Toy Story and Child’s Play were both defining films of my childhood. In very different ways, of course.
What elevates Parabellum above its John Wick predecessors is a sharp sense of humour.
In The Equalizer 2, Denzel Washington plays a moralising, monkish superhero.
In one of John Wick: Chapter 2‘s rare peacful moments, Keanu Reeves sports a turtleneck in Rome. Even this film’s lulls are indescribably awesome.
The Accountant attempts to leverage Ben Affleck’s star power in a John Wick-esque action thriller, but the sums don’t quite add up.
I remain impressed – and a little perplexed – by filmmakers who choose to title their productions with nothing more than a person’s name. It’s not like there isn’t a storied history of such films doing well – Ben Hur, anyone? – but it strikes me as requiring some serious self-belief to throw a film…
Both Tod Browning and Francis Ford Coppola’s interpretations of Dracula hone in on the heart of the vampiric myth – the commingled fear and allure of eroticism – while reflecting the norms of their time. Browning’s film is mostly remembered for Bela Lugosi’s undeniably iconic (yet profoundly overrated) performance, but there’s surprising little substance to…