—which Hamm leads as unlicensed detective Irwin Maurice "Fletch" Fletcher (previously played by Chevy Chase in 1985's Fletch), by contrast, sees the Mad Men star go quietly goofy to strong effect. Even in a film packed with colorful and more openly eccentric weirdos, Hamm's Fletch is an odd man. Continue Reading →

On a chilly December night, mobsters in 1920s Chicago have nowhere to go but a tailor’s workshop. Apologies; not a tailor. A cutter. This isn’t like any man you’ve met, not at least while looking for someone to fix your favorite suit. He’ll put together the suit you’ll wear at your office Christmas party, but he may also be the cleverest strategist on the block. And that tension is at the heart of The Outfit, a surprisingly taut, stagelike thriller with some great performances at its center.  Continue Reading →

Jalmari Helander's WWII action flick glues Inglourious Basterds to Mad Max Fury Road, and it's a fist-pumping blast. (This review is part of our 2022 Toronto International Film Festival coverage.) Inglourious Basterds' Lt. Aldo Raine would be pretty proud of Jalmari Helander's gonzo spaghetti-Western-meets-WWII actioner Sisu; like he, the film is interested in "one thing, and one thing only... killin' Nazis." And so it goes with the TIFF 2022 Midnight Madness pick, a roaring rampage of revenge that commits to its stylized schtick -- even if that means it feels a little thin. Continue Reading →

Considering Kevin Smith's career from a 2022 perspective is a fascinating exercise. His early output, from 1994's Clerks to 2001's Jay and Silent Bob Strike Back, were once quintessential texts for Gen X / film nerds, treated with the same reverence as the films of Quentin Tarantino or Robert Rodriguez. But that isn’t the case anymore, and hasn’t been for over a decade. Continue Reading →

Whether it’s the cutthroat business world of Succession to the fantasy universe of House of the Dragon, television audiences are here to see the chaos and drama of families living and working with each other. Looking to add to the mix is Fox’s newest drama Monarch, from writer Melissa Hilfers. Continue Reading →

Paul Schrader’s American Gigolo is a 1980 neo-noir starring Richard Gere as a male escort caught up in a murder investigation. The film gave the world Gere as a leading man and the iconic Blondie song “Call Me.” In Showtime’s eight-episode reimagining, Jon Bernthal takes on the role of Julian Kaye (AKA John Henderson), the titular American Gigolo. He's living the high-paced high-society dream until the murder of one of his clients leads to his wrongful incarceration. Continue Reading →

Pinocchio is not a movie. It’s the latest in a long line of live-action remakes of classic Disney cartoons. The Mouse House’s newest excuse to print money can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop... ever, until you are dead! Or until it only has Pocahontas and Home on the Range left to turn into live-action features, whichever comes first. If the track record of movies like The Lion King and Alice in Wonderland isn’t enough to make you discouraged about the prospects of Pinocchio, it’s worth remembering that this is also a Robert Zemeckis directorial effort made after 2001. Continue Reading →

The Serpent Queen is the latest historical drama on offer from Starz. It will leave you wondering where the line between calculating ruthlessness and stone-cold survival skills lies. The series centers around the life of Catherine De Medici, Queen of France, during the Valois Dynasty. Samantha Morton stars as the titular character, giving a powerful and disarming performance, while Liv Hill portrays the younger Catherine in flashbacks.   Continue Reading →

It can be hard to write about films sometimes. No mere words, no matter how witty, insightful, or elegant, can truly capture the experience of watching the most surprising ones. Except for movies like Zach Cregger's (The Whitest Kids U'Know) new horror/thriller, Barbarian, which I can encapsulate perfectly with a few phrases: Continue Reading →