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Why ‘Wild at Heart’ Is a Love Letter to America
David Lynch’s “Wild At Heart” is about two lovers, Sailor Ripley (Nicolas Cage) and Lulu Fortune (Laura Dern). Their tender,…
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Robbie’s ‘Terminal’ Is Sexist, Self Defeating and Quite Absurd
The establishing scenes of writer/director Vaughn Stein’s debut feature film, “Terminal” are stunningly shot but purposely made vague. We meet…
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How Sluzier’s ‘The Vanishing’ Changed Road Trips Forever
Every time I go on a road trip with my wife, I’d always bring up a 1988 Dutch thriller as…
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Why Stoner Classic ‘Up in Smoke’ (Still) Offends Us
“Up in Smoke’ remains, to this day, a comedy classic. I can tell because I have received a big check…
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Why ‘Flower’ Will Make You Cringe … and Cheer Its Star
In the opening scene of Max Winkler’s “Flower,” the premise is firmly and shockingly established. Erica (Zoey Deutch) and her…
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How ‘The ‘Burbs’ Trumps ‘Suburbicon’ In Every Way Possible
A couple of years ago, I took my dog on a walk and caught one of my neighbors digging a…
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‘Gate II’ Blu-ray Brings the B-Movie Chills (And More)
Tibor Takacs’ 1987 horror hit “The Gate” may be forever remembered as an amusing footnote in the infamous “Ishtar” saga.…
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Why ‘The Forgiven’ Can’t Measure Up to the Historical Record
Following the end of Apartheid and the inauguration of Nelson Mandela as President, South African Archbishop Desmond Tutu led the…
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Reviews
Why ‘Hell Night’ Is Far More than a ‘Carpetbagger Cash-In’
Tom DeSimone’s 1981 horror cult classic “Hell Night” begins, appropriately enough, with a scream. From there, we’re provided a long…
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Why ‘Jane’ Is as Miraculous as Its Singular Subject
There are names that automatically bring to mind a lifetime of research and empathy towards simians. Dian Fossey’s extensive time…
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