
The answer may seem obvious, depending on what side you come down on, but there’s been legitimate discourse about the Christmas bona fides of the 1988 action classic Die Hard. Read my contribution to the discourse via Film Daily by clicking here!

The answer may seem obvious, depending on what side you come down on, but there’s been legitimate discourse about the Christmas bona fides of the 1988 action classic Die Hard. Read my contribution to the discourse via Film Daily by clicking here!

In honor the Duo Double Feature Blogathon, I revisit the works of icons Robert Mitchum and Jane Russell. Their chemistry in films, His Kind of Woman (1951) and Macao (1952) lit up the screen like few duos ever have. Full essay here.

The long-awaited Tupac biopic, All Eyez On Me, focuses too much on the minutiae and too little on the rapper’s compelling life. The result? A bloated, unfortunate mess. Full review here.

With the recent passing of beloved character actor John Heard, I revisit his performance in the 1981 neo-noir Cutter’s Way. As a burned out veteran out for revenge, Heard has never been better. Full essay here.

Jacques Demy’s ability to capture young love, in all its glory and fragility, is what makes The Umbrellas of Cherbourg (1964) such a timeless classic. Read on to learn more about the film’s superb release on the Criterion Collection.

While the reboot of The Mummy performed dismally this year, it did provide an opportunity to revisit the 1999 version in all its campy, action-packed glory. Full essay here.

Jonathan Demme created indelible scenes by putting us in the protagonist’s shoes. And what better way to honor his passing than by delving into his 1991 masterpiece The Silence of the Lambs. Full essay here.

For all its overwrought flourishes and familiar character tropes, Fences is a taut, arresting family drama highlighted by Viola Davis and actor/director Denzel Washington. Full review here.

While La La Land dominated the pop culture landscape of 2016, it was actually the second time that writer/director Damien Chazelle ventured into the musical genre. The first time was with the 2009 indie film Guy and Madeline on a Park Bench. Full review here.

First post of the new year, and I get to revisit the quirky brilliance of Punch-Drunk Love (2002), now out on the Criterion Collection. Read the full review here.