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Reviews & Commentary by Adam Groves
STARSHIP TROOPERS
A would-be blockbuster from 1998 that saw director Paul Verhoeven and much of the crew of ROBOCOP (1987) trying to recapture the elusive magic of that classic
SWEETIE
Those who doubt the truth of Jean-Luc Godard’s claim that Jane Campion “was better when she had no money” need only check out her debut feature SWEETIE
THE DISCREET CHARM OF THE BOURGEOISIE
A surrealist prank of a movie from the incomparable Luis Buñuel
RAMPAGE (1987/92)
From the sometimes-great William Friedkin, a so-so serial killer drama
THE SADNESS
An insanity plague, a Taiwan hospital and lots of gore–a fun film!
THE ORCHID CAGE
A novel that reads like a Philip K. Dick potboiler with a hard science overlay
THE NINJA
Here we have the stuff of which bestsellers used to be made: a vastly overwritten sex and violence packed spectacle!
LIFE IS HOT IN CRACKTOWN
LIFE IS HOT IN CRACKTOWN never got the attention it should have, but it’s one of the standout books of its type
GREMLINS 2: THE NEW BATCH
A novelization that replicates the unfettered spirit of its Joe Dante directed source
MALEVIL
Believe me when I tell you that this 1970s relic is one of the absolute best after-the-bomb novels in existence
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Krampus in Fiction and Film
We all know about Santa Claus, but what of his less savory companions? Krampus the horned incubus is the most prominent and horrific of Santa’s “helpers”
Splatter, Maggoty Muppets and Heavenly Creatures: The Early Films of Peter Jackson
With the LORD OF THE RINGS films now ensconced in the “classic” cinema pantheon, I’d say it’s an opportune time to take a look at the output of their director
The PLEDGE of Our Discontent
Friedrich Durrenmatt’s 1957 novel DAS VERSPRECHEN, or THE PLEDGE, is perhaps the most cruel and sardonic crime novel ever written. It contains all the twisted wit and macabre invention that tend to characterize Durrenmatt’s other novels and plays---TRAPS, THE...
Notes on the Downfall of M. Night Shyamalan
M. Night Shyamalan’s the dark years
A Less-Than-Admiring Take on the Films of Rafael Corkidi
Here (for once) is a commentary about a director whose work doesn’t particularly excite me: Mexico’s Rafael Corkidi