Mainlining Christmas

Malcolm in the Middle probably owes its existence to The Simpsons. While the characters and premise aren't the same, there's a notable similarity in the show's energy, humor, and tone. The characters on Malcolm in the Middle feel animated, in a similar way. That's not to say they're shallow - I don't think that's the case for either series - merely that their emotions are exaggerated to the same degree. This isn't the first live-action show I've seen try and capture this kind of tone. The recipe for success seems to be pretty straightforward - good writing and a commitment to the premise. Shows that try to wink at the audience while building a surreal world usually come off hokey; ones that explore their world and characters honestly have a chance to create something great. Malcolm in the Middle revolves around a family of four (eventually five) sons, their irresponsible father, and their very angry mother. The series started airing in 2000, wh

If either Bad Santa or its sequel were 1% lower on Rotten Tomatoes, their sum total would be exactly 100%. It's a shame this isn't the case, as there'd be a certain poetry to having this occupy the space its predecessor does not; a symbolic representation of how it is the empty husk of what it tries to copy. Ultimately, the one positive thing I can say about this pointless exercise is that it serves to emphasize how surprising it remains that the original was any different. The plot of Bad Santa 2 follows a fairly routine heist formula. The same could almost be said about part one, except there the heist mainly served as a backdrop for a story of a nearly irredeemable man discovering the importance of a found family. Here, the focus is inverted - there's some lip service paid to the same theme, but the movie's attention is planted firmly on the crime. When the movie does drift off-topic, it's to exploit moments of depravity and gross-out jokes in an attem

WordGirl is my go-to example when I want to argue good superhero stories can be told at any level of maturity. The series is unequivocally targeted at young kids - it's edutaiment, through and through, complete with vocabulary lessons repeated multiple times to the viewer. It's the kind of show you'd expect to be tedious and pedantic. Instead, it's ridiculous fun. The reason WordGirl works is it understands its genres. The writers clearly understand the conventions of both kids television and superheroes, and they're eager to play with both. They're willing to mock PBS conventions in a good-natured way, and they're more than happy to embrace comic book tropes. The result is a series that plays like a pureed homage to Sesame Street, Powerpuff Girls, and Superman. The holiday episode is a fine example. After the narrator introduces the episode's special words (curmudgeon and festivity, in case you were interested), the episode shifts to a brief b

It took eight years for civilization to kill off the original Full House, but some monsters just won't stay dead. In a twisted perversion of nostalgia, the concept and characters were resurrected, along with the stale jokes. If you're looking to place blame (and you really should be), Netflix is responsible for this abomination. The series seems to center around DJ Tanner, her sister Stephanie, and their friend, Kimmy, from the original show. Joining them are a pack of kids, love interests, and pet animals you won't care about. Supposedly, the three leads from the original (Joey, Jesse, and Danny) show up from time to time, but all were mercifully missing from the holiday installment. By my count, there were three main stories going on. First, DJ's middle child finds love on a play date with the daughter of one of DJ's ex-boyfriends from when she was young. The kids are around six or seven - I think this was supposed to be cute, judging by the canned cooing so

In addition to the crappy doll I've already reviewed, The Mensch on a Bench brand has expanded to infect numerous products. I've seen ads for toy animals, and more dolls. And, of course, the activity kit I'm looking at today. Do I even need to specify I found this on clearance? I got it at Michael's for 70% off the original price, which was still $2.99 I'm never going to see again. Among the lies I found on the packaging were that there were eight Hanukkah card inside - mine only included SEVEN. Also, this claims the book includes "10 Fun Activities," when none of the activities were fun. Setting that aside for a moment, let's look at what's included. There are the aforementioned eight (seven) identical Hanukkah cards and envelopes, six crayons, four markers, two sticker sheets, and the activity book. The cards are ugly, the crayons and markers are cheap, and the stickers are... well, they're stickers - not much to say there. Alm

Despite having been the right age, I grew up disliking Pee-wee's Playhouse. I found the characters and sets off-putting as a kid, and I wasn't old enough to appreciate that was part of the point. The 1988 Christmas Special seemed like a good chance to revisit the show and give it another chance. Ultimately, I was left torn on this one. I have far more respect for the manic, surreal premise, and Paul Reuben's portrayal is certainly impressively bizarre. However, I couldn't shake the feeling that there was something missing tonally. I wanted to be pulled into that odd, unsettling world, but I could never shake the sense I was watching people and puppets act weird on TV. The plot of this special is... well... it doesn't really have much of one. This is basically an hour of Pee-wee interacting with a long line of guest stars and cast members before the holiday. The closest it comes to a story is a bit about Pee-wee's Christmas list being so long, Santa would n

While I haven't actually gotten my hands on an Elf on the Shelf yet, I've heard a great deal about it. And from that, I suspect The Mensch on a Bench may be just as good an idea as the Elf. If you think that's a compliment, you probably don't know much about Elf on a Shelf. The "Mensch on a Bench" was introduced to the world on Shark Tank. Sadly, they gave it an influx of cash and some publicity instead of letting it die there. Like the product this is clearly ripping off, The Mensch on a Bench includes a book and stuffed doll. Also, it sits in your house, sleepless and ever watchful, judging your children. You also get a removable cardboard bench, because "mensch" doesn't rhyme with "shelf." The doll is fine, if unremarkable. I doubt he'd stay on his bench without being tethered to it, though. The story of the Mensch on a Bench is essentially the story of Hanukkah with all the interesting war stuff excised. Instead,

Tree Man is a documentary about one of the merchants who travel into New York City every year to run a Christmas tree stand. The movie is difficult to review because it's more an exploration of character and place than a story. It would work well as a companion piece to I am Santa Claus or Becoming Santa - this aims to do for tree salesmen what that did for Santas. To its credit, it mostly succeeds. The central character, Francois, is intriguing, as is the expanded cast of seasonal help and rival sellers. There's a seemingly endless line of loyal customers ready to tell the camera why they keep returning to buy from Francois - he's energetic, enthusiastic, and friendly in public. In private, the movie gives a glimpse of the toll this lifestyle's taking. He's been at this for years, which means he's missed those holidays with his family. A large portion of the movie focuses on New York itself, and it does a better job than most films in capturing some of

Three Days of the Condor is one of those movies most of us have heard of but never seen, despite movie critics and historians swearing it's extremely important. The premise of Captain America: The Winter Soldier was largely drawn from this: it's a tense espionage tale about a CIA agent trying to stay alive when he uncovers a conspiracy within the Agency itself. Robert Redford plays the lead, Joseph Turner, who's responsible for reading and analyzing books. He's smart, but no spy or assassin. Max von Sydow, on the other hand, is a cold-blooded killer working for parties unknown. While Turner's out picking up lunch, Sydow shows up with a group of mercenaries and kills off the rest of the branch. Turner returns to find he's the only survivor. He pulls a handgun out of the receptionist's desk and runs. He calls into the head office, but the agent sent to bring him in tries to kill him. Turner then abducts a woman off the street at gunpoint, ties her up, an

I've long championed the theory that any premise, regardless of how seemingly juvenile or misguided, can be elevated to greatness if the core concept is simply taken seriously and complex emotion is added. Movies like Cloudy with a Chance of Meatballs and shows such as My Little Pony: Friendship is Magic lend credence to this idea. It is a good theory, or - more accurately - it was  a good theory. In the space of 44 minutes, this idea was tested and soundly, undeniably refuted by a corporate cash grab so cloying, the very core is beyond salvation. But I'm getting ahead of myself. Let me tell you about the show, Pac-Man and the Ghostly Adventures. This is a CG science-fiction/superhero adventure based on the characters from the 1980 arcade game. This isn't the first time someone's attempted to adapt Pac-Man into a television series , but it might be the first time someone tried giving it a relatively serious tone. Note I said relatively serious - this is still

Those of you with unusually good memories still won't recall that I reviewed Jack from Series 1 of Diamond's Nightmare Before Christmas line a few years ago, because - frankly - it wasn't that memorable. So, given that, let's take a moment to recap. We're now around thirteen years out from when NECA produced the first wave of their Nightmare Before Christmas line. Over a few years, they produced damn near every significant character (along with several insignificant ones) from the film. With one notable exception. For whatever reason, they didn't make Santa. They did Jack in a Santa suit, but skipped the big guy himself. Fortunately, Diamond decided to rectify this omission, which brings us to today's review. If you remember my write-up of Jack (which we've already established you don't), you know I wasn't overly impressed with the quality control. The arms and legs were too thin to support sturdy joints, so we were left with something

I've been meaning to get around to this for a few years now. All I really knew about it was that it was set around the holidays, and it's something of a cult classic. In hindsight, I had no idea what I was getting into. Where to begin? This was written and directed by the Coen Brothers, along with a little help from Sam Raimi. It's sort of a love letter to classic Hollywood love stories - I'm pretty sure I caught echoes of Christmas in July , Meet John Doe , and The Apartment  - delivered with a twisted sense of humor. The movie doesn't hold back on style - from the beginning, this is unapologetically grandiose and stylized. Everything from the music to the acting to the set design sets out to create a world that's a living, breathing caricature of its source material. For those of you who don't know me, all that means I absolutely loved this bizarre, quirky movie. I'm not going to delve into quite as much detail around the plot this time, both

Christmas With the Joker , the second episode made of Batman: The Animated Series, is something of a guilty pleasure. I know there are some fans who consider it among the series's worst, but I love the episode's spin on the Joker. There's something both endearing and unsettling about his attempts to crack jokes involving destruction and danger. We see him playing more in this episode than we ever would again, poking at Batman with jokes only he seems to understand. Over the past few years, DC Collectibles has been producing six-inch figures based on the show. Last year, I was pleasantly surprised to see them add a version of the Joker from that episode. It's branded "Holiday Joker," despite the episode's name having "Christmas" in the title (quick! Call Fox News!). I ordered it and waited, hoping to get it in time for a Christmas review. Unfortunately, I missed it by a few days. Oh, well - there's always this year. The line this i

This differs in two notable ways from nearly every toy I look at. First, I actually paid full retail price for this. Second, I think it's actually worth it. Granted, full retail doesn't mean a lot - this went for $4.94 at Walmart prior to Christmas. I'm not sure why they felt that $4.94 was the precise amount they wanted to charge, as opposed to $4.95, $4.99, or an even $5, but they seemed committed. The fact the price tag is a removable sticker is presented as a selling point, as it simplifies gifting this (and, for the little it's worth, I was able to peel off the sticker without difficulty). The box features a "touch me" section, which was smart - more of this in a moment. I'm not too impressed with the graphics or the back, but that's hardly a deal breaker. Note that the front and back photo are identical but flipped on the y-axis. Pretty lazy, guys. Pretty damned lazy. But none of that matters, nor do the ridiculous claims and sellin

The Real Ghostbusters has been largely forgotten, which is kind of a shame. The series started in 1986 and serves as something of a missing link between the comical, kid-friendly cartoons of the 80's and the more adult story-driven adventure shows of the 90's. This certainly isn't Batman: The Animated Series, but it's not Scooby-Doo, either. There were some creepy villains and monsters in this show, along with some cool concepts. The story editor was J. Michael Straczynski, who also wrote a vast number of episodes, including this one. "X-Mas Marks the Spot" was the last episode of the first season. It's set on Christmas Eve, or more accurately on two Christmas Eves. After bungling a job in upstate New York, the Ghostbusters wander through a time portal and find themselves in Victorian London. Not realizing what they're doing, they help Ebeneezer Scrooge with a haunting and wind up capturing the three Christmas ghosts. Still unaware where they are

What's your opinion of humanity? I ask, because it's about to be lowered. Holiday Helper isn't really a "game" in any meaningful sense of the word. It's not really ANYTHING in any meaningful sense of any word, though it seems to be masquerading as a party planning assistant. That's what I get from the back, anyway: The box is almost seven by five inches and one and a half inches thick. There's room for quite a lot in here. Only, in this case, it's a lot of air. In case it's unclear just how ridiculous this is, here's a picture with everything - yes, everything - unpacked. Turns out, when the back makes a big deal about how the cards include 12 contests, 12 party themes, and 12 drink recipes, it neglects to mention these are crammed into the same 12 cards. That, two dice, and some cheap knickknacks are all that's included. The cards are ludicrously stupid. I'm not really sure who the target audience is for these

The Golden Girls was influential, remembered, and - in some ways - fairly progressive, but that doesn't mean it holds up all that well. We found two Christmas episodes (there could be more - sometimes sitcoms set episodes over the holidays without calling it out in the title). Neither was especially bad (the first was fairly funny), but there wasn't much of significance, either. A lot of 80's sitcoms went for a sort of vapid inoffensive tone, even when they approached social issues (more on that in a moment). That was definitely the case here. The problems were minor, the stakes were low, and there was never a hint of suspense, even when the leads were being held at gunpoint. Sorry - getting ahead of myself. Twas the Nightmare Before Christmas (1986) The first holiday episode, Twas the Nightmare Before Christmas (seven years before the stop-motion classic), is sort of a disjointed comedy of errors. Ostensibly, there's a story tying this together, but really it