Movies

Poirot time-travels to 1985 for ‘Thirteen at Dinner’

The third of Peter Ustinov’s six Hercule Poirot films, “Thirteen at Dinner” (1985), came out the same year as “Back to the Future.” This is

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‘Haunting in Connecticut’ (2009) makes tidy use of cancer parallel

“The Haunting in Connecticut” (2009) is – like the more famous “The Amityville Horror” (1979) — another of those proto-“Conjuring” films that come from an

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Lost in the 1999 bin, ‘Drop Dead Gorgeous’ skewers teen pageants

“Drop Dead Gorgeous” (1999) goes to town making fun of beauty pageants like a sugar-infused kid attacking a pinata. Since I know nothing about pageants

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‘Amityville 3-D’ (1983) could’ve used more dimension in its storytelling

“Amityville 3-D” (1983) hit theaters at the intersection of a couple of trends: one, sequels as ways to cash in on a horror franchise, and

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‘Endless Night’ gets made into sneaky great 1972 film

As a general historical truth, Agatha Christie didn’t see a lot of great film adaptations of her work in her lifetime. What she really missed

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‘The Boogeyman’ an all-too-familiar take on a familiar childhood fear

“The Boogeyman,” adapted from a 1973 short story by Stephen King (collected in 1978’s “Night Shift”), is the third-oldest of his stories to be adapted

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‘Poltergeist’ (1982) the most huggable haunted-house movie ever

“Poltergeist’s” (1982) status among haunted-house films has been equaled many times, but in one way it stands as unique. It was released on June 4,

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‘John Wick: Chapter 4’ goes out in a big (and long) way

I don’t like the trend of increasingly long movies, but I often give good grades to long movies. “John Wick: Chapter 4” is 2 hours

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‘Amityville II: The Possession’ (1982) isn’t a prequel, it’s a sequel

Horror fans are accustomed to confusing timelines, so much so that there’s a YouTube channel devoted to going through the bizarre continuities of “Halloween,” “Friday

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‘Death on the Nile’ (1978) faithfully and lavishly adapts Christie’s gem

The 1978 version of “Death on the Nile” has stayed afloat as one of the elite film adaptations of an Agatha Christie novel. Anthony Shaffer’s

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