191 Best Film & TV Releases Translated Into Polish

Serve up this bizarre, oddly funny 80s slasher as part of your holiday entertainment feast this year. Though Quentin Tarantino and Robert Rodriguez’s retro horror double feature Grindhouse met with audience indifference, the collection of fake movie trailers during its “intermission” became amusing pop culture ephemera. Of the four featured, Eli Roth’s “Thanksgiving” is probably the most fun to revisit, mostly because of its loving dedication to capturing the unique seediness of an 80s slasher film. There’s something so familiar about the murky film quality, the low budget special effects, the incoherent plot (it appears to be a trailer for two different, unfinished movies stuck together, as was the case for many 80s horror movies), the glimpses of T&A, and of course, that hilarious voiceover and excellent tagline, that it seems unbelievable that it hadn’t actually already been made. Continue Reading →

The crime drama returns to the Land of 10,000 Lakes and rediscovers its best storytelling self. Throughout the six episodes of Fargo Season 5 screened for critics, the series isn’t exactly subtle. From opening the season with an on-screen graphic defining “Minnesota Nice” as neighbor attacks neighbor during a school board meeting to Sheriff Roy Tillman (Jon Hamm) staring up at a campaign billboard of himself, the show loudly states its theses at the viewer over and over. Continue Reading →

After stumbling with Downsizing, Alexander Payne bounces back with a gentle & witty comedy-drama. The artist Dmitry Samarov one said to me that the ratio of good to bad late periods in an artist's life was depressing to consider. For every Sir Edward William Elgar there was an Eric Clapton (my example, not his), and that it was rare to see someone sharpen as they aged. Now, I like Dmitry and certainly respect his opinion, but I can’t help but feel that when film overtook painting as the dominant artwork that people engage with, the ratio shifted towards bizarre experimentation and welcome self-reflection as much as dull self reflection. Continue Reading →

Despite a challenging premise and an overlong runtime, the Hunger Games prequel makes the most of the hand it’s been dealt. The character of Coriolanus Snow is an odd choice for a Hunger Games hero. In the original books and films, as played by screen giant Donald Sutherland, Snow was a cold-hearted, cruel dictator clearly meant to echo real world fascist leaders. Here, in the prequel story The Ballad of Songbirds and Snakes (say that five times fast), Coriolanus (Tom Blyth) is just a sensitive, emotional teen dreamboat whose main goal is to provide for his family in the wake of the violent revolution that tore apart Panem, the country formerly known as the United States of America. Continue Reading →

The ScienceSaru-produced animated series rebuilds rather than retells Bryan Lee O'Malley's beloved comic. Late in the final volume of Bryan Lee O'Malley's 2004-2010 comic series Scott Pilgrim (Scott Pilgrim's Finest Hour), once the action's done and the hateful Gideon Graves has been slain, protagonists Scott Pilgrim and Ramona Flowers take a moment to process everything. Defeating Gideon meant facing not only the vicious misogynist swordsman but also their respective character flaws (It's telling that one of Scott's key moments is his realizing just how alike he and Gideon are, and by gaining that understanding, he affirms that, yeah, Gideon has so got to die). Continue Reading →

The Trolls movies continue to indulge in their best and worst impulses in a third installment. The poster for this past summer's R-rated comedy No Hard Feelings had a reasonably clever tagline to explain the strained dynamic between the film's two leads. Against an image of Jennifer Lawrence squeezing Andrew Barth Feldman's cheeks, a single word is placed on top of each person's face: "Pretty" and "Awkward." Nothing revolutionary in design, but it gets the job done. Best of all, that tagline also makes for an apt descriptor for Trolls Band Together. Continue Reading →

Long overshadowed by Sideways, we’re giving this understated dramedy its due for depicting Midwest with the specificity Hollywood rarely gives it. Alexander Payne’s Nebraska is as unassuming as the regular Midwestern folk it depicts. Even though this small, quiet, black-and-white comedy was flooded with nominations during the 2013 awards season it won almost none of them. Ten years on, it remains overshadowed by Payne’s more popular works like Sideways and Election. But this odd little dramedy is not only one of Payne’s finest films to date, it’s also his one true love letter to his home state of Nebraska and the Midwest itself. Continue Reading →

Hulu’s crime thriller/environmentalist warning is less than the sum of its references, but star Emma Corrin earns viewers’ attention. The plot for A Murder at the End of the World goes a little something like this. A wealthy tech genius invites a group of similarly impressive individuals—including a detective who seems not to belong—to an isolated location for not entirely clear reasons. A murder sets everyone on edge as competing interests suggest several suspects and impede a proper investigation. Things only get worse as more die, and a storm ensures the group has no means of immediate escape. Continue Reading →

To talk about The Killer is to strip away pretense. Well, one can try. Cold it may be, but David Fincher's latest is an incredibly open film. The houses are made of glass; the windows are ceiling-high; the voiceovers from the title character (Michael Fassbender) give infallible insight into his worldview. The film is his worldview, simple in its machinations and complex in its philosophy. In most other circumstances, this would unfold over time. And it does here, at least to an extent. Continue Reading →

Early in For All Mankind Season 4, Ed Baldwin (Joel Kinnaman) and Dani Poole (Krys Marshall) reencounter each other for the first time in years on the Happy Valley Mars base. Smiling warmly, each says, “Hi, Bob,” to each other. For fans of the show, it has an immediate impact. The significance of the silly greeting reminds those audience members of the deep bond between these two astronauts. Newcomers likely won’t grasp the specifics of the importance, but Marshall and Kinnaman’s performances make it quite clear that it isn’t some random bit of silliness. Continue Reading →

Most films don’t come with homework. The same cannot be said of the Marvel Cinematic Universe’s new movie, The Marvels. Unless you’re a devoted MCU fan with an encyclopedic knowledge of both the movies and the Disney+ TV originals, it’s difficult to understand the mechanics of this disastrously convoluted entry in the floundering franchise. It feels like being dropped headfirst into a crossover episode based on three shows you’ve never seen -- mostly because it is. The Marvels kicks off with a bit of genuine visual interest (that never appears again) in the form of hand-drawn comics created by teenage superhero-slash-Captain Marvel fangirl Kamala Khan (Iman Vellani), aka Ms. Marvel. Vellani, who previously appeared as Kamala on the little-seen Disney+ series Ms. Marvel, is a spunky, hilarious teenage heroine whose impressive comedic timing buoys the leaden, disjointed script. She so thoroughly steals the show that it’s disappointing this movie wasn’t just about her; instead, it's a confused mix of storylines involving Kamala, Captain Marvel (Brie Larson), and astronaut Monica Rambeau (Teyonah Parris, Candyman). It feels like the powers that be made a huge mistake in consigning her story to a poorly publicized streaming original, instead of letting her headline a film on her own. Continue Reading →

When I was around thirteen, two classmates, Christina and Taylor (their real names, it’s not like they’re going to read this), played a prank on me that resulted in my eating dog food. In retrospect, it could have been worse: nobody else saw it happen, and for whatever reason they kept it to themselves. But when I think about my teenage years (and I try not to much at this point in my life, other than at a superficial pop culture level), my mind often goes to that moment. Continue Reading →

Screenwriter Josh Olsen (A History of Violence) used to tell anyone who would listen that his passion project was an account of the life of Bass Reeves, a man whose life and career were the stuff of fables. Reeves was the first Black deputy sheriff west of the Mississippi, with an arrest record in the thousands by most accounts. Best of all, legends assert that he almost never killed or shot anyone he didn’t have to. Continue Reading →

If Shawn Levy, director of Netflix’s new miniseries All the Light We Cannot See, seems like an unnatural fit to direct All the Light We Cannot See, a limited series set in World War II’s Nazi-occupied France, it’s because he is. From Night at the Museum to Cheaper by the Dozen and, more recently, Free Guy, the director-producer is best known for lighthearted, family-friendly films. Unfortunately, this series does not prove to be a case of the unexpected choice yielding surprisingly excellent results. Continue Reading →

As daybreak bleeds from within the walls, Priscilla Presley (Cailee Spaeny) wakes up next to her husband, Elvis (Jacob Elordi). Her water’s broken and, as he calls for a car, she goes to the bathroom, where she applies the perfect fake eyelashes in silence. Continue Reading →

An overview of the diverse features selected to screen at this year's Austin Film Festival. This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn't exist. Continue Reading →

I love detective stories. Tales of how, as Sara Gran would say, "truth lives in the ether." Explorations of people and places and how they shape each other. The journey down the streets towards a hidden truth. Dennis Lehane's Darkness, Take My Hand, is my favorite book. Rian Johnson's Brick and Ben Affleck's Gone Baby Gone are movies I think the world of, never mind all-timers like Howard Hawks' The Big Sleep and Robert Altman's The Long Goodbye. And, of course, the immortal Who Framed Roger Rabbit? from Robert Zemeckis. Any time there's a new detective film, whether it be an affably bleak comedy or an action-driven character study, it's a treat. Continue Reading →

Local filmmakers, horror & desire are all given the spotlight at the Chicago International Film Festival's shorts program. This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn't exist. Continue Reading →

In such films as Superstar: The Karen Carpenter Story, Velvet Goldmine and I’m Not There, filmmaker Todd Haynes has taken the stories of famous people and utilized what we know—or think we know—about them to explore ideas about celebrity and our all-consuming need to render their often-complex stories into straightforward narratives. That strange compulsion to explain, understand, and commodify the lives of real people is at the heart of his latest work, May December, and it certainly seems to have sparked something in him because the end result is the strongest work that he has done in quite some time.  Continue Reading →

With her first film, Promising Young Woman, writer-director Emerald Fennell took a storyline that was essentially a cloddish-but-glossy retread of such female-driven revenge sagas as Ms .45 and I Spit on Your Grave, infused it with insights regarding gender issues that would barely have passed muster in a 100-level college class and somehow rode it to inexplicable praise and an Oscar for Best Original Screenplay. Continue Reading →

I have never played Five Nights at Freddy’s. I need to make that abundantly clear before proceeding with this review. Continue Reading →