Movies

‘X-Men’ finale ‘New Mutants’ taps into old story

Fox’s two-decade run of 13 “X-Men” films and two TV series ends in understated and underwhelming fashion with “The New Mutants,” which was originally supposed

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Hitchcock’s ‘Psycho’ (1960) a masterpiece of tension

We all go a little mad sometimes, so from Nov. 27-Dec. 11 we’ll be dragging the swamp behind the Bates Motel for insight into the

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‘Pieces of April’ (2003) a harsh, sweet tear-jerker

A near-perfect movie about an imperfect family, “Pieces of April” (2003) could serve as a template for how to make a low-budget film. Writer-director Peter Hedges,

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‘Dutch’ (1991) focuses on characters, not laughs

John Hughes’ other Thanksgiving movie, “Dutch” (1991), has that “other” status for a reason: It’s not as funny as “Planes, Trains and Automobiles” (1987). However, as

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‘Teenage Mutant Ninja Turtles’ (2014) takes some getting used to

I’ve probably seen the original “Teenage Mutant Ninja Turtles” more than any other movie (granted, most of those viewings were from 1990-92). That film is

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‘30 Days of Night’ (2007) unleashes horror at the top of the world

I love adventures set in geographic extremes, and that’s the biggest appeal of “30 Days of Night” (2007), set in Barrow, Alaska. Odd places like this

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Documentary ‘Class Action Park’ captures nostalgia, danger

“Class Action Park” (HBO Max) is a schizophrenic documentary, but unavoidably so. It chronicles New Jersey’s Action Park, a theme park of dangerous water rides,

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Gilpin is great, but ‘The Hunt’ is unpolished

I liked “Cabin in the Woods” (2011), but I’m uncomfortable with how it has risen to classic status in the horror genre. Wild genre shifting and

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Candy, Martin shine in ‘Planes, Trains and Automobiles’ (1987)

If we started a debate over the greatest Christmas movie, it could go on until New Year’s, but “greatest Thanksgiving movie” is easier: It’s “Plains,

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‘His House’ shows horror of refugee immigrant experience

Mike Flanagan counts himself as an admirer of writer-director Remi Weekes’ “His House” (Netflix), and it’s no wonder: Like Flanagan’s work, Weekes’ calling-card film uses

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