Twelve More Great Christmas Movies Without Santa, Tiny Tim, or A Message from Ovaltine
Posted on December 19, 2010 at 3:58 pm
I love the classics, but if you’ve seen them all and want to try something new, take a look at these holiday gems:
Desk Set Before smart phones and Google, there were people like the character played by Katherine Hepburn in this romantic comedy, her first color film with her favorite on- and off-screen co-star, Spencer Tracy. She is old school as a researcher for a television network who relies on her reference books and prodigious memory to answer all questions. He’s the tech guy who is installing a computer (the size of a small house). Sparks of all kinds result. (Ages 10-Adult)
Die Hard One of the greatest action films of all time has Bruce Willis as a cop visiting his estranged wife at her office on Christmas eve, just as a group of super-genius bad guys (led by the magnificently malevolent Alan Rickman) take over the building. (Very strong language and explicit and graphic violence — Ages 15-Adult)
It Happened on 5th Avenue A homeless man moves into a mansion while the owner is away for the holidays and soon finds himself hosting some WWII vets and their families. The owner’s daughter comes home and finds herself pretending to be another squatter. (Ages 8-Adult)
An Affair To Remember Get out your handkerchiefs. Cary Grant and Deborah Kerr play a couple who meet on a ship as they are returning home to get married to wealthy, upper-class types who can support them in the manner to which they would like to be accustomed. When they fall deeply in love, they realize they must earn their right to be together. And when tragedy strikes, it will take all the magic of Christmas to bring them a happy ending. (10-Adult) Note: the original version, “Love Affair,” with Charles Boyer and Irene Dunne, is also a wonderful film, but skip the third version with Warren Beatty and Annette Bening.
The Shop Around the Corner Before You’ve Got Mail and the musical version In the Good Old Summertime was this charming black-and-white romance with Margaret Sullavan and James Stewart as warring co-workers in a department store who do not realize that they are in love with each other via a secret pen pal letter exchange. There is also a stage musical version called In the Good Old Summertime. (10-Adult)
Dr. Seuss’ How the Grinch Stole Christmas The Jim Carrey live action version is all right, but this animated film from Chuck Jones is the real Grinch movie, with the deliciously sinister voice of Boris Karloff. (All ages)
“Period of Adjustment” The only way to see this one is in its annual broadcast on Turner Classic Movies as it is not available on DVD. So set your TIVO for this story of newlyweds (Jane Fonda and Jim Hutton) who have something to learn about communication. He brings her to visit his old war buddy who is having some marital problems of his own. This is the only comedy from legendary playwright Tennessee Williams and it is a heart-warming gem.
The Gathering Ed Asner plays a tough, type-A businessman who neglected his family to pursue his career. He asks his estranged wife (the superb Maureen Stapleton) to bring together his grown children and their families for Christmas, and we and they later discover why it is so important to him to make peace with them at last.
Joyeux Noel On Christmas eve 1914, as officers prepared their troops for battle, the soldiers on opposing sides reached out to each other for a spontaneous celebration of Christmas, exchanging chocolates and playing soccer. The famous “Christmas truce” becomes an affecting and inspiring movie. For a similar story, see A Midnight Clear, based on the autobiographical novel by William Wharton.
Little Women “Christmas won’t be Christmas without any presents,” begins one of the most beloved of American novels, the autobiographical story of four sisters from Louisa May Alcott. All three filmed versions are fine, but I especially love this one, with Winona Ryder, Claire Danes, Susan Sarandon, Christian Bale, and Gabriel Byrne.
This Christmas A superb cast including Delroy Lindo, Idris Elba, Loretta Devine, Columbus Short, and Regina King, and Chris Brown nicely captures the rhythm and volatility of adult sibling interactions, a mash-up of in-jokes, old and new and often-shifting alliances, the need for acceptance and approval, and affectionate teasing that sometimes flares up to reveal or aggravate old wounds. Director Preston A. Whitmore has a sure hand in balancing half a dozen different storylines and multiple switches of tone from light-hearted romance to lacerating confrontations and gritty drama. The plots may be predicable but the individual cast members are all superb and completely believable as family, the whole greater than the sum of the parts. And Chris Brown sings “Try a Little Tenderness” and the title song.
And I love it when a summer movie delivers all of the chases, crashes, explosions, wisecracks, and sheer exuberant fun that we have a right to expect when the weather gets warm. “The A-Team,” based on the television series of the mid-1980’s, may be silly but it is purely enjoyable.
We get to see how the fearsome foursome first met. That’s Hannibal (Liam Neeson), the cigar-chomping leader, driver and fighting powerhouse B.A. Baracus (Ultimate Fighting Champion Quinton ‘Rampage’ Jackson), mentally unstable pilot Murdock (District 9‘s Sharlto Copley), and social engineer (okay, con man) Face (Bradley Cooper). As frustrated Lt. Sosa (Jessica Biel) says, eight years and 80 successful missions later, they specialize in the ridiculous. Characters hang from a helicopter. They slalom down a skyscraper. They crash many vehicles and they blow many things up. This is a movie with a flying tank. Well, technically, as one character says, not flying. It’s actually hurtling to the ground after the plane that was carrying it exploded. Why? Could that really work? Don’t ask. This is not that kind of movie. Just pass the popcorn.
There are some understated shout-outs to the original, including a clever disposition of the beloved van and BA’s knuckle tattoos — “PITY” on one hand and “FOOL” on the other. And be sure to stay to the very end of the credits for one last salute.
After the prologue, we are brought up to date. Our team has completed 80 missions in eight years, all successful. Now, American troops are packing up to leave Iraq. One piece of unfinished business is a briefcase filled with engraving plates for U.S. currency. If they get into the wrong hands, our enemies could print money and destroy our economy. And there are a lot of wrong hands out there, possibly including the mercenaries/government contractors who think they’re all that and who are assigned to the retrieval operation.
This provides opportunities for many stunts, ably directed by Joe Carnahan, who co-wrote. Co-screenwriter Brian Bloom is electrifying as Pike, the leader of the contractor team. Biel does her job: fuming or melting, she is very pretty. And the quartet of actors in the lead roles are an A-Team of their own, bringing their own screen chemistry and sense of fun to the characters they play. Neeson chomps on his cigar with panache. Copley makes Murdoch’s proficiency with accents and languages both evidence of his instability and his mastery. Jackson makes BA’s soul-searching feel real without throwing the entire movie off-kilter by making it too serious. Early on, when Face gets punched in the jaw, Cooper’s eyes widen in delight and he says, “Now it’s a party!” Yes, it is.
‘The Calling’ — PBS Documentary on Divinity Students
Posted on December 15, 2010 at 9:00 am
“The Calling,” a two-part documentary series premiering on the PBS Independent Lens series on December 20, is the inspiring story of a group of seven young people of different religions who share the experience of being called to serve as clergy. We follow Christian, Jewish, Catholic, and Muslim Americans through their studies, their struggles, and their triumphs as they work to better understand and practice their faiths, to grow closer to God, and to support their communities. We see their differences and we see their bigger similarities, their shared sincerity of purpose and generosity of spirit. This is a hugely important program and a powerful reminder that at the core of the holidays we celebrate at this time of year is a need to connect to the divine and to each other.
Embarking on life paths that demand tremendous personal sacrifice and commitment, these seminarians must uphold timeless truths in an era that values quick fixes and hot trends, and face a public that challenges the very relevance of their mission. A new look at an old job, The Calling takes viewers into the unknown world of seminaries to tell entertaining and compelling personal stories of how faith is lived in today.
As this new generation of religious leaders prepares to take its place in our society, our characters’ unfolding stories explore some of the current issues facing America’s religious communities. Islam strives to establish its American identity. The Catholic Church responds to sexual abuse scandals and to the profound demographic shift to a Spanish-speaking majority. African American churches adapt to women taking more active leadership roles.
The United States is one of the most religiously observant and spiritually diverse countries in the world, yet mainstream media has underplayed the significance of faith in our lives, and our pluralism has been addressed almost exclusively in terms of race and culture. Most explorations of faith often focus on single faiths, church scandals, fundamentalist extremists, or religion’s polarizing effect on society. The Calling underscores our spiritual common ground and offers intimate portraits for a nuanced examination of faith in America.
Will Ferrell and Mark Wahlberg make an inspired buddy cop pairing in “The Other Guys,” a rare comedy based on something other than snark or irony or insults or humiliation or high concept. This is that rarest of comedies — kept aloft by a delirious, surreal, irrepressibly sunny randomness, delivered with sincere conviction and all the funnier for it. In an early exchange destined to be memorized and repeated endlessly by fans, Detective Hoitz (Wahlberg), frustrated by being assigned to desk duty, tells off his new partner, Detective Gamble (Ferrell), who prefers the paperwork, using the metaphor of a lion devouring a tuna. Gamble comes back at him with a deliciously loopy monologue, taking the comment literally, and then, when Hoitz comes right back in on the same level, it reaches for the sublime.
Hoitz and Gamble work in a police precinct where two cops (Samuel L. Jackson and Dwayne “The Rock” Johnson) get all the excitement, all the glory, and all the girls. That’s fine with Gamble, recently transferred from forensic accounting. But Hoitz, who likes to describe himself as “a peacock who needs to FLY!” is smoldering, furiously playing solitaire at his desk while other cops go out on all the exciting assignments. At a support group for officers who fired their weapons on duty, we find out why he was reassigned. Let’s just say he shot the wrongest guy imaginable.
When the two hero cops are out of the picture, Hoitz and Gamble step in, despite the competition from another team (Rob Riggle playing the frat boy part he always plays and Damon Wayans, Jr. looking like his dad) and the directions from their Chief (Michael Keaton). Of course, as in any buddy cop movie, there are detours to resolve some problems with the ladies (“You’re not a cop until your woman has thrown you out,” says Hoitz). And of course they will discover that they have more in common than they thought, including some anger management issues and interest in Gamble’s wife (a luscious and also very funny Eva Mendes).
There are some dull patches and misfires, especially a backstory about Gamble’s college years. But the action scenes are surprisingly dynamic and a sleazy Wall Street billionaire is played by the always-welcome Steve Coogan. (A brief, unbilled appearance by Ann Heche as another Wall Street type suggests there may be some good extras on the DVD.) And any movie with a police chief who does not realize he is constantly quoting TLC, a trip to “Jersey Boys,” a succession of hot women including Brooke Shields finding Ferrell’s character irresistible, a CD playing “Reminiscing” by the Little River Band, narration by Ice-T, and Wahlberg doing pirouettes qualifies as the funniest movie of the summer.
Is greed still good? Does greed still, for want of a better word, work?
Twenty-three years later, Gordon Gekko is back, still played by Oscar-winner Michael Douglas and now running short on money and even shorter on what he realizes is an even more valuable commodity: time. We see him being released from prison, his personal effects including a gold money clip (empty) and his old cellular phone (the size of a shoebox). He walks out into the sunlight toward a sleek black limo only to see that it is there for someone else, the also-departing rap star.
Balzac famously said that behind every great fortune is a crime. That is literally true in Gekko’s case; he traded on inside information. But it is also true in a larger sense because the real reason for Gekko’s wealth is a fierce and unquenchable passion not for money but for winning. He has had a long time in prison to watch and think and plan his comeback. And so he leverages his notoriety into television and in-person appearances to promote his book.
The sequel is so close to the same framework as the original that at times it feels like a remake. Again there is a bright, ambitious and essentially honest young man with a lower-income parent exemplifying the current financial upheavals who gets drawn by Gekko’s gravitational pull. It’s Jake (Shia LaBeouf), who has the added complication of being engaged to Gekko’s estranged daughter (“An Education’s” Carey Mulligan, LeBeouf’s real-life love). And there is another big-time financier like the one played by Terence Stamp in the first film, Bretton James, played by Josh Brolin. Once again, there is an old guy who is the movie’s repository of wisdom and integrity (a fine Eli Wallach). Once again, the young man thinks he can hold on to his values and once again he will find Wall Street is more treacherous than he thought.
In his brilliant book on the financial meltdown, The Big Short: Inside the Doomsday Machine, Michael Lewis muses that his first expose of the wild world of Wall Street excess, Liar’s Poker was instead viewed “as a how-to manual.” The same is true for the first “Wall Street.” As the costume designer noted, the wardrobe from the first movie was selected for dramatic impact, not authenticity. But it was adopted by the real Wall Streeters, who were as thrilled with Gekko’s look as they were with his bravado, and his wealth.
While Douglas continues to be enough to make the entire movie worth watching, there is little chemistry with LeBoeuf or between LeBoeuf and Mulligan. The first film was an intriguing look at a hidden world. But today, with business news on the front pages and the editorial pages, on 24/7 news channels and thousands of websites, Wall Streeters are less often seen as dashing buccaneers than as the people most responsible for bringing the United States to the brink of economic destruction. The movie itself seems as though it cannot make up its mind what it wants from Gekko.
, Michael Lewis muses that his first expose of the wild world of Wall Street excess, 
was instead viewed “as a how-to manual.” The same is true for the first “Wall Street.” As