“Scream” (1996) introduced a new era of slasher films by being brazenly self-referential, but also by having better production values and acting than the previous
Everyone looks they’re having a good time on “Lethal Weapon 4” (1998). That’s sometimes a warning sign that the viewer will be as miserable as
Tom Hardy gives one of the best turns in a thankless role you’ll ever see. Known behind the scenes as Sony’s attempt to cash in
Paramount held the rights to “Friday the 13th” for the first eight films before handing them off to New Line Cinema, and it closes the
After “Back to the Future” (1985), a pitch-perfect comedy, and “Back to the Future Part II” (1989), a thrillingly inventive time-hopper, “Back to the Future
“The Crow” saga moves the action from Detroit to Los Angeles for its first sequel, “City of Angels” (1996), and I expected a slicker entry
I was gung-ho for “Virus” in 1998; I gobbled up the 1992 comic series by Chuck Pfarrer (who co-writes the screenplay), and I recall the
“Back to the Future Part II” (1989) is a master class in plotting, as Bob Gale tells the latest adventure of time-traveler Marty McFly (Michael
“Batman: Mask of the Phantasm” (1993), like most animated films based on properties best known for live action, made only a blip at the box
I’ve complained that most of the “Friday the 13th” sequels tentatively try something new but don’t commit to it, so I admire “Friday the 13th