“Alice, Sweet Alice” (1976) is one of the most fascinating American proto-slashers to discuss, and it’s watchability factor isn’t far behind. Since the juiciest talking
“Star Trek II: The Wrath of Khan” (1982) pits Captain Kirk and his crew against a most formidable enemy; a crafty, smarter, stronger and better-looking
“Mission: Impossible – The Final Reckoning” has one of the most unnecessarily convoluted plots of any tentpole action movie. So much so that this eighth
“The Lost Weekend” (1945) must have been striking upon its release for its matter-of-fact portrayal of alcoholism. The Forties were the decade of film noir,
Sometimes I wonder how Gen-Xers – the generation that didn’t give a crap – turned into helicopter parents. This is probably giving the power of
I’ve found a lot of proto-slasher giallo films are still engrossing today due to not only the cinema-history lesson but also the stories and craft.
As Quentin Tarantino gained buzz as the Gen-X auteur in the mid-’90s, “True Romance” (1993) was his secret film among my high school classmates. Everyone
“Ace in the Hole” (1951) is a kind of silly, rather entertaining, certainly unusual piece in Billy Wilder’s catalog. Driven by a muscular, over-the-top performance
“Sinners” builds up its portrayal of 1931 life for black folk in Mississippi so well that when a bigger cinematic threat comes along, it’s a
Asia Argento gives Schrodinger’s Performance in “The Stendhal Syndrome” (1996): She’s simultaneously excellent and totally miscast. She plays Anna and carries us through the film