‘Young and Innocent’ (1937) a simpler, sweeter ‘39 Steps’
On a Hitchcock kick (Movie review): Hitchcock tackles a story similar to “The 39 Steps” in a would-be star-making turn for Nova Pilbeam.
Author: John Hansen
‘Young and Innocent’ (1937) a simpler, sweeter ‘39 Steps’
‘Running Grave’ (2023) is Rowling’s literal cult classic
Sleuthing Sunday (Book review): Robin shows there’s almost nothing she wouldn’t do for the sake of this job as she goes undercover in a powerful but secretive church.
‘A Simple Plan’ (1993, 1998) chillingly shows how easily things can spiral
Book club book report (and movie review): Smith’s book and Raimi’s film show good people’s disturbingly mundane descent into evil.
Idiosyncratic ‘Napoleon Dynamite’ (2004) is still flippin’ sweet
Throwback Thursday (Movie review): Jared and Jerusha Hess find laughs via presentation in this postmodern high school outsider comedy classic.
‘Man in the Attic’ (1953) not quite ready to be psych-horror
On a Hitchcock kick (Movie review): Still, this Jack Palance-starrer takes enough of a different angle from Hitchcock’s “The Lodger” to be worth a peek.
‘Poirot’ Season 2 (1990) finds groove with Christie-Exton mash-ups
Sleuthing Sunday (TV review): David Suchet’s Poirot further branches into his own thing, and – while it’s not for die-hard purists — he finds an audience.
‘Ghost World’ (2001) gets more substantial on repeat viewings
Throwback Thursday (Movie review): The best movie of the first year of the millennium works on additional levels as time goes by.
‘Godzilla Minus One’ (2023) is Japan’s ‘Independence Day’
Movie review: Takashi Yamazaki’s character-driven prequel to 1954’s “Godzilla” illustrates the changing Japanese culture after WWII.
‘Throw Momma from the Train’ (1987) a decent throwaway comedy
On a Hitchcock kick (Movie review): In one of the more interesting Hitchcock riffs, DeVito and Crystal play out the “Strangers on a Train” premise.
‘Mind Body Spirit’ is simple yet original low-budget horror
Movie review: Thanks to a winning performance by Sarah J. Bartholomew, the film finds the haunting subgenre still has life.