Mainlining Christmas

Rather than running these individually, I'm posting reviews for five shorts, each of which is an adaptation of Hans Christian Andersen's The Little Match Girl. This is far from an exhaustive list, of course, but this covers every surviving version through the 1950s I was able to locate. For those of you who don't feel like digging through my notes, I'll save you a little time - these are all good for when they were made. The two that really stood out were the 1928 silent French version and the 1937 animated version. The animated probably aged the best of the bunch, as far as general audiences are concerned, while the 1928 film was the one I found the most fascinating from a technical standpoint. So, if you're interested in old movies, that's a good one to see (actually, all of these are good to see, but that's a great starting point). Those are the two I was thinking of when I slapped a "Highly Recommended" label on this post, though in both cases

At last, we come to the fourth and final movie I'll be looking at. I realize there are countless TV movies, mini-series, and even an anime, but considering this isn't really a Christmas story, I feel like this is already bending the rules. Only this one adaptation actually might qualify as a Christmas movie. Sort of. Kind of. I'll get to that in a minute. First, I want to cut to the chase. This is, by several orders of magnitude, my favorite of the bunch. It's absolutely fantastic, incorporating iconic sequences, enhancing and updating both the humor and drama, and simultaneously exploring the intricacies of the author's complex relationship with the work and by extension that between reality and fiction in general. It is a phenomenal movie. Greta Gerwig's approach differs from earlier versions in that she doesn't follow the book's blueprint. Rather than tell this story linearly, she intercuts between the first and second halves of the story, and in so d

A few years ago, there's no way I'd have written this up here. That's not a strike against the movie - I liked this quite a bit - just an acknowledgment that it is absolutely not a Christmas movie. It is not set at Christmas, it does not reference Christmas (or any holiday, for that matter), and it is not about Christmas. However, the wintery setting and other elements (first and foremost the titular animal) resemble contemporary Christmas traditions and iconography. The movie also takes place in Lapland, a location with connections to the holidays, and folkloric winter horror has deep connections to the Christmas season, as well. In short, while this isn't a Christmas movie, the overlap with subgenres within the holiday film canon is substantial, and I suspect this will be of interest to readers of this blog. I know I'm stepping onto a slippery slope here, but I'm going to risk it to talk about this bizarre Finnish horror film about a woman who falls in love, g

Most descriptions you'll find of Love & Peace (including the next sentence of this one, I guess) focus on how many disparate genres are packed into the movie. And that's true: this is a musical kaiju fantasy Christmas family comedy, and there's no denying it's a bizarre film (which is apparently par for the course for writer/director Sion Sono). But opening with that is a bit misleading, as it implies the movie is some sort of random jumble of wacky ideas, which isn't the case. Yes, there are a lot of ingredients in this, but they're here for a reason, and the end result is both tonally and thematically coherent, even if the premise is complicated. I'm going to get to the plot in a moment, but... ugh. This one's awkward. Because, as usual, I'm going to spoil the hell out of everything in a movie I'm going to strongly recommend, which is normally your cue to head over to the nearest streaming service, watch this absolute gem of a movie, then c

I paused this movie about three-fourths of the way through, checked the time stamp, and pumped my fists in the air as I confirmed it qualified under our guidelines as a holiday movie. In case that reaction wasn't clear enough, Mystery of the Wax Museum is getting a recommendation, which means it also gets a spoiler warning. I don't think knowing details about the premise, characters, or plot will significantly undermine the experience in this case, but - just in case - if you're a fan of movies from this era, horror/comedy/adventure hybrids, or really movies in general, this one's a blast. It's also an absolutely gorgeous film that will challenge most viewers' assumptions of what movies from the early '30s looked like. Utilizing the now largely forgotten two-color Technicolor process, the film is both beautiful and eerie. The color, coupled with clever lighting and set design, creates a world that's unreal, evoking the feel of looking at a wax sculpture

Right off the bat, I'm going to open with a simultaneous recommendation and a warning: this bizarre, British TV movie from the early '90s is well worth checking out provided you're able to stomach the racism. Because... yeah, the movie's approach to its subject matter, while clearly intended as tongue-in-cheek, absolutely exploits both the culture it's drawing its mythology from and the race of Lenny Henry, who plays the genie. For what it's worth, the movie's portrayal of race is good-natured and well intentioned, with the movie ultimately existing in part as an endorsement of diversity and immigration, but the subtext of a black immigrant being weird and silly by virtue of not understanding British customs is absolutely baked into the premise. I doubt it was a coincidence that the remake flipped the races of both the genie and Bernard (and, for what it's worth, the cast of the remake was one of its best assets). And speaking of the remake... I'm go

I'll start by acknowledging what I assume is obvious: Elvis is not, by any reasonable definition, a Christmas movie. Despite that, there are aspects of the movie that use holiday imagery and associated plot points in ways that are unusual and interesting enough to be worth exploring here. That said, there's a reason this is getting written and posted in the "off-season:" this film is Christmas-related, rather than Christmas media. I'll start where I usually finish: with an assessment. The movie is good, though I'm not convinced it's quite in the same league as most of this year's best picture nominees. I found the movie technically impressive and intellectually interesting, but not at all emotionally engaging. I should probably acknowledge I'm not a huge fan of Elvis - this might play much differently to someone with more of an initial attachment to the singer. More importantly, I don't think this was trying to engage emotionally. Its approach

As soon as I heard this existed, I knew it had to be the last version of A Christmas Carol I watched and reviewed for this project. Twelve Hundred Ghosts is, at least in theory, a supercut of more than 400 adaptations, homages, and reimagined spins on a Christmas Carol, arranged and edited by Heath Waterman, who completed the project over a year and a half. So that certainly puts the fifty-some-odd versions I covered here this year to shame. I do want to return to that "supercut" moniker. Strictly speaking, it's not inaccurate, but I don't think it does justice to the experience of watching this. Waterman isn't simply cutting between scores of adaptations across multiple mediums; he's creating a montage that explodes both the original narrative, as well as the incredible breadth of media it's inspired. He uses split screens to combine versions from different eras and styles, he plays audio tracks over incredibly different films, he includes audio plays, re

I stumbled across this looking for adaptations of A Christmas Carol, and it sounded both interesting and significant (at least in England - I don't believe this has gotten any kind of release in the states). For reasons I'll get to in a moment, I'm glad I gave this a chance. First, I want to explain to the best of my ability what this is, which is a little difficult as the background on this BBC comedy Christmas special is substantial. I'm going to try and cover this quickly, with the caveat I haven't seen any of Mischief Theatre's other work. A Christmas Carol Goes Wrong is the second BBC holiday special produced by Mischief Theatre. The first, Peter Pan Goes Wrong, is itself a sequel to The Play That Goes Wrong. All of these (along with several other plays and a later TV series) center on a fictitious acting troop called the Cornley Polytechnic Drama Society who are supposedly performing the plays in question. The joke is that the Cornley Polytechnic Drama Soc

Okay. First the simple. At time of writing, I've seen two episodes of the Fraggle Rock reboot including this holiday special, and they are really quite good. It's a lot like the original, just gently made more modern feeling. However, this special episode is dancing in the shadow of one of the all-time great holiday episodes, and that means there's a lot to live up to. I think the fairest thing is to talk about it on its own first, and then address the larger context. (I'll mark the sections ahead.) If somehow you are ignorant of Fraggle Rock's premise, here's the quick pitch: A race of cheerful creatures (Fraggles) live in a system of underground caves, in a sort of symbiosis with a race of tiny hardworking creatures (Doozers) and in fear of a family of giant pompous fools (Gorgs). The tunnels also open into a workshop owned by a human who is unaware of the Fraggles and often has a parallel plot line going on. The episodes are usually comic adventures that touc

Star in the Night is a 25-minute film that won an Academy Award for Short Subject. It's not hard to see why - despite a simple premise, it's sweet, clever, and surprisingly touching, even 75 years later. That's not to say it doesn't contain a few aspects that aged poorly - they cast a white actor as a Mexican character, and an Italian character's accent is comically bad - but if you can overlook these issues, it's remarkably progressive in several respects. The story is a modern (well, modern for 1945) retelling of the nativity in a motel in the middle of a desert in America on Christmas Eve.  It starts with three cowboys riding across the desert at night. They're carrying a bunch of toys they just bought on a whim. Then, in the distance, they see a star. Not a literal star, mind you: a gaudy, light-up display advertising a model. The main character is the owner, who's having trouble getting the star to work. He meets a hitchhiker, and the two argue abou

As you can see above, this has had a couple different titles, depending on the country. The original US release was "Christmas Eve," while it was released in Britain under the less generic, "Sinner's Holiday." The British version sets a more accurate expectation for what you're getting. I'm not sure if the US version went with "Christmas Eve" to avoid confusion with a movie from 1930 called "Sinners' Holiday" or to appear more upbeat and festive in the hopes of attracting holiday audiences. If it was the latter, it didn't seem to work: the movie wasn't all that successful and didn't leave much of a cultural footprint, which is a little unfortunate. I had a lot of fun with this one. There's part of me that wants to tell you to just stop reading and watch this movie. It's not so much that this is good - aspects are great, while others are lacking - as it is... well... bonkers. This movie is bonkers. And more than

Love, Death & Robots is an animated science-fiction anthology series on Netflix that leans towards R-rated fare. Like most anthologies, the quality and style vary from short to short. Some of these are absolutely fantastic, while others are fairly mediocre. None are what I'd call awful - even the worst feature jaw-dropping visuals, almost always of the computer-generated variety. My largest criticism of the series is it's prone to excess: the first volume, in particular, contains so much unnecessary nudity and sexual content I found myself wondering if there was a mandate only lifted for a couple shorts. This short doesn't have that issue. In fact, I'd describe it as impressively restrained and tonally balanced, particularly given the premise. It's also the first of only two stop-motion installments to the series, as is appropriate for the holiday theme. Let's get to the story, though at only five minutes, "scene" might be a better descriptor. The