The Christmas Chronicles


He sees you when you’re sleeping…

(2018) Holiday (Netflix) Kurt Russell, Darby Camp, Judah Lewis, Kimberly Williams-Paisley, Steven van Zandt, Oliver Hudson, Vella Lovell, Jameson Kraemer, Solla Park, Seth Mohan, Kayla Lakhani, Glen McDonald, Danielle Bourgon, Tony Nappo, Martin Roach, Lamorne Morris, Marc Ribler, Jeff Teravainen, Elizabeth Phoenix Caro, JaQuita May. Directed by Clay Kaytis

 

Every year at Christmas time there is a plethora of made-for-TV Christmas films that generally are barely tolerable. Once upon a time though, major studios made Christmas films that were heartwarming, sent a positive message and were actually entertaining but frankly, there hasn’t been one like that in the multiplexes since Elf.

Netflix has the last couple of years looked to fill that gap, with this being the crown jewel in this year’s crop of four or five Christmas releases. It has a big star, a well-known name in family filmmaking behind the camera (producer Chris Columbus) and a fairly big budget for effects and such. Does this have the makings of a Christmas perennial?

Through a series of home movies we are introduced to the Pierce family. Doug (Hudson), a firefighter, is one of those guys who puts a ton of effort into Christmas. His kids adore him and his wife is head over heels for him. Firefighting is, sadly, a very dangerous occupation and one year Dad is not there at Christmas. His wife Claire (Williams-Paisley) works in the local Emergency Room and on Christmas Eve she’s called in to cover a shift. Times being what they are – single moms need to work all the shifts they can, particularly at Christmas – she puts teen Teddy (Lewis) in charge of moppet Kate (Camp) and off sh goes to earn a living.

Kate still believes in Santa Claus which Teddy finds to be an eye-rolling mess. Teddy has fallen in with a bad crowd and is doing some underage drinking and worse, stealing cars. Kate clings to Dad’s massively outdated camcorder like Linus clings to his security blanket. She manages to convince Teddy – who against all odds decides to stay and babysit rather than go out with his friends as he’d planned to – to set up the camera to catch Santa in the act. To Teddy’s absolute shock, they do.

Going outside to get a better look at the magical sleigh, the two are accidentally taken along when Santa (Russell) takes off for his next destination. When he discovers the stowaways, he is taken by surprise and in the process loses his magic hat (which allows him to deliver presents at lightning sped), his sack of presents, the flying reindeer and the sleigh itself which crashes to Earth – in Chicago. Had Alex Jones made this movie, Santa would have had to be packing in order to make it out alive.

In any case the two kids responsible for Santa’s nightmare have to help him reclaim all his items and deliver the presents before dawn or else Christmas spirit would be drained from the world. The last time that happened, Santa tells us, the Dark Ages ensued. Somebody needs to tell Santa that there’s a good chance that the Second Dark Ages have already begun.

On the way to rescuing Christmas Santa gets arrested (!) and performs a blues musical number with Little Steven and the Disciples of Soul in the jailhouse (!!) while Kate scrambles to find the elves who turn out to be Minion-like merchandising opportunities creatures who speak in an unintelligible language. But can these two kids help Santa save Christmas – and can Santa save this family in crisis? Duh – it’s Christmas!

Russell was an inspired choice for St. Nick. He’s not the jolly old geezer that we’ve seen in past films, nor the hot mess that Tim Allen made him to be. This Santa is a straight shooter, a bit rough around the edges and well, some female reviewers have taken to calling him “hot Santa” which was enough to curl the mistletoe in my home.

As a counterpoint though are the two children. The performers are okay but they needed to be more than that to carry this film, which ends up being a Kurt Russell-fest because of it. Not that it’s a bad thing mind you but the film spends a lot of time following the kids and quite frankly you don’t want to spend a lot of time with them after the first few minutes. Kate’s actions imperil Christmas but there are no repercussions, no remorse really on her end; it’s just “they made a mess and it got cleaned up so everything’s copacetic.” Worse, there are absolutely no consequences for Teddy’s crimes which is criminal for a family film, and in fact Santa participates in a carjacking himself! It’s enough to make an elf burst into tears.

The special effects lack the wow factor of previous Santa-themed Christmas films and the stock aerial footage looks outdated. Much of the action is fairly predictable and rote and while the blues number seems a bit against the grain, it’s actually one of the best moments in the film overall – Russell really brings it. Still, it really doesn’t hold up to the Christmas movies that we tend to watch year after year. This one might get an occasional viewing once you’ve seen it once but even the least discerning Netflix viewers will probably think twice about a second streaming session but Russell’s performance is worth viewing at least once.

REASONS TO GO: Russell makes for a terrific Santa.
REASONS TO STAY: Parents might want to consider the message the film is sending.
FAMILY VALUES: There is some mild profanity and kid mischief.
TRIVIAL PURSUIT: Kurt Russell grew his beard out for the role; that’s actually his hair and beard he’s wearing as Santa, not an appliance.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 1/8/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 52/100.
COMPARISON SHOPPING: The Santa Clause
FINAL RATING: 6/10
NEXT:
Lasso

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Chronicle


Chronicle

Dane DeHaan wants a Ferrari and he wants it NOW!!!!

(2012) Superhero (20th Century Fox) Dane DeHaan, Alex Russell, Michael B. Jordan, Michael Kelly, Ashley Hinshaw, Bo Petersen, Anna Wood, Rudi Malcolm, Luke Tyler, Crystal-Donna Roberts, Adrian Collins, Grant Powell, Armand Aucamp, Nicole Bailey. Directed by Joshua Trank

 

The saying goes absolute power corrupts absolutely, and that is true even of people in the best of positions. When it comes to teenagers, they are still developing their value system and their moral compass is still under construction. That’s not a knock, that’s just how people grow – some may develop sooner than others but for the most part most teens are just kind of making their own way through the best they can. Making mistakes is part of growing up; but when you have super powers, those mistakes become amplified exponentially.

Andrew (DeHaan) is a bit of a loner. His mom Karen (Petersen) is slowly dying, her lungs eaten up by cancer. His father Richard (Kelly) is a former firefighter who is out on permanent disability and copes with the family’s financial ruin and impending death of his wife by drinking and beating up his son who is a disappointment to him.

Andrew copes by documenting everything on an ancient video camera he’s found – why I’m not really sure except a desire to relive every moment of his teenage years’ misery when he gets older. He has few friends at school, let alone a girlfriend. He’s not a bad kid but he’s clearly troubled.

His only friend is his cousin Matt (Russell) who is smart and outgoing although a bit socially awkward himself. He reads books of philosophy, quotes Plato and Schopenhauer and ferries his cousin around to school. Living in the Seattle area, cars are a must unless you’re fond of getting soaking wet in the frequent rainstorms.

Matt drags Andrew to a rave and Andrew decides to go, camera in tow. Predictably he gets bullied and goes outside to sit, despondent. Matt’s friend Steve (Jordan), a popular athlete running for student body president finds Andrew and brings him to a mysterious hole in the ground that he and Matt found. Matt wants Andrew to take pictures of it; the three go down into the hole and find…something.

Three weeks later that something has started developing telekinesis – the ability to move objects with the power of the mind – and their powers are growing stronger and stronger. At first it’s a big goof for the three of them, moving a leaf blower to send an updraft up the skirts of cheerleaders, or bringing a stuffed animal to life to terrify a young girl in a toy store (boys will be boys and sometimes they’re jerks, to paraphrase something Martin Zellar once sang).

Soon though Andrew’s inner rage (as the bullying intensifies as does his mother’s illness and his father’s abuse) begins to burn through and he is rapidly becoming the most powerful of the three of them. An incident causes Matt to establish some rules – no using the powers in anger, on humans or in public, all of which Andrew will soon violate.

This is Trank’s first feature film and he’s already being considered for the high profile Fox reboot of Fantastic Four. He is very successful with taking a movie in the found footage genre and augmenting it with some pretty nifty special effects (although some of the flying sequences look patently green screened with harnesses). The script by Max Landis (son of veteran filmmaker John Landis, the man behind An American Werewolf in London and National Lampoon’s Animal House as well as Michael Jackson’s Thriller video) is smart and authentic. Not only are these high school boys who talk like high school boys (perhaps only Diablo Cody is as good with young people dialogue) but they act like them too. Full of mischief, a little bit of cruelty and plenty of insecurity yet absolutely sure they are the top of the human food chain – yup, just like every teenager I’ve ever met – or the one I used to be.

The movie could easily have taken the easy route and just had three kids becoming Gods with all sorts of wisdom and benevolence and become Superman or even Spider-Man but instead their powers play into their issues and their inexperience leads to tragic circumstances.

DeHaan is the lead here and he does the best job artistically – he has much more to work with in a lot of ways as the troubled boy who slowly comes to realize that he doesn’t have to take anybody’s crap anymore. Still, I think the handsome Russell may wind up with the most success later on down the line – he has that movie star charisma and looks that studios find irresistible. Don’t be surprised if he gets a franchise role somewhere down the line and not too far, either. Ditto for Jordan who has an easy charm and might do real well in some Tyler Perry-like comedies for a younger audience.

Hinshaw as a v-blogger who captures Matt’s attention and Wood as a classmate of Andrew’s who decides to take his virginity after a successful talent show appearance (augmented by his powers) are both nice eye candy but not really called upon to stretch their talents very much. Hopefully we’ll see them do just that in some juicier roles eventually.

This was a bit of a surprise I have to admit – judging on the trailer I expected another teen-centric found footage piece that would grab the high school audience but not much more; quite frankly I thought this was a solid movie with broad appeal and certainly a nice showcase for both Trank and Landis, who I believe have awfully promising careers ahead. There’s actually some stuff to think about here along with the strictly visceral appeal – and that’s a win for a broader audience anyday.

REASONS TO GO: The teens act like teens. Some impressive effects work despite the budget.

REASONS TO STAY: More than its share of angst.

FAMILY VALUES: There is plenty of violence, a few cuss words, some sexuality, teen drinking and some of the themes here are pretty sophisticated for the Nickelodeon set.

TRIVIAL PURSUIT: Anna Wood, whose character makes out with Andrew in the film, is Dane DeHaan’s girlfriend in real life.

CRITICAL MASS: As of 2/15/12: Rotten Tomatoes: 86% positive reviews. Metacritic: 69/100. The reviews are raves.

COMPARISON SHOPPING: Cloverfield

RAIN LOVERS: It rains all the time in Seattle, dude. It rains here a lot too.

FINAL RATING: 6.5/10

TOMORROW: Man On a Ledge