“Dial M for Murder” (1954) didn’t need to be remade, but since it was – in 1981’s quote-mark-enhanced “Dial ‘M’ for Murder” – it’s illustrative
Scott Derrickson has developed a reputation as a fine filmmaker, but for me he’s leaning toward safe filmmaker. Though his resume includes the excellent “Exorcism
After the twist ending in his directorial debut, “The Bird with the Crystal Plumage” (1970), Dario Argento’s follow-up “The Cat o’ Nine Tails” (1971) was
“Tron” (1982) is a touchstone movie in the history of digital effects, as it uses about 15 minutes of computer-created graphics to represent the inside
“Avanti!” (1972) is a Billy Wilder film that misfires on one cylinder. It gets you to your destination, but it’s not the smoothest ride. I
Thank goodness for film historians and geeks. I now enter the third phase of a journey taken by many Gen X and millennial slasher fans.
The last 15 years or so have proven that returning characters mean more to audiences than reusing the title. “Ghostbusters: Afterlife,” with the original characters,
Billy Wilder usually tickles my funnybone, but “The Seven Year Itch” (1955) – for all its creative presentation and fame for Marlyn Monroe’s dress being
“My Bloody Valentine” (2009) – as endemic to 2009 as the original is to 1981 — is a generic, gory slasher movie, but it embraces
Uber-producer Irwin Winkler, when in director mode, might not have the career of Alfred Hitchcock, but he knows how to borrow from him. “The Net”