In his 2004 commentary track for 1974’s “Young Frankenstein,” Mel Brooks notes that it’s his best pure film – in the sense that it’s not
1999 was such a loaded year for movies that “The Mummy” seemed like a middle-of-the-road entry among tentpole films, one last May appetizer – and
“Face/Off” (1997) is on the short list of great body-swap movies. Fans say they love John Travolta acting like Nicolas Cage and Cage acting like
Peter Laird got his “Teenage Mutant Ninja Turtles” stories out of his system in the Aughts, and Kevin Eastman is going through his own phase
“Robin Hood: Men in Tights” (1993) was one of my regular rewatches as a kid, vastly more so than “Robin Hood: Prince of Thieves” (1991),
John D. MacDonald had already written dozens of novels when, at 47, he launched his only series and most famous character, Travis McGee. A lot
I overrated “From Dusk Till Dawn” (1996) in my head because of the great mid-film twist – but upon researching, it’s not a twist; it’s
An unwritten rule of movies is viewers allow one massive implausibility, but not a mountain of small implausibilities. This is why “Con Air” (1997) is
Mel Brooks has a great sense of comic pacing and rhythm in his best movies. He knows when to get in and get out. “Mel
Toward the end of its holding of the “Star Wars” license, Dark Horse Comics released a good chunk of the under-printed stories in a couple