A fanged swain makes his dad proud in ‘Son of Dracula’ (1943)
Frightening Friday (Movie review): Lon Cheney Jr. stars in this underwatched gem of the “Dracula” film series.
Movies
A fanged swain makes his dad proud in ‘Son of Dracula’ (1943)
‘Chinatown’ (1974) links two eras of film noir
Throwback Thursday (Movie review): Polanski blends an iconic Nicholson turn, a good political mystery and California water-utilities history in this classic.
‘Alien: Romulus’ is saga’s best follow-up since ‘Aliens’
Movie review: Alvarez reminds us of the pleasures of a legacy sequel done right as he taps into 1979 futurism while also respecting Scott’s glossy “Prometheus” concepts.
‘Secret Agent’ (1936) serves up early, inconsistent spy gaming
On a Hitchcock kick (Movie review): The Master of Suspense is still learning his craft on this ambitious but muddy British picture.
‘Speak No Evil’ imports chillingly awkward horror
Movie review: Strong performances make this remake gripping, even if it doesn’t break new ground.
‘Repulsion’ (1965) provides searing peek into a troubled autistic woman
Frightening Friday (Movie review): Polanski’s breakthrough English-language film retains strikingly modern insights into a neurodivergent brain.
‘Dressed to Kill’ (1980) is De Palma’s Hitchcock master class
Throwback Thursday (Movie review): The writer-director expands on the filmmaking principles and themes of “Psycho” in a candidate for his best film.
‘78/52’ (2017) analyzes ‘Psycho’s’ Shower Scene, and makes a case for its obsession
On a Hitchcock kick (Movie review): This should be near the top of the list of documentaries for Alfred Hitchcock fans, as it’s not watered down in the least.
‘Ænigma’ (1987) embraces reincarnation, psychokinetics, carnivorous snails
Frightening Friday (Movie review): Loosen up and enjoy the party that is this bizarre Italian horror-romance film.
‘Capricorn One’ (1977) gets off the ground as a conspiracy tale
Throwback Thursday (Movie review): The mission might stay grounded, but the dry comedy and thrills fly high in Peter Hyams’ film.