1088 Best Film & TV Releases Translated Into Turkish (Page 25)

With the first season of Only Murders in the Building, creators Steve Martin and John Hoffman found success through a tricky balance -- between young and old, between thriller and comedy, between murder and levity. With Selena Gomez and Martin Short returning to join Martin as the unlikely podcasting trio, the Hulu series leans on the chemistry of its three stars. The resulting second season overachieves, brimming with confidence, comedy, scares, and a balanced tone. Continue Reading →

Strawberry Mansion has finally come home. Newly released on Blu-ray by Music Box Films, this astonishing motion picture benefits from a well-decorated physical release. In the depths of The Streaming Age, it’s a welcome reminder of the delights and comforts of home video. Continue Reading →

As comic premises go, the notion of portraying people in the movie industry as pretentious vain, shallow, sex-crazed glory-hungry goofballs is about as close to shooting fish in a barrel as one can possibly get. Therefore, the trick to pulling off something along these lines is not by pretending that one is making some bold artistic statement, but by striving to make sure that it is actually funny. Continue Reading →

“It’s not politics. It’s poetry!” one of the many voices screams approximately half an hour into Lux Aeterna (stylized, of course, as Lux Æterna). With that line, Gaspar Noé’s 51-minute movie—now available on digital three years after its 2019 Cannes Film Festival premiere—reaches the self-awareness at which it often paws. That opener is partly a joke in and of itself: Noé’s auteur work has relatively veered toward the quote-unquote apolitical. The politics, inherent as they are to the art of cinema, have fleshed themselves out by accident. Here, the spontaneous “poetry” of Lux Aeterna—an extrapolation of sorts of his previous film, Climax—lives on a prosaic approach. Continue Reading →

In the opening seconds of Baz Luhrmann’s Elvis, viewers are blasted with the sight of the Warner Bros. logo – a variant glowing in gold and crimson, practically exploding with flair and moving parts – accompanied on the soundtrack by a remix of “Suspicious Minds.” Within the first few minutes, sweeping shots of Las Vegas clash with Ocean’s 11-style split screens, and the editing juggles between slowmo and cranked-up fast motion, in classic Luhrmann fashion. Continue Reading →

Gather around, children, and let Auntie Gena tell you a story about days gone by. Long ago, up till around 1984, kids used to run free in the streets from dawn till dusk, with virtually no adult supervision. Was it a better time? Not really, just different, and it all came to an end with the collective belief that bad things happen to children who aren’t carefully watched at all times. Now it’s swung so far in the other direction that allowing your children to walk themselves to school may result in a visit from child protective services. Scott Derrickson’s The Black Phone takes place in the time before, when parents didn’t worry about monsters until they were almost under their noses. Continue Reading →

A movie based on Buzz Lightyear seemed inevitable, didn’t it? Toy Story is Pixar’s flagship franchise, and an action-packed sci-fi movie is primed for merchandising opportunities. There’s no way The Mouse could resist making a spin-off featuring the beloved fictional action figure.  Continue Reading →

Adam Sandler doesn’t need to earn any good karma. With a comedy career spanning 25 years and a dramatic career consisting of two decades worth, though more sparingly, of working with auteur filmmakers, the Sandman has been given the green light around Hollywood. And more importantly, he’s been given a blank(ish) check by Netflix, the service most associated with streaming despite its recent struggles. Continue Reading →

In the video game version of the original Jurassic Park for the Sega Genesis, you can choose to play the side scroller as either Dr. Grant or a Velociraptor. Of course, you choose the raptor almost every time because dinosaurs are cooler than humans. It’s a great lesson for making a fun video game, but not for making a successful movie franchise.  Continue Reading →

In 1974, a crane operator named Maurice Flitcroft watched the Piccadilly World Match Play Championship (a golf tournament) and decided that he would take up the game. Not as a fun new hobby, though. No, he intended to play at the British Open. Supported by his wife Jean, Maurice did indeed enter and play in the qualifying round of the Open after fibbing on his paperwork that he was a professional. He scored 121 and ended up summarily banned. Over the years, Flitcroft would attempt to re-enter the Open, using costumes and pseudonyms. If this all sounds handcrafted for immortalization on film, then you’re in luck.   Continue Reading →

As Marvel holds its iron grip on theaters, and Netflix seems determined to focus its dwindling profits on churning out generic action movies starring various iterations of Ryan Reynolds, cineastes lament the loss of “art” films, those outliers that, whether good or bad, generate far more lively after-movie conversation than Spider-Man ever could. And yet, right now we seem to be in the middle of a weird movie renaissance. We have the joyful weirdness of Everything Everywhere All at Once, the all too topical weirdness of Alex Garland’s Men, and the over the top spectacle weirdness of Baz Luhrmann’s upcoming Elvis. What better time could there be for David Cronenberg to come roaring back to form with some body horror weirdness in Crimes of the Future? Continue Reading →

Although histories of Hollywood in the 1970s tend to include Brian De Palma alongside the so-called “movie brats” who helped to revolutionize the film industry at that time (Spielberg, Lucas, Coppola), his films never came close to reaching the critical and/or commercial peaks they had.  Continue Reading →

Hal Needham's good-old-boy romp is still as silly and dumb and charming as it was nearly a half-century ago. I have spent the last hour or so trying to figure out a way into this piece commemorating the 45th anniversary of Smokey and the Bandit, a goofy exercise in hicksploitation that exceeded all expectations to become one of the biggest hits of 1977. On the one hand, the film is an undeniably puerile conglomeration of noisy car crashes and jokes that were on the retrograde side even back in the day. On the other, it’s a film that’s entertained me mightily over the years and still does.  That said, I would never refer to Smokey and the Bandit as a “guilty pleasure,” because that would suggest that I feel some degree of embarrassment over my admiration for it. That’s simply not true—as dumb as it is, it does have a certain charm that helps move it along while (mostly) overlooking its shortcomings. Continue Reading →

It’s difficult to recall how sneakily Stranger Things came upon us on July 15, 2016. Like so many Netflix releases, the stream launched the series with surprisingly little effort to grab people’s attention. However, throughout that summer weekend, the buzz quickly built to a roar. By the end of July, the show had become Netflix’s hottest property. Six years later, it is the streamer’s flagship title. Continue Reading →

Navy Captain Peter "Pete" Mitchell, callsign "Maverick" (Tom Cruise) is a living legend. He is the only man to have shot down multiple enemy planes in the modern era of combat aviation. From the F-14 Tomcat to bleeding-edge skunkworks stealth plane prototypes, there is nothing he cannot fly, nothing he cannot (or more accurately will not) push past the fabled Danger Zone. Continue Reading →

Expanding a television show that usually runs for twenty-five minutes into a full-length feature film can be patty hard. Sorry, I mean pretty hard. After spending so much time in director Loren Bouchard’s colorful, sardonic world filled with enough burger puns to fill a McDonald’s ball pit, it’s hard to resist that sort of thing.  Continue Reading →

In Searchlight Pictures' latest, the Asian-centered gay romcom Fire Island, screenwriter and star Joel Kim Booster transports the timeless story of Jane Austen’s Pride and Prejudice from Regency England to the famous (or infamous) gay vacation spot. The film follows a group of friends as they face the joys and sorrows of love and found families during a fabulous week on the island. Continue Reading →

Eugenio Derbez has followed all the proper steps for any comedic leading man, including breaking out with a movie whose success nobody saw coming (Instructions Not Included) to side roles in long-forgotten blockbusters (Geostorm). Now he's taken a cue from many other modern stars of the genre like Adam Sandler or Melissa McCarthy and moved to 'streaming service A-lister' with Hulu's latest, The Valet. Continue Reading →

The more things change, the more they stay the same. For the latest example of this phenomenon, notice how, 34 years after Who Framed Roger Rabbit? changed movies forever, moviegoers are getting another comedic mystery hinging on live-action humans interacting with famous cartoon characters. The shadow of Zemeckis' revolutionary blend of filmmaking styles looms large over its modern-day thematic successor, Chip ‘n Dale: Rescue Rangers.  Continue Reading →

In the first scene of Eskil Vogt’s sophomore feature The Innocents, a young girl pinches her autistic older sister while riding in the car. Her sister doesn’t react, so she pinches harder. The morality of Vogt’s latest ebbs and flows with this girl, her sister, and their two new friends, all of which have an odd connection, not to mention supernatural abilities. Kids have a gray version of right versus wrong, as violence sputters around the Norwegian thriller, minimal in technique but tense in execution.  Continue Reading →

Did you leave the gas on? Or does this movie stink? I’ll be here all week, folks. Continue Reading →