Marriage, murder awkwardly mix in ‘Busman’s Honeymoon’ (1937)
Sleuthing Sunday (Book review): Sayers wraps her Harriet Vane quadrilogy with a decent mystery and a plodding start to the Vane-Wimsey marriage.
Romance
Marriage, murder awkwardly mix in ‘Busman’s Honeymoon’ (1937)
Argento’s ‘Phantom of the Opera’ (1998) a kitschy experiment
Frightening Friday (Movie review): While the film isn’t completely awful, it furthers the case that Argento is better with original material.
‘It’s a Boy Girl Thing’ (2006) tackles the double empathy problem with laughs
Throwback Thursday (Movie review): Though the body-swap comedy beats are expected, they are also welcome when played out by Armstrong and Zegers.
‘Gaudy Night’ (1935) explores chaos of changing times on campus
Sleuthing Sunday (Book review): Ambitious yet flawed, the Oxford-set 10th Wimsey novel is an essential read for fans of Sayers’ alter-ego Harriet Vane.
‘Have His Carcase’ (1932) coasts along with multiple intrigues
Sleuthing Sunday (Book review): Sayers’ interest in the procedure of detection remains, but this second Wimsey-Vane collaboration operates on additional levels.
Despite team-up, ‘Karate Kid: Legends’ is legendarily dull
Movie review: The franchise’s branches intertwine, but without the humor of “Cobra Kai,” this sixth film packs little punch.
‘Keeper of Enchanted Rooms’ (2022) and the dreariness of coziness
Book club book report: There’s safety in magical cliches, but not in risky romance; the latter thread is the only reason to read the book.
In ‘One, Two, Three’ (1961), Wilder knows the ABC’s of good comedy
Wilder Wednesday (Movie review): Wilder shows “Some Like It Hot” was no fluke by delivering this exhausting but clever romp.
Parker takes the baton from Chandler in refreshing ‘Poodle Springs’ (1988)
Sleuthing Sunday (Book review): One of the most successful authors inspired by Chandler gets his own crack at Marlowe by finishing “The Poodle Springs Story.”
Wilson’s series takes a good golf swing, can’t quite ‘Stick’ it
First episode impressions (TV review): But Owen Wilson and Marc Maron help raise the sometimes subpar writing.