“The Lord of the Rings: The War of the Rohirrim” takes us back to Middle Earth, nearly 200 years before the adventures of the Bagginses and the Fellowship of the Ring. For those whose reaction to this IP brand extension is, “Great! I can’t wait to learn more about the stories behind the story and feel satisfaction when familiar places and characters are name-checked,” this animated story, produced by LOTR director Peter Jackson, will be welcome.

Fans of animation with a taste for anime style, are likely to find this a disappointment. While our heroine, Hèra (Gaia Wise) has big, sometimes expressive anime eyes, the overall style of the animation here is, in a year that included “The Wild Robot,” “Flow,” and “Inside Out 2,” disappointing. Many of the backgrounds are detailed and dimensional, some almost photographic, while the characters and animals are flat and minimalist. Their interactions with the environment seem weightless, any sense of heaviness or the impact of a punch or a fall coming more from the sound effects than the visuals.

Ancillary stories that spring like tree branches from beloved sources have to succeed as independent, stand-alone stories, and this one does not. The Lord of the Rings sagas, books and movies are memorable because of the compelling characters and storylines. The details of the world of hobbits, elves, orcs, ents, and a dragon, not to mention a complete language, are imaginative, but it is the themes of honor, purpose, and loyalty that make them beloved by generations. The characters and storylines here are close to generic.

King Helm Hammerhand of Rohan (Brian Cox of “Succession” and “Manhunter”) is a warrior by nature, physically and politically powerful ruler, generally fair-minded, though he underestimates his “wild, headstrong” daughter, Hèra in favor of his two sons. At a gathering of the noblemen, Freca (Shaun Dooley) barges in, demanding that Hèra marries his son Wulf (Luca Pasqualino) so they can take over the kingdom. Wulf and Hèra played together as children and she still feels warmly toward him. But she insists that she has no interest in marrying anyone. Helm and Freca get into a fistfight, and with one mighty punch Helm knocks Freca down, killing him. Helm banishes Wulf.

Wulf all but disappears and they hear nothing more from him for a few years until he returns, with an army, to capture Hèra and attack Rohan. This means a lot of battles, with just-passable animation and discussions of battle strategy with mostly passable dialogue. This movie never convinces us that there is a reason to make it, and that means there is only reason to watch it for those who will perk up at the mention of familiar places and characters.

Parents should know that this is a very violent film with many battle scenes and a few graphic and disturbing images including dead animals and a severed arm. A young man sees his father killed in a fight and a young woman sees her brother murdered. Characters are killed sacrificing themselves for others.

Family discussion: Why didn’t Helm listen to Hèra? Why were Wulf and Freca so angry and resentful? What was the scariest part?

If you like this, try: the “Lord of the Rings” books and movies

Another day, another second or third-level Marvel character “from the Spider-Man universe” given main character energy as Sony makes sure it takes every possible advantage of the contractual carve-out that gives it a small piece of the Marvel universe that isn’t run by Kevin Feige and Disney. The best I can say is that “Kraven the Hunter” is a bit better than the dismal “Madame Web” and less goofy than Tom Hardy’s “Venom: The Last Dance.”

This is the sixth of the Sony films about ancillary Spider-Man characters, the longest (2 hours, 7 minutes), and the first to be rated R.

The rating is primarily for extended bloody violence, as indicated by the poster showing Kraven’s face with specks of blood (not his) and the sobriquet “Hunter.” In the comics, he hunts Spidey because he wants to test himself against the most challenging prey. That character is inspired by Richard Connell’s short story about hunting humans, “The Most Dangerous Game.” But this movie is an origin story, and Kraven hunts bad guys.

It opens in present day, where a bus is taking men in chains to a remote Russian prison. We see the man we will come to know as Kraven (Aaron Taylor-Johnson) holding his meager bedding as he enters his cell. An extremely tough-looking guy watches him enter, then says, “I do not like roommates.” Kraven tells him that he will be gone within three days; if not, his cellmate can hit him. Kraven stays long enough to kill another prisoner, one of those still-running-the-crime-syndicate-from-prison kingpins. And then he escapes, automatic weapon bullets all around him as he races to catch the plane that was sent for him.

Flashback to 16 years earlier. Teenage Sergei Kravinoff (Levi Miller) and his half-brother Dimitri (Billy Barrett) are attending a posh boarding school in upstate New York when they are told their father has come to pick them up. He is Nikolai Kravinoff (Russell Crowe), a powerful crime boss and the embodiment of toxic masculinity. He abruptly tells the boys that Sergei’s mother has committed suicide because she was “weak” and disturbed. There will be no funeral; instead he is taking his sons on a safari, so they can prove their manhood by killing dangerous animals.

Nikolai teaches his sons that the only things that matter are strength and power; they must never show weakness or fear. Sergei, who is brave and thoughtful, tries to protect his sensitive and vulnerable younger brother. When a legendary lion many hunters have failed to kill approaches them, Sergei puts himself in danger and is fatally mauled. But he is found by Calypso, a young girl on a photo safari with her parents. Her grandmother, a tarot card reader with some mystical power, had just given Calypso a vial with a potion that can “heal someone in undreamed ways.” She pours it into Sergei’s mouth and later, at the hospital, after he is pronounced dead he suddenly recovers. Between the potion and the lion’s blood that dripped into his wound, Sergei now has the powers of the world’s apex predators.

Yes, this is a superhero story about daddy issues. Nickolai is a narcissist who belittles everyone around him, including his sons and also some random guy named Aleksei Sytsevich (Alessandro Nivola) who tagged along on the safari in hopes of persuading Nickolai to allow him to be a part of all the criming. We will see him again later. When Nickolai tells Sergei he is taking him into the family business, Sergei runs away, leaving his brother behind.

Sergei becomes Kraven, living in a remote Russian forest on property once owned by his mother’s family. And he becomes a hunter, trying to balance his father’s ruthless brutality by taking out bad guys. He tracks down Calypso (Ariana DeBose), now an American lawyer working in London to thank her for saving his life and ask for her help in locating some bad guys. And then Dimitri is kidnapped, and Nickolai refuses to pay the ransom, because it will make him look weak.

All of this is just a light framework for a lot of impressive stunts. Kraven is old-school, so while people are shooting at him, he is using spears, knives, poison darts, and bear traps. At least the action scenes relieve us from the clunky dialogue and bad accents.

Parents should know that this is a very violent movie with constant action and comic-book-style chases and fight scenes and many graphic and disturbing images. A teenager gets mauled by a lion. There is a very unsympathetic discussion of suicide. Weapons include machine guns and rifles, spears, knives, poison darts, bear traps, and bombs. Characters drink alcohol and use some strong language.

Family discussion: Why did Sergei and Dimitri respond so differently to their father? What were Kraven’s strengths as a hunter? What mistakes did he make?

If you like this, try; “The Most Dangerous Game” and Taylor-Johnson’s “Bullet Train” and “Kick-Ass”

I am honored to be a founding member of the Washington DC Area Film Critics Association, and very proud of our nominations and awards this year:

the Washington DC Area Film Critics Association (WAFCA) celebrates a year of filmmaking excellence with its 2024 WAFCA Awards winners. This year’s awards recognize a stellar array of films, showcasing the best in mainstream and independent cinema in 21 categories.

“Wicked Proves Too Popular to Lose”

In a surprise turn, “Wicked” swooped in to take the Best Feature and Best Production Design wins. Similarly, “The Brutalist” claimed the prize in two categories: Best Director for Brady Corbet, and Original Score by Daniel Blumberg. Tying with the ambitious and infectious “Challengers” score by Reznor and Finch in the latter. Meanwhile, Colman Domingo took the crown for his leading role in “Sing Sing,” as did Mikey Madison for her performance in “Anora.” Despite facing stiff competition, the art and entertainment of 2024 saw awards spread evenly among several standout films.

Presented by the many outstanding voices of Washington D.C., Maryland, and Virginia film criticism, this year’s WAFCA Awards include five special recognition categories. Living up to its name, “The Fall Guy” grabbed the first Best Stunts title, highlighting the outstanding achievement of stunt coordinators and their teams. “Civil War” was celebrated for its powerful (hopefully not prescient) depiction of Washington, DC with 

The Joe Barber Award—named for the beloved, late WTOP film and entertainment editor.

Here is the complete list of 2024 WAFCA Award Winners:

Best Original Score:
“Blitz” – Hans Zimmer
WINNERS: “Challengers” – Trent Reznor and Atticus Ross
“Conclave” – Volker Bertelmann
“Nosferatu” – Robin Carolan
WINNERS: “The Brutalist” – Daniel Blumberg
“The Wild Robot” – Kris Bowers

Best Editing
WINNERS: “Anora” – Sean Baker
“Conclave” – Nick Emerson
WINNERS: “Dune: Part Two” – Joe Walker
“The Brutalist” – Dávid Jancsó
“Wicked” – Myron Kerstein

Best Cinematography
“Conclave” – Stéphane Fontaine
“Dune: Part Two” – Greig Fraser
“Nickel Boys” – Jomo Fray
WINNER: “Nosferatu” – Jarin Blaschke
“The Brutalist” – Lol Crawley

Best Production Design
“Dune: Part Two” – Patrice Vermette
“Gladiator II” – Arthur Max
“Nosferatu” – Craig Lathrop
“The Brutalist” – Judy Becker
WINNER: “Wicked” – Nathan Crowley

Best International Film
“Dahomey” – France, Senegal, Benin, Singapore
WINNER: “Emilia Pérez” – Mexico (setting), France, Belgium (shot)
“Flow” – Latvia, Belgium, France
“I’m Still Here” – Brazil, France
“The Seed of the Sacred Fig” – France, Iran (shot)

Best Documentary
“Dahomey” (MUBI)
“Daughters” (Netflix)
“Music by John Williams” (Disney+)
“No Other Land” (mTuckman Media)
WINNER: “Super/Man: The Christopher Reeve Story” (Warner Bros. Pictures)
“Will & Harper” (Netflix)

Best Animated Feature
“Flow” (Sideshow / Janus Films)
“Inside Out 2” (Disney/Pixar)
“Memoir of a Snail” (IFC Films)
WINNER: “The Wild Robot” (Universal Pictures)
“Wallace and Gromit: Vengeance Most Fowl” (Netflix)

Best Adapted Screenplay
WINNER: “Conclave” – written for the screen by Peter Straughan
“Dune: Part Two” – written for the screen by Denis Villeneuve, Jon Spaihts
“Nickel Boys” – written for the screen by RaMell Ross, Joslyn Barnes
“Sing Sing” – written for the screen by Clint Bentley, Greg Kwedar
“Wicked” – written for the screen by Winnie Holzman, Dana Fox

Best Original Screenplay
“Anora” – Sean Baker
WINNER: “A Real Pain” – Jesse Eisenberg
“Challengers” – Justin Kuritzkes
“The Brutalist” – Brady Corbet, Mona Fastvold
“The Substance” – Coralie Fargeat

Best Youth Performance
Alisha Weir – “Abigail”
Alyla Browne – “Furiosa: A Mad Max Saga”
WINNER: Elliott Heffernan – “Blitz”
Ian Foreman – “Exhibiting Forgiveness”
Isabel DeRoy–Olson – “Fancy Dance”
Izaac Wang – “Didi”
Zoe Ziegler – “Janet Planet”

Best Voice Performance
Amy Poehler – “Inside Out 2”
Auli’i Cravalho – “Moana 2”
Brian Tyree Henry – “Transformers One”
WINNER: Lupita Nyong’o – “The Wild Robot”
Maya Hawke – “Inside Out 2”

Best Acting Ensemble
“Anora” – Sean Baker, Emily Fleischer (casting associate)
WINNER: “Conclave” – Barbara Giordani, Nina Gold, Francesco Vedovati, Martin Ware
“Dune: Part Two” – Francine Maisler
“Sing Sing” – Greg Kwedar, Rita Powers (extras casting)
“The Brutalist” – Kristina Erdely, Cassandra Kulukundis
“Wicked” – Tiffany Little Canfield, Bernard Telsey

Best Supporting Actress
Ariana Grande – “Wicked”
Aunjanue Ellis–Taylor – “Nickel Boys”
WINNER: Danielle Deadwyler – “The Piano Lesson”
Isabella Rossellini – “Conclave”
Zoe Saldana – “Emilia Perez”

Best Supporting Actor
Clarence Maclin – “Sing Sing”
Denzel Washington – “Gladiator II”
Guy Pearce – “The Brutalist”
WINNER: Kieran Culkin – “A Real Pain”
Yura Borisov – “Anora”

Best Actress
Cynthia Erivo – “Wicked”
Demi Moore – “The Substance”
Karla Sofia Gascon – “Emilia Perez”
Marianne Jean–Baptiste – “Hard Truths”
WINNER: Mikey Madison – “Anora”

Best Actor
Adrien Brody – “The Brutalist”
WINNER: Colman Domingo – “Sing Sing”
Daniel Craig – “Queer”
Ralph Fiennes – “Conclave”
Timothée Chalamet – “A Complete Unknown”

Best Director
WINNER: Brady Corbet – “The Brutalist”
Denis Villeneuve – “Dune: Part Two”
Edward Berger – “Conclave”
Jon M. Chu – “Wicked”
Sean Baker – “Anora”

Best Feature
“Anora” (Neon)
“Conclave” (Focus Features)
“Sing Sing” (A24)
“The Brutalist” (A24)
WINNER: “Wicked” (Universal Pictures)

——

WAFCA ALSO HONORS:

The Joe Barber Award for Best Portrayal of Washington, DC
WINNER: “Civil War”
“Daughters”
“Shirley”
“Stopping the Steal”

Best Motion Capture
Eka Darville – “Kingdom of the Planet of the Apes”
Jonno Davies – “Better Man”
Kevin Durand – “Kingdom of the Planet of the Apes”
WINNER: Owen Teague – “Kingdom of the Planet of the Apes”
Peter Macon – “Kingdom of the Planet of the Apes”

Best Stunts
“Deadpool and Wolverine” – Colin Follenweider (stunt coordinator), George Cottle (supervising stunt coordinator), Alex Kyshkovych (fight coordinator)

“Dune: Part Two” – Lee Morrison (Supervising Stunt Coordinator), Roger Yuan (Stunt Coordinator/Fight Coordinator), Gyula Toth (Assistant Stunt Coordinator)

“Furiosa: A Mad Max Saga” – Guy Norris (action designer/supervising stunt coordinator)

“Gladiator II” – Nikki Berwick, Peter White (stunt coordinators), Ray Nicholas, Cali Nelle (fight coordinators)

WINNER: “The Fall Guy” – Chris O’Hara (stunt coordinator/stunt designer)

——

About the WAFCA:
Founded in 2002, The Washington D.C. Area Film Critics Association (WAFCA) has grown into a mainstay of film criticism, comprising over 50 dedicated critics from the Washington D.C., Maryland, and Virginia areas. With members representing a cross-section of media platforms, including broadcast, print, and digital outlets, WAFCA reflects the evolving landscape of film criticism. Providing a diverse and respected voice in the industry, WAFCA annually recognizes outstanding achievements in the film industry through its awards and the journalism of its members.

The Golden Globe nominations are out! Continuing the weirdness of their line between drama and comedy/musical, somehow the body horror film “The Substance” and the not-funny and not-musical “Challengers” ended up in the comedy category this year. “Emilia Perez” and “The Brutalist” are showing up a lot as front-runners on these early awards lists. “Anora,” “Wicked” and “A Real Pain” got a lot of attention as well. We can expect to see these films and the people who made them at the Oscars.

BEST MOTION PICTURE – DRAMA

THE BRUTALIST (A24)

A COMPLETE UNKNOWN (Searchlight Pictures)

CONCLAVE (Focus Features)

DUNE: PART TWO (Warner Bros. Pictures)

NICKEL BOYS (Orion Pictures / Amazon MGM Studios)

SEPTEMBER 5 (Paramount Pictures)

BEST MOTION PICTURE – MUSICAL OR COMEDY

ANORA (NEON)

CHALLENGERS (Amazon MGM Studios)

EMILIA PÉREZ (Netflix)

A REAL PAIN (Searchlight Pictures)

THE SUBSTANCE (MUBI)

WICKED (Universal Pictures)

BEST MOTION PICTURE – ANIMATED

FLOW (Sideshow / Janus Films)

INSIDE OUT 2 (Walt Disney Studios Motion Pictures)

MEMOIR OF A SNAIL (IFC Films)

MOANA 2 (Walt Disney Studios Motion Pictures)

WALLACE & GROMIT: VENGEANCE MOST FOWL (Netflix)

THE WILD ROBOT (Universal Pictures)

CINEMATIC AND BOX OFFICE ACHIEVEMENT

ALIEN: ROMULUS (Walt Disney Studios Motion Pictures)

BEETLEJUICE BEETLEJUICE (Warner Bros. Pictures)

DEADPOOL & WOLVERINE (Walt Disney Studios Motion Pictures)

GLADIATOR II (Paramount Pictures)

INSIDE OUT 2 (Walt Disney Studios Motion Pictures)

TWISTERS (Universal Pictures)

WICKED (Universal Pictures)

THE WILD ROBOT (Universal Pictures)

BEST MOTION PICTURE – NON-ENGLISH LANGUAGE

ALL WE IMAGINE AS LIGHT (Sideshow / Janus Films) – USA / FRANCE / INDIA

EMILIA PÉREZ (Netflix) – FRANCE

THE GIRL WITH THE NEEDLE (MUBI) – POLAND / SWEDEN / DENMARK

I’M STILL HERE (Sony Pictures Classics) – BRAZIL

THE SEED OF THE SACRED FIG (NEON) – USA / GERMANY

VERMIGLIO (Sideshow / Janus Films) – ITALY

BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – DRAMA

PAMELA ANDERSON (THE LAST SHOWGIRL)

ANGELINA JOLIE (MARIA)

NICOLE KIDMAN (BABYGIRL)

TILDA SWINTON (THE ROOM NEXT DOOR)

FERNANDA TORRES (I’M STILL HERE)

KATE WINSLET (LEE)

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – DRAMA

ADRIEN BRODY (THE BRUTALIST)

TIMOTHÉE CHALAMET (A COMPLETE UNKNOWN)

DANIEL CRAIG (QUEER)

COLMAN DOMINGO (SING SING)

RALPH FIENNES (CONCLAVE)

SEBASTIAN STAN (THE APPRENTICE)

BEST PERFORMANCE BY A FEMALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

AMY ADAMS (NIGHTBITCH)

CYNTHIA ERIVO (WICKED)

KARLA SOFÍA GASCÓN (EMILIA PÉREZ)

MIKEY MADISON (ANORA)

DEMI MOORE (THE SUBSTANCE)

ZENDAYA (CHALLENGERS)

BEST PERFORMANCE BY A MALE ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY

JESSE EISENBERG (A REAL PAIN)

HUGH GRANT (HERETIC)

GABRIEL LABELLE (SATURDAY NIGHT)

JESSE PLEMONS (KINDS OF KINDNESS)

GLEN POWELL (HIT MAN)

SEBASTIAN STAN (A DIFFERENT MAN)

BEST PERFORMANCE BY A FEMALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

SELENA GOMEZ (EMILIA PÉREZ)

ARIANA GRANDE (WICKED)

FELICITY JONES (THE BRUTALIST)

MARGARET QUALLEY (THE SUBSTANCE)

ISABELLA ROSSELLINI (CONCLAVE)

ZOE SALDAÑA (EMILIA PÉREZ)

BEST PERFORMANCE BY A MALE ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE

YURA BORISOV (ANORA)

KIERAN CULKIN (A REAL PAIN)

EDWARD NORTON (A COMPLETE UNKNOWN)

GUY PEARCE (THE BRUTALIST)

JEREMY STRONG (THE APPRENTICE)

DENZEL WASHINGTON (GLADIATOR II)

BEST DIRECTOR – MOTION PICTURE

JACQUES AUDIARD (EMILIA PÉREZ)

SEAN BAKER (ANORA)

EDWARD BERGER (CONCLAVE)

BRADY CORBET (THE BRUTALIST)

CORALIE FARGEAT (THE SUBSTANCE)

PAYAL KAPADIA (ALL WE IMAGINE AS LIGHT)

BEST SCREENPLAY – MOTION PICTURE

JACQUES AUDIARD (EMILIA PÉREZ)

SEAN BAKER (ANORA)

BRADY CORBET, MONA FASTVOLD (THE BRUTALIST)

JESSE EISENBERG (A REAL PAIN)

CORALIE FARGEAT (THE SUBSTANCE)

PETER STRAUGHAN (CONCLAVE)

BEST ORIGINAL SCORE – MOTION PICTURE

VOLKER BERTELMANN (CONCLAVE)

DANIEL BLUMBERG (THE BRUTALIST)

KRIS BOWERS (THE WILD ROBOT)

CLÉMENT DUCOL, CAMILLE (EMILIA PÉREZ)

TRENT REZNOR, ATTICUS ROSS (CHALLENGERS)

HANS ZIMMER (DUNE: PART TWO)

BEST ORIGINAL SONG – MOTION PICTURE

“BEAUTIFUL THAT WAY” –– THE LAST SHOWGIRL

Music & Lyrics by: Andrew Wyatt, Miley Cyrus, Lykke Zachrisson

“COMPRESS / REPRESS” –– CHALLENGERS

Music & Lyrics by: Trent Reznor, Atticus Ross, Luca Guadagnino

“EL MAL” –– EMILIA PÉREZ

Music & Lyrics by: Clément Ducol, Camille, Jacques Audiard

“FORBIDDEN ROAD” –– BETTER MAN

Music & Lyrics by: Robbie Williams, Freddy Wexler, Sacha Skarbek

“KISS THE SKY” –– THE WILD ROBOT

Music & Lyrics by: Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael

Pollack, Ali Tamposi

“MI CAMINO” –– EMILIA PÉREZ

Music & Lyrics by: Clément Ducol, Camille

I love the Christmas classic movies and watch as many as I can every year.  But there are many great Christmas films that don’t get mentioned as often and I like to remind families that these are worth making time for as well.

1.  The Nativity Story  This sincere and respectful story is a good way to remember that Christmas is about more than presents and parties.  “Whale Rider’s” Keisha Castle-Hughes has a shy but dignified and resolute air and she glows believably as the very young woman who is selected as the mother of Jesus. And Oscar Isaac (Poe Dameron in “Star Wars: The Force Awakens”) effectively conveys tenderness, doubt, courage, and transcendence as Joseph.

2. A Christmas Memory Truman Capote’s bittersweet memory of his childhood Christmas making fruitcakes with his elderly cousin, the only relative who cared about him, is beautifully filmed with the magnificent Geraldine Page as the fruitcake-baking cousin and Capote himself reading the narration.

3. Will Vinton’s Claymation Christmas The California Raisins guys put together this Christmas special, with the highlight the funniest-ever performance of “Carol of the Bells.”

4. Come to the Stable Loretta Young and Celeste Holm are French nuns trying to raise money to build a hospital.  Their faith and goodness transform those they meet.

5. Little Women “Christmas won’t be Christmas without any presents” is the first line of this classic novel based on the loving if sometimes tumultuous family of author Louisa May Alcott.  All of the lovely versions open with an important Christmas lesson about the joy of giving.

6. The Best Christmas Pageant Ever Based on the classic book, this stars Judy Greer as a mother trying to cope with six rambunctious kids who insist on playing the lead roles in the church pageant. There’s an earlier version with Loretta Swit. 

7. This Christmas I love this movie about a family with five adult children who return home to celebrate Christmas with their mother and youngest brother.  The all-star cast includes Regina King, Idris Elba, Loretta Devine, and Chris Brown.  Be sure to watch through the credits to see a great dance number.

8. Desk Set Before Google, companies had human beings to track down information. Katherine Hepburn plays the head of the all-female research department for a television network and Spencer Tracy is the engineer who is installing the company’s first computer, which takes up a whole wall and uses punch cards and vacuum tubes. Sparks fly — and not just in the equipment.

9. Die Hard Bruce Willis plays a cop visiting his estranged wife at her office Christmas party when the building is taken over by bad guys led by Alan Rickman in this action-movie classic, and yes, it is a Christmas movie.

10. The Polar Express Tom Hanks stars in this animated story based on the book by Chris Van Allsburg about a magical train ride to the North Pole.

11. Home Alone This comedy smash hit stars Macauley Culkin as a little boy who is accidentally left home when his family goes away for the holidays and has to take care of himself and guard the house from a couple of inept thieves.  The slapstick is over the top but the message of Christmas is surprisingly touching.

12. Annie The story of the plucky orphan from the comic pages became one of the biggest Broadway musicals of all time and one of its highlights is Christmas with Daddy Warbucks. There are at least three versions, all good!

13. The Holiday Kate Winslet and Cameron Diaz swap houses and find love with Jack Black and Jude Law in one of Nancy Meyers’ most endearing romances. 

14. The Man Who Invented Christmas Dan Stevens stars as Charles Dickens, who is under enormous family and financial pressure to produce a new book that will sell. It is a delight to  see how the story of “The Christmas Carol” comes together.  

15. Klaus (Netflix) In this absolutely gorgeous animated film, the father of a spoiled young man punishes him by sending him to a remote snow-covered village and putting him to work. The young man ends up inventing some of the most beloved Christmas traditions.