Mainlining Christmas

From the perspective of a Yuletide nerd, this is an interesting case. I actually wouldn't consider this a Christmas movie, despite the fact it technically passes my litmus test. The entirety of this film is set around the holidays, which is usually more than enough. But the specifics of the setting and story render the timing moot for the majority of the runtime, and neither the story or the themes are particularly connected to the holidays. Both those points could probably be debated. The premise uses the holidays as an excuse to bring the characters together, and some of the themes - connecting with old friends and growing older - have a history of being associated with Christmas media, but I don't really buy that these are causally connected to the frame story visibly being set over the holidays. Frankly, I think the Christmas connection appears here for the same reason the last movie included a coda set during the same time: this series has always been released at Christmas

For those of you who weren't reading last year, well... first of all, welcome to the party, pal! But second and more germane to the topic, I spent a comically large portion of 2022 watching and reviewing roughly fifty adaptations of A Christmas Carol, presumably making me one of the world's foremost masochists on the subject. This was still just a drop in the bucket as far as the breadth of TV and film versions of the story are concerned, but I managed to check off virtually every adaptation on my list. Virtually. There were a couple that slipped through the cracks. The most notable of which is an elusive 1940s version from Spain that's probably going to be one of those "white whales" I obsess over for decades. But after that, there was Ebenezer, a version starring Jack Palance, with the setting moved from London to the American West. This was an extremely late addition to my list - because the title differs from the usual pattern, it hadn't initially caught m

If you look at Bruce Willis's filmography, the third to last credit is "Detective Knight: Redemption," and three of the last five are in the "Detective Knight" series. To put this in perspective, this was one of the last movies Willis was in before retiring and being diagnosed with frontotemporal dementia. The movies he made at the end of his career were rushed direct-to-video productions effectively shooting and editing around his disability. I'll get to Redemption in a moment, but the ethics around this are going to take priority. There are really two ways to look at the existence of this movie: either as an exploitative business cashing in on Willis's recognition at the cost of making him into the butt of bad jokes or as a sort of tradeoff where an aging star is provided an opportunity to earn some money they very well might need. Setting aside the fact these scenarios aren't mutually exclusive, I have no idea which is closer to the truth and no

It's actually a little weird I've never seen this before. I was in high school when Grumpy Old Men came out in 1993, so the fact I never bothered seeing it on VHS or even caught it on television is a little unusual. Likewise, it has to be one of the most famous Christmas movies that somehow fell through the cracks this long. Part of that has to do with the fact it intentionally downplays some aspects of the holidays - more on that later - despite absolutely qualifying as a Christmas movie. The movie's primary selling point and presumably its reason for being made is its cast. The film stars Jack Lemmon and Walter Matthau as the titular grumpy old men, and if there's a reason to see this, it's them. Whether that's enough or not is a more difficult question. The movie is right on the line between "not quite good enough" and "just good enough." Frustratingly, it contains moments and elements of greatness it can't quite maintain. Lemmon and M

All right. I *think* this is the last stop-motion Rankin/Bass Christmas special we haven't covered. There are a few reasons this took so long, starting with it being hard to track down. We actually tried to watch it last year, but the only service supposedly streaming it for a while had the wrong video connected. The other reason this one eluded us is that this really didn't make much of a cultural impact, and therefore didn't show up on our radar. With that out of the way, let's talk about what this is. And the short answer to that is... Well... It's weird. This is very weird. The long answer is it's a Christmas story set in an abbey in the mid-19th century. At the beginning, the nuns are making Christmas cards to distribute to the locals. The cards feature snowy scenes, because the area never gets snow and they want to remind everyone that it snowed on the first Christmas. In Bethlehem. Okay, am I missing a reference here? I mean, I know the idea it snowed in

The first thing that jumped out about this 1943 French Christmas film was that it's a movie released in France in 1943. History was never my best subject, but even I know France was occupied by Nazi Germany during that time, which raised a substantial number of questions, some of which I've found answers for and some I haven't. The first and most relevant is confirmation that this is, in fact, a French film, as opposed to a Nazi film made in France. The director, Claude Autant-Lara, seems to have hated the occupation, and his work at the time is seen as fairly progressive. I should pause to highlight the significance of the phrase "at that time," because it doesn't take much time on Wikipedia to find that in later years Autant-Lara's politics mutated into something disturbingly similar to Nazis, complete with right-wing nationalism and antisemitism. He was actually elected to Parliament in the late '80s, though he didn't stick around long - some p

There have been a substantial number of Christmas romcoms released direct to streaming over the past few years, too many for us to even try keeping up with. We attempt to get around to the most notable ones, but even then it's felt like a race against a malfunctioning automated assembly line. Christmas at the Ranch got on our radar because it's one of a small (though thankfully not as small as it once was) number of LGBTQ+ holiday movies. For better or worse, that turns out to be most of what makes Christmas at the Ranch different from the scores of other Christmas romcoms: aside from the fact both leads are women, this is fairly generic as far as these things go. I'm aware that can be a selling point to a number of people who love the subgenre and have been starved for representation. There's nothing wrong with making what amounts to a Hallmark romcom with a lesbian couple, since Hallmark's been slow to meet that demand (to be fair, they've made a few now, but

Long Live the Royals was an extremely brief miniseries that aired on Cartoon Network back in 2015. When I say extremely brief, I mean it's just four 11-minute episodes long. But this was the year after Over the Garden Wall, and the bar for Cartoon Network miniseries was impossibly high. That's probably why this mediocre absurdist piece seems to have vanished almost without a trace.  (It's currently available to stream, though, which these days might just mean that the people who worked on it didn't have great contracts so it's cheap to keep up.)  The setting here is somewhat muddy. A royal family presides over someplace (all the descriptions of this show say Britain, but that isn't corroborated in the actual show as far as I remember) that at least includes a castle, a forest, and a town of peasants. It's a mashup time period, with most people dressed vaguely medieval-ish or "old-timey" and a strongly feudal society, but also smartphones and laptop

Dead of Night is a British horror anthology film with a strong frame story that shows up occasionally on lists of alternate holiday films. I first watched it a few years ago, and I'll tell you upfront I don't agree with that designation - only one of the five segments (six, if you count the frame, which you probably should) takes place at Christmas - which is why I didn't review it at the time. So why am I rewatching and reviewing now? Well, that's a little complicated. Over time, the purpose of this site has changed, as have the questions we've been exploring. We're no longer solely focused on Christmas media, but also the history of how that media evolved and the ways media and society look at the holiday. Occasionally, that means considering media that may have been pivotal in shaping future holiday entertainment. And, while Dead of Night isn't something I'd consider a Christmas movie, it was extremely influential. It's also a damn good classic ho

This 9-minute film from 1928 represents something of a transition between silent film and talkies. Technically it's neither, as it includes a synchronized musical soundtrack but no spoken dialogue. In addition, it's shot in two-color Technicolor, similar to Mystery of the Wax Museum (though that movie features a much more technically advanced execution of the process). Between those features and an extremely intricate fantasy effect at the heart of the short, The Toy Shop must have amazed audiences ninety-five years ago. I still found myself surprised and intrigued today. There's not a lot to the plot. The movie opens with a poor beggar girl (presumably an orphan) begging outside a toy shop on what I'm assuming is Christmas Eve (all we get from the title cards is that this is happening in France). Visually, we only get a couple hints at the season: there's a wreath on a door in the background, and later we'll see some garlands inside the shopkeeper's home.

Night of the Comet joins I Come in Peace and Trancers  on a list of low-budget cult Christmas science-fiction movies from the '80s and early '90s. All three flew under our radar for years, so I'm left wondering if there are more out there. Night of the Comet is unquestionably the best of those three, incidentally. I'm not sure I'd recommend this to someone who isn't a fan of genre (and perhaps more importantly genre history, as we'll get to in a moment), but any connoisseur of '50s drive-in fare, early zombie movies, or '70s post-apocalyptic films will find this well worth checking out. It's also notable for the impression it left on popular culture: it's been cited as an inspiration for Buffy the Vampire Slayer, and while watching I saw ideas I'm fairly certain were borrowed for Cabin in the Woods and Zombieland, among others. All of which is to say this is a neat, clever film. Perhaps a bit too clever in some ways, honestly - its mashu