Mainlining Christmas

When we talk about movies from the 1940s or 1960s, we often fall back on the adage "it was of its time" as sort of an explanation for problematic content or offensive cultural norms that have since evolved. Today, I want to look at a comedy from 2003 that I believe was "of its time." Comedy at the turn of the millennium was largely dominated by two titans. On television, South Park had achieved almost unimaginable success by combining crass humor with rough animation. Meanwhile, Austin Powers continued to cast a long shadow across film. If someone in 2003 were to attempt to replicate surface-level properties of those two franchises without actually understanding what made either work, you'd expect the result to be something very similar to The Hebrew Hammer, an independent production that wound up getting a heavily edited release on cable television. The movie's title character is more or less an attempt to answer the question, "What if Shaft we

Cupcake Wars is a food competition show. I watch, let's be honest, a decent number of food competition shows, and I place this one squarely in the lower-middle tier of such fare. It’s fine background noise that’s somewhat entertaining, but it lacks the theatricality of shows like Cutthroat Kitchen or Beat Bobby Flay, the impressive flexibility and talent on shows like Chopped or Iron Chef, or the personal drama of shows with a continuing cast like Great British Bake Off or even Next Food Network Star. Even so, it is amusing enough to pass the time with when tied to the couch under a feeding baby. On my maternity leave earlier this year I watched a lot of reality shows, including two Christmas-themed episodes of Cupcake Wars. In this show, people who make cupcakes professionally (most either own a cafe or do catering) try to outdo each other to win a cash prize and a contract for a specific fancy event. In these episodes, said events were the opening night of the New York City B

The Holly and the Ivy is a black and white British movie about a dysfunctional family coming together at Christmas to work out their differences. It's adapted from a stage play, which is fairly obvious watching the film: it's almost entirely set in a single building, and the dialogue is, well, actually good. Like many plays, this is less driven by plot than by character interaction. Almost everyone's got a secret, and it all comes out as they talk to each other. Fortunately, the script has some solid characters, and the cast does good work. The closest the movie comes to a main character is Jenny, a woman looking after her father, a parson with an academic mind. Unbeknownst to her father, Jenny wants to marry her boyfriend, but he's about to move to South America for work. She's unwilling to abandon her father, since he's got no one else to look after him. Also in the mix is her younger sister, Margaret, who's harboring quite the secret backstory. Fi

The Christmas Card Crime and Other Stories Edited by Martin Edwards, compilation 2019 (US release) New Release! I received a copy of this book from NetGalley for the purpose of review. Premise: A new collection of little-known stories with a holiday twist from the classic age of crime fiction from British Library Crime Classics. Like most short fiction collections, this one is hit and miss. Some of these stories are fun, but none of them are exceptional. Several introductions mention that the author rarely wrote short stories or seldom wrote mysteries. Apparently, this is the third collection from this publisher collecting unknown British crime stories on a wintry theme. What I'm trying to say is, they might be scraping the bottom of the barrel at this point. The first story is by Baroness Orczy of Scarlet Pimpernel fame, and the characters are a lot of fun, although the plot is somewhat lacking. Two of the best stories in the volume follow: “By the Sword,” a tale in wh

The following is a review. The season being reviewed originally aired on FX between April and June of 2017. At the request of those who haven't seen the show, this review will keep spoilers to an absolute minimum. Out of respect for the series's creator and stars, the descriptions and discussions that are included will be presented as accurately as possible. ------------ Only this isn't just a review: it's a murder scene. The victim is in their late seventies, and the manner of death was asphyxiation. They may have gone by several names throughout their life, but around here they were known as the "Christmas episode." In life, they were a concept of an episodic holiday installment of a television series. They stood out from their peers in only one respect: they were set at or about Christmas. Anything else could change. Maybe they were a self-contained narrative, or maybe they were an episodic installment of a longer series playing out in real time.

Noelle, one of a handful of made-for-streaming movies released with Disney+, feels like a derivative premise mulched by a committee that's still mostly redeemed by Anna Kendrick's presence and likability. Kendrick plays Noelle Kringle, daughter of Santa Claus and therefore (Disney) princess of the North Pole. They're not afraid of using the p-word, either. Her servant elf calls her "Princess" as a nickname, and Noelle uses it herself at least once. Also, she has a pet reindeer she calls using the generic Disney princess song. Honestly, it was kind of nice to see a Disney movie where they embrace the term again instead of treating it like a insult. Ever since she was a child, Noelle's wanted to do something important, but all the attention was placed on her brother, Nick (Bill Hader), heir apparent to the family legacy. Oh, I should probably have mentioned we're doing the whole Santa-bloodlines-thing they did in Arthur Christmas. In fact, there's

We missed this one in theaters last year, mainly because it wasn't playing anywhere we could get to without a hassle. At the time, we regretted it quite a bit. Anna and the Apocalypse was getting good reviews and had an intriguing premise: a horror-comedy-zombie-Christmas-musical. That's the sort of thing we love! Well, it can be the sort of thing we love. In this case, it turned out to be the sort of thing we like, which - given our arguably unreasonable expectations - meant it was kind of a disappointment. The story, absent the musical gimmick (and unfortunately I do mean gimmick) follows fairly well-trod zombified ground. The main character and her friends are dealing with mundane problems and issues that have strained relationships with loved ones and each other. Then the apocalypse hits, and they spend the movie trying to reconnect with family and friends, growing as people along the way. And, of course, almost everyone dies horribly, usually after or while resolving