‘Fantastic Four: First Steps’ is a fantastic bore
Movie review: The retro-futurism production design is on point, and so is the acting, but the story is overblown and flat.
‘Fantastic Four: First Steps’ is a fantastic bore
Gunn’s ‘Peacemaker’ Season 2 is no joke, despite a lighter tone from the DCEU days
TV review: Never losing sight of his makeshift family, Gunn also uses multiverse portals to indicate how the DCU is both a continuation and a fresh start.
‘E is for Evidence’ (1988) that a more evocative tale could’ve been told
Sleuthing Sunday (Book review): The fifth Kinsey Millhone novel is a plate of Christmas cookies when it could’ve been a satisfying feast.
‘Conjuring’ saga applies wallpaper as fast as it peels in ‘Last Rites’
Movie review: The saga’s emphasis on the investigators rather than the documented case is starting to become a bit much in the fourth entry.
I’m not scared of clowns. Can I still enjoy ‘It: Chapter Two’ (2019)?
Stephen King flashback (Movie review): Although the sequel has strong enough acting and direction to not be labeled a Loser, something is missing.
‘Collateral’ (2004) injects intimate moral philosophy into a crime thriller
Throwback Thursday (Movie review): Standout turns by Tom Cruise and Jamie Foxx make a relatively small, inconsequentially plotted film into a big deal.
Preston writes what he knows, and ‘The Lost Tomb’ (2023) shows how he knows it
Preston & Child flashback (Book review): Thirteen of Douglas Preston’s best nonfiction writings are gathered together.
‘D is for Deadbeat’ (1987) a rather downbeat Millhone entry
Sleuthing Sunday (Book review): Kinsey Millhone probes the down-and-out of Santa Teresa in her fourth alphabetical adventure.
‘House of Wax’ (2005) doesn’t melt under pressure to be a good romp
Frightening Friday (Movie review): Though the events are far from plausible, this remake serves up effective chills in the “weird small town” vein.
I like ‘John Candy: I Like Me,’ even if there’s no dirt to dig up
Movie review: While the interview subjects and home-video footage make Colin Hanks’ documentary a love-fest, I don’t detect any dishonesty.