We discuss Vadim wanting to watch Toys as a six-year-old, the incompetence of Mark L. Lester, and more.
We discuss filmmaking as a job, The Dark Night, appreciating bad blockbusters that feel, and more.
Nadine uses its criminal situation as metaphor for the trials and tribulations of every marriage.
Angel Heart is a diamond of the highest order.
The ’80s were tough on James Bond.
The film is as effortlessly funny, breakneck, and smart as you may remember.
Joel Schumacher’s The Lost Boys is messy. Painful. Unhinged.
Watching Dirty Dancing all these years later, the magic of that place remains, right where we left it.
The film’s oddest creation is by far Patrick Swayze’s Johnny.
Long before Stephen Dorff went Somewhere, he made his screen debut in this horror oddity .
Brooks’s spoof is, at least in part, about more than just Star Wars.
Maybe it’s time to let go of some of that ’80s love.
Summertime, and the gimmickry’s easy.
One can imagine the human aspects of The Monster Squad as some form of semi-autobiographical recollection.
In the end, it’s the strength of individualism and not He-Man’s Sword of Power that provides the fatal blow to Skeletor’s reign of darkness.
Jaws: The Revenge all-too-well articulates the emptiness of nostalgia for its own sake.
Read the damn play. Because after you do, you’ll appreciate all the more how Steve Martin’s screenplay transforms it.
The testosterone level is especially high during the early, purposefully more conventional stages of Predator.
Peter Ormrod’s only feature film is so modest as to seem designed to be stumbled upon rather than actively sought out.
It’s only the third tale that transcends the movie’s pleasant aura of video cult hit mediocrity.