Oscars

‘The Fly’ (1986) is a classic fairy tale … in reverse and inside out

“The Fly” (1986) is writer-director David Cronenberg’s most mainstream piece of body horror, but that’s a contradiction because body horror will never be a mainstream

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‘Poseidon Adventure’ (1972): When playing follow-the-leader, pick wisely

While “Jaws” (1975) is considered the first blockbuster because of the sheer amount of money it made, plenty of films before it had buzz, long

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‘Collateral’ (2004) injects intimate moral philosophy into a crime thriller

Not merely an outlet for Katie Holmes to scout future exes, “Collateral” (2004) is an expert portrayal of strong and weak personalities interacting, and the

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Grisham clunkily comes to big screen with ‘The Firm’ (1993)

John Grisham had only written a few legal thrillers when his work was brought to the big screen for the first time in “The Firm”

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‘In Cold Blood’ gets colder for Brooks’ 1967 film adaptation

The wrongness of Truman Capote’s “In Cold Blood” (1966) immediately turns into the wrongness of writer-director Richard Brooks’ “In Cold Blood” (1967). And this is

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‘Weapons’ of mass horror entertainment

Zach Cregger is the latest promising 2020s horror auteur to release a second major film where we ask: “Does he have the goods or is

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‘Phantom of the Paradise’ (1974) is De Palma’s ambitious pop opera

Brian De Palma, the greatest remixer in cinema history, follows up his Hitchcock-inspired breakthrough “Sisters” (1973) with “Phantom of the Paradise” (1974). The musical combines

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This is how it is in suburbia: ‘American Beauty’ still does 1999 proud

“American Beauty” (1999) shoulders the weight of being the chosen representative as the best movie of the best year in cinema history. It won the

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Koepp, Edwards simplify ‘Jurassic World’ story for a ‘Rebirth’

The seventh “Jurassic” movie is for some reason called “Jurassic World: Rebirth,” but colloquially I suppose people will call it “the 2025 one” or “the

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‘Pulp Fiction’ (1994) ingeniously makes the whole film into a maguffin

Considering that Quentin Tarantino isn’t a fan of Alfred Hitchcock (instead preferring filmmakers who took Hitch’s baton), it’s ironic that “Pulp Fiction” (1994) is Tarantino’s

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