Gremlins (1984) / The Greatest Showman (2017) / Capricorn One (1978) / Green For Danger (1946) / Cottage To Let (1941) / Hangover Square (1945) / The Lodger (1944)
Gremlins (1984) The collision of comedy and horror, of fairytale lore and Hollywood narratives, delivers a viciously fun ride, propelled by snappy visuals, smart effects and a terrific score by Jerry Goldsmith. The meandering story is shot through with satiric touches that still have claws.
The Greatest Showman (2017) Barnum legend rather than historical fact provides a flimsy plot, yet sumptuous production values, rousing songs and rooted performances deliver strong emotions. With its sense of wonder, family and social acceptance, a genuine modern day audience pleaser.
Capricorn One (1978) Inventive conspiracy thriller that lacks a visual and narrative deftness yet compensates with action, intrigue and a classic Jerry Goldsmith score. Several set pieces stand out and it's always enjoyable. The bloated cast is hit and miss. The finale surprisingly moving.
Green For Danger (1946) Curious murder mystery thriller comedy that despite implausabilities ratchets up the tension. It also benefits tremendously from the introduction of Alastair Sim's idiosyncratic, conceited detective and features an atmospheric rural hospital setting during the Blitz.
Cottage To Let (1941) Nazi spies in the Scotland wilds provide a shifting narrative where nobody is who they seem. Alternately eccentric and threatening Alastair Sim and scatter-brained Jeanne De Casalis stand out in a dynamic cast. Surprising character reveals maintain interest.
Hangover Square (1945) Uneven mix of melodrama and noir, often strikingly shot, as an unstable composer turns killer in gas and candlelit London. Bernard Herrmann's music is evocative, insightful, sweeping and culminates with the mad finale where it gloriously reveals its pure mastery.
The Lodger (1944) Waves of fog swirl across richly textured sound stages, as Victorian London is terrorized by the Ripper. Laird Cregar is a powerful presence as the atmospherically lit and framed story largely jettisons psychology and character for propulsive sequences and features two energetic dance numbers.
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