Mainlining Christmas

Depending on how you're approaching it, Christmas at the Golden Dragon could alternatively be described as a departure for Hallmark Christmas movies or a fairly by-the-numbers installment. It is, ultimately, a paradox in that respect: it looks and feels like a generic TV movie, but differs from others I've seen both structurally and in several details. I should pause here to acknowledge I'm not exactly a connoisseur when it comes to these films. While I've seen a somewhat absurd number of theatrically released Christmas movies and more than my fair share of assorted television movies, I'm actually trying to catch up on Hallmark specifically. So take that last paragraph with a grain of salt. The main way this differs from the usual Hallmark fare is it lacks any kind of central lead or core story. Christmas at the Golden Dragon feels roughly modeled after ensemble films like Love Actually. If anything, this might push the concept a little further, in that Love Actuall...

A Christmas Carol (revisited) Charles Dickens, 1843 In preparation for reading and watching a bunch of things related to A Christmas Carol, I thought I should first refresh my memory of the original.  It continues to be a delight. Looking back, I am somewhat appalled by my casual dismissal of its brilliance in this blog's first year ; I heartily regret that.  When I read it this time, what most delighted me were little details, turns of phrase, and metaphors that I'd either forgotten, overlooked, or not bothered to examine in depth during previous readings. So I thought I'd share a few of those with you now. In the Preface, Dickens makes a pun about his ghost story containing the "Ghost of an idea" and hopes that it might "haunt" the readers "pleasantly, and no one choose to lay it." What a cute and playful way to say: this book has a point; it should bother you; don't ignore it. I'm a sucker for an amusing Shakespeare reference. ...

I reviewed this once before, way back in 2011 (a.k.a.: year two of the blog). I didn't have much to say then, mainly because I hadn't seen all that many adaptations of A Christmas Carol at the time (nor was I all that familiar with the era). This was still in the "we'll be wacky and watch a bunch of Christmas stuff for no reason" phase of the blog.  At the time, I basically summed it up as fine for what it was, but still kind of boring to sit through. After watching the 1935 version with Seymour Hicks , I wanted to give this another viewing to see what I'd missed. Turns out, there was quite a bit.  I've seen this version called the best adaptation out there, a claim that.... Look, I want to be fair here, and - to the extent possible - objective. As a straight adaptation, I think there's a case to be made. This version is faithful to the source material, deviating only to expand the story. I want to take a moment and focus on something that differs bet...

It has been a few years since we've done more than a smattering of Hallmark Christmas movies, so this year we're taking a relatively random sample to see what's been going on in the most generically inoffensive place on earth.  This movie has a predictably bonkers premise, although the execution was surprisingly low-key. I can't decide whether or not that was better than the alternative.  The movie centers on Haley, your stereotypical workaholic go-getter. (In the opening scenes she literally tells her assistant that she's canceling a date because she wants to concentrate on work.) She works in branding/marketing, and she wants to land a new account with a big toy company - part of her plan to land a big promotion. Her boss, however, says that the toy company is all about holiday traditions and Haley doesn't understand those, so she sends Haley to "Christmas Camp."  Christmas Camp, it turns out, is a one-week special event run by an inn in Western Mass...

All right, cards on the table: despite being plenty old enough to remember the marriage, divorce, and death of Diana, I didn't really pay much attention when it was going on. Or after, for that matter: I never found the news specials, documentaries, or movies/shows appealing. To put it another way, I know very little about the life and death of Princess Diana. I went into Spencer with virtually no context about her or the royal family. That might be an issue here, because I get the feeling you're supposed to have a little background before seeing this movie. It seems to be challenging the viewers' understanding of Diana, which presupposes you actually have one. I don't think this invalidates my opinion on the movie, but I want to be upfront about where I'm coming from and what my limitations are. If you're someone who's been fascinated by this person and the tragedy around her death, you're likely going to view Spencer through a very different lens and w...

This 1938 MGM version of A Christmas Carol is notable (among other reasons) for being the first Hollywood adaptation of Dickens' classic with sound, though a British version starring Seymour Hicks beats it by three years and is, in my opinion, a far better film. That's not to say this one is bad - parts are fantastic - but the 1935 is difficult to beat. Tonally, this is far more comedic than its predecessor or most subsequent theatrical adaptations. I'll cover the changes in depth in a moment, but as a rule of thumb most of the darkest bits are excised, and the additions favor light, family-friendly fare. When it's not going for laughs, it skews towards lessons. This version is somewhat more instructive than I'm used to, often outright lecturing on morality, rather than having the protagonist come to his own conclusions. This story deviates significantly from the source material, perhaps more so than any major live-action version prior to the 2019 miniseries . As I...

The first thing you need to understand about 1941 is the level of talent - both in front of and behind the camera - is unmatched in its genre. The cast includes Dan Aykroyd, John Belushi, John Candy, Slim Pickens, Christopher Lee, Ned Beatty, Patti LuPone, and Toshiro Mifune, just to name a few. It was written by Robert Zemeckis and Bob Gale, who served as producers alongside John Milius. The movie was scored by John Williams, who belongs on the shortlist of greatest film composers of all time. And speaking of "greatest of all time," it's directed by Steven Spielberg. The second thing you need to understand is the movie is absolutely godawful. Just horrible. An utter mess of a film. Actually, now that I think about it, maybe you should flip those two bullet points, so "it sucks" is the first thing, and "it's made by unbelievably talented people" is #2. Before I go on, I need to specify there are two cuts of this movie. Right now, I'm reviewing ...