It’s hard to make a mainstream horror movie that stands out from the pack while also checking the required boxes of being scary, moody, mysterious
Nearly a century after Agatha Christie invented Hercule Poirot, another writer was given the go-ahead to put words in his mouth for the first time,
The early “Hellraiser” films feature a guy regenerating from the inside out, people being ripped apart by chains, a skinless woman emerging from a bloody
The detective thriller “To Catch a Killer” is caught between old-fashioned and modern, grungy and slick – elevated so much above its script by Shailene
Hercule Poirot is known for using his understanding of human psychology to solve murders, and never is this more extreme than in “The Mystery of
A mystery novel can go off the rails if the author piles on too many implausibilities at the end. Sophie Hannah, in her second Christie-estate-approved
“Hellraiser: Hellworld” (2005) – the saga’s eighth film, third in a row from director Rick Bota and second consecutive film shot in Romania – is
“The Pope’s Exorcist” sounds like a title you’d see on a Redbox kiosk around the time of a new “Exorcist” movie (indeed, that saga’s sixth
In a time of overhyped too-minimalist horror films (“The Black Phone,” “Boogeyman”) and big-name franchises (the “Insidiouses” and “Conjurings”), “Cobweb” finds a nice middle ground.
The early 1980s was a proving ground for British TV producers, with their prime audience being the Agatha Christie estate. Christie didn’t care for unfaithful