John Hansen

His House

‘His House’ shows horror of refugee immigrant experience

Movie review: Weekes’ calling-card film uses horror tropes to slyly tell a surprising, insightful story about the refugee experience.

Transmigration of Timothy Archer

‘Transmigration of Timothy Archer’ (1982) puts bow on PKD catalog

PKD flashback (Book review): He didn’t know this would be his last novel, but PKD effectively puts a bow on his spiritual musings.

Trial of the Chicago 7

‘Trial of the Chicago 7’ a gripping history lesson

Movie review: Aaron Sorkin’s chronicle of seven defendants selected as scapegoats for Vietnam War-era riots is nicely layered and toned.

Emma 2020

Anya Taylor-Joy’s ‘Emma’ is beautiful but uneven

Movie review: “Emma” nails the early 19th century English countryside, costumes, manors and manners. But the interludes are jarring.

Crooked River

P&C plant their feet in Florida for ‘Crooked River’

Book review: Preston & Child deliver a strange but satisfying second book in their series set in Florida, where Child resides.

Hulk

Lee’s ‘Hulk’ (2003) is as slow and boring as I remembered

Superhero Saturday (Movie review): When applied to the origin story of the Hulk, Ang Lee’s languid craftsmanship comes off as boring.

Friday the 13th 2009

‘Friday the 13th’ (2009) is a fine but forgettable remake

Frightening Friday (Movie review): Marcus Nispel’s remake is slick and competent, but I’m not sure if it was artistically necessary.

Midnight Run

‘Midnight Run’ (1988) propelled by De Niro, Grodin

Throwback Thursday (Movie review): Robert De Niro and Charles Grodin are an odd couple with comedic chemistry in this on-the-run classic.

Queen's Gambit

‘Queen’s Gambit’ the Grandmaster of short-form drama

TV review: Anya Taylor-Joy is outstanding in this miniseries that takes us to the 1950s and 1960s in all their pastel and analog glory.

She's Having a Baby

‘She’s Having a Baby’ (1988) doesn’t know what it wants

Hughes Day Tuesday (Movie review): Kevin Bacon’s character doesn’t know what he wants out of life, and the film doesn’t know what it wants to be.