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The Faculty (1998) **1/2

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A stacked cast of young, obnoxiously attractive actors and a few genre vets in a perfectly adequate, mostly mediocre, and very '90s  Body Snatchers ( 1956 review )/ The Breakfast Club  (1985) ( review )/ The Thing  (1982) ( review ) mashup with a subpar soundtrack of classic rock covers. I always thought that Robert Rodriguez 's The Faculty  (1998) was pretty fun (if dumb), but it hasn't aged quite as well as I'd hoped. Robert Rodriguez Feature Films Ranked

Batman Returns (1992) ****1/2 [Christmas Action Double Feature Pt.2]

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Batman Returns  (1992) is my favorite  Batman film , my favorite superhero film, one of my top 3  Tim Burton  films, was one of my  Top 100 Films  ( in the 2019 Edition ) , and, if you want to make the argument—as people love to with  Die Hard  (1988) ( review )—is one of the best Christmas movies. Burton made a smash hit with  Batman  ( review ) in 1989. Rather than coast on that success with a similar sequel he insisted on being able to make a "Tim Burton movie". And he went  gonzo . He made an operatic, over-the-top, comic book come to life. Let's get this out the way now—when it comes to this film, I'm not concerned with accuracy or canon or realism. It's a damn good, entertaining, thoughtful film and  my  kind of comic book movie. Is  Batman Returns  a dark, psychosexual tragedy of Shakespearean proportions? You bet your ass—and all the better for it. Is there too little of Batman himself in the film? P...

Die Hard (1988) ***** [Christmas Action Double Feature Pt.1]

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Die Hard   (1988) remains one of the best action films ever made—a picture firmly engrained in my movie vernacular. There's many reasons for that, including an incredible cast of '80s character actors, a charismatic but ruthless villain played to perfection by  Alan Rickman , and eminently quotable dialogue—featuring razor humor and some of the best one-liners going—courtesy of  Jeb Stuart  and  Steven E. de Souza 's screenplay. There's also the incredible stunts, an excellent, memorable score by  Michael Kamen , and the slick, stylish cinematography by  Jan de Bont .