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Reviews
‘Saltburn’ Offers More Empty Shocks from ‘Promising’ Director
Writer/ director Emerald Fennell’s “Saltburn” has a lot in common with her prior film, the celebrated “Promising Young Woman” (2020).…
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Reviews
Why ‘Napoleon’ Will Surprise Everyone
Ridley Scott’s “Napoleon” isn’t “Waterloo” (1970), or that Armand Assante-led TV movie from 1987, nor anything like what Stanley Kubrick…
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Reviews
Fincher’s ‘Killer’ Finds Auteur Back Where He Belongs
David Fincher’s new film, The Killer” is exactly the kind of movie you’d expect the brilliant dark prince of cinema…
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Reviews
‘Killers of the Flower Moon’ Is Nothing Like We Expect
Martin Scorsese’s “Killers of the Flower Moon” is unlike any film the director has ever made before, though you could…
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Reviews
‘Halloween 4: The Return of Michael Myers’ Revived Sleeping Saga
Dwight H. Little’s “Halloween 4: The Return of Michael Myers” gives us the title card of “October 30th, 1988” before…
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Reviews
Why ‘Pumpkinhead’ Perfectly Nails Generational Evil
“Pumpkinhead” (1988) is the directorial debut of Stan Winston, a giant in the special effects field. Anyone who grew up…
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Reviews
Why ‘Waikiki’ Is Unlike Any Cinematic Trip to Hawaii
When we meet Kea (Danielle Zalopany) in “Waikiki,” she’s working as a singer in a karaoke bar, living in her…
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Reviews
Little Bite Left in ‘Pet Sematary: Bloodlines’
Lyndsey Anderson Beer’s “Pet Sematary: Bloodlines” has an ambitious idea for a prequel and a rich atmosphere to carry it…
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Reviews
Provocative ‘Fair Play’ Doesn’t Play Fair
Chloe Domont’s “Fair Play” made a sensational debut at the January 2023 Sundance Film Festival, then made a belated premiere…
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Reviews
‘Halloween H20: 20 Years Later’ Should Have Ended Franchise for Good
Steve Miner’s “Halloween H20: Twenty Years Later” (1998) opens with “Mr. Sandman” by The Chordettes (as did “Halloween II”) and…
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