By decade

Cactus Flower; Review by Robin Franson Pruter

Cactus Flower; Review by Robin Franson Pruter

Utterly charming romantic comedy, featuring a radiant performance by Ingrid Bergman.

Sorority Girl; Review by Robin Franson Pruter

Sorority Girl; Review by Robin Franson Pruter

Disappointing character study of a sadistic co-ed.

The Gilded Age, Season One; Review by Robert Pruter

The Gilded Age, Season One; Review by Robert Pruter

Historical drama of the Gilded Age society of New York City by Julian Fellowes that captures the era with its sharp dialogue, compelling storytelling, and high production values, which make viewers feel they have been really transported back in time.

21 Hours at Munich; Review by Robin Franson Pruter

21 Hours at Munich; Review by Robin Franson Pruter

Bleak recreation of the hostage crisis and subsequent massacre at the 1972 Munich Olympics.

TV 101 (1988-89); Review by Robin Franson Pruter

TV 101 (1988-89); Review by Robin Franson Pruter

Late 1980s teen show is a goldmine of nostalgia.

Ten Little Indians (1989); Review by Robin Franson Pruter

Ten Little Indians (1989); Review by Robin Franson Pruter

Dreadful, pointless version of Agatha Christie’s much-adapted story.

Odds Against Tomorrow; Review by Robert Pruter

Odds Against Tomorrow; Review by Robert Pruter

The last 1950s-style noir film shows classic strengths in the genre with strong acting by top actors performing as noir archetypes and with stark grey urban imagery but is somewhat undone by weak story telling.

Christmas Holiday; Review by Robin Franson Pruter

Christmas Holiday; Review by Robin Franson Pruter

The hard-to-wrap-one’s-head-around story of Deanna Durbin as a prostitute-ish character married to a homicidal psychopath played by Gene Kelly.

Announcing the Made in 1944 Blogathon!

Announcing the Made in 1944 Blogathon!

A blogathon about pop culture released and cultural influencers born in 1944.

Pump Up the Volume; Review by Robin Franson Pruter

Pump Up the Volume; Review by Robin Franson Pruter

Strong central performance by Christian Slater carries weight of film’s extensive rhetoric.