Kino Lorber's 4k restoration of King Hu's work brings the undeniable accolades "spellbinding" and "enchanted" to the fore.
A second-tier Marvel character, Ghost Rider's motorcycle mayhem tried but never could burn up the silver screen.
'The City of Lost Fortunes' and How Writing Goes from the "Goo in a Cocoon" Stage to a Fully-Realized Tale
Bryan Camp read academic works, self-published occult-y stuff, and primary sources to help craft his beautifully-realized tale of a New Orleans in which "the fantastical is possible."
This film was considered such a disaster that X-Men: Days of Future Past was conceived, at least in part, as a way to undo many of the effects of X-Men: The Last Stand.
Safety is an illusion, Dourif says. There is no solid ground anywhere -- least of all beneath an actor's feet.
Contrary to Alex Garland's disappointment that Paramount sold his film to Netflix, it might be a good thing for film nerds.
Graphic novelist and screenwriter Joe Kelly talks with PopMatters about the pleasure of turning one's hard-earned creative work over to others with great talent -- and then watching the magic happen.
Spielberg's sci-fi actioner doesn't have a thought in its pretty little head, but it's still relentlessly entertaining, thanks to his knack for visual storytelling and his uncanny feel for action pacing.
The Outer Limits is a mix of science fiction, nightmares, and surrealism -- the very things that make life worth living even though they scare the bejeebers out of us.
Garland discusses his personal approach to filmmaking and the beauty of nature and math -- and video games.
Alex Garland's follow-up to Ex Machina is a visceral cinematic experience that, while plagued with structural problems, delivers plenty of thrills and eye-popping spectacle.
Although it wants to be a commentary about gun violence in America, Winchester appears to be too scared to fully stand up to the issue.