28 Weeks Later is by no means a bad sequel, but it lacks the original film’s impact.
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With its connections to earlier British works of the post-apocalyptic as well as its influence on the zombie genre, 28 Days Later has earned its place in the annals of British horror.
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Oliver Stone’s biopic of Jim Morrison reminds us of Val Kilmer’s immense talent.
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John Frankenheimer’s French Connection II is an intriguing drama, even if it’s somewhat superfluous.
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William Friedkin’s The French Connection remains one of the all-time classics of the New Hollywood era.
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The Mask just might be the sharpest illustration of Jim Carrey’s comedic craft.
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The 2005 film adaptation of C. S. Lewis’s children’s classic is worthwhile Christmas viewing.
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Jack Smight’s 1969 adaptation of Ray Bradbury’s short story collection is not an ideal adaptation, but does capture some of surreal power of Bradbury’s work.
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Frank Darabont’s Stephen King horror adaptation plays like a dry run for The Walking Dead.
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Shyamalan’s 2004 film has its merits, but revisiting it reveals the muddled philosophy that drives it and robs it of many key thrills.
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The Faculty is Invasion of the Body Snatchers for the MTV generation.
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A minor hit on the path of the modern swashbuckler, from Robin Hood: Prince of Thieves to the Pirates of the Caribbean movies.
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Twister illustrates much of what has changed, improved, and been lost in the evolution of Hollywood blockbusters since 1996.
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Albert Brooks’s film is an amusing, if ultimately unsatisfying, comedy about what happens after death.
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The narrative surrounding its Oscar win and its reputation as a crime flick have come to mask what a remarkable work The Departed is.
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Our world is too fragmented and our cinema too convoluted to allow for movies as simply, competently fun as Men in Black.
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The 2011 movie version of Mr. Popper’s Penguins shows little interest in the classic children’s book, let alone affection for it.
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Jon Favreau’s Elf still remains the 21st-century’s most iconic Christmas classic.
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Irvin Kershner’s Eyes of Laura Mars has the thematic and narrative obsessions of giallo without the style.
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