Although Sarah Michelle Gellar only cameos in the 2006 sequel to “The Grudge,” she doesn’t abandon supernatural thrillers. Further wading into post-“Buffy” waters, she stars
“I’m Reed Fish” (2006) is a weird combination of a personal cheapie with a stellar, marketable cast of actors. A basic sans-serif font introduces the
Chris (Jonathan Rhys Meyers) gives tennis lessons in the opening of “Match Point” (2005), and writer-director Woody Allen proceeds to deliver a master class in
“The Grudge” (2004) opens with a moment that stayed in my mind for 17 years: A young woman (Yoko Maki) peeks into an attic to
I want to love “Tuck Everlasting” (2002). It has a meticulously beautiful look under the lens of James L. Carter and a delicately crafted score
“He’s All That” (Netflix) is a cute riff on 1999’s “She’s All That” – which was itself a riff on “My Fair Lady.” It includes
“September” (1987) is a small gem buried in Woody Allen’s rich catalog, filmed entirely in a country house built on a soundstage and improving on
Slasher sequels have a reputation for being unoriginal, but “Candyman: Day of the Dead” (1999) is a particularly blatant case. Coming out even after the
“Candyman: Farewell to the Flesh” (1995) takes a long time to make an argument that it needs to exist. Director Bill Condon (the “Twilight” saga)
“Candyman” (1992) has one of the most aggressively effective scores I’ve heard. Philip Glass’ organ-driven theme evokes beautiful churches (even though there’s no church in