1207 Best Film & TV Releases Translated Into Italian (Page 50)

Rebecca Hall adapts Nella Larsen's novella about Black social mobility (and its corresponding resentments) to haunting effect. (This review is part of our coverage of the 2021 Sundance Film Festival.) Nella Larsen's 1929 novella Passing is a fascinating text, a frank but elegant discussion of the intersections of race, class, and gender as cold and delicate as its subject matter. It makes sense, then, that Rebecca Hall's adaptation is similarly airy and ominous, an intimate portrait of resentment and racial/social mobility set amid the stifling backdrop of 1920s New York. Continue Reading →

In the endless battle for our eyes and souls between Netflix, Disney+ and HBOMax, too often left out of the discussion is Shudder. As far as niche streaming services are concerned, no one is doing it better than them, with a vast collection of classic, international and original horror. They’re also not afraid to push back against horror fans’ often narrow minded definition of what “horror” actually is. After Midnight may confound and frustrate some, but deserves some praise just for trying something a little different. It doesn’t always work, but it tries. Continue Reading →

When it comes to suffering, no one does it like Catholics. Consider Opus Dei, the secretive branch of Catholicism that still allegedly practices self-flagellation, or the hardcore worshipers who recreate Christ’s crucifixion every Easter, rather than dyeing eggs or baking a ham. Even when mortification of the flesh isn’t involved, no other religion promotes the idea of misery as the pathway to salvation. Rose Glass’s nightmarish Saint Maud digs deep into the pathology of that mindset, and is something you won’t likely forget for a long time. Continue Reading →

The romantic drama is all beautiful, dreamy surface, and no depth. Judged solely from the description in the Sundance Festival program notes, viewers may go into Ma Belle, My Beauty expecting a film that suggests what might have resulted if Eric Rohmer had decided to make a movie based on a letter to Penthouse Forum. That notion does sound intriguing, I suppose, but it's a promise that writer-director Marion Hill's debut feature cannot quite live up to in the end with her romantic melodrama that seems to have everything going for it except for an interesting story or characters that you give a damn about. In the French countryside, newlywed musicians Bertie (Idella Johnson) and Fred (Lucien Guignard) are settling into their new lives after relocating from New Orleans but all is not as picture-perfect as it initially seems and not just because of the discovery in the opening scenes that their not-at-all-symbolic swimming pool is leaking water and requires extensive repairs. While Fred, who is originally from France, settles back into his groove easily, Bertie finds herself in the grips of a mild but persistent depression that has begun to affect her singing to the point where she cannot find the desire to do it. Since she and Fred are due to go out on a tour with their band pretty soon, this is a problem. 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 →

I never feel the need to apologize for loving a movie. I might be more inclined to defend that love, but not apologize for it. When I see a movie so beloved and come out the other side largely unaffected, though, I feel bad. Is it my fault? Is it just that I’m a cold person? I shouldn’t feel bad for being in the minority, but maybe I should feel bad that I didn’t feel a ton else. I kind of do, to be honest. Of course everyone’s tastes are different. Of course I’m far from likely to always agree with the majority. Continue Reading →

Patch Adams is full of shit. I truly can’t think of a better way to describe it. I could come up with some convoluted metaphor and tell you that watching Tom Shadyac’s 1998 catastrophe is like going to a restaurant and having the waiter spit on your food. I could call it “Jojo Rabbit for the Clinton Era” or label it a “misguided crowd-pleaser.” But I won’t do any of that because I – unlike Patch Adams – refuse to bullshit you.  Continue Reading →

Gender itself is a societal construct, but in the realm of the Western, it doesn’t just exist but defines the genre. The quintessential Western protagonist is that of The Man with No Name, after all, while John Wayne’s various characters were primarily distinguished by traits largely associated with peak masculinity. Meanwhile, women typically occupy passive roles in these stories reflecting how general society tends to look at ladies. Love interests or workers at a brothel, that’s all women get to do in the majority of Western movies. Continue Reading →

Based on an Aja Gabel short story and directed by Chad Hartigan, Little Fish follows a married couple as they try to hold onto what they love in a world ravaged by a pandemic. In a lot of ways, there are eerie similarities with our present reality, but the main difference is that the virus in this film slowly takes away memories – functioning very similarly to Alzheimer’s. In the midst of a flurry of pandemic-themed media coming out which tries to reflect the situation which the world is presently in, Little Fish manages to distinguish itself from the crowd with its brilliant leads and emotional resonance. Continue Reading →

Robin Wright makes her directorial debut in a tender and understated drama about a woman who isolates herself from the world after an unimaginable loss. The pain of losing our loved ones is unimaginable. It’s overwhelming and often hard to overcome. Though healing is not impossible, there’s no timetable when it comes to processing this loss. It may take weeks or months or even years for people to finally be okay again and move forward. Robin Wright’s directorial debut, Land, understands this really well. The movie delves deep into the pain and the complicated feelings that people have to face when they’re dealing with the death of their loved ones. It’s an understated character study about grief and loss, and a moving celebration of human connection and resilience. Working from a script penned by Jesse Chatham and Erin Dignam, the movie follows Edee (Wright), a woman determined to isolate herself from everyone in the wake of a devastating tragedy. When we first meet her, she’s already on her way to a remote cabin in Quincy, Wyoming. She wants to abandon everything, staying away from everyone who wants her to get better, but never allow her to process the deep sadness she’s been feeling for a while. Before arriving at the cabin, she ditches her phone and even calls a local to get rid of her rental car, leaving herself with only a bunch of canned foods and a box of her most personal possessions. But Edee is not cut out for this kind of living, so the plan she’s made seems foolhardy. Continue Reading →

Even before COVID drove us all to become perpetually cloistered, it seems technology was driving our work and personal lives to the digital realm. Even as the need for physical connection was driven down, Millennials and Gen Z still flock to large cities with sky-high rents. In this increasingly digital and expensive existence, writer, director, and cameraman Ben Hozie (The Lion's Den) gives us PVT CHAT -- a drama that ponders the treachery of online obsession, and our transactional existence in late-stage capitalism.  Continue Reading →

The most profound thing that’s shared in Rodney Ascher’s latest mind-expanding documentary comes at the beginning. One of the film’s “eyewitnesses”, Paul Gude, gives a brief history lesson on how humans understand themselves based on the highest form of technology at the time.  Continue Reading →

Netflix’s new romantic drama Firefly Lane, based on the 2008 novel by Kristin Hannah, follows the multi-decade friendship of brash and bold Tully (Katherine Heigl) and smart and nerdy Kate (Sarah Chalke). They meet at age fourteen living on Firefly Lane. From there they spend years cultivating their journeys: Tully is a journalist with a wildly popular daytime talk show, and Kate took a break in her career to marry fellow journalist Ryan (a stilted Ben Lawson) and raise a daughter.  Continue Reading →

(This review is part of our coverage of the 2021 Sundance Film Festival.) Continue Reading →

The gimmick to Kevin Macdonald's worldwide snapshot of 24 hours has lost its novelty this deep into the social media age. (This review is part of our coverage of the 2021 Sundance Film Festival.) A little over 10 years ago, Kevin Macdonald & Zillah Bowes directed a documentary fully comprised of footage that people across the world recorded over one day. That was July 24, 2010, and the documentary, Life in a Day, premiered that following January. On July 25 of last year, the same production method went into effect to create Life in a Day 2020. Of course, 2020 was a much different year. Hell, it’s still going on now, and some even turned it into a meme of a year. What a difference a decade makes. The big shift here isn’t just the time. It’s the fact that the approach isn’t special at this point. We all know what 2020 was like because we all lived it, sure, but on top of that, the entire world documented it ad nauseum. There’s no reason to consolidate all of this into a movie. It doesn’t even quite feel like a movie at this point. This gimmick may have worked 10 years ago, but that’s because it was a specific time when people recorded a lot, not quite everything. The sliver of novelty is gone now. Continue Reading →

Nicolas Cage & Sion Sono team up for an incoherent Samurai-Western-Mad Max homage-something or other. It’s impossible to review a Nicolas Cage movie. They’re the very definition of “critic-proof,” in that they always have a dedicated audience who will declare them “the craziest thing I’ve ever seen,” and forgive them for lacking in plot or competence. You don’t like it? You just don’t know how to relax and have a good time. Sion Sono’s first English language feature, Prisoners of the Ghostland fits right in: loud, garish, bereft of anything resembling a plot. Is it fun? It certainly thinks it is. Trying to explain what Prisoners of the Ghostland is about is a fool’s errand, but let’s give it a go anyway. Nicolas Cage is Hero, a notorious bank robber whose last gig got a little boy killed (but he feels bad about it, so that absolves him). He’s summoned from jail by the Governor (Bill Moseley), who runs Samurai Town, a combination of Dodge City and Neo-Tokyo, with a dash of Terry Gilliam thrown in. Hero is ordered to rescue the Governor’s missing “granddaughter” Bernice (Sofia Boutella), and is fitted into an unremovable leather jumpsuit with explosive charges at his neck, elbows and crotch. 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 →

Zoe Lister-Jones and Daryl Wein usher in the end of the world with a winsome indie comedy about seeking closure and reconciliation. (This review is part of our coverage of the 2021 Sundance Film Festival.) Directed by husband-and-wife duo Zoe Lister-Jones and Daryl Wein, How It Ends can be recognized immediately as a movie filmed during the COVID-19 pandemic. Cameos abound, with each minimal character appearing on balconies, across the street, on the other side of the table. These interactions, despite any emotional connection or progress, end with a wave goodbye, air kisses, or any other touchless way of leaving a situation. As the film meanders forward, this oddness grows, as two people share a genuine moment of importance, only to walk their separate ways with no physical affirmation of that moment.  Continue Reading →

Ninja Thyberg's tale of a woman's attempt to make it in the adult film industry is a feature debut that doesn't pull any punches. (This review is part of our coverage of the 2021 Sundance Film Festival.) Fresh from Sweden, Jessica (Sofia Kappel) has just landed in Los Angeles. The customs agent asks her a few questions, and when he inquires whether she’s here for business or pleasure, she says—you know what she says. This is the only moment Ninja Thyberg’s debut feature winks at its audience. From here on out, there’s no sense of humor to be had. Sure, characters will make jokes with each other once in a blue moon, but this is far from a fun watch. You see, Jessica is in L.A. to become an adult film star, going by Bella Cherry instead. It seems immediate that she’s on her first shoot. She meets Mike (Jason Toler), who soon becomes her agent, and lives with three other young women in the porn industry (Revika Anne Reustle, Kendra Spade, and Dana DeArmond). On paper, it’s a standard star-is-born tale. In some ways it is, but that isn’t the main approach. Pleasure, while incredibly difficult to watch, repackages that subgenre into a look at the cycle of abuse when having boundaries isn’t a commodity. Continue Reading →

James Ashcroft's hostage horror is nought but bland, sour sadism. Before the premiere screening of the New Zealand import Coming Home in the Dark, the festival programmer introducing it led off by admonishing viewers that the following film was “not for the faint of heart.” Of course, for a violent thriller appearing in the midnight slot at Sundance, such words are not so much a warning as they are a come-on designed to lure in those with more outre tastes hoping to find the next gory hit to emerge from the festival. Although the film is certainly gruesome enough, there is nothing here that average viewers will find to b that far beyond the pale. Instead, they are more likely to be put off by James Ashcroft’s hollow and increasingly tiresome exercise in empty sadism whose utter pointlessness is further underscored by its delusions that it is saying something profound. Alan “Hoaggie” Hoaganraad (Erik Thomson) is a blandly pleasant-looking teacher who is off on a car trip with his wife, Jill (Mirama McDowell )and her teenaged sons Make (Billy Paratene) and Jordan (Frankie Paratene) to the coast. All seems perfectly normal until they, in the time-honored tradition of bad cinematic car trips, decide to stop for a hike and a picnic lunch. It is while completing the latter that they are approached by two men, the extremely loquacious Mandrake (Daniel Gilles) and the more taciturn Tubs (Mathias Luafutu). After a few minutes of vaguely menacing talk, Mandrake produces a rifle and the two interlopers are soon on the road with Alan and the family—at least what remains of it—as their captives. Continue Reading →

The thing about guilt is that it can wear you down until you’re more a cluster of exposed nerve endings than a human being. That, at least, is the premise behind The Night, a new psychological horror and debut film from director Kourosh Ahari. Set in Los Angeles and spoken almost entirely in Farsi, The Night is a wonderfully odd mix of being spare and a bit too much all at once.  Continue Reading →