Netflix represents an opportunity to internationalize and escape the pressures of a volatile domestic market in Turkish television. It has forced Turkish producers to tell Turkish stories in a globally compelling way.
Silent westerns star Tom Mix – with his ten-gallon hat and his horse, Tony the Wonder – shows off stunt work in Sky High and spoofs the genre in The Big Diamond Robbery.
The action in Mission Impossible: Dread Reckoning, Part One merely updates director John Glen’s James Bond set pieces from a more primitive time in cinema: the 1980s.
Indiana Jones and the Dial of Destiny should have taken a thoughtful approach to Harrison Ford’s aged hero, as James Mangold did in the superior Logan.
The story that takes up most of The Flash’s running time is about something that never happened, and worse, the film skips over the hard part of multiversity storytelling.
We Love Katamari Reroll + Royal Reverie is as accessible as it is attractive. Its bright art style and jubilant music make the gameplay deliriously uplifting.
The Japanese-ness of the yakuza cycle in films like Violent Streets connects with the era’s newly violent, high-octane gangster movies functioning as national parables.
Hideo Gosha’s Samurai Wolf films contain scenes and elements that feel like nods to Akira Kurosawa.
The Three Musketeers: D’Artagnan lacks the literary poetry and grace of Dumas’ sprawling novel, but Martin Bourboulon’s iteration honours its spirit.
The final season of Barry irreparably breaks the mold of the tragicomedy genre and unflinchingly severs the umbilical cord between the audience and the protagonist(s).
Frank Borzage, king of silent film melodrama, shows how it’s done with Back Pay‘s tale of redemption and the James Oliver Curwood-inspired The Valley of Silent Men.
Despite an egregious running time and padded plot, the (maybe) conclusion to Keanu Reeves’ series, John Wick: Chapter 4, still serves up some of the original’s delightful weirdness.
