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Showing posts with the label Erin Snyder

An American Carol (2008)

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This is one of those movies that's sort of on the boundary of what we'd consider discussing. It's not set at or about Christmas, but depending on your point of view it's either derivative of or based on arguably the most famous Christmas story set in December (we all know the manger thing happened in the fall, right?). On top of that, An American Carol has particular significance to another project I'm working on for later this year. For reasons not even I can explain, I seem to have decided 2022 would be the year I finally watched through the various adaptations of A Christmas Carol, or at least all the significant ones. And while this falls near the low end of the spectrum of both the significance and adaptation metrics, it was released theatrically, so I decided to give it a watch. Set in America in the "present" of 2008, the movie applies the "Christmas Carol" template to the 4th of July and the War on Terror in order to lampoon liberalism. I

La Befana Vien di Notte [The Legend of the Christmas Witch] (2018)

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La Befana Vien di Notte is a live-action Italian fantasy/superhero/comedy/adventure/children's movie about Befana. I probably shouldn't assume everyone reading this is familiar with Befana: she's a legendary witch who delivers gifts to the kids of Italy on Epiphany Eve (January 5th). The easy explanation is she's "like Santa," which isn't inaccurate, but feels reductive. There's a lot of debate over just how old the legends are and where they come from: I'm not going to get into any of that here. What's important is this idea isn't invented for the movie, and in Italy this would come across like a big-budget Santa Claus movie. The problem we ran into trying to watch La Befana Vien di Notte is that this isn't Italy, and the film hasn't received a proper US release. Amazon has a version up, but the language options are limited. There's of course a dubbed English track, but... Okay, side note. I'm pretty firmly entrenched on th

When Harry Met Sally (1989)

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I think I've watched this movie at least three times since the creation of this blog simply to reconsider whether or not it qualified as a Christmas movie (this is, of course, in addition to countless viewings growing up - this is one of my mother's favorite movies, so it was on a lot). Because this is more a New Year's movie than a Christmas one, it never quite passed our litmus test, which I always regretted, since this movie - in my humble opinion - absolutely rules. Well, now we consider New Year's an extension of Christmas (since, you know, it is), so the question's moot, and we can talk about one of the most iconic romantic comedies made in the last four decades. The story, of course, centers around Billy Crystal's Harry and Meg Ryan's Sally, both of whom are awkward and somewhat off-putting. They come across to the audience as eccentric and likeable for the duration of the film, but the movie succeeds in making you doubt you'd enjoy hanging out w

Strange Days (1995)

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Before I even get into the spoiler warning, I want to open this with a content warning. The movie I'll be talking about includes a sexual assault, and while I won't go into much depth in the review, I found it disturbing even relative to other films that touch on that subject matter. [Editor's note: I found this scene incredibly upsetting to watch. I was glad I sought out spoilers ahead of time so I knew what I was in for - Lindsay] If that's not something you're willing to sit through, you'll want to steer clear of this one... ...And I needed to open with that, because this is one of those movies where plot spoilers could impact your experience quite a bit. And also, yes, this is a pretty great sci-fi noir flick directed by Kathryn Bigelow, so it's probably worth your attention, assuming the last paragraph isn't a deal-breaker. The film definitely has some issues aside from that, so it's not like this is required viewing or anything, but it's g

This isn't the Christmas any of us wanted. It's still Christmas.

This was supposed to be the Christmas spent with friends and family again, right? After a year in isolation, this was when we'd all be able to take a deep breath and gather together. Honestly, that was never going to be this Christmas for my family. We've got a toddler, and even before the news the vaccine trials for that age bracket weren't a rousing success, it was clear the timeline wasn't going to line up. Our most optimistic projections would have been having our kid vaccinated sometime in early January. Now we're hoping for late spring and trying not to get our hopes up. But I know those of you without young children (and some with more tolerance for risk) were thinking this was the year you'd be able to celebrate without concern. Big parties, nights out... Christmas traditions. I know a lot of you are doing those things, anyway. And, I mean, I hope you're vaccinated, boosted, and taking as many precautions as you can. I hope Omicron really does turn o

Retfærdighedens Ryttere [Riders of Justice] (2020)

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Over the past few years, I've been transitioning towards favoring original titles over translations when reviewing foreign films when practical, both in the header and in the text. Well... I've got limits, so I'm going to be referring to this film from Denmark by its English title from here on out: Riders of Justice. Sorry, Danish speakers: your word for "justice" is just a tad too righteous for me to type out. I'm seeing this referred to as an action/comedy, which feels like a bit of a stretch. Maybe it's because I'm overly familiar with American action movies, which almost invariably include comedic beats, but I'd almost classify this as drama before comedy. Sure, it's funny, but - again - I expect that of action films. The presence of trauma is a bit more surprising. Before considering whether it's either - hell, even before I'd bother with "action" - I'd consider this an existential film. Riders of Justice is fundament

Wir Können Nicht Anders [Christmas Crossfire] (2020)

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I'm fairly certain Wir Können Nicht Anders is the first German movie we've looked at. I should probably note you won't have much luck finding this under that title - it was released in the US as "Christmas Crossfire," with the "Crossfire" part written in blood. I understand badly translated titles is kind of a foreign language Christmas movie tradition, but this one feels particularly egregious. While there is some violence and a touch of suspense, this isn't horror or even action: it's a comedy. A dark comedy, certainly, but nothing like that title implies. A closer translation (at least according to Google Translate) would be "We Can't Help It," which makes infinitely more sense. I'll be sticking with the German name, because I can't bring myself to keep typing Christmas Crossfire. Tonally, this bears some similarities to US dark comedies (think movies by Martin McDonagh, such as In Bruges ). If I knew virtually anything a

Hawkeye: Season 1 (2021)

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So far, the Disney+ MCU shows have been something of a mixed bag. I don't think any have been awful, but the level of quality has fluctuated wildly from series to series, with WandaVision being by far the best and The Falcon and the Winter Soldier being the most disappointing. Good or bad, they've all boasted impressive production values and have all delivered some of the quippy dialogue that's become a hallmark of the Marvel Cinematic Universe. Hawkeye joins Iron Man 3 in sporting a Christmas setting. Between the two, I think Hawkeye makes better use of the holidays -  in Iron Man 3, it mainly just felt like a callback to the director's filmography. Here, it serves to heighten the tension, tie in to themes of family, build up a sense of the surreal, and... well... okay, it's also kind of making a bunch of allusions to Shane Black movies, but it's not like I mind. Of course, the Christmas setting also means it's fair game here, so let's dig into the sec

Carol for Another Christmas (1964)

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As the name suggests, A Carol for Another Christmas is an updated take on Dickens's classic, here intended for the modern world. And when I say "modern," I of course mean modern as of 1964, when it was made. Unfortunately, that's half the problem, as it's more than a little dated now (not just because it's in black and white). Actually, it feels like it might have been a bit dated when it came out, which is the other half of the problem. Let's jump into the story, which follows Dickens's outline pretty closely, at least until the conclusion. The Scrooge analog is "Daniel Grudge," a retired US Commander with a massive amount of influence in politics and media. Standing in for Marley is [checks notes] still just a guy named Marley (feels a little lazy, if I'm being honest). Okay, technically it's "Marley Grudge," Dan's late son, killed in a war. While we're on the subject of characters whose names haven't changed,

A Christmas Carol (2019)

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In a world where multi-season series are now set during the holidays, an actual three-episode miniseries almost feels quaint and old-fashioned, but that's exactly what the BBC's 2019 take on A Christmas Carol is. We've been meaning to watch this for a few years now, but somehow never got around to it until now. And now that we've finally watched this, I can definitely say... it is not what I expected. More specifically, it's completely different than it was marketed, and not just because the teaser made it look kind of good . From everything I'd seen about this, I'd assume it was going to highlight the horror aspects of its source material, which I've long felt get overlooked. But aside from a veneer vaguely mimicking that genre and a few jump scares, this isn't at all a horror in tone. First and foremost, it feels like a melodrama, with touches of horror and - surprisingly - comedy tossed in. Even more surprising, it's kind of a stretch to call

Días de Navidad [Three Days of Christmas] (2019)

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It's been a good time for foreign Christmas miniseries, thanks to streaming platforms being desperate for content. Continuing that trend is Días de Navidad, a three-episode Spanish show chronicling the lives of four sisters across different eras and - to a degree at least - genres. That last part is an aspect I'm probably going to fumble a bit, because I have a feeling there's an entire meta-narrative I'm missing concerning Spain's recent history and popular media. More on all that in a moment - first let's dig into that premise a bit. Actually, before we get to even that, let's start with a spoiler warning and a somewhat tentative recommendation. I liked this quite a bit, but I imagine the style and tone of this series will turn a lot of people off. This leans heavily on its drama and at times almost feels like a soap opera (albeit one with money to burn). To be honest, I'm not sure why this didn't bother me more - normally, I don't give drama t