Cindy Prascik's Ho Ho Holiday Cheer!

My dear readers, predictably, the second theme of my holiday watchlist was…well…holidays. If you’re looking to extend your celebrations through the weekend like we are, these movies may reinforce your cheer.

No fan of romance I, but sometimes a person’s hand is forced during the festive season, so first on my agenda was a double-bill of Haul Out the Holly (2022) and Haul Out the Holly: Lit Up! (2023).

In Haul Out the Holly, a big-city girl comes home to her parents’ for Christmas. Wanting only a relaxing holiday, she is conscripted into the Christmas-crazy neighborhood’s festivities and finds romance in the process. In Haul Out the Holly: Lit Up! a family of Christmas “influencers,” moves in and causes strife among the residents of Evergreen Lane.

At risk of damning with faint praise, both of these Hallmark offerings are…cute. If you’re looking to fully immerse in Christmas cheer without using too much brain power, you could do worse. Both are well paced, with likeable casts/characters. Even the conflict isn’t so conflicted as to harsh the holiday buzz too much.

Haul Out the Holly and Haul Out the Holly: Lit Up! run 84 minutes each, and both are rated TVG.

The Haul Out the Holly series is a bit of light, quick-moving holiday fun that doesn’t wear out its welcome. Of a possible nine Weasleys, Haul Out the Holly gets six, and Haul Out the Holly: Lit Up! gets five.

Both Haul Out the Holly movies are now streaming on Hallmark+.

Next up was Hot Frosty.

As you’ve likely guessed from the not-so-subtle title, a snowman comes to life and he’s not hard on the eyes.

Hot Frosty was a bit of a surprise. It doesn’t reinvent the wheel, but it’s genuinely funny with a couple clever Easter eggs. The cast even boasts some faces that are different from the ones you see in all the Christmas romances. (I’m happy whenever and wherever Craig Robinson turns up!) Like the Haul Out the Holly movies, Hot Frosty goes full Christmas with its costumes and sets. The cast is engaging and doesn’t play it too serious or too cringey, and the movie leans into its familiar theme just enough.

Hot Frosty runs 92 minutes and is rated TVPG for “mild sex and nudity.” (When he comes to life, the snowman has no clothing save a strategically placed red scarf.

Hot Frosty is cheerful, fun, and good natured, a step up from the average holiday romance. Of a possible nine Weasleys, Hot Frosty gets seven.

Hot Frosty is now streaming on Netflix.

Taking a welcome break from romance, next on my docket was the big-screen Christmas extravaganza Red One.

When Santa is kidnapped, the head of North Pole security teams up with an infamous hacker to try to save Christmas.

I’ve heard a fair bit of grousing about Red One, but it isn’t romance, horror, or strictly for kids, and that’s hard enough to come by in a Christmas movie that I’m willing to cut it some slack. The cast features familiar and well-loved faces like Dwayne Johnson, Chris Evans, Lucy Liu, and JK Simmons, and if the material doesn’t stretch their talents too much, it’s still good fun. The general effects are pretty decent, though some of the non-human creatures look like someone dropped a bargain bin Star Wars cantina onto the set. The action is solid and there’s nothing so dragged out as to get boring. The movie knows exactly what it is and doesn't pretend to be more, so any small quibbles are easily forgiven.

Red One clocks in at 123 minutes and is rated PG13 for “action, some violence, and language.”

Red One is good holiday fun for the whole family. Of a possible nine Weasleys, Red One gets seven and a half.

Red One is now streaming on Prime Video.

I hope everyone has enjoyed this festive season, and that 2025 brings you all much happiness!

Until next time...

Cindy Prascik's Reviews The Hills are Alive with the Sound of Music (Documentaries)

My dear, neglected reader(s): Over the holidays I had an opportunity to catch up with a few streaming offerings, and I shall provide some reviewlets for anyone who may be interested.

Our first theme is music documentaries, and my first priority (of course) was Beatles ’64 (2024), another view of the Fab Four’s first visit to America. The magnitude of the Beatles’ fame being what it is, and these events being 60 years in the past, the challenge here isn’t necessarily presenting new material, but presenting existing material in fresh ways to engage a new audience. Beatles ’64 chooses to focus on the fan frenzy around this momentous trip. Certainly there’s plenty of footage of John, Paul, George, and Ringo, but this is the story of the people who first heard the songs on American radio, the girls who waited outside hotels, and the (now) senior citizens whose lives were ever changed by being Beatles-adjacent. It’s not the most well-crafted film, and there is some weirdly awkward footage (fans listening to the Beatles on the radio while side-eyeing the camera) but Beatles ’64 does a nice job of communicating the excitement of this particular bit of history.

Beatles ’64 clocks in at 106 minutes and is unrated. There is a LOT of smoking, some drinking, and a bit of colorful language.

Beatles ’64 is a fun and well-paced rehash of a familiar story. Of a possible nine Weasleys, Beatles ’64 gets seven.

Beatles ’64 is now streaming on Disney+.

Next up was The Making of Do They Know It’s Christmas (2024), an updated BBC documentary celebrating the 40th anniversary of the ubiquitous holiday hit. This one feels more like a home movie than something recorded with any intention of making a proper documentary, but it is still terrific look inside the REAL greatest night in pop. The biggest stars of the day (mostly) put egos aside for a worthy cause. Interviews are fairly casual, and most of the artists seem like old pals and fans of one another’s work. If you’re around my age and can still picture every minute of the original music video in your mind, it’s lots of fun picking out the pieces of this film that ended up in that final cut. Sure, some of the lyrics are cringeworthy in 2024, but four decades later Do They Know It’s Christmas continues to raise millions of dollars to alleviate world hunger, and that’s something worth celebrating.

The Making of Do They Know It’s Christmas runs 74 minutes and is unrated, with basically the same warnings as Beatles ’64: smoking, drinking, some coarse language. (Hey, they’re rock stars!)

It’s not polished, but The Making of Do They Know It’s Christmas is a wonderful, sentimental look inside one of pop music’s defining moments. Of a possible nine Weasleys, The Making of Do They Know It’s Christmas gets eight.

The Making of Do They Know It’s Christmas is now streaming on YouTube.

The final installment in my music doc trilogy was Yacht Rock: A Documentary (2024), which chronicles the rise, fall(ish), and ongoing influence of the sort of mellow gold perpetrated by artists such as Michael McDonald, Christopher Cross, and Toto.

Yacht Rock gets away with what it does largely due to the unironic regard it has for its subject matter. Historically, it’s been pretty easy to make fun of this music and these artists, but that’s not happening here. Even comments made in jest are good natured and never mean. There are extensive interviews with many artists who made and have been influenced by these iconic tunes, and the movie doesn’t miss an opportunity to remind viewers just how good the songs are, with plenty of clips. The documentary attempts to pinpoint Steely Dan as the sort-of genesis of this brand of music, and I (as well as Donald Fagen, apparently) don’t wholly agree there, but because the material is treated so respectfully, it’s hard to take offence. For me, anyway. Fagen is another matter entirely.

Yacht Rock: A Documentary clocks in at 95 minutes and is rated TVMA for mild profanity.

Yacht Rock: A Documentary is a laid-back look at a laid-back genre that has not only endured, but today has spawned a whole new generation of fans and tribute bands. Of a possible nine Weasleys, Yacht Rock: A Documentary gets seven.

Yacht Rock: A Documentary is now streaming on MAX.

Stay tuned for part two of my holiday mini-reviews: Christmas movies!

My 10 Favorite Films of 2024

 2024 ended with a total of 96 movies reviewed and with that here are my 10 favorite films of the year.  

This year was filled with plenty of unexpected surprises especially in my favorite genre, horror, which is always welcome.  

As always, I’ll add the disclaimer that these are my personal favorites of the year which include a handful of admittedly flawed films that I enjoyed, nonetheless.

Without further ado here is my list presented in no particular order.

Robert Eggers’ Nosferatu is a gothic marvel of the macabre that leaves an indelible impression.  The film shows a director on a steady upward trajectory as he gains even more confidence in his craft.  Lily-Rose Depp delivers one of her best performances here while Willem Dafoe steals every scene, he’s in.  

Nosferatu Review

Heretic is one of those films that came out of seemingly nowhere to deliver a heady piece of horror.  It doesn’t manage to stick the landing as it feels the need to fall back on standard horror tropes, but Hugh Grant’s inspired turn makes it more than worthwhile.   

Heretic Review

Coralie Fargeat’s The Substance not so subtle critique of unattainable standards in Hollywood uses its aggressive visuals and stellar performances from Demi Moore and Margaret Qualley to deliver a singular experience.  The back end turns into something more akin to 1989’s Society which may not be for everyone, but you must appreciate the sheer guts to go full bore into the metaphor.

The Substance Review

The original Smile was decent at best for my taste, so the sequel didn’t rank highly on list of anticipated films.  Parker Finn’s sequel delivered well above expectations with its more meticulous decent into madness led by a star making turn from Naomi Scott as a pop star fraying at the seams.  

Smile 2 Review

The Wild Robot is a deceptively simple mix of Wall-E and The Iron Giant but that doesn’t keep it from being any less impactful.  Its lush visuals paired with heartfelt voicework by an all-star cast led by Lupita Nyong'o make it a poignant emotional journey.

The Wild Robot Review

As a child of the 80’s, Transformers will always hold a special place in my heart and the news of a new animated film until an underwhelming trailer had my expectations set low.  Surprisingly, this reimagining was thoughtful and gave the central bots well defined characteristics and motivations.   The vibrant animation and strong voicework resulted in one of the best Transformers movies since the original animated film.  

Transformers One Review

Strange Darling is a fun jigsaw puzzle of a movie that takes advantage of its nonlinear set up to keep the audience off kilter until the central reveal.  It’s not a new approach but J.T. Mollner’s style is refreshingly energetic throughout his efficiently paced thriller.  Willa Fitzgerald and Kyle Gallner deliver excellent performances as predator and prey.  

Strange Darling Review

2024 was filled with plenty of pleasant surprises but nothing quite as unexpected as the Indian import, Kill.  What starts as a cheesy melodrama quickly turns into an ultra-violent story of survival confined almost entirely to a moving train that feels like a spiritual successor to the 2011 Indonesian import The Raid.

Kill Review

The First Omen could have come and gone as another cash grab pilfering from an established IP.   Arkasha Stevenson could have delivered a paint by the numbers prequel and collected an easy paycheck however what she actually delivered was far more refined and layered.  Nell Tiger Free performance is sure to earn cult status in the coming years and left me anxious for her next big screen role.  

The First Omen Review

All the set-up work done in Denis Villeneuve’s first Dune paid off in spades with the second entry which brought together the story to deliver an epic sci-fi drama.  Massive on multiple levels but the film’s real highlight is that we finally get more involved emotionally with the central characters’ journey, ambitions and betrayal.   

Dune 2 Review

Honorable Mentions

Justin Kurzel's latest, The Order, came an went with little fanfare even though it sported a strong cast and engaging true crime tale.  Jude Law, Nicholas Hoult and Tye Sheridan all deliver strong work in this taut thriller that deserved more attention than it received.  

The Order Review

Fede Álvarez managed to bring back the look and feel of the first two Alien films with this impressive refresh.  Sure, it shoehorns call backs to those film throughout with some landing better than others but that doesn't keep it from being an effective bit of cinematic comfort food.

Alien Romulus Review

The Ministry of Ungentlemanly Warfare is another one of those film's that came and went with little fanfare even though it has a name director and cast.  Guy Ritchie's WW2 is a fun ensemble piece that's fun and thrilling for the majority of its runtime plus its always great to see Henry Cavill having fun onscreen.  

The Ministry of Ungentlemanly Warfare Review

Late Night with The Devil is one of those horror gems that pops up from time to time as it recreates the look and feel of the 70's talk show with an sinister underpinning.  It doesn't seem to know how to bring it all together at the end but that doesn't keep it from being an impressive bit of filmmaking powered by a great performance from David Dastmalchian.

Late Night with The Devil Review

Rose Glass' sophomore film shows a noticeable level of growth and confidence from her impressive debut film, Saint Maude.  This love story takes us through a series twisted and hallucinatory sequences that keep you off balance throughout.  Kristen Stewart and Katy M. O'Brian make for hell of onscreen couple with their energy popping offscreen.  Ed Harris steals every scene he's in while wearing one of the more impressive wigs in recent history.

Love Lies Bleeding Review

MOVIE REVIEW: THE RETURN

 

After 20 years away, Odysseus washes up on the shores of Ithaca, haggard and unrecognizable. The king finds much has changed since he left to fight in the Trojan War. His beloved wife, Penelope, is a prisoner in her own home and hounded to choose a new husband. Their son faces death at the hands of suitors who see him as an obstacle in their pursuit of Penelope and the kingdom. Odysseus is no longer the mighty warrior his people remember, but he must face his past to save his family.

Director: Uberto Pasolini

Cast: Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Claudio Santamaria, Tom Rhys Harries, Ángela Molina

Release Date: December 6, 2024

Genre: History

Rated R for violence, some sexual content, graphic nudity and language.

Runtime: 1h 56m

Review:

Uberto Pasolini's ultra grounded take on the back half of The Odyssey is powered by a pair of stellar performances from its central duo of Ralph Fiennes and Juliette Binoche.  Pasolini strips away all the Greek gods from the original text, focusing more on the human toll taken by the hero's search for glory.  This naturalistic take on the material focuses more on the mental state of central characters of Odysseus, Penelope and Telemachus as opposed to action or intrigue.  It makes for a film that's decidedly light on frills with Pasolini setting up scenes for performers to shine.  Ralph Fiennes carrying an emaciated and battered frame delivers a powerful but understated performance as an Odysseus haunted by the specter of war and the choices that led him there.  Fiennes has an ability to communicate volumes worth of emotional information with a single look or mannerism.  It’s not a particularly dialogue heavy role but he proves more than capable of giving the audience a real sense of the death and remorse his character has experienced during his long journey home.  Juliette Binoche is equally impressive as the ever-dutiful Penelope whom she imbues with quiet intensity and strength.   When Binoche and Fiennes finally share the screen, she delivers an emotionally powerful monologue that she imbues with a Shakespearean sensibility.  It serves as one of the most powerful moments in the film and a solid payoff for investing its occasionally ponderous pacing.  Fiennes and Binoche are thoroughly engaging every time they are onscreen, unfortunately the supporting cast never manages to match their work.  Charlie Plummer's Telemachus lacks the depth or nuance of his onscreen parents which gives the character more of bratty quality that feels off.  Marwan Kenzari's Antinous is more intriguing, but he's never given enough screentime to flesh out his character and singular focus on becoming Penelope's new husband.  It’s a shame because it would have given the story an interesting angle from one of the suitors who isn't an outright barbarian.  It’s the kind of thing that would have added to the effectiveness of the film but stumbles aside The Return succeeds on the power of its two stars.  

B

MOVIE REVIEW: THE DAMNED

 

A 19th-century widow is forced to make an impossible choice during a cruel winter when a ship sinks off the coast, risking what's left of the village's dwindling supplies.

Director: Thordur Palsson

Cast: Odessa Young, Joe Cole, Lewis Gribben, Siobhan Finneran, Francis Magee, Rory McCann, Turlough Convery, Mícheál Óg Lane, Andrean Sigurgeirsson

US Release Date: January 3, 2025/UK  Release Date January 10, 2025

Genre: Drama, Horror, Mystery

Rated R for bloody violent content, suicide and some language.

Runtime: 1h 29m

Review:

The Damned, Thordur Palsson's feature debut, is an eerie, atmospheric slow burn of a creeper which takes full advantage of its isolated setting and stellar performances.  Palsson film moves at a methodical pace which sets up the characters and their isolated, claustrophobic setting with little fluff or frills.  Eli Arenson’s cinematography is beautifully bleak and foreboding throughout making the icy mountains and frigid coastline characters unto themselves.  The film's pacing may not be for everyone since it moves at a glacial pace with only a handful of increasingly repetitive jump scares breaking it up.  Those looking for cheap thrills will likely be left wanting as this leans closer to Robert Eggers' The Witch as opposed to something like John Carpenter's The Thing even though it still shares aspects of both.  This film is much more a meditation on grief and guilt, themes other "elevated" horror films have covered in the past.  As such, there isn't a ton of new ground to explore but the cast led by an excellent turn from Odessa Young ruminates those themes compelling and engaging.  Young's understated performance carries the film, as she manages to convey the character's exterior steadfastness while she’s slowly fraying at the corners underneath.  Her large expressive eyes deliver a boatload of emotional information as the situation becomes increasingly fraught and tenuous.  It’s a fascinating performance that would have been served better if her character had been better fleshed out in the film's opening since we're given very little background information about her or her companions.  The supporting characters aren't written with much depth, but the entire supporting cast delivers authentic turns in each role giving the group a weathered chemistry that makes you believe they've all lived together for years.  Rory McCann, of Game of Thrones fame, is set up to be a major player early on but for some reason he's taken off the screen relatively early on to the film's detriment.  It’s an odd choice since his presence would have added so much more to the film, especially as it moves into its end game.  Up to that point the story walked a steady tightrope between real and imagined horrors that plague our increasingly dwindling group.  A bit more ambiguity would have helped The Damned be a more effective film but as an opening salvo for his career Thordur Palsson still manages to leave a strong impression.

B-

MOVIE REVIEW: BABYGIRL

 

A high-powered CEO puts her career and family on the line when she begins a torrid affair with a much younger intern.

Director: Halina Reijn

Cast: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas

Release Date: December 25, 2024

Genre: Crime, Drama, Mystery, Thriller

Rated R for strong sexual content, nudity and language.

Runtime: 1h 54m

Review:

Babygirl plays like a gender-swapped version of 2002's Secretary and when it works it pulsates off the screen, but it struggles to maintain that energy despite a stellar turn from Nicole Kidman.  Writer/Director Halina Reijn has plenty on her mind as she presents a series of tantalizing themes over the course of her film.  Sexual desire, normalcy, power dynamics and age all bounce around the edges of the screen as we follow the torrid affair with her intern played by Harris Dickinson.  Kidman's performance is a study in layers as she gives the audiences glimpses of strength, intelligence, repression and shame that are all bottled up in her character.  She's consistently the most interesting performer onscreen as she crafts this fully formed character that feels like a living breathing person along with all her complications.  Her performance carries the film but the central relationship between her and the intern is a bit choppier due to a variety of reasons.  Harris Dickinson and Kidman just don't share the kind of electric chemistry together that would make their affair believable.  His character is terribly underwritten with the audience never being presented because he's so attractive to Romy.  We're told at various points that he is intelligent but never shown anything outside of the most generic sort of blackmail.  He's never portrayed with the sort of charisma or tact that he would be able to engage and enchant in the way we're led to believe on screen.  It doesn't help that he looks like any random, faceless guy you'd see on a subway or train and never give a second thought about.  The film's kinkier moments really play more like softcore Cinemax than anything else albeit with Kidman going for broke with each scene.  Antonio Banderas has a small supporting role as Kidman's husband, and he's given an impressive scene in the final act that reminds you how powerful of a performer he can be.  The film would have been well served had it given him a bit more screentime and fleshed out his character more but like most of the themes that Reijn throws onscreen such as an undercurrent about the monotony and automation of our everyday lives are never explored in any sort of meaningful way.  There's plenty left unexplored throughout which is shame because Reijn does deliver a series of energetic moments topped by a sequence in a dance club that just reverberates off the screen.  These sorts of moments highlight surges of energy in Babygirl which highlight how much more effective the film would have been if it had something substantial to say about itself.  

B-