Maureen Bennett Movies

Rival groups of boys from two neighboring Irish villages engage in a running battle in this remake of the 1962 French movie of the same name, based on a novel by Louis Pergaud. The boys from Ballydowse, who dress as they please, exchange insults with boys from nearby Carricksdowse -- who wear school uniforms. One day, the Bally gang cuts the buttons off the clothes of a bully in the Carricks gang. The Carricks retaliate by swiping the buttons from the clothes of the leader of the Bally boys, Fergus (Gregg Fitzgerald). The Ballys deface the Carricksdowse church, though both groups are Catholics. They rout the Carricks by charging at them naked. Marie (Eveanna Ryan), who heads the Ballys' girls auxiliary, tries to calm down the boys by raining new buttons on them to replace those lost in warfare. When Fergus' abusive stepfather (Jim Bartley) finds out about the war, he beats Fergus and sends him away. Fergus goes to the cliffs along the valley between the two villages, chased by the Carricks' leader, Geronimo (John Coffey). Geronimo, who has come to help, slips, and Fergus rescues him from a fall. In the end, Fergus, riding a horse, leads his troops, dressed in motley medieval suits, into a final battle. The allegorical anti-war film is primarily aimed at children. ~ Michael Betzold, Rovi

Alex Rodak (Michael York) is a Polish director in exile in London with his family, which includes an older teenage son Adam (Michael Lyndon) who is struggling with an identity crisis, his wife (Joanna Szerzerbic), and another son. Rodak is in the throes of putting together a major show about Poland and the politics of exile at a West End theater. His single-minded determination to succeed causes him to take advantage of others, and because of his need for backing, he turns to a low-life businessman (John Hurt) to bail him out. His wife is anything but happy about his behavior and dislikes this last decision even more. On the opposite end of the spectrum stands Adam, who is disillusioned with his father's drive to succeed at all costs (the father does receive a few awards) and who longs to go back to his roots -- in Warsaw. The story jumps from one scene to the next with some fantasy segments and not always enough connecting narrative. Otherwise, this is an interesting study of how a father and son become alienated in a conflict between cultural identity and its exploitation. ~ Eleanor Mannikka, Rovi

This spy film purports to be inspired by the true story of Kim Philby (1912-1988), a British intelligence officer and Soviet spy during the 1940s and '50s who gained international notoriety when he blew his cover and defected to the USSR in 1963. But this fictional, unsophisticated, if not naive docudrama portrays a world of espionage in a cross between Nancy Drew and Sam Spade, and Philby's real story is buried in the process. The film opens with British double agent Philip Kimberly (Michael Caine) undergoing complete plastic surgery by order of his Soviet bosses, while his death is announced in the world press. With a different name and face, Kimberly -- now Kuzminsky -- is sent back to England in the guise of a Soviet citizen to retrieve a secret list of names he supposedly hid several years ago. Kusminsky/Kimberly defects at the British passport control, and later escapes his British guards -- leading to a manhunt by both British and Soviet agents. His chief nemesis is Admiral Scaith (Laurence Olivier) and the man he assigns to the case, Jaime Fraser (Robert Powell) -- who just happens to be living with Kimberly's daughter. ~ Eleanor Mannikka, Rovi