Sorkin stays in comfort zone in ‘Being the Ricardos’ (2021)
Movie review: Aaron Sorkin transplants his “making of an episode” TV structure into film to chronicle the behind-the-scenes drama of “I Love Lucy.”
Sorkin stays in comfort zone in ‘Being the Ricardos’ (2021)
Midge seeks comedic voice in ‘Marvelous Mrs. Maisel’ Season 4
First episode impressions (TV review): Season 4 of the Palladinos’ gem digs into how a person gains a voice in the pre-digital age.
Connery, Snipes add spice to gripping ‘Rising Sun’ (1993)
Michael Crichton Monday (Movie review): The “Rising Sun” adaptation drops most of the international economic debate but retains the mystery.
‘Texas Chainsaw Massacre’ still has meat on its bones
Movie review: This third try at a direct sequel to the 1974 classic is a smart mix of old-school horror grit with the current zeitgeist.
‘Texas Chainsaw Massacre: The Next Generation’ (1995) takes another crack at comedy
Frightening Friday (Movie review): It’s considered the worst of the franchise, but I find this fourth film easier to watch than the bloated “Chainsaw 2.”
PKD makes a cinematic bid with ‘Ubik’ screenplay (1985)
PKD flashback (Book review): Although the novel remains superior, the “Ubik” screenplay has breathing room for a deft filmmaker to make a stylized movie.
‘Ghostbusters: Afterlife’ (2021) is smoothly nostalgic
Movie review: This fourth “Ghostbusters” film draws from the 1984 original enough to be appealing, but not enough to be a new classic.
‘Don’t You Forget About Me’ (2007) shows Hughes’ lasting impression
Hughes Day Tuesday (Book review): In this bonus installment of HDT, I look back at the 2007 essay collection about Hughes’ six 1980s teen films.
‘Looker’ (1981) warns of the perils of perfection
Michael Crichton Monday (Movie review): “Looker” is one of the most smartly prescient of Crichton’s films that predict creepy technology.
Shyamalan helms engrossing ‘Servant’ Seasons 1-2 (2019-21)
Frightening Friday (TV review): He’s known as a filmmaker, but “Servant” makes a compelling case that Shyamalan’s skills translate to the TV format.