As “Tron: Legacy” (2010) lightly brushes over might-have-been interesting issues such as open-source code versus code ownership and settles for a flat, emotionless, CGI-effects-driven adventure,
“Double Indemnity” (1944), one of the most well-respected and influential film noirs, is a near-masterwork of plotting regardless of genre. It can be enjoyed as
With the sheer number of Alfred Hitchcock biographies out there, you can easily find a warm one, such as the official bio, John Russell Taylor’s
“Deep Red” (1975) often tops rankings of Dario Argento films, or even all giallo films. I suppose this makes sense if “Suspiria” (1977) is shunted
“Swordfish” (2001) is a rare movie that I rate low not because of boredom but because of confusion. It’s gutsy in its action sequences and
Woody Allen’s “Coup de Chance” (2023), despite the marketing team trying to bill it as his 50th film, rather remarkably snuck under the radar. (Creative
Reading Michael Wood’s monograph “Alfred Hitchcock: The Man Who Knew Too Much” (2015, Houghton’s Icons series) is like chatting with an erudite friend about a
Dario Argento’s giallo films are starting to become like tasty snacks three entries in – good for energy, not necessarily nutrition. After “The Bird with
Like “The Net” six years prior, “Antitrust” (2001) mixes turn-of-the-century code theft with cat-and-mouse thrills that date to the beginning of cinema. Thrown in as
My biggest surprise after completing Arthur Conan Doyle’s “Sherlock Holmes” literary canon is that he lays the groundwork for bigger stories more so than writing