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‘The Birds’ (1952) flies higher as a short story than as a movie

“Rebecca” (1938 novel, 1940 movie) is a pure example of Alfred Hitchcock taking a Daphne du Maurier story and adapting it for the screen. Interestingly,

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‘Eruption’ is a disaster, but not in the intended way

Michael Crichton died in 2008 and his new novel, “Eruption,” is somehow out in 2024. Be suspicious; be very suspicious. Of course, no one is

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‘Terrifier’ films introduce Art the Clown, reintroduce practical gore effects

Damien Leone’s two-decade film career has been defined by a bizarrely specific yet noble goal: to keep practical gore effects alive in an era of

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‘The Tenant’ (1976) the weakest, but also wildest, of Polanski’s Apartment Trilogy

“Repulsion” (1965) has aged incredibly well, a modern-seeming story of a woman’s troubled mind. “Rosemary’s Baby” (1968), though slow by today’s standards, is a classic

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Bloody romp ‘Abigail’ could’ve used sharper stakes

Is “Abigail” a bloody good time or a bloody mess? This horror flick from the team behind “Ready or Not” and the two “Scream” legacy

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‘The Two Jakes’ (1990) brings ‘Chinatown’ into the ’40s and ’90s

“Chinatown” (1974) is one of the most important Seventies neo-noirs, and one of the most straightforward, as it is set during the OG era of

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‘Strangers: Chapter 1’ a strange project, but not all bad

“The Strangers” (2008) and “Strangers: Prey at Night” (2018) are solid horror films that almost brought the old Jason potato-sack mask and the Drew Barrymore

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‘Stage Fright’ (1950) puts love rectangle at center stage

“Stage Fright” (1950) revisits the wrongly pursued person and theatrical setting of “Murder!” (1930) and executes the subsequent events better. Flirting with slow-burn romantic intrigue

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We’re caught in the Shyamalan ‘Trap’ yet again

Will we get “The Sixth Sense” M. Night Shyamalan or “Knock at the Cabin” M. Night Shyamalan? That’s the trap viewers get caught in every

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Body-horror film ‘The Substance’ has plenty of it

Both a throwback to old-school practical-effects monster horror and a present-day breakthrough for writer-director Coralie Fargeat, “The Substance” goes deep into the issues (and tissues)

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