"Pimpernel" Smith (1941)
The Bubble (2022)
They Live (1988)
Prince Of Darkness (1987)
The Magnificent Seven (1960)
Pink String And Sealing Wax (1945)
Catherine Called Birdy (2022) ///
"Pimpernel" Smith (1941) Loose, amiable spin on his Pimpernel persona, Leslie Howard as eccentric archaeologist taking students through German digs on eve of war who is secretly helping prisoners escape. Meandering narrative and plain style accentuate laid-back, nimble propaganda.
The Bubble (2022) Initially amusing satire of Covid pandemic filmmaking and US studio politics in producing mindless genre sequels, yet gags rapidly turn flat. Without acidic bite, ensemble cast flail and scattershot set pieces feel stuffed into overlong narrative. Unfortunately bland.
They Live (1988) Elegantly unsophisticated, polished visuals provide impetus for bluntly effective satiric thriller, as homeless Roddy Piper finds sunglasses that reveal alien control of consumerism is subjugating humanity. Precise pacing elevates astute, enjoyable mix of humor and scares.
Prince Of Darkness (1987) Coolly detached style gradually unpicks nonsense of distilled evil contained in church basement, as priest Donald Pleasence, professor Victor Wong and various students investigate with predictably disastrous results. Unnerving atmosphere builds to striking imagery.
The Magnificent Seven (1960) Robustly conceived and produced, swaggering Yul Brynner and Steve McQueen lead all-star warriors to protect Mexican village from brutal Eli Wallach. Smart script develops sympathetic characters, uncomplicated visuals accentuate action, Elmer Bernstein delivers defining score.
Pink String And Sealing Wax (1945) Scraping away surface of middle-class Victorian society to reveal seedy Brighton underworld, manipulative, abused Googie Withers ensnares innocent Gordon Jackson in her murder plan. Detail and conflict maintain interest without being compelling.
Catherine Called Birdy (2022) Maintaining enjoyable energy, loose narrative never hides its emotions as young Bella Ramsey tries to avoid financial marriage in 13th century England. Coming of age comedy strains modern relevance, while composed visuals miss lived-in, honest spontaneity.
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