Jack Hughes

Writing about movies day after day!

[Jack Hughes @torontomovieguy]

In the King of Prussia (1982) – de Antonio preserves some passages of startling eloquence, within a work of limitingly narrow parameters

[Jack Hughes @torontomovieguy]

Chess of the Wind (1976) – Aslani’s cherishably poison- and deception-seeped rediscovery, handsomely rendered in Gothic-evoking manner

[Jack Hughes @torontomovieguy]

Good Boy (Ben Leonberg, 2025)

[Jack Hughes @torontomovieguy]

Send Help (2026) – Raimi works his (ever-topical, if not too surprising) twists with practised ease, much aided by an ebullient McAdams

[Jack Hughes @torontomovieguy]

Sirius (1942) – Hamza’s time-travel romance often bogs down in fantasy-diluting intrigue, but crafts a nicely ambiguous final stretch

[Jack Hughes @torontomovieguy]

My Ain Folk (Bill Douglas, 1973)
https://t.co/oRrJcDgK3H

[Jack Hughes @torontomovieguy]

Storm Warning (Stuart Heisler, 1950)

[Jack Hughes @torontomovieguy]

Four Letter Words (2000) – Baker’s debut is strikingly assured & well-balanced, but somewhat bland & hollow, for all the conflict & joshing

[Jack Hughes @torontomovieguy]

I, the Executioner (1968) – Kato’s surprising, searching serial killer drama, marked less by malevolence than by ritualistic melancholy

[Jack Hughes @torontomovieguy]

I Was Nineteen (Konrad Wolf, 1968)

[Jack Hughes @torontomovieguy]

Peter Hujar’s Day (2025) – the smoothly shifting, lightly interrogative artifice of Sachs’ film holds potential pitfalls comfortably at bay

[Jack Hughes @torontomovieguy]

The Great Alligator (1979) – Martino’s uninspired Jaws-goes-to-The-White-Lotus potboiler, seeped in manipulative distrust of the Other

[Jack Hughes @torontomovieguy]

The Spider Labyrinth (Gianfranco Giagni, 1988)

[Jack Hughes @torontomovieguy]

Phantoms (1998) – the more Chappelle’s rushed Koontz adaptation crams in (and there’s a lot), the less interesting or atmospheric it is

[Jack Hughes @torontomovieguy]

The Night Eats the World (2018) – Rocher adds little new to an overworked zombie genre, but adequately sustains his chosen small-scale focus

[Jack Hughes @torontomovieguy]

Trio (Ken Annakin & Harold French, 1950)

[Jack Hughes @torontomovieguy]

The Office Wife (1930) – Bacon’s comedy works its angle briskly enough; maybe most interesting as a gender-reversed precursor to Man Wanted

[Jack Hughes @torontomovieguy]

Dario Argento Panico (2023) – Scafidi’s portrait goes less deep than the subject merits, but offers up some terrific archival material

[Jack Hughes @torontomovieguy]

Camille (George Cukor, 1936)

[Jack Hughes @torontomovieguy]

Bluebeard (1944) – Ulmer’s version is a repressed, almost pleading meeting of shadowy, unadorned form and compulsion-ridden narrative