‘House on Sorority Row’ (1982) doesn’t do enough with strong female cast
Frightening Friday (Movie review): Mark Rosman’s film serves up a half-dozen well-drawn sorority sisters, but the plotting lets them down.
Author: John Hansen
‘House on Sorority Row’ (1982) doesn’t do enough with strong female cast
Stop the presses: ‘The Paper’ (1994) is a rip-roaring journalism movie
Throwback Thursday (Movie review): Though more comedic than others of its ilk, Ron Howard’s film gets the biz right.
‘Stalag 17’ (1953) a mildly sanitized look at POW misery
Wilder Wednesday (Movie review): This is another example of Wilder’s ability to balance tones, as he delivers a dark history lesson without traumatizing us.
‘Prom Queen’ invites more disposable ‘Fear Street’ fun
Movie review: The fourth film based on R.L. Stine’s books exercises its nostalgia for the “Prom Night” movies.
‘Rebecca’ (1997) is more faithful to du Maurier’s gothic tragedy
On a Hitchcock kick (TV review): It’s a tad less masterful than the master’s version, but this longer, faithful adaptation isn’t lost in the smoke.
‘Lost Stories’ (2005) gathers Hammett’s hidden gems; plus, it’s a biography
Sleuthing Sunday (Book review): In addition to unearthing worthy stories, editor Vince Emery chronicles the author’s life.
Argento comes stateside for hidden gem ‘Trauma’ (1993)
Frightening Friday (Movie review): Rydell and Asia Argento are excellent in this serial-killer mystery that blends giallo with noir.
Better late than ‘Nevers’: The back half of Whedon’s show (2023) is actually good
Throwback Thursday (TV review): Joss Whedon’s last TV show actually goes out in respectable style. The hardest part is tracking it down.
So much of the afterglow: ‘Fedora’ (1978) returns to ‘Sunset Boulevard’
Wilder Wednesday (Movie review): The writer-director still has a lot to say about the price of Hollywood stardom before he bows out.
Hitchcock stumbles into sound era with ‘Juno and the Paycock’ (1930)
On a Hitchcock kick (Movie review): Although Sean O’Casey’s play is well-regarded, Hitchcock’s adaptation is rightly cited by many as his worst film.