“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
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
“Magic in the Moonlight” (2014) is a middle-of-the-road Woody Allen rom-com, which still makes it better than most genre works — but leaves one thinking
Having expressed his nostalgic feelings for Manhattan (“Manhattan”) and old-time cinema (“Play It Again, Sam” and “The Purple Rose of Cairo”), Woody Allen next pens
“The Purple Rose of Cairo” (1985) is a sweetly whimsical Woody Allen picture that demonstrates a love for cinema along with a healthy understanding of
Michael Crichton might be the most versatile bestselling writer ever, but even by that standard, “Eaters of the Dead” (1976) is his most different novel.
In his first series since “Marvel’s Agents of S.H.I.E.L.D.” (2013) and his first hands-on series since “Dollhouse” (2008), Joss Whedon returns to TV with “The
After two bestselling techno-thrillers, “The Andromeda Strain” and “The Terminal Man,” Michael Crichton could’ve branded himself strictly as the master of that genre. Perhaps his
“Zelig” (1983) initially seems to be a case of one joke – that Leonard Zelig (Woody Allen) has chameleon abilities that allow him to blend
“A Midsummer Night’s Sex Comedy” (1982) is a good example of how Woody Allen’s B-game is better than most writer-directors’ B-game, but it also makes