‘The Mad Wife’ (2025) is a maddeningly flat portrait of Fifties malaise
Book club book report: Meagan Church has little to add about the much-covered topic of midcentury women who feel trapped in a societal box.
History
‘The Mad Wife’ (2025) is a maddeningly flat portrait of Fifties malaise
Carpenter brings ‘Elvis’ (1979) down to Earth in TV biopic
Throwback Thursday (Movie review): The director’s only non-genre film is a fine one, filled with music but not the details you’d need for a full portrait.
‘History of the World: Part I’ (1981) is a rough lesson
Mel Brooks Monday (Movie review): Even comedy legends misfire sometimes, as proven in Brooks’ centuries-spanning collection of sketches.
‘The Mummy Returns’ (2001) … but maybe it shouldn’t have
Frightening Friday (Movie review): The appeal of Fraser and Weisz is still there, but this time it’s not enough.
‘Dracula: Dead and Loving It’ (1995) takes Brooks back to Transylvania
Mel Brooks Monday (Movie review): And also back to basics, as the director/co-writer sets aside industry references and simply spoofs Bram Stoker’s “Dracula.”
‘Mummy’ (1999) puts impressive wrap on 20th century Universal Monster flicks
Frightening Friday (Movie review): And it’s debatable whether anything from the new century has matched Stephen Sommers’ film.
‘Robin Hood: Men in Tights’ (1993) a tight parody – with an English accent
Mel Brooks Monday (Movie review): Mildly hampered by goofiness and familiarity, the film is nonetheless quite funny as new actors pick up the Brooks baton.
‘Badlands’ lands as another good novel from Preston & Child
Book review: In their fifth Nora Kelly Novel, the authors expertly weave a bizarre ancient mystery with a modern one.
‘In Cold Blood’ gets colder for Brooks’ 1967 film adaptation
Throwback Thursday (Movie review): In a film that pries into the nature of evil, it’s the lack of a good answer that’s most disturbing.
‘Eden’ can’t quite match the story’s real-world intrigue
Movie review: The worst part of humanity might be that you can’t escape it, either without or within, in Ron Howard’s historical drama.