1088 Best Film & TV Releases Translated Into Turkish (Page 15)

From Rosemary's Baby in 1968 to 2021's False Positive, Hollywood has long been interested in women's bodies and reproductive systems as a setpiece for horror: and writer-director Alexis Jacknow's Clock is no exception. From its humble beginnings as a short film, Jacknow's freshman feature has blossomed into a chilly, paranoia-ridden horror flick commanded by a captivating lead in Diana Agron. Though Clock's script is sometimes inelegant and clunky, it boasts enough personality, perspective, and ferocity to stand an exciting feature debut in the world of horror.   Continue Reading →

I think Blubber was my favorite Judy Blume book growing up, because it acknowledged the casual cruelty of adolescent girls. Or maybe it was Otherwise Known as Sheila the Great, because it’s where I learned about slam books, and its titular character (like me) masked her insecurities with wisecracks. No, scratch that, it was Starring Sally J. Freedman as Herself, with a protagonist who (also like me) used her colorful imagination as an escape from a chaotic home life. Continue Reading →

Folks, I simply would not open that book. Continue Reading →

Like the Oracle said to Neo, "Everything that has a beginning has an end." But "ending" is not synonymous with "annihilation." Whether it's a literal, physical remnant (say, an amusement park that remains standing even years after being shut down) or patterns that folks continue out of habit or the hopes of feeling something (think Yūsuke Kafuku continuing to rehearse for Uncle Vanya with his late wife's recording years after her death in Drive My Car—whose co-lead Tōko Miura was a key contributor to the soundtrack of Makoto Shinkai's last film, Weathering With You). Continue Reading →

Certain events dig so deep into our culture that they define many subsequent examples of the form. Watergate has led to decades of any possibly notable scandal receiving a -gate suffix. Any British band with pop-rock sensibilities often spends a year or two followed by the question, “the next Beatles?”. And, currently, any erotic thriller with a hint of BDSM flavor gains the tag “the new Fifty Shades of Grey.” For a brief time, 365 Days, a Polish film brought to wider audiences thanks to Netflix, lived under that banner. Now the streaming service is giving it another shot with the four-part series Obsession. Continue Reading →

The theme music is gone. Continue Reading →

The modern age of streaming shows has delivered countless programs that boast in their press releases about being “just long movies.” The new Netflix limited series Florida Man continues this trend. Worse, it puts its own insufferable spin on the mold by stretching out a late-1990s Quentin Tarantino knock-off to nearly seven hours of storytelling. Yearning for a return to the era of non-linear crime dramas embracing the notion that F-bombs and shady behavior turn the story into the new Reservoir Dogs? This Donald Todd-created series will make you giddy. Unfortunately, everyone else will likely come away irritated.   Continue Reading →

If there’s anything Ari Aster wants you to understand after watching his newest film, it’s that he’s funny. With just three feature films under his belt, Beau Is Afraid marks both a massive departure from his previous films and a solidifying of his style. It’s a movie about terror, without a ton of interest in being terrifying. More specifically, it’s a movie about the absurdity of fear and the ridiculousness of human nature. And yeah, it’s definitely about moms, too. Continue Reading →

There's always been something of the vampiric in the acting style of Nicolas Cage; his dark, intense eyes, his hunched gaze, his predilection for sinking his teeth into the scenery as vociferously as he might an unsuspecting jugular. And yet, it's wild to think he's never played a gen-you-wine bloodsucker before now. Sure, there's Vampire's Kiss, the great 1988 dark comedy in which he played a manic '80s business guy who imagines himself to be one -- but those were more the panicked neuroses of your typical self-destructive Cage protagonist. But in Chris McKay's action-horror-comedy Renfield, he's the real pale deal: Count Dracula himself, complete with velvet capes, a mouth full of fangs, and an unquenchable thirst for hemoglobin. Continue Reading →

Hollywood not giving Jennifer Garner the roles she deserves is hardly its biggest sin. That said, it's fairly disappointing that the powers that be have so rarely found projects worth of the actor in the past 30 years. Continue Reading →

When a show enters its final season, it has an opportunity to decide what it really wants to say. And what The Marvelous Mrs. Maisel wants to say is this: For all her tenacity, Susie (Alex Borstein) genuinely cares about the people in her orbit, especially her first client. For all that he's been a presumptuous prick, Joel (Michael Zegen) has become a better man. For all his professorial condescension, Abe (Tony Shalhoub) realizes how wrong he's been about so many things. And for all her immense talent and unflappable air, Midge (Rachel Brosnahan) must and will scratch and claw to get the chances denied her because of her gender and prove that this isn't just a phase; it's who she was meant to be.  Continue Reading →

Forty years on, Adrian Lyne's tale of welding, dancing, dreaming, and cold-shoulder sweaters still leaves us all feeling like maniacs. Personally, the notion of referring to films as "guilty pleasures" has always struck me as slightly absurd—if a movie can touch, thrill, amuse, arouse or otherwise entertain you in some way, don't feel guilty about it.  So when I say that I've been a huge fan of Flashdance since its original release in 1983 (and can confirm, via the new 40th anniversary 4K UHD release from Paramount Home Video, that I still adore it), I feel absolutely no guilt or shame. Sure, the film is as preposterous a concoction as has ever been placed before a camera, assembled in such a calculating manner that you practically hear the gears grinding away in the background. But every time I've watched it over the years—and that's a lot—I find myself falling under its goofy spell once more. Continue Reading →

It’s 2009: Owl City changed the way people looked at fireflies, America was gripped by the reality TV exploits of a couple with eight kids. Oh, and an ordinary man with little flying experience named Doug White had to land a private plane with his family onboard after the pilot fell unconscious. The year of Balloon Boy was a wild one.  Continue Reading →

It takes a little while to find Beef’s groove. This critic assures you that this is not the classic of the streaming age, “give it a few episodes” warning. By the end of the first episode, you will know if the series is for you. However, everything about the show feels overwhelming in the first eight to ten minutes. Continue Reading →

What makes an object meaningful? The plans its creators had for it? The image that its consumers build into it? The purpose it serves? The one who wields it? Continue Reading →

If you belonged to a certain group of very online Millennials around 2011, then the chances that a Dear Sugar letter changed your life or permanently lodged itself in your brain are high. I know it’s certainly true for me. That means I’m carrying a certain degree of baggage to Hulu’s newest series, Tiny Beautiful Things, based on the book of the same name--a collection of Dear Sugar’s best advice columns)--and Sugar herself, Cheryl Strayed, who stepped forward as the columnist in 2012.  Continue Reading →

It’s been almost 40 years since that little plumber in the red hat jumped into a warp pipe and into our hearts. Super Mario Bros., released for the original Nintendo system in the US in 1985, is still the perfect video game. It’s simple (you just got to jump around), it has iconic music, and its colorful world is hypnotic even with all those cute creatures trying to kill you. Continue Reading →

While Anna Winger’s new series Transatlantic is visually and textually lush, it opens a stark portrayal of the refugee experience. It’s painful, watching as they struggle with the terrain, carrying everything they have in their arms. You hear every labored breath, see every sweat stain. This long opening sequence sets the tone for the rest of the seven-part series–it isn’t glamorous or glossy, just beautifully filtered misery, fear, and hope. Continue Reading →

The acclaimed documentarian joins The Spool to discuss Brooke Shields, her work, her life, and her relationship to "Brooke Shields" the image. In 1981, Roger Ebert wrote a profile on Brooke Shields in which he—quoting a press agent—said, “She will be with us for the rest of our lives.” That turned out to be remarkably prescient, but neither the agent nor Ebert could have anticipated the myriad number of ways Shields has been with us in that time. Yes, she is extraordinarily beautiful. But many equally attractive people have come and gone, while Shields remains a consistent part of pop culture’s firmament. From her early appearances in films like Pretty Baby (1978), The Blue Lagoon (1980), and Endless Love (1981) and her controversial TV ads for Calvin Klein jeans, all of which focused on her sexuality while she was literally a child, to her shift in the later Eighties to become America’s Virgin to her reinvention as a comedic actress in the Nineties to becoming an advocate for those suffering from postpartum depression (and suffering the slings and arrows of Tom Cruise in full asshole mode as a result), Shields has been a persistently relevant figure in the American popular consciousness.  While Shields has lived much of her life in the public eye, Pretty Baby: Brooke Shields, a fascinating two-part documentary from Lana Wilson now streaming on Hulu, proves that she still has a great deal to say. Given access to nearly a half-century’s worth of archival material, which she presents alongside contemporary interviews with Shields, Wilson paints a fascinating, eye-opening portrait that demands a new consideration of Shields and her career. Much of her story is harrowing, be it specific to her life—her wrenching descriptions of sexual assault and her tumultuous relationship with her mother—or experiences too many young women in the spotlight share. (If you think having someone inquire about the state of your virginity sounds awful, imagine having talk show hosts do so on live television.) And yet, not only has Shields survived, she is thriving. She has found peace with herself and is able to look back on her life with a sense of control over it.  Continue Reading →

There’s been no shortage of pieces lately decrying the state of the romcom—is it on life support? Dead? In danger? If you’ve been lamenting the dearth of gems like You’ve Got Mail and Bridget Jones’s Diary, then Hulu has good news for you with its release of director Raine Allen-Miller’s feature debut: Rye Lane. It’s a quick and quippy romp through London’s Peckham neighborhood as two heartbroken twentysomethings bond over breakups and, far more deliciously, how to get back at their rotten exes. It’s a return to form that doesn’t feel stuck in the past. Rather, it’s a joyful reminder of why everyone loves a rom-com to begin with.  Continue Reading →

Unstable appears to be a deeply personal show for lead actor and co-creator Rob Lowe. After all, it revolves around a father/son duo played by Lowe and his real-life son, John Owen Lowe. Rob Lowe’s headlined worse stuff than this, for sure. Nonetheless, you’d think a series that seems rooted in something this personal would be more engaging to watch. At least, it might take some bold swings. Tragically, Unstable is a mostly just average comedy that leaves little in the way of an impression for good or ill.  Continue Reading →