‘April Fool’s Day’ (1986) gets into the weeds of holiday horror
Horror movie flashback (Review): After Halloween, Christmas and Valentine’s Day, the slasher genre is really pushing it, but this film is mildly fun.
Movies
‘April Fool’s Day’ (1986) gets into the weeds of holiday horror
Be very suspicious of the 1988 remake of ‘Suspicion’
On a Hitchcock kick (Movie review): It’s Curtin’s for us if we try to get any pleasure from an adaptation that doesn’t feature Grant and Fontaine.
Guadagnino overindulgently explores world of ‘Suspiria’ (2018)
Frightening Friday (Movie review): Although it expands the story, themes and runtime, this remake is far lesser than Argento’s original.
‘WarGames’ ’ (1983) influence on hacking, AI movies remains strong
Throwback Thursday (Movie review): But it can’t be ignored that the film glosses over how the game gets confused with reality.
‘Fortune Cookie’ (1966) crumbles under its length, predictability
Wilder Wednesday (Movie review): This supposed satire of dishonest lawyering misfires by running the ball right up the middle.
‘Suspiria’ (1977): Style, sounds, Suzy … and a slice of story
Frightening Friday (Movie review): Despite telling a simple tale, Dario Argento presents a whole ’nother – but equally effective – way to craft a horror film.
Disney creates cure for insomnia with ‘Tron: Legacy’ (2010)
Throwback Thursday (Movie review): This shallow legacy sequel makes a compelling case for being the Mouse House’s most cynical product.
‘Double Indemnity’ (1944) a deliberate classic of film noir
Wilder Wednesday (Movie review): Stiffer than Wilder’s later masterpieces, his adaptation of Cain’s novel helps stamp a genre into public consciousness.
‘Spellbound by Beauty’ (2008) goes deeper into Hitchcock’s dark side
On a Hitchcock kick (Book review): If you want to keep your Hitchcock journey fun, avoid this cold (but important) exploration of the director’s troubled nature.
‘Deep Red’ (1975) not deeply profound, but it gets Argento noticed
Frightening Friday (Movie review): One of the most famous “Psycho”-influenced films smooths off the edges of Argento’s earlier work.