1344 Best Film & TV Releases Translated Into Korean (Page 54)

Céline Sciamma's followup to Portrait of a Lady on Fire is a graceful tale of rediscovered childhood. (This review is part of our coverage of the 2021 Berlin Film Festival.) In the wake of the international success of her hypnotic, Gothic-infused romantic drama Portrait of a Lady on Fire (2019), it would have been natural to assume that Céline Sciamma's next film would be a major project and the center of great scrutiny. Perhaps recognizing and preferring to avoid that template, Sciamma instead went the other way. She not only follows up Portrait with the decidedly small-scale Petite Maman, she shot it so quickly and in such secrecy that most people didn't even know she was working on anything until its world premiere at Berlinale was announced.  Continue Reading →

Dasha Nekrasova leaps out of the gate with an audacious, out-there horror debut as creepy as it is transgressive. (This review is part of our coverage of the 2021 Berlin Film Festival.) Once upon a time, when a horror film was described as being “transgressive,” it indicated that it dealt with material that went far beyond the social mores of the time. Even fans of the genre were startled by what they were seeing in films like Psycho (1960), Night of the Living Dead (1968), and The Texas Chain Saw Massacre (1974). Nowadays, when a horror film is described that way, it's just code for being super violent and nothing else.  Continue Reading →

Dan Stevens stars as a seductive but malfunctioning robot companion in Maria Schrader's refreshing, tender exploration of longing. (This review is part of our coverage of the 2021 Berlin Film Festival.) It’s nearly impossible to not think of Spike Jonze’s romantic drama Her while watching Unorthodox creator Maria Schrader’s third feature I’m Your Man. Granted, both movies focus on a relationship between a lonely, messy human being and an AI. But where Jonze’s film tells the story from the male gaze, Schrader flips the narrative and gives the room to a complicated female character. The result is not only refreshing but also more tender and meditative, exploring love, loneliness, and longing over the technological ethics that tend to occupy these kinds of films. Continue Reading →

(Note: We heavily encourage you to read reviews and criticism from Southeast Asian critics, who have a much more intimate and detailed understanding of the cultures from which Raya and the Last Dragon draws inspiration. This thread is a helpful primer.) Continue Reading →

If I told you that thirty years ago, 1.2 million dollars literally fell out of an armored truck, would you believe me? To be clear, this money wasn’t stolen – at least, not initially. A Purolator Armored Services truck – carrying an enormous quantity of cash from the Federal Reserve Bank of Philadelphia – suffered an “equipment malfunction,” leaving 1.2 million dollars lying on the side of the road in South Philly. As 1993’s Money For Nothing will tell you, this cash was quickly discovered by Joey Coyle (John Cusack), an out-of-work twenty-something. What does one do next?  Continue Reading →

Who actually wants movies like Tom & Jerry? Think back to the dregs of the Alvin & the Chipmunks movies from the aughts: the awkward blend of live action and animation, the creaky dragging of baby-boomer cartoon mascots awkwardly into present-day pop culture, the incessant noise of it all. What's worse, the characters you've come to see -- the ones your kids never knew -- come on screen in a form you hardly recognize. Continue Reading →

When Billie Eilish met with director R.J. Cutler to discuss her documentary Billie Eilish: The World’s a Little Blurry, she had an odd request: “I want it to be like The Office.” Eilish, known to be a stan of the NBC comedy (she sampled dialogue from the show in her song “my strange addiction”), wanted to drop the audience into the world of her and her family as she rises from a 13-year-old viral video sensation to a 18-year-old Grammy winner. Billie Eilish: The World’s a Little Blurry is an epic journey of the on and offstage life of the musical prodigy. Continue Reading →

Cleveland. The early 2000s. A young man (Tom Holland, The Lost City of Z) falls in love with a girl named Emily (Ciara Bravo, Wayne). It’s lovely but fraught. When she wants to go to college in Canada, he impulsively signs up for the Army. Life as a medic in the Iraq War is traumatizing, and the young man processes that trauma poorly. Drug use becomes addiction, and Emily joins him. A loathsome drug dealer (Jack Reynor, Midsommar) becomes a hated enemy and a desperate friend. Bank robbery starts to look like a good idea. The spiral devours all.  Continue Reading →

Erin (Hope Davis) and Sean (Philip Seymour Hoffman) aren’t meant to be. We know this from the opening scene: he, a schlubby Marxist, announces he’s finally leaving. Even if he’s left and come crawling back before, this time he means it! Erin goes back inside their Comm Ave brownstone and rips up his “Think local, act global” bumper sticker attached to their – her – fridge.  Continue Reading →

While Netflix’s Ginny & Georgia (created by Sarah Lampert) has so far been hailed as a sort of edgier Gilmore Girls, the new young adult series arguably has more in common with Richard Benjamin’s Mermaids (1990), starring Cher and Winona Ryder. In essence: what if Cher’s Mrs. Flax kept two pistols in the house? Continue Reading →

An icon of the 20th-century jazz scene, Billie Holiday was an icon of Black culture, haunted by abuse and addiction. Her song “Strange Fruit”, based on a poem that describes a lynching, propelled her to fame – but also got the attention of the federal government, taking dramatic steps to stop her from singing the song in an effort to racialize the War on Drugs. In The United States vs. Billie Holiday, Lee Daniels tracks Holiday as the Federal Department of Narcotics begins to pursue her toward that end, in a film that ends up being a waste of potential. Continue Reading →

Pelé is the kind of sports figure it feels like you’re just sort of born having some knowledge of. I couldn’t tell you why I know who Pelé is, particularly as an American with a serious aversion to sports, but I knew he was one of the greatest, if not the greatest, soccer players of all time. I seemed to have absorbed the information out of the ether. But the new Netflix documentary Pelé (not to be confused with the 2016 biopic) corrected that. Continue Reading →

The apocalypse is never further from our minds in science fiction, to the point where any civilization set after mankind's inevitable collapse invariably lands on a host of tropes and conventions touched on by a million stories before it. Tribes of Europa, Germany's latest addition to Netflix's sci-fi television stable after the incredible Dark, makes the head-scratching decision to use all of them. There's a Mysterious Cataclysm that knocks out all technology, roving bands of survivors battling each other for resources and power, a Magic MacGuffin that might lead to salvation and must be protected at all costs, the list goes on. And yet, there's an ineffable charm to the six too-brief episodes of its inaugural season, chiefly due to the stalwart effects work and production design, and game performances from a cast that recognizes the story's innate schlock factor. Continue Reading →

Ed Helms and Patti Harrison charm in Nikole Beckwith's refreshing, pleasurable dramedy. (This review is part of our coverage of the 2021 Sundance Film Festival.) Nikole Beckwith’s Together Together doesn’t break any new ground. But it doesn’t have to -- the film’s greatest pleasure lies simply in watching every part of the story fall into place the way we predict and expect it to. The dramedy is only Beckwith's second feature, but despite its familiarity, it's a pleasurable and refreshing experience. It’s light and witty, often packed with laughs and touching moments, with two stellar lead performances at its heart. Continue Reading →

In 1979, the Village People released the song “Ready for the 80’s” on their double-LP Live and Sleazy. The song is upbeat and bright, full of hope and promise. The group sings “I’m ready for the 80s / Ready for the time of my life” throughout the chorus, and one verse starts “Everything is gonna work out fine / I have faith in this old world of mine / We'll be loving in the bright sunshine.” Listening to this song over 40 years later, you can’t shake a sense of dramatic irony. In the end, the 80’s weren’t kind to the Village People, disco, or queer men in general. As I watched the opening episode of Russell T. Davies' latest mini-series, It’s a Sin, I kept thinking of this song and its optimistic outlook for a new decade, an optimism echoed in the fresh faces of its cast, blissfully unaware of the heartbreak awaiting them.  Continue Reading →

Like any human being, I am predisposed to like Dwayne Johnson, aka The Rock. The man is charisma incarnate, a shockingly charming person who has proven to have not just skill, but that ineffable something that true stars possess. So know I don’t take lightly what I am about to say. Continue Reading →

It’s easy to feel like time’s been stuck in an infinite loop recently. Especially when two movies are released within a year of each other that both ask the question, “What if we remade Groundhog’s Day, but with two people instead of one?”. Unfortunately for The Map of Tiny Perfect Things, a Y.A. drama streaming on Amazon Prime, it’s now the Volcano of time loop romances (the superior Palm Springs is the Dante’s Peak, of course). Continue Reading →

Following off the success of Bridgerton, the next bestseller to be spun into Netflix gold is Sarah Pinborough’s Behind Her Eyes, a book that was so aggressively marketed around its super-secret third act twist that early readers were encouraged to use the hashtag #WTFthatending. They aren’t kidding. WTF that ending, indeed.  Continue Reading →

At one point during Ghostbusters , Dan Aykroyd’s character is discussing the bizarre architectural features of the apartment building where much of the supernatural action takes place and says “I mean, the architect was either a certified genius or an authentic wacko.” My guess is that there was a similar reaction among executives at Warner Brothers after they took a look at the screenplay for Aykroyd’s other elaborate and expensive horror-comedy vehicle for him and a number of his SNL and SCTV pals. I cannot say for certain which side those suits would have opted for but however they voted, they did pull the trigger on what would eventually become known as Nothing But Trouble , a peculiarity that would bomb so hard that it is now pretty much forgotten by everyone except of SNL alumni film completists and the few souls brave or foolhardy enough to—gulp—actually find good things to say about it. Continue Reading →

While the first movie in the series was stylish & unexpectedly moving, it was tainted by cheap, empty sequels that forgot what made it special. You don’t have to have seen The Crow to know the story behind it. It’s one of the great Hollywood tragedies, like the Twilight Zone crash, or the Poltergeist curse, where watching them feels a little forbidden and eerie. That’s particularly true for The Crow, because the scene in which star Brandon Lee was accidentally killed with a prop gun was left more or less intact. Granted, there’s some clever editing and use of a body double, but it’s close enough to raise the hairs on the back of your neck. I shan’t spend too much time recounting The Crow, because, again, even if you haven’t seen it, you’ve sort of seen it (and also it’s already been written about at length on this very website). I will say that I rewatched it for this project, and was surprised to see how well it holds up. It might be perhaps the most early 90s movie ever made, but unlike, say, Reality Bites, it’s in a way that’s still cool and stylish. The swooping urban landscape shots, created almost entirely with miniatures, are still a feast for the eyes, and would be put to even greater use four years later by director Alex Proyas, in his masterpiece Dark City. Sure, the villains, who have names like “Tin Tin” and “Funboy,” are laughably over the top, but they’re balanced by Lee, undoubtedly a rising star, who plays doomed hero Eric Draven with subtlety and genuine human emotion. Continue Reading →

Part melodrama, part gold rush adventure story, part soulmate fable, and part astrology app come to life, The Luminaries, Starz’s 6-episode adaptation of Eleanor Catton’s 2013 novel, is much like the gold its characters seek: shiny, ephemeral, and ultimately cold. Adapted by Catton and directed by Claire McCarthy, The Luminaries wastes no time in unfurling several plot points in media res, with dramatic but confusing results.  Continue Reading →