Author Archives: Roger Moore

Shudder has this one, which starts streaming Feb. 4. Creepy?

Good storytelling skates by on the tension between what we see, read or hear unfold, and what we hope or fear might happen as the tale unfolds. Dickens or “Dumb & Dumber,” it’s all about meeting or willfully defying our … Continue reading →

A little song, a little prance, a little Patsy from “AbFab” in her cups and in your hands.

Joanna Smith Rakoff’s memoir about working in a New York literary agency that represented J.D. Salinger becomes a break-out vehicle for Margaret Qualley and a reminder that nobody knows that New York/Old Money world better than Sigourney Weaver, who rarely … Continue reading →

“First Blush” is a Millennial Dance with the Tiger romance, another generation’s flirtation with the “Threesome that Works.” Victor Neumark’s film posits that maybe this time, with this generation, we can stop the dance without the tiger eating us. Hey, … Continue reading →

The Cold War comedy had become its own genre by the time Mel Brooks and Buck Henry put in on TV with “Get Smart.” The idea that Russian spies, Russian authoritarianism and “The American Way” could collide for laughs should … Continue reading →

A friend posted a Facebook link to a New York mag Vulture column, “An Oral History of Disney’s ‘The Emperor’s New Groove’” the other day, and that got me feeling nostalgic, remembering when Disney had a Feature Animation Florida division … Continue reading →

This one has the male stars given second tier status in the ads — which is A) only fair and B) because SOMEbody has been in the news for his alleged cannibalistic tastes of late. And we’re not talking about … Continue reading →

Of all the self-inflicted indignities Scottish comic, actor and TV host Craig Ferguson has subjected himself to through his decades in the public eye, none can compare to co-writing, directing and starring in a movie where supporting player Joss Ackland, … Continue reading →

The story is as old as the movies — or at least as as old as the John Boorman/Lee Marvin vengeance thriller “Point Blank (1967).” Mob-connected guy is set up and either shot and left for dead, made the fall … Continue reading →