Jack Cormack

Is Poltergeist scary? To me, it depends on your tolerance for a certain horror film.

If nothing else, Star Trek: The Motion Picture pleased (and should please) many fans of the show.

If you’re a fan of the movie, don’t wait for God to tell you to spend your hard-earned pay on this package. Or do and see what happens.

It sports excellent performances and a quirky, offbeat tone.

Fanny: The Right to Rock gives a strong sense of what these women fought for; of how resilient they had to be to get to where they got—and how tough they remain today.

A sturdy piece of entertainment.

A footnote in the careers of James Coburn and Blake Edwards, and an uninspired one at that.

It was Paul Verhoeven’s first American film, and it’s still his best Hollywood outing.

I hold it in high esteem.

The latest in a line of beautiful Arrow releases.

Shooter’s got blanks.

Never learn to grow up, Licorice Pizza seems to say. That’s the key to life.

Even as delightful fluff, though, Gambit evades greatness.

Sidney Lumet deserves kudos for the way he marshals a large, rotating cast and the many (unsurprising) turns of the plot.

Out of the Blue sunk its claws into me for days, a feat that very few films manage.

Harold and Maude flies in part because it balances the bitter with the sweet in an odd but tight little package.

Fusing ‘30s corn with a vivid and sly, modern feel (at least for the ’50s), Party Girl is a cinematic bon-bon.

A tinge of melancholy explains why Planes, Trains and Automobiles sticks with you.

An interesting, but ineffective, entry in the ‘hellbilly’ subgenre.

The Hound of the Baskervilles is a turkey.

More than any other element, the acting makes the movie tick.

With this release, Arrow (true to form) has done itself proud yet again.

One of the most sumptuous, and unironically campy, soap operas I’ve seen.

Susan Tyrrell gives a hypnotic masterclass in acting.

It feels like Sternberg strove to create a balls-out weird experience but something or someone held him back.

The good folks at Arrow Video did right by Major Dundee.

It will still give your inner Stand geek a fix.

Tom Cruise spies it up in Brian de Palma’s slick, fun-actioner inspired by the TV series.

“Mothers…lock up your sons. The Switchblade Sisters are coming!” Grab a cold one and revisit Jack Hill’s 1975 grindhouse gang opus–you’ll gag.

This old-fashioned circus melodrama is big on spectacle but is one long snooze.

Playwright Tennessee Williams’ comedy about a Mississippi Lolita caught between two slimeballs could well be director Elia Kazan’s best film.

In his third Hard Case Crime book, Stephen King delivers a cool, bittersweet truffle.

Allow me to state this upfront: In Lady Sings the Blues (1972; dir. Sidney J. Furie), Diana Ross gives a colossal performance as troubled jazz singer Billie “Lady Day” Holiday (1914-1959). But for Ross, the film would be a garden-variety showbiz bio-drama—a solid depiction of Holiday’s drug woes and the segregated times in which she…

Slipshod storytelling mars an otherwise nifty twist on old pulp fiction.

An Old Hollywood disaster epic with star power a-plenty gets a sharp Blu-ray transfer.

A so-so Broadway musical gets a hot dose of candy-colored Bob Fosse realness.

With style and flair, David Fincher’s new Netflix film looks at one of the creative minds responsible for Citizen Kane. (Hint: It’s not Orson Welles.)

In 1989, the Rolling Stones played New Jersey. It was a night to forget.

Bogdanovich was lucky, but he was also terribly unlucky.

A bland Sherlock Holmes seeks to unmask Jack the Ripper, in Bob Clark’s sluggish and tame (but still fun) ensemble mystery.

This 1980 cash-in on the country pop craze has little to say, and isn’t much fun.

Kirk Douglas gives one of his best performances in this 1962 neo-Western lament.

Amanda Plummer amazes in this unjustly neglected Western charmer.

A frustrating dive into gay hell, starring a deer-in-the-headlights Al Pacino.

That’s it! Payback! Revenge! Snoop is mad!

A moody, colorful western from a director who changed horror movie history.

In which Pennywise, the shapeshifting killer clown, strikes back! And scares no one.

Fans of this 1981 Ozploitation nailbiter claim it is worthy of Hitchcock’s best. They are not wrong.

John Frankenheimer’s creature feature is not easily forgotten. For possibly the wrong reasons.