Mainlining Christmas

I don't recall ever having heard of this before seeing it listed in Alonso Duralde's book, " Have Yourself a Movie Little Christmas " in the chapter devoted to the worst Christmas movies of all time. Actually, it was in the "other titles to consider" section of that chapter, right between Six Weeks (agreed) and Thomas Kincaid's Christmas Cottage (so bad it's amazing). It was the year of production that really drew me to this one in particular - excluding specials, I really haven't seen that many Christmas movies produced in the 1970s, and far fewer I'd consider at all worthwhile. Lists of holiday films usually only include a spattering of examples. I suspect there are quite a few in hiding - I've been doing this long enough to have seen entire eras and subgenres of Christmas media seemingly emerge from the void several times in the past, but for whatever reason the '70s don't seem to have been excavated in the way that, say, ...

A musical retelling of the New Testament that feels like a mashup of Bollywood and the Star Wars prequels should be more fun than this. To be fair, there's still some fun here, but we're talking "Disney Channel original" with improved production values fun, not Chronicles of Riddick-level fun (despite Herod's soldiers' armor kind of looking like that of the Necromongers). It's bizarre, bordering on so-bad-it's-good, and may even cross that line, depending on your inclinations towards cheesy teen musicals. Because, to be clear, that's what this is. Hell, it's what it's going for! The movie, directed (and co-written and bunch of other stuff) by music producer Adam Anders, is aimed at teens, and the central message of the thing is "Mary and Joseph were just like you!" Well, that and variations on "you can make a difference, too," "you're part of God's plan," and "shut up and have babies." Okay, t...

This half-hour animated special appeared on Disney+ this year, and it's very pretty, but not much more than that. The story follows Moon, a young owl whose impulsive optimism gets him into trouble; he hides from an eagle in a big tree that is then cut down and sent to NYC for Christmas. Moon runs afoul of some territorial pigeons and ends up lost in the city, where he eventually runs into a human girl, Luna, who is also alone. They travel around the city together over montages and music.  Moon wants to get back to the tree because his dad said to stay put. At first, Luna helps him get back to Rockefeller Center, but when they finally get there, she realizes that other owls won't be able to find him. So she reaches out to adults for help getting Moon home to the forest, and help for her to get home as well. Everyone is home for the holidays: The End.  At the very start, the singing narrator (John C Reilly, evoking Rankin-Bass, but not quite nailing it) explicitly tells us that ...

There aren't a lot of definitions of "Christmas movies" that would include this, and I'm not about to claim otherwise. Despite that, I wanted to share a few thoughts for a couple reasons. First, this is an incredibly important and influential movie, which naturally makes me inclined to loosen my criteria. It's also a foreign film (French, if it wasn't clear from the title), which means it's providing us with at least a little insight into how another culture views the holiday season. Most importantly, while it only contains two relatively brief holiday sequences, one of those uses Christmas in a fairly unusual way, which - unless I miss my guess - reflects back on American Christmas movies. More on that later. The film is a colorful musical drama about a couple torn apart by a combination of forces beyond their control and their own decisions. It's notable for its operatic approach - although the music is fairly modern (or modern for 1964 musicals), ev...

FYI: This show is watched by our 4-year-old. Her feedback will be included in this review. WorldWorld is a PBS show (originally 2007-2011) that teaches preschoolers basic spelling and phonics along with some other positive messages. I've always found it generally amusing, although the in-world rules raise a lot of questions.  All the things, including the characters, are physically made up of the letters that spell their names. And if you can spell something, you can create it. For example, if you line up the letters H, A, T, you now have a hat. So it's a bit like the Star Trek question of why anything would be scarce in a world with replicators, but it's an exponentially larger issue here because the characters find letters basically anywhere (they don't seem to be a finite resource) and in several episodes, it's established that you can pluralize words to create infinite stuff.  Each half-hour episode includes two separate stories.   The Christmas Star This story...

Animated Christmas specials serving as stealth pilots is something of a tradition in its own right. The most successful example, of course, was The Simpsons Roasting on an Open Fire , but a number of other properties attempted to use the format , as well, including the one we're looking at today. Astonishingly, this one seems to have been successful, as it spawned a number of additional specials and eventually a series that lasted for five years. Lindsay grew up watching said series - I did not. She assures me that the kids who appear in the frame story of this special would be dropped pretty fast, with the world defaulting to one entirely occupied by anthropomorphic animals. That premise does sound at least marginally better than what we just watched. Let's start there. We're introduced to a park ranger, his two kids, and their dog, Schaeffer. The forest they're living in (and that the ranger is looking after) is being mysteriously cut down, so he goes to investigate ...

Despite not having a particularly complicated plot or premise, Sun Valley Serenade is the kind of movie that you almost have to see to believe. I say "almost" because, while there's a lot to like here, some dated stylistic elements hold it back from crossing that line into unconditional recommendation territory. It comes close, mainly thanks to the mid-movie sequences in which... well.... Okay, here's the thing: this movie occupies a very unusual place on the spectrum of movies best seen unspoiled. There's a delightful twist in tone and point of view that's entirely unintentional. Audiences in 1941 were already in on something that those watching eight decades later won't be, and it recontextualizes the movie in some fascinating ways. So, if you're a really big fan of romantic comedies from this era and have a high tolerance for musical numbers that are mostly video recordings of famous performers playing instruments (a substantial portion of this movi...

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 ...

Here's another random show that my kid likes. The Book of Pooh was a Disney Channel show telling new Pooh stories with puppets and CG backgrounds. Looking back at it today it's a bit dated at times, but at other times it resembles pop-up illustrations or watercolors in an interesting way. Like many kids shows, it features music and mildly educational content. In this special Christmas episode, Roo can't sleep on the night before Christmas Eve, so Kanga sings him a song-story about a magic wish-granting tree that appears if there's snow on Christmas Eve. Side note: Kanga and Roo weren't in the first season of this show, so I hadn't seen much of their house before this episode. Roo's bedroom has a boomerang displayed on the wall and a prominent toy koala. I think that's a cute touch. Kanga doesn't completely finish the story before Roo gets distracted and then falls asleep, so Roo assumes the tree grants any wish for anyone (which is not what she said)...

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...

If you didn't know there was a made-for-TV Christmas movie in which almost all of the supporting roles are played by former contestants and judges from RuPaul's Drag Race, now you know.  As you can probably guess, it's a fairly unique entry in the pantheon of holiday flicks. Like anything with a strong gimmick, viewers who are very familiar with the source material will probably get more out of moments that are clearly cameos and references than we did. But even though I've only watched one episode of Drag Race, I still enjoyed this.  It's funny and biting, it pushes the envelope (of course), and manages to be charming as well. The film does overstay its welcome a bit. It could have been a tight, hilarious 45 minutes, but at 86 minutes aspects of the underwritten characters get a bit tedious, and the jokes become especially hit-and-miss in the middle.  I want to mention something I alluded to above, that the supporting roles are mostly drag queens. The main characte...

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 ...

This is a one-hour musical adaptation where the lead actor, writer, director, producer, and songwriter are the same person. That's kind of impressive, regardless of how the movie came out, but it tells you a great deal about the budget. Or lack thereof. Yes, this is one of those cases where I spend a lot of time trying to decide what kind of curve to grade on. The production values aren't in the same league as the stuff I usually look at. This doesn't have elaborate sets, intricate costumes, expensive digital effects, and the like. In short, it doesn't look or feel like a "real movie." And that's okay. I try and approach things like this as test runs for ideas and talent. Frankly, after watching dozens of these, I'm more interested in whether original elements of these offer anything of value than I am in whether they rank among the top 30 best adaptations. So, with that in mind, let's explore Anthony D.P. Mann's take on A Christmas Carol. The ...