Holiday Films

Must be “the season”. 

Peloton has an inappropriate series of commercials, Hallmark released a whopping 35 holiday films and I can’t walk into a store without Christmas Muzak playing.  I watched through a good number of the newer offerings on the aforementioned Hallmark networks as well as on Lifetime, Netflix and Amazon Prime but I barely touched on the ones from other networks.  There were so many holiday films (almost exclusively filmed in Canada) that some of the same actors appeared in multiple movies. 

Let’s face it, none of these are going to be It’s a Wonderful Life or Miracle on 34^th Street.  They are primarily designed for one thing … something to have on in the background to help get you in the mood while you are madly cleaning and decorating.  They all have predictable plots with sometimes iffy writing and/or acting.  They all have small towns and snow and a sugary meet-cutes.  There is enough hot chocolate and gingerbread to put one into a diabetic coma and often a contest of some sort.  There is also a manufactured crisis (usually involving some big evil corporate entity) which is miraculously solved on Christmas Eve.  Women are almost universally convinced ditch their big city corporate dreams and move back home.

Some of these are actually worth a couple of hours.  Some are not.  This year the best ones for me were the ones with known, experienced actors who managed to rise above the sugary sweetness to create a real moment here and there.   

Best of the Bunch

The Christmas House 2:  Deck Those Halls – I vaguely remember liking the first edition of this story a year ago, but, like so many of these tales, it didn’t really stick with me.  I have to say though, I can’t help but feel the latest installment is better than the first.  It’s a stellar cast and since we are past the “will they or won’t they” stage the tropes are left behind.  Instead we have a chance to truly explore the meaning of Christmas along with sibling rivalry, the challenges of parenthood and the impossible choices that come with blended families.  It’s good.  Really good. 

A Very Merry Bridesmaid – Emily Osmet and Casey Deidrick.  At their worst, these films feel forced and fake, as if they are just checking off items from a list of plot developments.  At their best, like this one, they feel real and grounded and have at least one or two story twists you may not see coming.  Admittedly, I like Emily Osmet, a lot, and Casey Deidrick ain’t bad either.  The whole cast is pretty good.  And yes, near the end I felt the slightest hint of a tear.  A real one, not one from being emotionally played.  Very entertaining.

Crashing Through the Snow – This one abandons every trope and focuses on the challenges which come with newly formed blended families.  It’s not tidy and it’s well acted (Hello Amy Acker!).  Brava, bravo.

Single All the Way – Michael Urie and Philemon Chambers.  Just like any other Christmas movie this one is tremendously watchable.  It’s also nuanced.  The love interests aren’t generally bad or good, just maybe one is better than another.  The mom wants to support her gay son but works so hard at it that she really doesn’t see him.  The crazy aunt is perhaps a sad alcoholic.  The teen girls, addicted to their phones, have some insight.  It is what you expect and not.  And I like that.

The Holiday Fix Up – Jana Kramer and Ryan McPartlin.  There is absolutely nothing original about this film but good writing, acting, even editing make it highly watchable.  With an HGTV twist and a fair amount of charm and chemistry, it works.

A Christmas Proposal – Jessica Camacho and Adam Rodriguez.  Pretty Woman allusions aside (there are more than a few) this is grounded by really decent actors – Ms. Camacho being a hugely watchable performer.  It suffers just a touch of The Sound of Music problem … Rodriguez is so convincing as a jerk that you really have to take a moment to buy into his transformation … but if you can make that leap it works.  And is just lovely.

“Princess Switch” movies – Vanessa Hudgens (and Vanessa Hudgens and Vanessa Hudgens).  This isn’t your typical holiday fare, more like a modernized Prince and the Pauper set at Christmastime.  They are light, fun, enjoyable and don’t take themselves to seriously.  Good popcorn movies. 

A Dickens of a Holiday! – Brooke D’Orsay and Kristoffer Polaha.  Here’s the truth – this is about a community theatre production and stars two actors I like a lot, one of whom I’ve had a crush on for a long (long) time.  So, I was always going to like it.  But I beyond all of that I do think this film has merit.  It’s not cute.  Not even a little.  Grounded and layered the script draws connections between Polaha’s superstar character and the isolation and emptiness of Scrooge’s life.  It’s smart and I wasn’t even tempted to look away.

An Unexpected Christmas – Bethany Joy Lenz and Tyler Hynes.  This one is actually well-written and plays just a little like some 1930s screwball comedy.  The dialog feels real.  Bethany Joy Lenz is well-named and just a pleasure to watch.  The family dynamics are both delightful and a bit torturous.  Like a normal family.  It works.

A Picture Perfect Holiday – Tatyana Ali and Henderson Wade.  Nothing particularly original here but it has, dare I say it – charm?  It’s fun.  The two leads do a great job batting the lines around with a kind of perfect tone.  It’s a playful tease with a lot more “I’m interested” than “I don’t like you.”  My only complaint is that it plays back on the theme so many of these films have, that hard-working women are inflexible and rigid and just need to get the hottie and loosen up. 

Reba McEntire’s Christmas in Tune – Reba McEntire and John Schneider.  ‘Nuff said.

Christmas Sail – Katee Sackoff and Patrick Sabongui.  Funny how you can have the same elements in dozens of films and sometimes it works and sometimes it doesn’t.  Strong actors, a slightly better script, a small twist here or there (this one takes place on a boat) and a predictable film is just less sappy and more grounded.  This one has all the strengths and few of the weaknesses of films of this type (and Terry O’Quinn doesn’t hurt, either).  There is sadness which seems pervasive in this year’s batch of holiday films but here it doesn’t take away from the hope.  Enjoyable watch.

Next Stop, Christmas – Polar Express meets Sliding Doors meets It’s a Wonderful Life in this clever holiday film.  Maybe you know where it’s going, maybe you don’t.  I really liked that it is fresh and Lyndsy Fonseca does a great job finding the balance between humor and going just a tad insane.  Terrific couple of hours.

Christmas at Castle Hart – Lacey Chabert and Stuart Townsend.  In a strange twist this film is almost identical to the new Netflix film A Castle for Christmas.  Both have great scenery of the actual locations, a grumpy nobleman, a castle in financial straits.  In both films our leads take bicycles to a local castle and end up with a private tour.  Weird.  And I swear, it’s not my heritage that says this film is better.  It’s just faster paced, has bigger stakes, more laughs and more energy.  It’s not perfect.  The age difference between the leads is palpable.  Ms. Chabert looks years younger than her 39 and Mr. Townsend looks every bit his almost 50 years.  And there is more than a little bad digitizing attempting to turn Ireland’s green into a snowy landscape.  That aside, it was very enjoyable.  I also can’t help but think that there were a few digs on the other film.  Ms. Chabert’s character makes asides about Scotland and knitting.  Maybe coincidence.  Maybe not.

The Bitch Who Stole Christmas – I truly don’t know where to begin.  Is it different?  Oh my, yes.  Refreshingly so.  Replete with naughty names, double-entendres, massive send-ups of Christmas films and meet-cutes this one left me smiling.  I had expected a longer version of some of the Drag Show skits.  Instead there was a real story and actual song and dance numbers, not to mention more than a few familiar faces.  It’s rude, crude, doesn’t take itself at all seriously and it’s a delightful change-up from the saccharin sop.

Decent

A Dance Reunion Christmas – Monique Coleman and Corbin Bleu.  This one would be a total loss based on every trope in the book, but the energy and downright charm of Ms. Coleman and Mr. Bleu allows it to exceed expectations (Kim Roberts as the mother isn’t bad either).  Unlike many of these films the scoring is thoughtful and adds to the narrative.  The dancing, and chemistry, is a delight.

The Christmas Contest – Candace Cameron Bure and John Brotherton.  Candace Cameron Bure is the undisputed queen of the Hallmark Christmas films and John Brotherton is just adorable.  There is nothing particularly original here but nothing cringeworthy.  I made for a nice hour and a half (if you speed through the commercials.)

Holiday in Santa Fe – Emeraude Toubia and Mario Lopez.  The least interesting part of this film is the so-called romance which includes every cliché in the book and a scary amount of Botox and filler on the face of Mr. Lopez.  The real story is that of the sister.  Aimee Garcia, fresh from Lucifer, steals the show with a storyline about finding oneself amidst grief.  She is energetic, joyful and very real.  She feels like a sister.  And the kid is cute, too.  Yes, you can make a holiday film without snow.  Brava, Ms. Garcia.

Sister Swap:  A Hometown Holiday and Sister Swap:  Christmas in the City – Kimberly Williams-Paisley and Mark Deklin, Ashley Willams and Keith D. Robinson.  Real-life sisters Kimberly and Ashley provide a nice grounding to these paired films with few new twists.  Keeping with the theme of sadness in this year’s films there are some losses but the grief resonates without saturating.  The supporting cast, which includes the likes of Kevin Nealon and Jim Byrnes in relatively small roles, is strong.  In the first film the cute kid is partnered with a teenager making the kid less sugary.  In the second film the gay couple saves the day.  There is a little déjà vu as scenes between the sisters are repeated in each film.  The first has better chemistry between leads, the second has a more interesting storyline (IMHO).  Feel free to play it in the background while doing Christmas cards, as I did.

You Make It Feel Like Christmas – Mary Antonini and Michael Xavier.  Some uneven acting and a touch of sadness don’t dampen a pretty good film which breaks up all the suppositions you might have in watching a so-called “Christmas movie”.  The story is fresh, the energy real.  Relationships are muddy and people spend a good deal of time thinking through things.  Really thinking through things, not just glancing at one another over a hot chocolate.  Brava, Bravo.

Baking Spirits Bright – Rekha Sharma and Dion Johnstone.  What I like about this … Ms. Sharma’s character is smart.  She is, unfortunately, a little harsh but she’s not wrong in sticking to her guns, which she does for the betterment of her family business.  The script is so-so and there are some bumpy moments but it all works out okay.

Secretly Santa – Alicia Dea Josipovic and Travis Nelson.  A backwards Cinderella meets Sleepless in Seattle in this kinda fun, kinda boring film.  Interesting – the two leads know each other in two lives, one where they like each other … a lot.  Not interesting – their work competition/bickering.  It works out the way you would think and has lots of hot chocolate scenes.

Sugar Plum Twist – Jamie Gray Hyder and Laura Rosguer.  Including the romantic stuff as a secondary storyline this is a very authentic tale of two Hispanic women in the dance world (mentor and mentee) working to find their true selves.  It is miles away from the so-called “diverse representation” quotas in other films and comes off as something highly watchable and something you invest in.  You want these women to succeed.  It’s different.  In a very good way.

A Castle for Christmas – Snaps for leads Brooke Shields and Cary Elwes, who are incredibly watchable, along with a terrific supporting cast.  There are great shots of Scotland and a cute dog.  There is also some odd scoring, occasionally weird editing and a thin plot which was so predictable that the arrival of the afternoon crows outside my window was more interesting than the inevitable romance.  That being said, Brooke and Cary … worth it.

The Enchanted Christmas Cake – Erica Durance and Robin Dunne.  To be honest I was more interested in the plot for this than the characters.  It’s a bakery mystery with a lost recipe.  Erica Durance is a favorite actor who unfortunately has fallen into the injectable fillers trap, making her face, like so many others, look weird.  That aside, she’s genuine.  Robin Dunne would be forgettable if not for the fact that he chose to play the role with a high degree of awkwardness, which comes off as interesting and charming.  The film is very flawed – inconsistencies in the script mean that the “missing ingredient” is mentioned in the opening as having been tried and dismissed.  The climax is convoluted and comes out of nowhere.  That aside, there is a little something here.  But not a lot.

‘Tis the Season to be Merry – Rachel Leigh Cook and Paul Essiembre.  She’s great, he’s “meh”.  So that kinda describes the film.  Some of it is terrific, some it is fairly low energy.  But the script is decent, and in the hands of the stronger actors, it works.

Match Made in Mistletoe – Natalie Lisinska and Damon Runyan.  This is about as middle of the road as you get.  No surprises, a lovely job by Ms. Lisinska, a cute kid and some sketchy acting here and there.  It’s as “okay” as it gets.

The Nine Kittens of Christmas – Kimberly Sustad’s character seems perpetually depressed (and a little mean).  But you have Brandon Routh, Gregory Harrison and nine kittens.  NINE.  I mean, do I need say more?

Coyote Creek Christmas – Janel Parrish and Ryan Paevy.  This one uses every tired old premise in the book (hard driving woman who is an event planner, a snow-covered country inn which is about to be sold, a gay friend, a cute kid) but is saved by Ms. Parrish, who brings energy and warmth to her role. 

Open by Christmas – This one works because of seasoned actors who made a kind of slow, predictable tale work.  Thanks to them, and a very unusual plotline, there is emotional payoff at the end.  And let’s hear it for making the relationship between two women friends, and their search for “self” just as important as the romance.

A Fiancé for Christmas – Amanda Payton and Adam Gregory.  I liked Ms. Payton’s character, from the beginning.  Her character has a real career and she is grounded.  And funny.  And she eats.  Some of the acting is awkward.  Some of the story is awkward.  And the ending is really really awkward.  But it kind of works.  For an hour and a half, anyway.

A Christmas Treasure – Jordin Sparks and Michael Xavier.  Low stakes leads to low energy but Ms. Sparks and her potential beau are beautifully grounded.  Unlike so many of these things, this story feels almost real.  And you get to hear Jordin Sparks sing, so …

You, Me & The Christmas Trees – Danica McKellar and Benjamin Ayres.  There are achingly bad actors in supporting roles who really distract but the story isn’t overly sweet and the two leads build their attraction slowly and believably. 

A Kiss Before Christmas – Teri Hatcher and James Denton.  The script is painfully stiff at times but Teri Hatcher and James Denton together again is worth watching.

My Christmas Family Tree – A strong cast and a not-primarily-romance-based plot make this one watchable but it’s a little on the sad side with a hugely predictable twist and a manufactured crisis for the climax. 

Under the Christmas Tree – Elise Bauman and Tattiawna Jones.  A paint by numbers plot would make this one a pass but a terrific supporting cast, including Enrico Colantoni and Ricki Lake give it enough oomph to watch.  The leads aren’t bad either.  

Blending Christmas – Hayley Duff and Aaron O’Connell.  It’s not great but there is a slight interest for Brady Bunch fans as it reunites most of the original cast of kids (who are now all AARP recipients).  It’s an homage, complete with iffy acting.  So, if you enjoyed the original show, enjoy.  If not, it’s a pass.

An Ice Wine Christmas – Delightful Roselyn Sanchez brings the smiles and energy with hottie Lyriq Bent bringing the steam.  Unfortunately these two don’t make this predictable cookie-cutter film interesting.  It might make you crave Ice Wine but not more story.

It Takes a Christmas Village – Brooke Nevin and Corey Sevier.  She’s great, he’s dour.  And he kind of whispers every line (he started his so-so film career as a model … not a surprise.)  But he has puppy-dog eyes.  So it kind of works now and then.  But it has a sad undertone.  Like so much these days.

A Royal Queens Christmas – Megan Park and Julian Morris.  It’s not bad but not particularly good.  Hugely derivative with accents that are all over the place the acting isn’t bad, the story incredibly predictable and the Prince’s major domo is often more interesting than the leads.  It’s like smashing together a host of films you have seen before.  Films you like but this is, well, nice to have on in the background.

Eight Gifts of Hanukkah – Inbar Lavi and Jake Epstein.  Despite the talents of the delightful Ms. Lavi and the switch-up from Christmas to Hanukkah, there isn’t anything new here.  It’s watchable but just barely.

Candy Cane Candidate – Jacky Lai and Jake Epstein.  He’s charming, and, given the plot, she’s a tone-deaf (w)itch.  The political plot doesn’t resonate in our current times and some of the supporting actors are painful in their inability to act.  But the leads have energy, which is something.  Not much.  But something.

Christmas CEO – Marisol Nichols and Paul Greene.  This one isn’t lousy but it barely made the cut.  The actors are fine and there is a cute kid but that’s about it.  The whole thing is “meh” … predictable and full of tropes typical to these kinds of movies.

Christmas Movie Magic – Holly Deveaux and Drew Seeley.  This one is so bad that it’s almost good.  Almost.  But not.  In an attempt to inject magical realism into these tired old plots there is a (movie) story within a story.  But the dialog and acting are so bad – stilted and off – that it’s hard to take anything very seriously.  (Honestly, a so-called journalist mispronounces “Pulitzer” in the first five minutes and the term “Happy Endings” is used a LOT … with no double-entres.)  Honestly, this one might make for a good drinking game, but that’s about it.

Nope

I could tell you what is wrong with each of these or I can just say one thing … “no”.

·       Nantucket Noel

·       Dancing Through the Snow

·       Making Spirits Bright

·       Christmas in Tahoe

·       Welcome to the Christmas Family Reunion

·       Say Yes to Christmas

·       A Christmas Together With You

·       Gingerbread Miracle

·       My Favorite Christmas Melody

·       The Christmas Thief

·       Boyfriends of Christmas Past

·       The Santa Stakeout

·       Maps and Mistletoe

·       Ghosts of Christmas Past

·       Toying with the Holidays

"My Life is Murder"

I'm falling in love with Lucy Lawless again.  No worries, her character in this murder mystery series is as different as you could get from her earlier role (yes, "that" role).  With almost her real hair color and almost her real accent this is a woman who is more comfortable in her own skin than Xena ever was.  The clothing is silky and flowing, nothing leather and constricting.  Her role, that of former police officer Alexa Crowe, is quiet, reflective, thoughtful.  (And yes, it is making my Alexa device go nuts).  The quirky humor and alluring blue eyes are still there but they are masked with some pain and loss in the character she is playing.  Sidekick Emily Vagulans is a treasure and a perfect foil for Ms. Lawless' subtlety.  And there are cats.  That's another story.  Set in Melbourne in season one the arrival of Covid caused a major change in season two.  Production moved to Aukland and many roles were recast.  Season two has a couple very notable guest stars -- William Shatner and Renee O'Connor.  The show is gorgeous to watch, beautifully filmed, but a tad light on plot.  The downside is that the mysteries aren't exactly clever.  It's not really about figuring out whodunit as much as watching the path taken to get the murderer.  By their own admission the producers (including Lawless) have said that they are just looking to make something which is entertaining to watch.  Murders aside, this show is full of light.  Not the least of all is the presence of a woman who both grounds and elevates so much of what she chooses to be involved in.  Brava, Lucy.  Let's hope that ACORN renews it for season three.

"Maid"

This top-rated show on Netflix deserves all the chatter but it is not an easy watch.  Based on the book by Stephanie Land the limited series covers a single year in the life of a very young woman.  In an attempt to leave an abusive relationship she hits one roadblock after another.  The tale makes it very clear that all the government programs designed to help those who are struggling often have impossible-to-scale walls.  It also makes it clear that an abusive relationship is not what we might think it is.  The lead character here has no bruises and doesn't believe she is "one of those women".  The series does a terrific job showing the complexities, and subtleties, between the abusers and their victims.  We often wonder how a woman can return to someone who has abused her.  Here, you see that there is no simple answer and yes, financial independence, or lack thereof, can play a role.  It's touching, thought-provoking and very well performed by the entire cast, including the mother-daughter team of Andie MacDowell and Margaret Qualley.  Stephanie Land got out.  It took sheer force of will on her part and making more than a few impossible choices.  One wonders, after watching this, how many women simply can't get there.

"Coco Before Chanel"

This french language film isn't just informative and interesting, it's downright charming.  Audrey Tantou does an absolutely lovely job of portraying the icon in her formative years.  A woman trying to fit in who knows she does not.  A woman with desires she can't achieve or doesn't understand.  In typical french filmmaking style there are a good number of sections with little dialog and lingering closeups.  Audrey shines in these moments as conflicted feelings dance across her face like ghosts haunting her psyche.  It's a film of seeking and becoming, of searching and sometimes finding that which you had never expected.  It's a woman's film but most of all it is a human film.  A terrific watch.

"The Umbrella Academy"

Took a while to get into this one.  There are lots of characters which means a lot of exposition.  It took more than half of the first season to get to some real action and then I guessed the big reveal at the end of season one.  I also don't like that this is one of those shows where the dialog is so quiet that you have to crank the volume, and then, when the (kinda awesome) soundtrack plays you have to pull the volume back down.  It's distracting and irritating.  That being said the show grows on you.  The acting is strong, the emotion real.  While you might have some idea as to what is coming you begin to care.  Which leads to watching the next episode, and the next, to see how things turn out.  It's worth it.  And the second season twist?  Delightful.

"Ghosts"

I kind of love this show.  One of those, "Yay, it's a new episode, I can't wait to see it" things.  The show is a UK remake and, unlike many UK imports, it doesn't seem watered down.  There is a terrific cast which just makes the whole thing layered and rich.  It's smart funny, which I like.  There are fast one-liners which will have you on the floor but you have to pay attention to them.  It's like watching a great sports game -- just keep your eye on the ball.  Absolutely a keeper.

"Coming 2 America"

This sequel, coming some 33 years after the first film, has been criticized as being a watered-down version of the original.  I would agree, but not.  What is seen as being watered-down is bringing it up to speed with the current atmosphere.  Quite frankly, much of what passed for funny in 1988 is seen as downright sexist today.  Without apology the sequel tells a similar story but flips it on its head, giving women not only power but a voice.  And yes, "Black Panther" definitely had an influence here.  That's okay.  With most of the original cast making appearances and those terrific barbershop scenes making a return (I've always wondered if Tyler Perry thought up Madea by watching them) it's entertaining if not racous and rude, like the original.  Did I like it?  Yes.  It was entertaining which is all we ask of this type of film.  For me, anyway.  If you watch the original and think it is the funniest thing on the planet this movie may not be for you.  If you liked the 1988 film but cringe a little here and there then you might like this ever-so-slightly more PC take.  Your call.

"Annie Live!"

Annie has never been a favorite musical.  Other than two terrific songs it's always seemed, to me, to have a weak book and be light on plot.  One of those musicals where the only purpose of dialog is to get you from one song to the other.  That being said the recent NBC live performance was just lovely.  A few technical issues aside the undeniable star is Celina Smith.  She doesn't just have one of the best belts I've ever seen in a singer, much less a 12 year-old one, she simply lights up every scene with her smile and her energy (not to mention competing for attention against an adorable dog).  The company of girls playing the other orphans also deserves a significant nod.  They have the same high energy and pull off some breathtaking choreography.  It's definitely a show where the kids outshine the adults but that's the way it was written, right?  Another round for Ms. Smith who, I hope, has a terrific career in front of her.

"Flipped"

Not sure how I missed this Rob Reiner film which is already eleven years old.  I make it a point to see everything the man has directed and have never disliked a single film he's made.  This one is quiet and sweet.  Perhaps it was so niche that it was overlooked?  1957.  Bryce moves into a new home and is immediately repulsed by Juli, who forms an immediate crush on the boy.  Then, the movie flips.  And we see the first encounter from Juli's point of view.  It continues.  Into tales of school and trials and tribulations and growing up.  The story continues to flip from one point of view to the other.  It's fascinating and a little adorable.  I felt I couldn't look away.  Will Bryce and Juli ever see things the same way?  (Vision is an element of the tale).  Based on the Wendelin Van Draanen book this one is a keeper.  I just wish more people knew about it.

"Let Them All Talk"

This film has one of the most amazing casts we've seen in a good long while and the fact that it was shot, during Covid, mostly on a ship in about a month is equally impressive.  Typical Soderbergh, there are a lot of people sitting around talking.  Given that it is Meryl Streep, Dianne Wiest, Candice Bergen and Gemma Chan doing most of the talking, I'm fine listening.  It's a good way to explore the deep-seated issues between old friends and the problematic relationships of new ones.  The sticking point is that this kind of thing can only go so deep.  When we get to the "real stuff" in the film the emotion is muted.  Soderbergh literally pulls the camera back and distances the viewer from the emotional fallout.  In the end Wiest's character seems to have little relevance, Bergen's character doesn't get any resolution and even the sweet nephew, played by Christopher Fitzgerald, comes off as petty and a bit shallow.  It's interesting to watch for a time but I found myself asking, when it was over, what was the point?  In good literature a character makes a journey, physically, psychologically.  In Soderbergh's films people remain basically flawed, sitting at a table drinking and talking, musing about life but not really living it.

"Cruella"

As far as prequels go this one is top-notch.  It might not satisfy the action film crowd who crave explosions and violent action but it does create a complicated, nuanced explanation of why Cruella is just so darn bad.  Filled with twists and turns you may not see coming there are few places where Estella has a choice on the difficult path of her life.  When she does choose for herself it isn't the person society wants her to be.  And that's the reason I enjoyed the film, because it allows the character to be real even if it isn't pleasant.  An outstanding cast rounds out this very watchable movie.  Beyond Emma Stone's lovely perfomance in the titular role, be prepared to relish Emma Thompson as a really, really, awful human being.  She manages to do it with zest and avoids the tendency in these things to be a two-dimensional cartoon character (bad memories of Angelica Huston in "Ever After").  Enjoy!

"The Wonder Years"

This remake has heart and pathos and Dule Hill in probably the best performance of his life.  Not big on the comedy but huge on the soft, sweet feelings.  Nostalgia squared.  'Nuff said.

"Ordinary Joe"

One of the more complicated stories I've seen on network TV in a long time, this one is great but requires a massive amount of concentration.  Wonderful James Wolk plays the same man in three iterations of his life, each 10 years after his college graduation where he had multiple roads he could have travelled.  After clear delineations between the different storylines in the first episode you have to learn to recognize the sometimes-very-subtle shifts between the three men's stories.  It's made slightly easier by lighting and differences in the character "looks" (hair, dress, etc).  The entire cast, including Wolk, has to shift as well, slipping into slightly altered versions of the same persona.  It's not a small feat and the production does it as well as one can.  Our job as viewers is to follow along.  I am intrigued by the "what if" scenario.  Like "Sliding Doors" we always wonder what our world could have been if we just made a different call at a crucial point.  This show's major message is clear.  No matter what path you take there are challenges everywhere.  Turning right instead of left doesn't necessarily improve your life it just gives you a different perspective.  Worth the time.  A thinking person's show.  A real rarity in this day and age.

"The Big Leap"

So, of course, I'm not wild about the top new show ("La Brea") and the show I do like, "The Big Leap" is at the bottom of the ratings for the freshman pack.  I'm the first to admit it's not artful, but it doesn't have to be.  It's fun.  It's a terrific cast (Scott Foley, Piper Perabo and Teri Polo are joined by terrific fresh faces like Simone Recasner and Karen Rodriguez).  It's a great premise.  It has all the skeez of "UnReal" but is more PG.  Maybe the ratings are low because Americans like to believe that reality TV is, you know, real.  I don't mind the veil being pulled back.  It shows how we are addicted to the so-called drama of other people's problems and makes it clear that what we see on those shows is usually manipulated.  And it's got dance!  Worth an hour (or, you know, 42 minutes).

"La Brea"

The top new show of a lethargic fall TV season, I really want to like this more than I do.  I keep watching.  A little Sci-fi, a decent cast, but somehow it's not coming together for me.  For one thing, it's a little derivative.  With huge echoes of "Lost" and "Land of the Lost" there has been, so far, not a single plot twist which has surprised me.  It's also somewhat plodding.  Despite the urgency of the story there is not a lot of energy in dialog or action to deal with things.  Mostly, it's stuff like "planning" to fly into the mysterious rift, dealing with injuries and arguments about limited food stores, etc.  So, for me, this one is a current watch but I'm not making any promises for the long term.

"Cinderella" (Amazon, 2021)

Let's be clear, I love Cinderella.  Lo-o-o-v-e it.  I have no fewer than five versions of it in my home library.  This new take is ... well ...

"Pitch Perfect" meets any given Disney show in this mash-up which ditches Rodgers and Hammerstein for a series of pop songs.  Our Cinderella of the moment clomps around in some sort of equivalent to combat boots and dreams of working as a dress designer.  She couldn't be less interested in love or, you know, the Prince.  The songs mostly work.  Des'ree's "You Gotta Be" fits perfectly, Billy Porter slays Earth, Wind and Fire's "Shining Star" and Queen's "Somebody to Love" is a showstopper.  Throughout, the choreography (thank you Ashley Wallen) is outstanding.  Unfortunately that's all there really is.  The script is lame, the jokes don't land and the technicolor costumes look like something dreamt up after playing Candy Crush on an Ecstasy trip.  The infamous dress (you know, "the" dress) doesn't fit Ms. Cabello well and throughout the ball I'm watching with discomfort to see if the petite actress pops out of the too-large bustier.  None of the characters beyond Cinderella seem to have any motivation for what they do or why they do it.  Idina Menzel's considerable talent is wasted as her evil stepmother is all over the place.  Pierce Brosnan is so convincing as an awful person that his 5th act conversion is not believable and Minnie Driver's surprising singing gifts aren't revealed until the very end.  She is left making unhappy looks and passive-aggressive comments for most of the film.  When she finally gets a monologue to explain it all it's brilliant.  And doesn't feel like it fits in this particular film.  

There are so many things wrong with this production that it is hard to pinpoint one in particular.  The attempt to modernize, feminize and humorize the whole thing generally doesn't work, with the exception of the one scene in which James Corden and his fellow mice explore their temporary humanity.  Yes, there are talking mice.  This is Disney, after all.  The bottom line is this -- nearly every successful Cinderella film has two critical elements:  Charm and Romance.  This retelling has neither.  Particularly at the end (which ends not as you might think).  It's just a clutter of modern-day references which will age faster than milk on your countertop.  Tweens may like it for five minutes but other than that, don't think this one is headed for the "best of" shelf.

"Wilderness Tips" by Margaret Atwood

This collection of ten short stories may be the most personal thing ever written by the incredible Ms. Atwood.  Set mostly in the 50s, 60s and 70s there are tales of summer camp, of romantic breakups, of women and work.  The events of the stories aren't generally extraordinary but they are bathed in Atwood's rich prose and deep internal reflection.  There is often a slightly-but-not-overwhelmingly creepy thread.  This is also a hallmark for the author.  

For fans of "Handmaid's Tale" this is more of a slice of day-to-day life, but in the hands of Margaret Atwood, it is anything but ordinary.

"The Maid of the North" by Ethel Johnston Phelps

An interesting collection of tales from around the globe highlighting smart women heroines.  Some of the women are brave, most are clever.  All of the stories have been re-written by the author, which works better for some stories than others.  Dated more than you would think for a 30 year-old book, it is very clean and to-the-point, but you lose some of the flavor of the different cultures in this white-washed re-envisioning.  It's a throwback.  Today a collection of stories like this would be gathered from the works of existing, diverse authors.  That would have been better.  

These were entertaining and short (although sometimes abruptly so) but I can't recommend it for modern readers, who demand more authenticity in their "world" tales.

"Ender's Game" by Orson Scott Card

Yes, I'm late to the party but the book showed up in my Little Free Library and I needed something to read while traveling, so ...

I do know, as a librarian, this book never stayed on the shelf.  It wasn't just popular it was MASSIVELY popular, and now I get it.  Not that it's fabulous, it's not an incredible piece of great literature, but it has the kind of elements kids love and intertwines them really well.

What you will like about this story:  There is plenty of action, including videogames.  Ender is an intriguing, smart boy, and like so many protagonists in kidlit, he is an awkward outsider.  The battle scenarios are thoughtful, interesting and worth reading more than once.  The book moved and I got through it in two sittings.  Fairly engaging, I was happy to turn the page to see what would happen next. 

In some ways I was surprised.  I thought that this might be a complicated tale with undercurrents of Mormonism (Orson Scott Card is openly Mormon and the books have been called propaganda for the faith).  I found neither of these things to be true.  The book is fairly simple in terms of plot and fits into the mold of most fiction of this type.  I guessed the big reveal at the end and didn't find myself thinking of any deep moral questions when it was over.  And, while there might have been Mormon themes in the story I didn't pick up anything specific even thought I was actively looking for it.  (I'm told the Speaker series is more obviously based on Mormon beliefs).  The only subtext I saw was a real question about war, its purpose and its price.  I appreciated this given the unusual times we are currently living in.

The only element I didn't care for, which has been much talked about, is the age of the character.  I worked in schools for 30+ years.  Ender is six?  Nope.  But I just ignored that.  The film, which I haven't seen, had a sixteen year-old in the lead which fits better.  In my mind, as I read the book, I just aged Ender up.

In any case, a fun and entertaining novel.  Worth it (particularly on a longer flight).

"The Inkeeper's Song" by Peter S. Beagle

I love Beagle's writing.  Its descriptive and poetic, like strolling in a museum of odd, beautiful, disturbing paintings.

This work, like so many of his, has a kind of mystical, dreamlike quality.  Things happen, of course, and the multiple points of view make for a delightful sense of perspectives (one voice is that of a sentient fox).  There is magic and symbolism and a surprise or two.  It makes for an unexpected, fresh tale.  

My only complaint is that Peter Beagle rarely follows up with sequels after taking all the time to create these rich vistas.  By all means, dig in and let yourself wander through a very different world.

"A Royal Night Out"

What a surprise.  Recorded this 2015 film on a whim, thinking it was some sort of Hallmark/Lifetime romantic fluff.  SO wrong.  "The Crown" meets "Roman Holiday" in this light-hearted tale of a young Elizabeth and Margaret taking to the streets of London during the celebration following the end of WWII.  Based on a single rumor that the two young women snuck out for a few hours on VE day this quiet little movie explores some very real issues in a beautiful, subtle way.  Director Julian Jarrold allows the camera to linger, repeatedly, on the luminous face of Sarah Gadon, playing Elizabeth.  She runs the full gamut of emotions from utter joy at her new-found freedom, to confusion over a world she has never been a part of, to a kind of deep, resigned sadness at the reality that she will never have a "normal" life.  It's gorgeous and compelling.  The script is gentle.  It makes clear how clueless the two women are but doesn't make fun of that fact.  It just allows them to find their way as best they can.  In one of the many unexpected turns Elizabeth finds her power by the end of the film.  She is a depiction of Elizabeth the real royals would approve of.  She is smart, determined and confident.  Brava.  Accurate to the period and very British, only the two actors playing the King and Queen are household names.  I can see why it slipped by unnoticed but I'm glad I found it at last.

"Mama"

Having ENTIRELY too much time on my hands, I randomly decided to compare Mama Roses, from "Gypsy", singing "Rose's Turn".  (It's a fave).  Who was the best?  This is an impossible choice, given that the greatest names of stage and screen have played the role.  And yet.  

Here is my completely, utterly subjective take on the matter.

Patti LuPone -- My number one.  At its core, this song isn't just a song, it is an expression of some pretty powerful emotions.  Patty LuPone milks that for every inch, showing a vulnerability that is not typical of this powerful, complex woman.  Rage, grief, everything, it's just out there, bleeding onto the floor.  The song doesn't end on a note, it ends in a scream.  Brava.

Tyne Daly -- With a very different take, Tyne Daly comes in at my #2.  With moves that prove she could have been the star if things had been different she starts out with sheer fury then makes a discovery ... and pivots.  During the song.  You can't take your eyes off her.

Imelda Staunton -- Hard to say what it is with this performance from an actress who typically plays much more sedate roles.  You can't put your finger on it but it's a bubbling mix of emotions which explode halfway through the song.  

Rosalind Russell -- It's Rosalind Russell!  One of the people I want to be when I grow up.  She just has to be on the list.  The vulnerability isn't really there but she pretty much chews up the scenery in every scene she's in.  There's a reason she was chosen for this film role.

Bernadette Peters -- Let's face it, Ms. Peters hits every note with precision, grace and talent.  It makes it watchable.  But the recording I saw didn't have the depth of the other performances.

Bette Midler -- Who doesn't love the Divine Miss M???  Her performance is delightful camp.  It's entertaining.  But that's it.  

Chris Colfer -- Honorable Mention.  This wasn't your typical performance but the emotional notes were there in spades.  Infinitely memorable.  Bravo.

"The Secret Garden" (2020)

Disappointing.  The 1993 version set the bar and this dark and dreary retelling is a pale by comparison.  It looks like the last movie but only on the surface.  Like so many films of late it sacrifices story-telling for visual effects (see my review on the absolutely abysmal "Wrinkle in Time" film).  The magic of the garden isn't in discovery and Mary's personal growth, it is made by digital butterflies and oversized plants with vibrant colors (and the place goes on, like, forever ... not so much a garden as a significant portion of the estate).  Necessary dialog to connect the dots on relationships is thrown out for lingering shots of unhappy people.  Almost everyone is too old.  Colin Firth (at 60) feels more like a grandfather than a father.  Edan Hayhurst and Dixie Egerickx, in the leads, are well into their teens and it shows.  They are world-wise, with no speck of the innocence which makes their lost souls so compelling.  Julie Waters, as Mrs. Medlock, is a talent wasted.  Her character comes off more as an annoying gnat than a formidable presence.  Every important element of the tale has been downgraded, with the new time-period placed inexplicably placed in 1947.  The Indian Partition is a compelling moment in history but has nothing to do with the struggles of Mary Lennox.  Added to this film is a massive fire and a dog.  The only reason for this seems to be giving Colin Firth more screentime and filmmakers who didn't understand the role of the robin who leads Mary to her redemption.  Which shows that these filmmakers didn't understand this story at all.  Stick to the 1993 version if you want tugs on your heartstrings.  This just confuses and bores.

"Emily in Paris"

This Netflix show, by the infamous Darren Star ("Sex in the City", "90210", etc) is so fluffy that it makes amusement park cotton candy look flat.  Yet, for all the volume there is little depth.  Storylines tend to focus on building Social Media and the young Emily making her superiors land elders ook bad (followed by a cutesy half-baked apology from the too innocent girl).  Like many other big hits this year it has more attention than it might have had if it wasn't a time of lockdown.  Critics have panned it, universally.  Which is a little unfair.  The acting is good, the visuals and yes, costuming, are eye-catching.  But it bugs me.  So I kept watching, trying to figure out what it was which was nagging at me.  I finally realized it.  With all the traveling I had been doing in pre-pandemic days I thought about the great care I take to respect the culture, even when that culture is challenging for me personally.  "Emily in Paris" does the complete opposite, creating a lead character who could easily be considered the ugly American.  She pushes her own agenda over the comfort levels of those around her and makes fun of the language and customs.  The French, for their part, come off pretty poorly.  Yes, Parisians have well-earned their reputation for being unwelcoming but highlighting this makes for a lot of characters you just don't care about.  I watched season one, but I'm not sure I'm up for season two.

"Home Economics"

Had I not been a fan of "Single Parents" or "Life in Pieces" this would come across as being great.  Instead, it's just okay.  It's smart funny, in the vein of those other two but the kids, for the most part, are just interchangeable duds.  Part of what made the other two series great was the back and forth between kids and adults which gave them a Peanuts vibe.  This is simply misadjusted adults trying to figure it all out, and getting much of it wrong.  Kudos to Sasheer Zamata who never misses a chance to find the funny even though she is given so little.  It's entertaining but not brilliant.  I do wish the networks would commit to the "good" instead of always switching out their sitcoms for something similar in the hopes of boosting ratings.

"Superman & Lois"

The latest incarnation of a very familar territory is enjoyable and manages to mine some new stuff.  For that, I am grateful.  I also like how the show balances the needs of each family member, including Lois, with the superhero theatrics.  There is something touching about returning to Smallville.  It humanizes a story which can be more about symbols than people.  All that being said, there is room for improvement.  The CW (or is it Greg Berlanti?) has become somewhat morose.  "Arrow" was dark, that's fine, it's a dark tale.  "Batwoman" dark?  No problem.  But the darkness has expanded.  "The Flash", which opened as the polar opposite to "Arrow", is downright bleak with a touch of sadness.  And now, in "Superman & Lois", we have a Smallville which is always overcast and grey and a Superman who is partially unshaven and struggles to find the silver lining.  It's just not what Superman is.  Superman should be bright and shiny and wholesome.  Wholesome is kind of the brand, you know?  Smallville looking like Gotham?  Wrong.  The show has enough going on for it that it can hang in there for a good while (and the CW is loathe to cancel shows) but I'm hoping as it moves forward that it finds the funny and finds the dawns because more bleak I can't take.  

"Kung Fu"

Brava, brava, brava.  Not a lot to say here but very good, very contemporary, very enjoyable.  Yes, it is not only a perfect tale for our times but a terrific remake which corrects so many mistakes of the past.  Great cast, great premise, great writing.  Terrific job.

"United States of Al"

Unlike "B Positive", which I kinda sorta like, Chuck Lorre's newest offering "United States of Al" got me right out of the gate.  It's that beautiful mix Lorre is so very very good at.  "Big Bang Theory" guy-who-doesn't-fit-in.  Check. "Mom" pendulum of funny-to-serious.  Check.  "Bob (hearts) Abishola" respect for the riches brought to our nation by immigrants.  Check Check Check.  Very worthy, very watchable, very engaging.  Only one question -- this is Chuck Lorre's fifth concurrent show running on CBS.  Does the man sleep?  Does he have clones?  Seriously ... how does he do it???

"Debris"

I like Scifi.  A lot.  So, when NBC debuted their "let's see if something like Manifest will work" I was game.  And I've hung in there.  But.  Here's the thing, it's not bad.  But it's not good.  And much like the mysteries of the show I've spent way too much time trying to get my Covid-addled mind to figure out why it doesn't work.  Sure, there are a lot of threads, perhaps too many.  And there is an unexplained leap in technology -- people transport from one location to another and that's just accepted (this isn't Trek, it's planet Earth).  But that isn't it.  The actors are good, it's a top-notch cast, and the weekly debris findings have unique and unexpected twists.  And yet.  By the first or second commercial break, I'm usually glancing at my email.  All I can say is that this show doesn't have forward motion, tension, or much energy.  When a commercial break comes for "Manifest" I'm grabbing the remote because I have to see what happens next.  That's not the case here.  It isn't an overt thing, just a subtle lack which makes the show less than it should be.

And the Award Goes To … Part Three

The Series

As mentioned, and harped on, I have an issue with (almost) every nominated series being from a streaming network, however, here are my takes.

Outstanding Performance by a Male Actor in a Television Movie or Limited Series

This is the most problematic category in the whole thing.  How do you put the moving but incredibly brief performance of Bill Camp in “The Queen’s Gambit” up against the powerhouse performance of Daveed Diggs in “Hamilton”?  And why was Daveed Diggs the only one nominated from “Hamilton”?  No Lin-Manuel Miranda?  No Leslie Odom Jr.??? And yes, Ethan Hawke got “Good Lord Bird” made but the undeniable star, the one who was the glue which made it work, was the kid, Joshua Caleb Johnson.  How is he NOT nominated???  Fortunately, there is an easy out.  Mark Ruffalo was effing BRILLIANT playing twins in “I Know This Much is True”.  As soon as I saw the first episode, he had me.  Mark Ruffalo wins.

Outstanding Performance by a Female Actor in a Television Movie or Limited Series

Kerry Washington, “Little Fires Everywhere”.  Cate Blanchett was good, Anya Taylor-Joy is an up-and-comer, but Kerry Washington carried the ball beautiful in her roundabouts with Reese Witherspoon and it was remarkably different from “Scandal”, showing vulnerabilities Olivia Pope never had.

Outstanding Performance by a Male Actor in a Drama Series

Josh O’Connor as Prince Charles for playing a role that is virtually impossible.  He got the subtlety, the pain, the ego of a man so well known that even a passing imitation is fraught with challenges.  Rege Jean-Page gets a nod here.  He manages to transcend being just too pretty, but “Bridgerton” was just too much fluff.

Outstanding Performance by a Female Actor in a Drama Series

This was challenging.  Three actors from “The Crown”, which I loved, and two from “Ozark” which I didn’t.  Gillian Anderson was brilliant as Thatcher but I take issue with her “what nationality is she” game.  She will win but it’s worth looking at the other actors.  Olivia Coleman is brilliant, always, but has won before.  And reportedly hated playing the Queen.  Which leaves Emma Corrin as Diana.  She gets it.

Outstanding Performance by a Male Actor in a Comedy Series

Nicholas Hoult in “The Great”.  He entirely consumed every scene he was in, making Peter the most intriguing and detestable creature ever seen on television.

Outstanding Performance by a Female Actor in a Comedy Series

Since I pretty much hate “Dead to Me” and “Schitt’s Creek” I’m going for Kaley Cuoco, in “The Flight Attendant” here.  But “Schitt’s Creek” will win.

Outstanding Performance by an Ensemble in a Drama Series

This came down to “Lovecraft Country” or “The Crown”.  Both are compelling and have top-notch casts.  “The Crown” won my vote because of its ability to remain transformative and brilliant in its fourth season.  Not many shows can keep the energy going this long.  “The Crown” not only continues strong, it grows richer and MORE relevant as time passes.  Brava, Bravo.

Outstanding Performance by an Ensemble in a Comedy Series

“The Flight Attendant” is a worthy runner-up but “The Great” wins this hands-down.  There is a kind of magic in how the dialog is batted around, making the show impossible to turn away from.  One of the most overlooked, I think, yet one of my favorites.

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series

This was surprisingly difficult in some ways.  All five nominated series have lots and lots of kick/shoot/blow ‘em ups.  And they are all a little different from each other.  “The Boys” celebrated the grotesque, having at least one body turned inside out with every episode.  “Cobra Kai”, a spin-off of “The Karate Kid” films, has plenty of martial arts but they are run of the mill rather than inventive.  In “The Mandalorian” an incalculable number of storm troopers meet their demise.  “Lovecraft Country” allows the haunted to fight back for a change, resulting in a sloppy red mess more often than not.  My vote here, however, goes to “Westworld”.  At first a simple western they have graduated and grown up, as it were.  With the addition of Samurai they have now added swords and mix that with urban warfare in a way which is fresh and unexpected.  “Thandie Newton with a Katana” is all you need to say.  “Westworld” wins.

And the Award Goes To … Part Two

First, the films

Given that most of these films never saw the inside of a movie theatre, and likely never will, this is a watershed year in terms of “what is considered a motion picture”.  More and more we are seeing small-screen films nominated for the big awards.  These are only watched by those who have streaming services, which, contrary to popular opinion, is not the majority of Americans.  There are deep questions here about the relevance of film in the modern era … but I digress. 

Here I present my votes for the SAG-Aftra Film Acting Awards for this year.  Inevitably, less than half of these will actually win, but hey, it’s a free and open vote, so there!  (Will some disgruntled actor start yelling “Stop the Steal”???  We’ll see …)

Outstanding Performance by a Male Actor in a Leading Role

This one was easy.  Chadwick Boseman.  He was totally swallowed up by the role and virtually unrecognizable.  It’s called acting.  The huge names (Anthony Hopkins, Gary Oldman, etc) couldn’t compare to an actor “becoming” someone else.  Pure brilliance.  Rest in Power.

Outstanding Performance by a Female Actor in a Leading Role

This one was tricky.  All five women are outstanding actors and gave great performances.  It was more of elimination than selection.  This wasn’t the best Amy Adams performance, Vanessa Kirby’s pain was visceral but hard to watch, Frances McDormand was, well, Frances McDormand.  Which left Viola Davis and Carey Mulligan.  Viola Davis was stunning, compelling, but … a) she’s a powerhouse but was not the star of this film and b) she’s won a few of these and I’m a firm believer in opening the door to newcomers.  And so my vote goes to Carey Mulligan in “Promising Young Woman”.  I won’t be at all unhappy if Viola Davis wins here though.

Outstanding Performance by a Male Actor in a Supporting Role

This one was pretty easy.  Daniel Kaluuya in “Judas and the Black Messiah”.  Again, unrecognizable from his previous roles.  My only complaint here is that LaKeith Stanfield should have been nominated (the aforementioned Judas).  I would have voted for him.  Arliss Howard should have been nominated, too, for his Louis B. Mayer in “Mank”.  But they weren’t nominated.  Kaluuya is a bigger name.  More on that later.

Outstanding Performance by a Female Actor in a Supporting Role

And this is where I hit the wall.  It was a five-way tie.  Maria Bakalova MADE the Borat film.  Olivia Coleman turned in yet another outstanding performance which was completely different from every other role I’ve seen her play (and they were all different from each other).  Yuh-Jung Youn portrayed possibly the most complex, conflicted dutiful wife I have ever seen.  And Helena Zengel, who had very little dialog, spoke volumes in her critical role.  Leaving Glenn Close.  She has won SAG Awards but never an Oscar.  And she deserves an Oscar.  She really really does.  She’s like the Meryl Streep quality actor who everyone seems to forget about.  Yet here she is, in her 70s, still turning out brilliant performance after brilliant performance – and all of them unique and different.  Momentum at SAG might help her chances at Oscar time.  And so it goes to Glenn Close.  Although the others deserved to win, too.

Outstanding Performance by a Cast in a Motion Picture 

This wasn’t too hard.  “Minari”.  I liked “The Trial of the Chicago 7” and “Ma Rainey’s Black Bottom a lot.  And “One Night in Miami” and “Da 5 Bloods” were homages to black lives with terrific ensemble performances.  But.  There is something about the family unit.  Something about people trying to build a better life.  In a time period of repeated losses this one spoke to me about the complexities of people who love one another but hate each other a little now and then.

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

“Wonder Woman 1984”.  Duh.