1088 Best Film & TV Releases Translated Into Turkish (Page 32)

There’s a word that exists in the Italian language that doesn’t quite have a counterpart in any other language: sprezzatura. What it essentially boils down to is the art of looking like you don’t care – a style of perfectly-studied imperfection. This idea goes back at least to the Renaissance, a time when the Gucci family earned its reputation as skilled saddlemakers to the rich and aristocratic. Or at least that’s how Aldo Gucci, the powerful and powerfully at-ease paterfamilias played by Al Pacino, relates the family history in Ridley Scott’s House of Gucci. It is against this backdrop – of wealth, power, history, and above all, style – that Scott and screenwriters Roberto Bentivegna and Becky Johnston weave their story, an uneven yet compelling story about the only person who became a Gucci through their own making rather than by an accident of birth, and yet was forever an outsider.  Continue Reading →

Once Upon a Time… Continue Reading →

Amazon Prime’s new high fantasy series, The Wheel of Time has arrived, and already a major part of the critical conversation seems to be “how much like Game of Thrones is this?” The answer is “not much,” which will undoubtedly disappoint some. For others (myself included) its differences from HBO’s leviathan dragons-and-politics series are welcome. Firstly, in the six episodes that were made available to reviewers, I didn’t spot a single sexual assault and only two women were tortured, so that’s something. Here, women don’t gain power through marriage or dragon-riding because they don’t have to. If there is anything you should bear in mind heading into The Wheel of Time, it’s the knowledge that this is a world where women already hold most of the power, in every sense of the word. Continue Reading →

There’s a moment in the second episode of Cowboy Bebop that captures the experience of the entire series. Spike Spiegel (John Cho) fights a man in a bathroom while a wedding takes place in the same building mere yards away. As Jet Black (Mustafa Shakir) tries to figure out what’s happening over comms—despite it seeming fairly obvious—Spike gets the upper hand. He pauses, shifts slightly, pauses again, and then kicks the man through a bathroom stall door. The man helpfully stayed in place throughout. Continue Reading →

The very idea of reviewing something like Procession is a task in and of itself. It’s not that it’s particularly difficult; it’s that it runs the risk of coming off less as reviewing a film than reviewing people and their realities. Am I, myself a rape survivor, to laud the subjects’ humanity that propels Robert Greene’s documentary? Of course.  Continue Reading →

Stories revolving around single men suddenly thrust into the father’s role (even if only temporarily) obsess about men’s ineptitude. Whether they think their failure to take naturally to childcare is biological or sociological or better played as comedy or tragedy doesn’t really matter. For whatever reason, the takeaway is still men aren’t cut out for fatherhood of any kind on their own. In a shocking breath of fresh air, C’mon C’mon says, to put it bluntly, fuck that.  Continue Reading →

Plenty of Star Trek shows hit their stride in season four. The timing makes sense. After four years together, the cast and crew have all had time to jell. The writers have had long enough to hone the show’s voice and course correct for any missteps. And there’s still enough mileage left in the original premise and characters to take them to interesting places. Continue Reading →

New York City. January 29th, 1990. Composer and playwright Jonathan Larson (Andrew Garfield) turns 30 at the end of the week. SUPERBIA, the dystopian science fiction musical he's spent most of a decade writing, is about to have its first-ever full workshop. It's a critical moment for Jon, one that could well make his career (or break it irreparably). If SUPERBIA bombs, Jon will be washed up before he ever set out to sea. To crank up the pressure, the show is missing a critical song, a tune that the whole affair will turn on. Continue Reading →

One of the few moments of genuine humanity from Ghostbusters: Afterlife comes before the movie starts. In the press screening intro video, director and co-writer Jason Reitman shows up to tell everyone to please enjoy the movie. Then he briefly mentions the high stakes pressure of taking up the mantle of a beloved film property from his father, Ivan Reitman.  Continue Reading →

What if you were the only one in your entire family without magic? Disney's Encanto sets out to answer that question with music and charm as its fanciful powers. Continue Reading →

Disney brought out the nostalgia machine for Home Sweet Home Alone, the latest installment in the franchise of the same name. While it’s not a carbon copy remake, Home Sweet Home Alone lacks the charm of the original 1990 film. It narrowly slides into being a passable family film thanks to the work of a committed cast featuring Archie Yates, Rob Delaney, and Ellie Kemper. Continue Reading →

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 →

People think the Cold War officially ended with the fall of the Berlin Wall in 1989. That may technically be the right answer, but the actual end of the Cold War happened in Moscow on Christmas Day, 1985. That’s when American boxing champ Rocky Balboa knocked out Russian behemoth Ivan Drago in such a humiliating fashion that even his own countrymen were Team Rocky by the end of the slugfest. It was such a blow to morale that the USSR never recovered.  Continue Reading →

Kingstown, Michigan is as much an industry city as Bay Lack, FL, or McDonald, OH. Except, as Mike McLusky (Jeremy Renner) tells us in Mayor of Kingstown’s opening voiceover, the company that Kingstown answers to doesn’t run theme parks or make steel. They incarcerate. Continue Reading →

If I were to tell you that Will Ferrell and Paul Rudd were starring in a comedic miniseries about a hapless, neurotic man whose entire life is taken over by his overbearing psychiatrist, you’d be forgiven for assuming that (a) Ferrell plays the psychiatrist and Rudd his patient, and (b) it’d be a pretty funny movie. In fact, the opposite is true: Rudd, in a rare villainous role, is the doctor, and the series, Apple TV+’s The Shrink Next Door, isn’t particularly funny. Oh, there are some amusing moments, but they’re more likely to elicit laughs of the uncomfortable kind, as the viewer is torn between sympathizing with its protagonist and wanting desperately to shake some sense into him Continue Reading →

The Ragdoll Killer of the new AMC+ series may be meticulous in making a cadaver assembled from several bodies. They may have been painstaking in their planning, in the series of clues they left behind. Unfortunately, Ragdoll lacks the same level of rigorous attention. Continue Reading →

By most accounts, Alex Cox’s Sid & Nancy is not a particularly accurate depiction of the relationship between Sid Vicious, the most notorious member of the Sex Pistols, and Nancy Spungen, the American with whom he had a relationship that began in a state of anarchy, was sealed in a haze of drugs and ended with him allegedly stabbing her to death in a bathroom only a few months before he would himself die of a heroin overdose at the age of 21. Continue Reading →

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 →

Even after the umpteenth re-watch, I feel I’m only starting to scratch the surface of Paul Thomas Anderson’s The Master. Initial reviews and reactions gravitated towards the film’s relationship with Scientology and its co-founder L. Ron Hubbard. In the decade since, this fixation has dissipated, depriving confused viewers of an easy handhold while scaling this towering cinematic achievement. Make no mistake: Philip Seymour Hoffman’s Lancaster Dodd is a character clearly inspired by Hubbard. But labeling The Master “a movie about Scientology” is about as silly as thinking you can cure leukemia by accessing past lives.  Continue Reading →

It’s common to think about each of us having a “role” in society, with costumes, positions, stages, and actions to be performed. Mexican director Alonso Ruizopalacios (Gueros, Museo) deputizes this idea in A Cop Movie, which investigates policing and the line between fiction and documentary with political precision. Continue Reading →

It is difficult to imagine the people who, after Dexter’s largely despised series finale, felt that more Dexter would solve the problem. When you recall the last season of Dexter was also largely despised, it becomes even more challenging. Add in that, for many, the writing on the wall started even earlier, and it becomes damn near impossible. And yet, here is Dexter: New Blood. Continue Reading →