Films: April 8 - 14

The Wind (2019) 

Enola Holmes (2020) 
Enola Holmes 2 (2022) 
The Thing (1982)
Last Night In Soho (2021)
Scoop (2024)

The Sugarland Express (1974) ///

The Wind (2019) Striking visuals and off-kilter sound conjure unnerving atmosphere across empty prairies where practical 19th century western pioneer Caitlin Gerard is gradually unhinged by real or imaginary evil. Contained, splintered narrative fears are ratcheted to demented horrors with impressive conviction.

Enola Holmes (2020) Brisk, colorful storytelling matches energetic appeal of Millie Bobby Brown's eponymous teenager seeking disappeared mother Helena Bonham Carter and proving independence from Henry Cavill's Sherlock. Though resolution eventually flags, fourth-wall breaking adventure remains highly enjoyable.

Enola Holmes 2 (2022) Historical basis of Victorian matchgirls strike promotes theme of female empowerment for Millie Bobby Brown's sparky sleuth investigating missing worker. Energetic invention subdued with disjointed narrative, yet characters remain amusing company and tempo is brisk.

The Thing (1982) Gleefully gruesome creature FX erupt amid chilly, slick visuals as alien presence mutates to consume and imitate scientists on remote Antarctic base. Building tension through claustrophobic paranoia, brutal set pieces and icy soundscape, resolution is bleakly appropriate.

Last Night In Soho (2021) Gorgeously conceived visuals both celebrate giddy 1960s London fantasy and conjure cruel, degrading horrors, as nervy fashion student Thomasin McKenzie lives in the past through aspiring singer Anya Taylor-Joy. Sterling cast and technical flair undermined by messy narrative.

Scoop (2024) Solid account of events leading to infamous BBC interview with Rufus Sewell's confused Prince Andrew offers opportunity for sympathetic roles yet adds little to illuminate social or political context. Royal and broadcasting intrigue provides brisk amusement without real drama.

The Sugarland Express (1974) For most part, a lively, good-natured road movie as persuasive Goldie Hawn springs reluctant William Atherton from open prison to prevent baby son's adoption. Robust visuals spur momentum, Ben Johnson provides humane authority, end tonal shift unpersuasive.