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These tough economic times, with the national unemployment rate inching toward double digits, would seem to offer the perfect opportunity to release a movie about the difficulties faced by a recent college graduate in obtaining not merely the "perf...

If one looks back at U.S. history during the 1970s, the importance of The Washington Post immediately becomes clear. The paper, which began the decade as just another local daily with little national prominence, concluded it as an important b...

Predator is one of those tired franchises that Hollywood simply won’t give up on. Maybe a box office bonanza will justify Fox’s faith but this sixth entry in the series feels too much like a tired retread to be worth making a trip to a the...

Finally – for the first time since the original 38 years ago – a Predator movie I can enjoy. The reason is simple: it finally breaks the formula. The previous Predator films have largely lived in the shadow of the 1987 John McTiernan/Arnold Sc...

Predators is Robert Rodriguez's attempt to re-invigorate (but not reboot) the Predator franchise, whose devaluation began with an ill-advised sequel, accelerated as a result of the poorly realized Alien vs. Predator, and bottomed out with the lifel...

Prelude to a Kiss convinced me that Meg Ryan possesses the acting chops to be in more than light romantic fare - a distinction that her best-known movie at the time (When Harry Met Sally) had not claimed. In fact, her performance in this 1992 prod...

"My name is Inigo Montoya. You killed my father. Prepare to die." When William Goldman wrote those words, he did not intend for them to become a fragment of '80s pop culture. When Mandy Patinkin spoke those words, he didn't expect his every i...

In 1979, science fiction was thriving, but the movie community, becoming gorged on lightweight space opera fare like Star Wars, was unprepared for what Ridley Scott delivered with Alien, which was as much horror as it was sci-fi. Since the iconic x...

Psycho Killer is all about misdirection. It starts out as one thing and ends up someplace completely different. The first scene, a shot through the front windshield of a speeding car, offers up a grim aesthetic that is only amplified through the e...

Pushing Tin, from acclaimed British director Mike Newell (Four Weddings and a Funeral, Enchanted April), is the latest example of a movie that wastes a strong cast on a lame script. The film, billed as a dramatic comedy about the lives of air traf...