Mainlining Christmas

The Merchants of Joy is a documentary looking at several families operating Christmas tree lots in Manhattan. It focuses much more on the personalities of those involved than it does on the business side, in no small part because none of those profiled were willing to open their books and reveal trade secrets. We get a little behind the scenes information surrounding the bidding process for lots, how hard it is to turn a profit, what they do during the off-season (mostly operate other seasonal stands), and that big box stores operating at low margins are an existential threat to this business. We also learn several of the sellers largely source their trees from the Pacific Northwest, which surprised me a bit (I'd have assumed Maine or Canada). But the bulk of the documentary was focused more on them as people. It all works because it's an interesting, quirky collection. The year the documentary was recorded (I'm assuming 2024) also turned out to be a significant one, as two...

This was a nice surprise. I'm not talking about the quality - I expected this to be good - but I'd more or less given up hope of ever getting a third season of this show. The first two installments streamed in 2019 and 2020 , so I assumed the promised finale was yet another victim of the pandemic. But it turns out this was either popular enough or those involved were invested, because the show's back after a five-year hiatus. That break does affect the tone, as well as the story and characters. This is no longer about a woman in her early 30s trying to sort out adulthood - when we catch up with Johanne (Ida Elise Broch), we find she's matured quite a bit in the intervening time. Well, okay, when we're first  reintroduced to her, it's en medias res , she's dressed as a giant rat, and she's frozen in place on a stage surrounded by kids. But once that teaser's done and we back up to the start of December, we find she's grown quite a bit between sea...

We reviewed this twelve years ago and at the time more or less agreed with the consensus that it's a good movie, slapped a recommendation on it, and moved on. We never mentioned The Three Godfathers, because at the time we'd never seen a single adaptation or read the book ( we've rectified that since ). At some point, I picked up a copy of the film on blu-ray and dropped it in the "rewatch this soon" pile of discs sitting beside my television. That was probably three or four years ago. Last night I popped it in, hit play, and discovered a few things. First, I discovered my memories of the movies were comically inaccurate. If you'd asked me to give you a brief rundown of the plot, I'd have given you a synopsis bearing absolutely no resemblance to anything after the first ten or fifteen minutes of this movie. Second - and related - I discovered it is not, in any meaningful way, an adaptation of The Three Godfathers, but rather inspired by that story (or m...

This is another in a long line of films straddling the line between "Christmas movie" and "has Christmas in it," to the point I'm torn which bucket to drop it in. The holiday sequences don't take up a significant portion of the runtime, and seasonal elements don't really permeate the movie in ways that make it feel particularly seasonable - I probably wouldn't recommend this specifically for holiday viewing, though I would recommend it as a movie. However, the holidays are referenced enough to signal the filmmakers considered them significant, and I have some thoughts on why that might be. In fact, the use of the holidays might be the one subtle thing in an otherwise fairly unsubtle dramedy. To clarify, I'm not describing the bulk of About a Boy as unsubtle as a criticism - I liked it quite a bit. But the movie as a whole is fairly upfront about the points it's making and the ideas it's playing with. For example, it's clear from the s...

I guess you can add "Home Alone" to the growing list of Christmas movies the British do better than us. That seems to be the primary point of reference in Bad Tidings, with the caveat the protagonists are adults, not kids. Still, the premise of this TV movie centers on unlikely protagonists alone on Christmas Eve dealing with ostensibly dangerous robbers. The complication here is the heroes are engaged in a bitter feud and need to overcome their issues with each other if they want to survive the night and save their neighborhood. Oh, right: it's a neighborhood this time, rather than a house. At any rate, that's the gist. This is fusing an enemies-to-friends motif ( take your pick ) with the Home Alone home-invasion-lite template. If it had been made here a decade ago, I have no doubt it would have been awful. But the UK, for whatever reason, seems preternaturally good at this stuff, so the movie winds up delivering something funny and entertaining. It doesn't rea...

The best summation I can offer for the tone (and therefore the experience) of The Baltimorons is a cross between a '70s dramedy and When Harry Met Sally . This is an independent production from director Jay Duplass and comedian Michael Strassner. They scripted the movie together, and Strassner plays a character whose backstory is loosely based on his own life, including struggles with alcoholism, attempted suicide, and disappointment stemming from nearly making it big. There's some real drama here, but the movie finds humor within it. This is, after all, ultimately a romantic comedy, albeit one grounded in believable emotion. The leads are deeply flawed, and - like When Harry Met Sally - this understands the goal is to help them come to terms with those flaws and find a way forward together, rather than pretend they can (or should) be wiped away. All of which is a longwinded way of saying I liked it a great deal and absolutely recommend it as a funny, melancholy alternative to...

There's virtually no information about this on its Wikipedia page, but between the fact this came out in 2022, the isolated setting, and the cast almost entirely consisting of three characters, it seems like a safe bet this was produced and filmed during the Covid lockdowns. It was ultimately released by Shudder, where it received a tepid response from viewers and critics. I can't help but suspect some of that reaction may have been due to exhaustion with minimalist productions at the time - for a few years there, it felt like everything  was made with a couple actors and a skeleton crew to comply with restrictions on crowds. In addition, horror fans tend to react poorly to non-horror movies marketed in that genre, and The Apology is ultimately more a psychological thriller. That's my guess for why this didn't get a better response at the time, because I thought this was quite good as a suspenseful character drama. Just be warned it goes to some dark places... though it...

This has been my on my list for years, but I kept tabling it in favor of movies that were better regarded or where the holiday connections were (based on the synopses) less dubious. I didn't doubt there'd be Christmas elements in Fitzwilly, but in my experience movies made prior to the '80s where Christmas doesn't feature heavily in the description are often edge cases. This one... no, this is very much a Christmas movie. Unambiguously, unquestionably Christmas. Also, I'm going to deviate from the consensus and say, in my opinion, it's a very good Christmas movie. I'm honestly a little surprised to find this is widely considered somewhat of a middling film. I'm not seeing much online concerning its release, and only a handful of critics seem to have considered it worth reviewing it retroactively. Reviews I skimmed on Letterboxd tend to lean towards "underwhelming," though several acknowledge it was fun. While I can understand where its detracto...

I've observed in the past that Great Britain tends to be noticeably good at producing family Christmas movies. Granted, some of this could be sample bias - presumably most of what makes the jump is at least pretty good, so I'm likely being spared their equivalent of the worst US media (well, most of the worst anyway ) - but I do think there are elements common to their holiday films that make them at the very least refreshing to those of us used to American productions. While British Christmas media tends to share America's portrayal of Christmas as a melancholy time, it's far less fixated on nostalgia. Modern American Christmas is tied to a post World War II shift from urban to rural America, coupled with a regressive shift in politics. For various reasons, this results in media recycling themes and symbols from 1940s Americana. There are exceptions, of course, and it's worth noting we're starting to see more variation, but on the whole US Christmas movies tend...

By my reasoning, adjusted for inflation Love Story is the second highest grossing Christmas movie in history in the US and Canada , with only A Hundred and One Dalmatians beating it out (though it's not particularly close). I should also add I'm not counting a couple movies with ambiguous holiday credentials in that ranking: if you're of the opinion Ben-Hur and/or The Sound of Music are Christmas movies, you'll want to push this back two or three spots respectively (hell, Sound of Music would take the top spot). Either way, Love Story beats out Home Alone, if you want a sense of just how successful this was back in 1971 (it opened in New York in December of 1970, but didn't get a wide opening until June the following year). I blame Wikipedia's list of Christmas movies for the fact this one slipped under my radar as long as it did - it's on there but for whatever reason it's currently separated into a category containing only itself. That's absurd, b...

A Tale of Winter is to Sleepless in Seattle what Dial Code Santa Claus is to Home Alone . Okay, that's probably unfair to Sleepless in Seattle, which I don't actually think is a knockoff of Tale of Winter, but the parallels are interesting: French movies exploring similar ideas released a year earlier that are (in my opinion) significantly better than their American counterparts. A Tale of Winter is the second Christmas movie I've seen written and directed by French New Wave auteur Éric Rohmer, who also made My Night at Maud's  twenty-three years earlier. I should also mention A Tale of Winter is the second of four films each representing a different season. At the very least I should probably have seen the first of those before attempting to write about this, but... well... I'm busy and have too many other Christmas movies to get to. Just in case it wasn't obvious from that "better than their American counterparts" gag, I liked this quite a bit. Tha...

I need you to understand, before I type another word, that this movie is not normal. That's not intended to imply that this is good or bad - it's my opinion Holiday in Handcuffs exists outside of such a simplistic dynamic. Likewise, I'm not going to retreat to "so bad it's good," as I don't think that's an accurate description of the movie. I submit this movie is, instead, best described as "fucking bizarre." First some background, at least to the limited degree background information is at all available. The movie was produced by "ABC Family," which was something of a competitor for Hallmark in the TV Christmas movie field during the first decade of the millennium, before Hallmark reached a point where calling other entities "competitors" is something of a misnomer. ABC Family tended to be a bit more PG than Hallmark - really, the movies I've seen from them are closer to what Netflix and other streamers are now puttin...