As “Tron: Legacy” (2010) lightly brushes over might-have-been interesting issues such as open-source code versus code ownership and settles for a flat, emotionless, CGI-effects-driven adventure,
The last 15 years or so have proven that returning characters mean more to audiences than reusing the title. “Ghostbusters: Afterlife,” with the original characters,
“Step Down to Terror” (1958) is Alfred Hitchcock’s “Shadow of a Doubt” (1943) put into a blender with Fifties sitcoms where father knows best …
“RoboCop” (2014) is the definition of a thankless task. Director Jose Padilha and writer Joshua Zetumer do a workmanlike job but aren’t able to make
“Agatha Christie’s Poirot” has never looked better than in Season 11 (2008-09, ITV, A&E), as we’re invited into the cluttered boarding house of “Mrs. McGinty’s
“Psycho” (1998) gets the wrath among near beat-for-beat remakes of Alfred Hitchcock’s films, but there are many candidates for worst remake of his work. “Shadow
“Agatha Christie’s Poirot” began its “dark half” by adapting four masterpieces in Season 9. Season 10 (2005-06, ITV and A&E), on the other hand, tackles
“We Need to Talk About Kevin” (2011) possesses two endearing qualities. (Three if you count the title.) The first is the prowess in visual storytelling
I’ve read enough books now to develop a personal taste and know what topics to avoid, but after reading “The Book Thief” (2005) for my
“Poirot” Seasons 1-8 feature the cozy quartet of Poirot, Hastings, Japp and Miss Lemon and proven, skilled writers like Clive Exton and Anthony Horowitz. But