Jean-Christophe Grangé is the master of the over-convoluted mystery, and it’s no surprise his latest work, scripting the TV adaptation of his novel The Passenger / Le Passager, starts with another curiosity-inducing hook that takes the viewer through a whirlwind of confusion…
Robert Aldrich’s final film as director is a suitable career swan song, packed with the type of working class characters, tough circumstances, and raw language typical of his rough comedic work, and reverberating with memorable performances by a veteran and two newcomers…
A mainly Japanese production that purports to be a hard, no-holds barred chronicle of America’s evolution into a violent, ugly culture, the filmmakers’ thesis says that everything was stable until Lee Harvey Oswald and an accomplice blew apart John F. Kennedy’s head, footage the filmmakers play in slow, ghoulish detail…
Tim Burton’s latest work is itself a peculiar film that’s likely to sit better with its intended family audience than genre fans wanting an eerie tale with dark subtext and a heavier Gothic atmosphere. Ransom Riggs’ story, as adapted by Jane Goldman (Kingsman: The Secret Service), is of kids with special powers forced to relive the same 24 hours since 1943. It’s an odd hook that seems implausible…
Robert Aldrich did not make movies about nice people, but rather flawed groups of barely contained ire and rage worming through tales of cruel irony or a mean finale, often centered on two rivals, so it’s not hard to see why the tough director was attracted to Christopher Knopf’s lean, mean little script…
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