Better late than ‘Nevers’: The back half of Whedon’s show (2023) is actually good
Throwback Thursday (TV review): Joss Whedon’s last TV show actually goes out in respectable style. The hardest part is tracking it down.
Romance
Better late than ‘Nevers’: The back half of Whedon’s show (2023) is actually good
So much of the afterglow: ‘Fedora’ (1978) returns to ‘Sunset Boulevard’
Wilder Wednesday (Movie review): The writer-director still has a lot to say about the price of Hollywood stardom before he bows out.
‘Woman in the Dark’ (1933) gets murkier in 1934 film adaptation
Sleuthing Sunday (Book and movie reviews): Hammett’s experiment with blending crime and romance is worth reading, but the film doesn’t rise above a curiosity.
Big talent comes to America with a small entry: ‘The Major and the Minor’ (1942)
Wilder Wednesday (Movie review): Wilder makes his stateside directing debut with an un-hateable Ginger Rogers comedy.
‘People on Sunday’ (1930) explores human nature, cinema’s potential
Wilder Wednesday (Movie review): At the time, it was an experiment in using non-actors; today, it’s a time capsule of peaceful, pre-Hitler Germany.
‘Kiss Me, Stupid’ (1964) is a stupid thing to watch if you dislike farces
Wilder Wednesday (Movie review): Hitting that dead spot between zany and predictable, “Kiss Me, Stupid” is another unfunny sex comedy from the Hays Code era.
I kinda love how ‘Heart Eyes’ mixes rom-com with slasher
Movie review: Though mainstream in many ways, the film boasts cleverness and subversiveness along with the always reliable Olivia Holt.
‘Love in the Afternoon’s’ (1957) May-December romance feels 8 months long
Wilder Wednesday (Movie review): The age gap is a talking point, but the real issue is this rom-com isn’t romantic or funny enough.
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.
It’s hard to break away from ‘Severance’ Season 2
TV review: Despite a couple slow episodes, Dan Erickson’s show succeeds by being a character-driven puzzle box.