I’ll admit it. The major problem I had with “The Punisher” was not its half-baked attempt at film noir, its lame-brained viciousness or even the director’s “punishing” assault on the viewer’s intelligence. (I’m referring here to director Jonathan Hensleigh’s uncanny skill at jack-hammering dramatic points home with a rumble of thunder and a streak of

I have been swindled. Mark my words, the trailer trap will not snag me again. Nevermore will those sniveling studio tyrants seize hold of $6 and change from my pocketbook. It seems the formula to financial success in the movie biz has become twofold. As a matter of fact, I now know this to be

To one Richard Daniel Raney: Old friend, forgive me for my shortcomings. I had no way of knowing legendary producer Neal Moritz could dip so low when I persuaded you to tag along with me for a 9:55 p.m. showing of “Torque” last Friday evening. Truth be told, Moritz’s previous attempts at the cinematic aesthetic

One year removed from the cinematic perversion known as “How to Lose a Guy in 10 Days,” director Donald Petrie presents to the movie-going public a film guaranteed to coochie-coo the funny bone a smidgen. Starring Gene Hackman as Monroe Cole and Ray Romano as Handy Harrison, “Welcome to Mooseport” isn’t quite Luis Buñuel or

“Super Troopers” stands as one of the most outlandish law enforcement spoofs of all time, ranking up there with such titles as “Police Academy,” “Armed and Dangerous” and “The Keystone Kops.” Three years after its successful debut in “Super Troopers,” the Broken Lizard comedy troupe is back and as hilarious as ever. In “Club Dread,”

“Godsend” was a film that had great potential. The concept of cloning another human is an intriguing and frightening premise. Director Nick Hamm is revered as one of Britain’s foremost authorities in theatrical direction, though “Godsend” marked his first major venture in filmmaking. The casting of Robert De Niro as the enigmatic Dr. Richard Wells