“Eaters of the Dead” (1976) took the longest of any Michael Crichton novel to be adapted to film, likely because it’s the least commercial. But
Bob Odenkirk’s Saul Goodman finds clever ways out of scrapes. He’s not wired to fight back physically or with gunfire. At first blush, “Nobody’s” Hutch
Building off the interest in psychology displayed in “Cards on the Table” (1936), Agatha Christie digs further into that science in “Appointment with Death” (1938).
“Hellraiser III: Hell on Earth” (1992) breathes more than the first two films. Rather than the claustrophobia of a single house (“Hellraiser”) or an unrelatable
“The Fifth Element” (1997) requires a pact with the audience that they’ll be up for something stylistically and tonally different from the average SF space
I’m a sucker for movies set in amusement parks, which makes me both adore “Wonder Wheel” (2017) and judge it harshly. The colorful 1950s Coney
“In the Heights” (HBO Max and theaters), the film adaptation of Lin-Manuel Miranda’s 2005 stage musical, asks a viewer to commit to the NYC neighborhood
“Scratch One” (1967), the second of Michael Crichton’s eight John Lange novels, starts slowly and without direction. I thought I’d have to make a tough
Prior to “The Regatta Mystery and Other Stories” (1939), Agatha Christie seemed to think of her short stories in terms of collections under the banner
The plot of “Mare of Easttown” (April-May, HBO) is nothing we haven’t seen before. Nor is its moody vibe of a small, troubled community wracked