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When one approaches something like The Housemaid, one has to go with reasonable expectations. Freida McFadden's book, a perfect summer beach read, is the kind of page-turner that can easily be consumed in a few lengthy sessions. Transforming it fr...

The Long Walk represents one of Stephen King's rare ventures outside the horror genre. A dystopian thriller, the film adaptation alternates between lengthy, dialogue-driven sequences and sudden bursts of graphic violence. At times, it feels almost...

Had the storyline for The Mandalorian and Grogu been used for a three-episode arc in the Disney+ TV series, I don't think anyone would have minded. The plot isn't appalling; it's the kind of thing that one wants from a TV series—an episodic ...

One of the reasons why The Naked Gun works as well as it does is that the series has been allowed a 32-year rest since the release of the wretched Naked Gun 33 1/3. That's a long enough pause for audiences to forget what went sour with the...

Christopher Nolan's The Odyssey is a three-hour refutation of James Cameron's fallacious assertion that 3-D is necessary for complete cinematic immersion. On even a conventional screen, Nolan's reworking of Homer's epic tale towers over the audien...

The Roses is not a remake of the 1989 film The War of the Roses, which starred Michael Douglas, Kathleen Turner, and Danny DeVito (and was directed by DeVito), although both movies draw from the same source material: Warren Adler’s novel. Di...

First thing’s first: this is not a remake of the 1987 film of the same name starring Arnold Schwarzenegger. The two are connected only insofar as each claims to be an adaptation of the 1982 Stephen King novel. In the case of the first movie, simi...

The Smashing Machine is one of those biopics that falls into the trap of trying to do too much within a limited span of time. The tapestry woven by writer/director Benny Safdie is so dense that he might have had a better chance of realizing his vi...

For the most part, Netflix has two modes of films: high-profile prestige projects and “lesser” titles that use recognizable stars to lure bigger audiences. The Woman in Cabin 10 fits snugly into the latter category. For lack of a better descri...

This is the sort of movie that gives “chick flicks” a bad name. It’s a cross between inept melodrama and a bad sit-com. The “comedy” (for lack of a better word) is obvious, poorly timed, and not especially funny. The “drama” (again, f...