Movies

‘Foreign Correspondent’ (1940) lauds journalists but isn’t about journalism

“Foreign Correspondent” (1940) is one of the “underrated” Alfred Hitchcock movies. But when a body of work is so thoroughly scrutinized, it’s hard to find

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‘Blue Beetle’ should’ve been given the ‘Batgirl’ treatment

DC cared enough about protecting the brand of “Batgirl” that it scrapped a completed movie so the public wouldn’t see a bad “Batgirl” movie. But

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‘Lake Mungo’ (2008) a grief-laden mystery-horror classic

As “Talk to Me” puts Australian horror back on the map, and “Hell House LLC Origins: The Carmichael Manor” has me on a found-footage kick,

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‘Mission: Impossible – Dead Reckoning Part One’ makes the end of the world thrilling

It’s been the end of the world as we know it for a while in pop entertainment. “The Terminator” (1984) predicted this would be the

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‘The Lady Vanishes’ (2013) is a lovely dramatic counterpoint

Seventy-five years after Alfred Hitchcock made a lightly comedic version of “The Lady Vanishes” from Ethel Lina White’s “The Wheel Spins” (1936), we got a

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‘Shaun of the Dead’ (2004) the all-time elite zom-com

“Shaun of the Dead” (2004) is not only the best zombie comedy of all time, but a case could be made that it uses zombies

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Intrigue disappears behind comedy in ‘The Lady Vanishes’ (1938)

Four years after Agatha Christie’s “Murder on the Orient Express” chronicled a mystery on a snowed-in train in Eastern Europe, Afred Hitchcock did the same

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‘Hell House LLC II: The Abaddon Hotel’ (2108) and ‘III: Lake of Fire’ (2019) are ambitious but cheap

Writer-director Stephen Cognetti wraps his “Hell House LLC” trilogy with the consecutively filmed “Hell House LLC II: The Abaddon Hotel” (2018) and “Hell House LLC

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Fincher goes minimalist to get into mind of ‘The Killer’

“The Killer” (Netflix) takes the structure of a “John Wick” film but replaces the action with tension. In both cases, the plot is unimportant. The

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‘Hell House LLC Origins: The Carmichael Manor’ improves on original

“Hell House LLC” (2015) was one of the last decade’s best “found footage” horror films. Then writer-director Stephen Cognetti got narratively ambitious with his sequels

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