156 Best Releases Translations Korean on Hulu (Page 5)
Scream
SimilarCube (1997), Cube Zero (2004), Klute (1971), Let the Right One In (2008),
Shaft (2000) Watch afterThanksgiving (2023),
StarringJack Quaid,
Say what you will about the Scream movies – while they’re almost as absurd as the movies they’re satirizing, they’re also each trying to say something. While the first movie was about slasher movies in general, Scream 2 explored the nature (and necessity) of sequels, while Scream 3 attempted (to less than successful results) a pre-#MeToo spotlight on sexual harassment, and, as an answer to the rise of Facebook and Twitter, Scream 4 focused on social media culture. Wes Craven set out to not just entertain and scare audiences, but to get them to think about what they were watching, exactly, and why. Continue Reading →
See for Me
SimilarBeverly Hills Cop (1984), Eyes Wide Shut (1999),
This review was originally written as part of our coverage of the 2021 Tribeca Film Festival; we're reposting it now that the film is available in theaters and VOD. Continue Reading →
The Matrix Resurrections
SimilarFree Willy (1993), Resident Evil: Apocalypse (2004),
Watch afterDon't Look Up (2021), Eternals (2021), Spider-Man: No Way Home (2021),
It's hard to overstate just how seismic The Matrix was when it was first released in 1999. Looking back on it now, in an age of focus-tested corporate franchises, extended universes, and an even more top-heavy IP landscape than we had back then, it feels positively revolutionary. Even in its imperfect but-radically-reappraised 2003 sequels, Reloaded and Revolutions, filmmakers Lana and Lilly Wachowski manage to build a world that's at once evocative of so many of its influences (cyberpunk, bullet opera, kung fu film, Star Wars) but feels highly original. And what's more, is unafraid to tackle challenging, often heady psychological questions while still revolutionizing the way action movies were made. Continue Reading →
All Light, Everywhere
Annette
Leos Carax and art-rock sibling duo Ron and Russell Mael (of Sparks) join forces for this sometimes lovely sometimes harrowing sometimes both musical. Marion Cotillard and Adam Driver are a creative couple (an opera singer and a scathing comedian) who love each other so much. Carax and Sparks trace what happens when that love curdles—when a person's idea of themselves eats their real self and anyone they care about. And those who don't get eaten? They're still left with scars, none more than the primarily-a-puppet title character. Carax's screen craft is daring, whether biting, sweeping, or gleefully absurd. Cotillard and Driver's dives into how love turns sour and wrath makes beasts of people are splendid both individually and as a duet. And the tunes rule, from Driver and Cotillard’s swooning to Simon Helberg laying out his duties as an accompanist. The earworms. They abound. [Justin Harrison] Continue Reading →
Swan Song
SimilarFried Green Tomatoes (1991), Mississippi Burning (1988), Rope (1948),
When someone tells you they never lie to their romantic partner, don’t believe them. They may not tell real whoppers, like what they really did with the money that was supposed to go towards bills, but little white lies, and especially lies of omission, are fair game. Total honesty means having to hurt the people we love, and so we obfuscate, hide things, to protect their feelings. Benjamin Cleary’s Swan Song (not to be confused with the Todd Stephens film of the same name) tells the story of a husband and father who takes a lie of omission to eerie, heart-wrenching lengths. Continue Reading →
Nightmare Alley
SimilarBasic Instinct (1992), Cube (1997), Cube Zero (2004), Driving Miss Daisy (1989), The Silent Partner (1978), Things to Do in Denver When You're Dead (1995), Vertigo (1958),
Watch afterLicorice Pizza (2021), West Side Story (2021),
StarringWillem Dafoe,
StudioSearchlight Pictures,
Back in 1998, Gus Van Sant released his remake of Alfred Hitchcock’s Psycho. It wasn’t a good movie, but it provided two decent critical talking points. Firstly, was it actually a remake, or was it another adaptation of Robert Bloch’s novel? Given that Van Sant’s film was a shot-for-shot recreation of its 1960 predecessor save for two or three differences, it was a rarity in that, given its context, it ended up being the former. It, for all its failures in execution, used semiotics to circumvent the aforementioned semantics of its identity. Continue Reading →
Spencer
Pablo Larraín’s sympathetic “fable” about Diana, Princess of Wales, also compassionately addresses the secret shame of eating disorders.
CONTENT WARNING: this article addresses eating disorders and self-injury. See our spoiler-free overview of Spencer here.
If Pablo Larraín’s Spencer doesn’t change your mind about royalty being aspirational, then nothing will. Sure, you’ll have access to wealth and fancy clothes, but at the cost of your time and privacy. Every part of your life, every holiday, even “off time” with your family, is scheduled down to the last minute, and everything you do is judged according to tradition and propriety. Maybe it’ll be you who breaks tradition, who makes things different through sheer force of will. But probably not. You’ll be a dress-up doll in a glass case, to be taken out and shown off whenever the occasion calls for it, whether you want to be or not. Continue Reading →
Only Murders in the Building
You can listen to the score for Only Murders in the Building on your preferred music streaming service courtesy of 20th Century Studios. Continue Reading →
Clifford the Big Red Dog
SimilarBen-Hur (1959), Dr. No (1962), From Russia with Love (1963), Goldfinger (1964),
Live and Let Die (1973) On Her Majesty's Secret Service (1969), Scrooge (1951), Willy Wonka & the Chocolate Factory (1971), You Only Live Twice (1967),
Watching Clifford the Big Red Dog, it immediately becomes clear that the titular canine’s red fur represents represent the blood of the proletariat spilled at the altar of capitalism. After all, why else would Clifford populate the cast with kindly working-class humans while delivering antagonists in the form of big Pharma executives, cops, and even a pesky landlord? Clifford’s slapstick rampage is directed at the bourgeoise, whose massive number of sins are reflected in Clifford’s gigantic stature. Old Dogs auteur Walt Becker is putting the transgressions of the privileged class on display and introducing children to the concept of class consciousness. Continue Reading →
Hell Hath No Fury
Occupied France. 1941. The egomaniacal, romantic SS Colonel Von Brückner (Daniel Bernhardt) and his supposed French mistress Marie (Nina Bergman) are ambushed by the Resistance on their way to secret away gold pilfered from Von Brückner’s superiors. They survive. Continue Reading →
Animaniacs
Similar'Allo 'Allo!, The Wayans Bros.,
First things first. Just to be very clear, Animaniacs remains a funny show. The writing staff led by showrunner Wellesley Wild is undoubtedly clever. They can turn a phrase. They can develop an idea. Likewise, the voice talents, especially the trio behind Dot (Tress MacNeille), Wakko (Jess Harnell), and Yakko (Rob Paulsen, who also provides Pinky’s voice), are quite funny and haven’t lost their gift for motormouthed gab in the years since the first series. Continue Reading →
PSYCHO-PASS サイコパス
For acclaimed actress turned first-time writer-director Rebecca Hall, her debut feature Passing is more than her first furtive steps into another facet of her expanding career. It's a deeply personal odyssey, one rooted in her own questions about her racial identity: Hall, whose grandmother is part-Black and whose mother has Black, Native American, and Dutch ancestry, has presented as white for much of her career. With this, her adaptation of the 1929 novella of the same name by Nella Larson, Hall gets to explore those myriad facets of herself, as well as the broader implications the phenomenon of 'passing' has for all of us in our respective negotiations with our identity. Continue Reading →
Dopesick
StarringRosario Dawson,
Studio20th Television,
Early in watching Dopesick, I had a moment of marveling at an achingly humanistic scene between Dr. Samuel Finnix (Michael Keaton) and his physically and emotionally wounded patient Betsy Mallum (Kaitlyn Dever). This was followed immediately by a moment of being stunned by how early I was in the episode. Continue Reading →
Bergman Island
StudioARTE France Cinéma,
Mia Hansen-Løve's latest wrestles with the creative and romantic frustrations between men and women, with Ingmar Bergman watching mindfully overhead.
(This review is part of our coverage of the 2021 New York Film Festival.)
It's an unwritten rule of film festivals that there have to be at least a few films in the program dealing with either the history of cinema or the filmmaking process. Bergman Island, the latest from Mia Hansen-Løve, covers both of those bases. It's a quietly beguiling look at a pair of filmmakers as they go about generating their latest projects, literally standing in the looming shadow of one of filmmaking's most towering figures. Continue Reading →
Benedetta
In the opening scene of Benedetta, a young girl stops along the road to pray to a shrine of the Virgin Mary. A group of bandits ambushes her and her family, nobles who are well-off but by no means excessively affluent. Benedetta curses the thieves as they snatch her mother’s gold necklace, promising that the Holy Mother will haunt them for the rest of their days. Suddenly, a small bird flies from a nearby tree and shits in the eye of the bandit leader. The men laugh and toss the jewelry back to Benedetta’s mother, preferring not to risk it. Still, we’re left wondering – was this divine intervention? Or just a case of well-timed bird poop? Continue Reading →
The Nowhere Inn
In one of The Nowhere Inn’s several recurring clips, Carrie Brownstein confides in her best friend. She says that she wants to do bigger things. She declares herself as being stuck in a rut creatively and, acquiescing to the possibility that only those closest to her truly get something out of her work. As for the friend in question, she’s Annie Clark—the Annie Clark. But in spite of the casual intimacy of the conversation, there’s a clear disconnect. Carrie is Carrie, often behind the scenes. Annie is St. Vincent, on the stage and in the public eye. They’re both themselves, but one has more clout, the kind that allows for more artistic leeway. Continue Reading →
The Forgiven
StudioBFI, Film4 Productions,
Despite its top shelf cast & capable direction, this drama about tourists behaving badly is nothing we haven't seen before.
The Forgiven is a story about fantastically rich white people behaving badly in an “exotic” location, told by slightly less rich and hopefully better intentioned white people. So soon after HBO’s The White Lotus, it might be tempting to call this a new trend. But it’s probably more accurate to consider it business as usual.
This is not to say that it’s a bad film. The Forgiven is thoroughly competent in its writing, direction, and performances. It also happens to be — from its first scenes and the Who's Afraid of Virginia Woolf?-esque dynamic it establishes between its protagonists, to its ending which is strongly foreshadowed to the point of telegraphing — an obvious one. Continue Reading →
All My Puny Sorrows
Watch afterBlack Adam (2022),
Michael McGowan's film, adapted from the novel of the same name, undermines strong performances by clinging too tightly to its source material.
(This review is part of our coverage of the 2021 Toronto International Film Festival.)
Content Note: All My Puny Sorrows deals heavily with suicide. Continue Reading →
Titane
SimilarA Real Young Girl (1976), Copying Beethoven (2006),
StudioARTE France Cinéma,
Julia Ducourneau's followup to her stunning debut Raw makes for brutal, beautiful, brilliant body horror.
(This review is part of our coverage of the 2021 Toronto International Film Festival.)
Titane begins with the pluck of banjo strings and an extreme closeup of chrome. It’s a clash that’s jarring and compelling: the earthy, fire-and-brimstone howl of David Eugene Edwards’s take on the American folk standard “Wayfaring Stranger” set against an almost voyeuristic tour through a car’s inner workings. Continue Reading →
What We Do in the Shadows
NetworkFX,
SimilarArrested Development,
StudioFX Productions,
It’s been said (okay, only I’ve said it) that sitcoms shouldn’t run more than three or four seasons. Any longer than that, and they run the risk of getting stale, resorting to tired tactics like flashback episodes, forced romantic relationships, and adding cute wisecracking kids. So it’s a wondrous thing that, in its third season, What We Do in the Shadows, shows no signs of flagging, of having to fall back on retreads, or even having a musical episode. Despite what feels like a limiting premise, it’s as fresh and funny as ever before, somehow managing to maintain a remarkable balance between raunch and sweetness. Continue Reading →