Silent Night, Deadly Night (1984)

When he witnesses the murder of his parents at the hands of a vicious criminal dressed in a Santa suit, young Billy develops a perfectly acceptable fear of the avuncular giver of gifts. Growing up in an orphanage with his younger brother, Billy is further traumatised when the Mother Superior tries to force him to sit on the knee of a visiting Santa. All of the other kids think of Christmas as a happy time when gifts are received. Billy thinks of it as a time of murder and bloodshed, especially for those who have been naughty instead of nice. When he becomes a young man, Billy gets a job in a local store and does fairly well in his role. Until he has to step in to play . . . . . . . . . . . . . . . . . . Santa. Anyone on the naughty list is really going to suffer this year.

Directed by Charles E. Sellier Jr. and written by Michael Hickey (developing from the story by Paul Caimi), this movie upset a lot of people when it was first released and was dismissed as trash by people such as Sickel & Ebert and Leonard Maltin. I love it.

It's gloriously demented from start to finish, piling on the psychological damage to the main character throughout and barely pausing for anything that comes close to the reality of how killers are created. Actually, to be fair, the events shown could certainly shape someone into a killer over time but everything is heightened and taken to an extreme that keeps the focus on the entertainment rather than any rumination on damaged psyches.

Robert Brian Wilson plays the grown up Billy and he's very good in the role, all twitchy and eye-rollingly insane. Horror genre fans will be pleased by the small role for Linnea Quigley, playing a babysitter who is busy trying to be a bit naughty before Santa pays a visit, while Lilyan Chauvin and Gilmer McCormick play a couple of nuns involved in the running of the orphanage who start to put two and two together when they hear of the killer Santa on the loose. The gorgeous Tara Buckman has a small but important role and Eric Hart is great as Mr. Levitt the storekeeper.

There are many moments in the movie that are laughable but that doesn't matter, even the laughable moments are entertaining and this is one big slice of brilliant sleaze that goes all out from start to finish to entertain. In that regard, it's a success and while it won't be to everyone's taste but I absolutely love it.

9/10

http://www.amazon.co.uk/Silent-Night-Deadly-DVD/dp/B002MR0WF2/ref=sr_1_1?s=dvd&ie=UTF8&qid=1354372395&sr=1-1

Deck The Halls (2006)

Danny DeVito and Matthew Broderick star in this disappointing Christmas comedy as two neighbours who end up upsetting each other. It's a tale of escalating rivalry that's been done a number of times before (in a number of better movies) but it suffers from having central characters that it's hard to care for and being more predictable than a Christmas cracker gag.

Broderick plays Steve Finch, an optician, a pillar of the community and an all-round good guy. Kristin Davis plays his wife and they have two normal kids, one teenage daughter (Alia Shawkat) who is unhappy while she tries to show how she's growing into a woman and one younger boy (Dylan Blue) who acts more depressed in the run up to Christmas to bag himself some better presents. Christmas is a busy time for the Finch family with a lot to do and traditions to uphold. That's all thrown into disarray by the arrival of a new neighbour, Buddy Hall (DeVito). Buddy has his lovely wife (Kristin Chenoweth) and two stylish and beautiful teenage daughters (Kelly and Sabrina Aldridge). While Steve and Buddy don't exactly hit it off right away, things start to get a lot worse when Buddy gets the idea in his head to decorate his house with enough Christmas lights to enable his house to be seen from outer space.

Written by Matt Corman, Chris Ord and Don Rhymer, Deck The Halls is almost consistently unfunny. Broderick and DeVito aren't served well at all by the script. I get the point that the characters are supposed to become blinded by their single-minded quests for their own interpretation of Christmas perfection but it's a shame that they had to be assholes for almost every scene. Luckily, the women fare much better and Kristin Davis and Kristin Chenoweth have a few good scenes together and make up for the irritation of the men. To be fair, DeVito has moments when he actually manages to do okay but Broderick never gives anything more than a very weak rehashing of his performance in Election. He was good in that movie, thanks to the obsession of his character being ever so slightly understandable, but it doesn't work this time around.

Director John Whitesell fumbles everything from start to finish. The movie should kick into gear when the two main men meet up near the start but, instead, it starts to sink down into a quagmire of its own lazy mess. The set-pieces in particular (a family photo that's interrupted, a trip to the family Christmas tree lot, an attempt by Steve to cut the supply powering the lights of his neighbour, a speed skating race) are all disappointing and end up boring the hell out of the viewer instead of raising the entertainment levels. Which makes this movie far from the top of the Christmas tree.

4/10

http://www.amazon.co.uk/Deck-The-Halls-Danny-Devito/dp/B000V7ZMKU/ref=sr_1_1?ie=UTF8&qid=1354372181&sr=8-1

Dirty Dancing - The Classic Story On Stage.

Dirty Dancing eh, if you don't know it then you certainly know OF it. Even if you only know that "nobody puts Baby in the corner". The successful stage show adaptation of the movie is playing at the Edinburgh Playhouse from Tuesday 4th December 2012 - Saturday 12 January 2013 and it proves to be the very definition of a crowd-pleaser.

The story is exactly the same as it was in the movie. A young woman, Frances 'Baby' Houseman (played here by the lovely Jill Winternitz), spends a summer vacation with her parents (played by James Coombes and Julia Nagle) and sister (Emilia Williams) and comes of age while enjoying the company of the staff there, and especially the main male dancer, Johnny (played by Paul-Michael Jones).

Directed for the stage by Sarah Tipple and with Eleanor Bergstein adapting her own movie screenplay, Dirty Dancing can't fail with fans of the film. It just can't. That's a scientific fact.

It's far from perfect though. Okay, I'm clearly not part of the main target audience (my wife enjoyed the show much more than I did and the whooping and hollering women around us were having even more fun) but I enjoyed the music, the dancing and the comedy when it was all working well. The flaws weren't major but I thought I'd list them first nonetheless and get them out of the way:
1) In an attempt to port across so much of the film (and the show seems to include every line from the movie script) the play sometimes feels too clumsy and rambling, especially with one or two transitions to scenes that last a mere minute.
2) The script isn't as sharp as it could be, which I think is down to Bergstein mistakenly thinking that her original work simply holds up as classic stuff. While the movie is a classic of its kind, and while it holds up surprisingly well, it's not a film that is chock full of great lines. I can think of two, which are used in the play, but that's it.
3) The use of the extras in crowd scenes often felt awkward and far too fake. I know that many plays/musicals can have this problem but it felt more pronounced here and, amateur outsider looking in that I am,  I can't help feeling that the staging could have been improved.
These may not seem like major problems but they do affect the whole production, especially in the first half of Act 1.

But enough of my criticism, let's look at everything that the show gets right.

First of all, the cast are pretty much all excellent. Jill Winternitz is a constant delight as Baby and does well with every aspect of the role, whether it's the comedy of her trying to learn how to put some oomph into her dancing or the grace and skill of her moves once she's mastered it all. There may be no replacing the great Patrick Swayze in the eyes of many but, let me tell you, Paul-Michael Jones does an admirable job - he's so good, and apparently so sexy, that I think at least 80% of the females in the audience became pregnant just by watching him. James Coombes and Julia Nagle are both fine and Emilia Williams is okay for Act 1 before coming into her own in Act 2 with some physical comedy that had everyone crying tears of laughter. Michael Remick was also fine as Max Kellerman, the owner of the holiday camp, while Stefan Menaul excelled in the role of Neil Kellerman - the fun, comedy role allowing him to steal a few scenes during Act 1. Nicky Griffiths plays Penny Johnson, the dancer who gets in trouble and causes the chain of events that bring Baby and Johnny closer and closer, while Callum Nicol plays Robbie Gould, the guy who causes that same trouble, and both were very good. And not forgetting Colin Charles as the laid-back Tito Suarez.

Secondly, the music. Of course the music is a winner. Remember how great the soundtrack to the movie was? Well, all of the hits are here. "Be My Baby", "Do You Love Me?", "Love Man", "Wipe Out", "Hungry Eyes" (a favourite track used during a favourite moment), "Love Is Strange" and, of course, "(I've Had) The Time Of My Life". The hits just keep on coming and the familiarity helps the energy of the whole production. I can't have been the only person tapping their feet from start to finish.

Thirdly, the staging of the show is deceptively simple but also very entertaining. Video screens are used to great effect (with an extra layer added, providing setting and comedy, during the dance practice montage that stands as the highlight of Act 1), a live band are positioned above the main players, sometimes in sight and sometimes hidden behind closed shutters, and the moving floor allows for some smooth changes of scenery and an interesting addition to some of the dance numbers.

Last, but by no means least, there's a finale that brings the house down. I admit it, I was grinning and clapping along and loving every moment of the last big number - and many of you will already know what that is. There's a great return to the stage from the swaggering Johnny, there's THAT line of dialogue and then there are the many perfected dance moves, including the one that everyone came along to see, preceded in the showing that I attended by a cheeky little loosening up of the wrist by Paul-Michael Jones (the twinkle in his eye was, undoubtedly, seen even at the very back of The Playhouse). It's a finale that makes everything else pale into insignificance and guarantees that every audience member leaves with a huge smile and an urge to try out a few dance steps.

Women should already have their tickets booked while any men being dragged along should know that it's okay to admit it if you end up enjoying yourself.

As mentioned, Dirty Dancing is playing at The Edinburgh Playhouse until Saturday 12th January 2013 - tickets are available here.

****

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The Munsters' Scary Little Christmas (1996)

Ahhhh, how I used to love The Munsters. Great personalities, lots of gags (both good and bad) and lovely design throughout from the house itself, 1313 Mockingbird Lane, to each one of the main characters. I don't know what I was expecting from this Christmas special, considering the fact that it was about 30 years after the original series and just how much the world, and my view on it, had changed in those intervening years.

Surprising as it is, The Munsters' Scary Little Christmas gets by and may please fans of the show as it pleased me. I didn't love it and I won't be rushing to rewatch it but I felt comfortable watching it and enjoying the many obvious jokes. Fred Gwynne, the original Herman Munster, is irreplaceable but Sam McMurray tries to do his best by the role.

The story is all about The Munsters getting ready for Christmas. This involves decorating their home, trying to cheer up a morose Eddie and sending out the invites to family and friends. Herman is still scaring people with his appearance, Lily (Ann Magnuson) is still rolling her eyes while keeping her family in line, Grandpa (Sandy Baron) is as troublesome as a pesky child and Marilyn (Elaine Hendrix) is the ugly duckling of the family. Then there's Eddie (Bug Hall), struggling to adjust to life away from his homeland. All of this starts to pale into insignificance, however, when Santa Claus ends up with the Munsters and in need of some serious help.

Written by Ed Ferrara and Kevin Murphy, and directed by Ian Emes, everything here is handled capably enough. I can't really say that The Munsters' Scary Little Christmas is good but it's certainly a lot better than I thought it was going to be. That's thanks to two things. First of all, the tone is quite close to the tone of the old series. Everything is silly and fun as opposed to sharp and cool. Secondly, the cast may not be able to fill the big shoes of the original players but a couple of key players - namely Sandy Baron and Elaine Hendrix - do very well while everyone else involved manages to at least acquit themselves capably enough. There's also a small role for Mary Woronov as a nosey neighbour, which is a bonus for genre fans. Mark Mitchell, Ed Gale and Arturo Gil as Santa and his two elves don't really add much fun to the proceedings but their characters add the required Christmas magic, of course, so their presence is bearable.

Not worth rushing out to buy and not even worth rushing out to watch but if you're lazing around during the Christmas holidays and this comes on TV then it's a painless time-waster that might remind you to hunt down the original series and relive some fond memories.

5/10

http://www.amazon.com/The-Munsters-Scary-Little-Christmas/dp/B000V6LSNQ/ref=sr_1_1?ie=UTF8&qid=1354228759&sr=8-1&keywords=the+munsters%27+scary+little+christmas

Silent Night (2012)

This is how you do a remake and this is how you do a Christmas slasher movie, oh yes. Silent Night is a remake of Silent Night, Deadly Night but, to be honest, it only takes loose inspiration from that movie. Both films are about killer Santas but there are some big differences. Fans, however, will be delighted to see a number of nods to the original film.

It's Christmas Eve and Officer Aubrey Bradimore (Jaime King) is called in to help out while everyone prepares for the big day. The streets are full of men dressed as Santa, all getting ready for the annual Christmas parade. That makes things awfully difficult when the police find out that they have a killer on their hands, a killer meting out justice while dressed as Santa Claus.

A lot of people will find so many elements of Silent Night just wrong, wrong, wrong. Personally, I think that screenwriter Jayson Rothwell and director Steven C. Miller get everything just right. The film doesn't waste any time in setting up the nasty premise and then barely lets up until the end credits roll (approximately 94 minutes later).

The death scenes play a big part in the entertainment factor, of course, with a variety of methods used to get rid of various folk on the naughty list. Electrocution by a set-up that involves a lot of Christmas lights, some fun with a woodchipper and an absolutely classic case of axe head meeting human head, those are just a few of the many great kills in the movie.

However, as much as a few horror fans may debate the issue, great kills alone don't make for a great movie. Thankfully, Silent Night also has a great cast to add to the entertainment value. Jaime King is a lead you can really root for so there are no problems there but the supporting cast are where things really start to shine. Malcolm McDowell clearly has a blast as the Sheriff who keeps coming up with absurd sayings to apply to every situation and Donal Logue is great fun as a cynical Santa who falls under suspicion. Ellen Wong, Brendan Fehr, Lisa Marie, Courtney-Jane White, Ali Tataryn, Curtis Moore and Tom Anniko all do well in a variety of supporting roles, some more memorable than others for reasons that will become obvious once you watch the thing.

That's the main point I want to reiterate at the end of this review, DO watch the movie. If you're a horror fan then this is a fantastic, beautifully simple, bodycount slasher movie just like they used to make. If you're a comedy fan then you might just find yourself laughing at the sheer gusto of the whole thing. If you're a fan of all things nice and sweet then you . . . . . . . . well, you may just want to ignore this entire review and rewatch A Christmas Story instead.

9/10

http://www.amazon.com/Silent-Night-Blu-ray-Malcolm-McDowell/dp/B009IV2ZCI/ref=sr_1_1?ie=UTF8&qid=1354577220&sr=8-1&keywords=silent+night

Eight Crazy Nights (2002)

Why do I do it to myself? Well, because, deep down, I love it. I love bad movies almost as much as I love good movies. It's rewarding to watch the end credits roll on a stinker and start sharpening the knives while you ponder just what to type up in review form. And Eight Crazy Nights is a stinker, a movie so misjudged that it becomes almost amusing to watch it limp from one ineffectual scene to another.

There's snow all around, gifts being given to one another and a general feeling of holiday goodwill for most people but this isn't a Christmas movie. Well, actually, it IS a Christmas movie but it's much more predominantly a Hanukkah movie (hence the eight nights of the title, crazy or not).

Adam Sandler plays a number of characters in animated form. His main character is Davey Stone, an alcoholic grump who keeps getting himself in trouble with the law as he rebels against the holiday season. After his latest misadventure he is given a chance to redeem himself if he helps an elderly basketball referee named Whitey (also voiced by Sandler). Whitey is a lovely, generous soul and tries his best to help Davey and to remind him of the cheerful kid that he used to be before something tragic happened. What was that tragedy? Is it an excuse for Davey becoming a complete ass? Will viewers care by the time it is revealed?

The usual group of Sandler alumni are on hand here to add to the unfunny material - Rob Schneider narrates, Kevin Nealon has a role as the mayor, Jon Lovitz has a very small role and there are a number of people involved who also have the surname of Sandler - and so the material is infused with the usual air of something made just for people to get together and fool around while getting paid for it. I don't dislike these individuals every time that I see them but I do dislike when they work together to create such worthless inanity.

Speaking of getting paid, there are also a disgustingly high number of product placements, especially for an animated movie. There are one or two scenes set in a shopping mall that feel like little more than an excuse to  showcase plenty of brand names. Y'know, in case one of them sees the movie and then thinks about throwing the guys a few freebies.

There are unfunny songs, unfunny insults, unfunny moments of toilet humour and some unfunny narration from Schneider. The whole thing has a moral, of course, but it's a moral that is thrown at the audience with no care at all. In fact, everything is simply wrapped up in a rushed and clumsy manner in a way that highlights the way in which nobody involved with this movie seemed to care. In the slightest. The writers - Sandler, Brad Isaacs, Brooks Arthur and Allen Covert - seem to have written out some lines on Post-It notes, screwed them all up, tossed them in a waste bin, added a load of beer and then poured out the resulting sludge and called it a script.

A version of The Hanukkah Song plays over the end credits and that's the highlight of the whole movie, seriously (just watch it here instead to save you any unnecessary pain). At this time of writing, director Seth Kearsley hasn't been at the helm of any other original feature movie. Let's hope things stay that way.

2/10

http://www.amazon.co.uk/Eight-Crazy-Nights-Adam-Sandler/dp/B0000DG5ML/ref=cm_cr_pr_product_top

Cash On Demand (1962)

Cash On Demand is one of those movies SO good that I can't believe I had never even heard of it before it was recommended to me just the other week. It's a Hammer film starring Peter Cushing but it's a million miles away from their more famous, blood-filled horrors although Cushing is as impeccably brilliant as ever.

The legendary leading man stars as Harry Fordyce, a rather demanding, displeased and suspicious bank manager. The staff know that there will be no fun while he's in the branch. Things are especially tough for Pearson (Richard Vernon), who can't seem to do anything right at all in the eyes of his boss. It's only a few days before Christmas, however, so maybe Mr. Fordyce will be in a better mood.
No chance.
He's as critical and mistrustful as ever and his mood isn't made any better by the arrival of Colonel Gore Hepburn (Andre Morell), a man who has been sent by the higher echelons of the bank to evaluate and test security measures. Or has he? It soon becomes clear that Hepburn is testing the bank security in an altogether different manner.

Based on a play by Jacques Gillies, Cash On Demand remains as fresh and enjoyable today as it was when first released 50 years ago. David T. Chantler and Lewis Greifer do a good job with the script (though I am assuming that they were able to keep a lot of the source material intact due to the fact that the movie takes place all in one location) and Quentin Lawrence directs competently enough but it's the acting that makes this such a compelling slice of fine entertainment.

People may be sick of me going on and on about what a fan of Peter Cushing I am but he's such a consistently flawless actor that I can't help wanting anyone and everyone to feel the same way. He is absolutely wonderful in the role of Harry Fordyce, a character with an icy facade that rarely cracks. Richard Vernon is equally excellent as the quiet and dignified Pearson while Andre Morell gets to have all of the fun as the charming Colonel Hepburn.

Successfully mixing a number of elements, Cash On Demand is a wonderful morality tale, it's a decent little Christmas movie, it's a superb character study and it's a classic heist film. It's a new favourite of mine and I hope at least one person reads this review and then seeks it out. If that happens then I will be delighted.

9/10

http://www.amazon.com/Icons-Suspense-Collection-Snorkel-Stranger/dp/B0034PWPHY/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1353956855&sr=1-1&keywords=cash+on+demand

Christmas At Pee Wee's Playhouse (1988)

I, like many other non-Americans, have never watched Pee Wee's Playhouse. In fact, if it wasn't for Tim Burton making a movie based around the manchild played by Paul Reubens I am pretty sure that I wouldn't have a clue who Pee Wee ever was. But Burton made his movie and I found out about the character. That didn't make me immediately want to seek out the children's TV show that he used to front but over the years I kept hearing more and more about Pee Wee's Playhouse and I must admit that I became slightly intrugued. Then someone told me about this Christmas special and I knew that I had to see it.

It's so crazy and surreal that I'm not sure if I can do it justice but I'll try. I think the best thing is to describe the very basic format of the show, for the benefit of people like myself who had never before seen it. Pee Wee goes about his playhouse being very childish and playful and interacting with a number of people who stop by to see him. He also interacts with a Magic Screen, a talking bit of floor, the contents of his fridge and many other living things that shouldn't be living. If you're a UK resident of my generation then let me put it this way - try to imagine Rik from The Young Ones fronting a show for kids while wandering about the house that the gang used to share.

As it's Christmas there is a magical feeling in the air and the opportunity to get lots and lots of gifts. There are also even more visitors than usual as everyone tries to get involved with the Christmas cheer. Grace Jones is accidentally delivered to the Playhouse when she should have gone to The White House and she gets to sing and dance before having to leave, Oprah Winfrey and Whoopi Goldberg pop onscreen to quickly say hello, Little Richard can't seem to manage walking on snow and ice, Magic Johnson joins the fun, K. D. Lang sings Jingle Bell Rock, Cher makes a brief appearance and Frankie Avalon and Annette Funicello are forced to make lots and lots of Christmas cards at Pee Wee's behest.

Go back and read that paragraph again and remember that I still haven't covered everything in the show.

Reuben co-directed with Wayne Orr and co-wrote with John Paragon and he certainly gave the viewing public good reason to always remember Pee Wee. Everything about the show is slightly loony but in a good way, a way that kids will love and adults will also be able to enjoy. You might think that it's not worth considering as a seasonal viewing but, trust me, it's like eating a whole fruit loaf made of edible cracker jokes while washing it all down with mulled wine. That may not sound like a good thing but I think it is. The end result is a warm, fuzzy glow and a smile and a feeling that you've been slipped some candy-coated LSD.

8/10

You can pick this up on Region 1 DVD here - http://www.amazon.com/Pee-Wees-Playhouse-Christmas-Special/dp/B0002IQASG/ref=sr_1_4?ie=UTF8&qid=1353882197&sr=8-4&keywords=pee+wee%27s+playhouse

But the uninitiated may first want to check it out on YouTube, where someone has kindly placed the whole thing (see it here).

I'll Be Home For Christmas (1998)

Getting home for the holidays, it's been a plot device for many, many years and can prove very successful with the right script, cast and director. Planes, Trains & Automobiles remains one of my favourite movies and is, arguably, one of the best of this particular type of movie. I'll Be Home For Christmas is one of the worst. Well, one of the worst that I've seen.

Jonathan Taylor Thomas plays a fast-talking college student named Jake who plans to spend Christmas with his girlfriend, Allie (Jessica Biel), somewhere nice and warm and away from family. Allie has other plans, however, and wants to go home for Christmas. When Jake is given an incentive by his dad (Gary Cole) - get home by the time the family sit down to dinner and he can have the Porsche - he decides that spending time with his family might not be so bad after all. Unfortunately, his journey gets off to a bad start when a few disgruntled fellow students throw a Santa suit on him, complete with glued-on hat and beard, and leave him stranded in the middle of nowhere. Jake wants to catch up with Allie, who accepts a ride from the irritating Eddie (Adam LaVorgna) after thinking that Jake has just let her down, and wants to get home in time to accept that fine car and he's prepared to do whatever it takes.

Director Arlene Sanford hits every expected beat in this "by-the-numbers" Disney movie. The script by Tom Nursall and Harris Goldberg is so bland that I imagine it being printed on beige paper. Of course, I wasn't expecting anything stellar but there are many live action Disney movies better than this one, especially when it comes to holidays (go for the wonderful The Santa Clause at Christmas and keep a copy of Hocus Pocus on standy for Halloween).

The soundtrack features a number of the usual seasonal hits and is one of the few plus points. The rest of the movie is just far too predictable and bland, from the way that Jake tries to get himself out of trouble with a police officer to the life lesson being learned en route from A to B.

This would all be more bearable, enjoyable even, if there was a decent star in the lead role but, good grief, Jonathan Taylor Thomas is just annoying for every moment that he's onscreen. I mean proper "just punch him in the face to make him go away" annoying. He's supposed to be charming and cool but that just never comes across, in my opinion. The character is just a douche, plain and simple. Adam LaVorgna's character is also a douche but he's SUPPOSED to be a douche so that's okay. Jessica Biel is as appealing as ever though it's hard to understand why she's attracted to the main character. Gary Cole isn't onscreen for long but I always like to see him in any movie so that was another bonus. The other person worth mentioning is Andrew Lauer, who provides a lot of fun with his small role as an easily distracted driver who helps Jake out and then pretends to be a helper elf in order to avoid the long arm of the law.

So the movie gets a point each for Biel, Cole, Lauer and the Christmas songs. A total of four. Yeah, that sounds about right to me.

4/10

http://www.amazon.co.uk/Ill-Home-For-Christmas-DVD/dp/B0001KZNNI/ref=sr_1_1?ie=UTF8&qid=1354262847&sr=8-1

Top 10 Christmas Movies.

With the blog dedicated to Christmas for this month, I realised that most of my reviews are already located elsewhere and that people might think I have missed out a number of classics. In an effort to avoid that criticism, and also to remind people of the reviews I write elsewhere, I am writing out a list and checking it twice. Short and sweet, it's the Top 10 Christmas movies and please feel free to reply with your own favourite or any notable omissions that you think I should have included.

But before the main list, let me include a Santa clause - I have not included the much-loved Black Christmas in the following list because, as influential and impressive as it is, I have just never enjoyed it as much as most other horror fans.

All of the following titles will take you to the full review, just one click away.

10. Christmas In Connecticut.
9. A Christmas Story.
8. The Bishop's Wife.
7. Christmas Vacation.
6. Bad Santa.
5. Elf.
4. Die Hard.
3. Gremlins.
2. The Muppet Christmas Carol.
1. It's A Wonderful Life.

And a special mention for the many other excellent versions of A Christmas Carol, especially Scrooge starring Alastair Sim, and the wonderful Miracle On 34th Street.

These movies, and many more, can be found here. YULE love them, ho ho ho.

Arthur Christmas (2011)

Knock back your egg nog, put on your Santa hat and buckle up for a sleigh ride that will see the blog devoted entirely to Christmas movies for the month of December. They may be obvious choices, they may only have one or two scenes allowing them to qualify but every film reviewed this month will have a connection to this tinsel-strewn holiday season. And anyone wondering why I've missed out a number of obvious choices . . . . . I probably covered them previously over at Flickfeast or even reviewed them on IMDb. Happy holidays.

When I heard about Arthur Christmas I was pretty darn pleased, I'll tell you that. I love Christmas movies. I love Aardman Animation. I love British stalwarts of cinema Jim Broadbent and Bill Nighy. This movie combined all of those things, with an added sprinkling of James McAvoy, Hugh Laurie, Imelda Staunton and Ashley Jensen, all people that I like a lot.

Christmas just wouldn't be possible without the National Elf Service, of course.

James McAvoy provides the voice of the titular Arthur, a sweet young lad who is as enthusiastic and happy about Christmas Day as he is prone to accidents. His father, Santa (Jim Broadbent), spends a very busy time getting all of the gifts delivered with the help of his many elves and Arthur's big brother, Steve (Hugh Laurie). It's a busy time for all, of course, but Steve has put a number of procedures in place to make things easier and to ensure that all goes smoothly. That's why it's quite a surprise to find that one child has been missed out, one present still needs to be delivered. Steve sees it as a minor blip in an otherwise perfectly executed Christmas and convinces Santa that they can deliver it a little bit later and still be proud of their work. Arthur, on the other hand, doesn't think that any child should miss out and worries that the poor little lass will think that Santa doesn't like her enough to deliver her gift. He thinks that the delivery should be made and he's encouraged by his grandfather (and the previous holder of the good Santa name, played by Bill Nighy). They may not have the gadgetry and precision planning that Steve has but they have a sleigh, some reindeer and an eager elf (Ashley Jensen) along for the ride.

You may not recognise Bill Nighy in the middle but, trust me, that's him.

As you would expect from an Aardman Animation film, this is a movie chock full of lovely visuals, great gags (they even recycle one of my favourite gags from the Wallace & Gromit adventures involving a toy train and some track being laid) and cute characters. The CGI sheen means that it doesn't quite feel as cute and loveable as some of their earlier output but that's just a minor quibble when everything is still crafted with so much care and attention to detail.

Barry Cook and Sarah Smith are the co-directors and Sarah Smith also co-wrote the screenplay with Peter Baynham which means that she gets to have the bonus points for steering everything so smoothly. The story is a very slim one, VERY slim, but it's enriched by the different character motivations and the amusing sideroads that are taken (sometimes literally).

It's also enriched by that great cast I mentioned up there in the opening paragraph. McAvoy is cheery and endearing as Arthur, Broadbent and Nighy are both very good as Santas a generation apart and Hugh Laurie is also enjoyable as someone who may seem bad but may also just be a bit misguided. Imelda Staunton is a fine vocal fit for Mrs. Santa and Ashley Jensen suits being an elf. Speaking of elves, other names such as Marc Wootton, Sanjeev Bhaskar, Robbie Coltrane, Joan Cusack, Jane Horrocks and Andy Serkis also lend their voices to a number of Santa's little helpers while Laura Linney provides the voice of the main computers used in the North Pole and on the delivery vehicles and Eva Longoria plays a government official who mistakes a flying sleigh for a potential threat.

You could say that it's just far too lightweight and sweet for its own good and you'd be perfectly entitled to your opinion but I expect sweetness from my Christmas movies and enjoy anything that doesn't overdo it all to the point of putting me into a diabetic coma. As for it being lightweight, it is. Yet it also manages to take the ever-so-slim premise and turn it into a feature that you will watch and enjoy without feeling as if it ever outstays its welcome.

To sum up then - another winner from Aardman Animation and definitely one to consider buying now and then leaving under the Christmas tree for the kids to unwrap on December 25th.

8/10

http://www.amazon.co.uk/Arthur-Christmas-Blu-ray-Copy-Region/dp/B005FLCD1I/ref=sr_1_1?ie=UTF8&qid=1353957042&sr=8-1

The Three Musketeers (1973)

The first of the swashbuckling collaborations between director Richard Lester and writer George Macdonald Fraser (and, of course, Alexandre Dumas), The Three Musketeers is an enjoyable romp that takes a cast of great stars and puts them into something that never quite hits the heights that it should.

Michael York is the young D'Artagnan, a swordsman who heads to Paris to fulfill his potential and make a good name for himself. Unfortunately, upon his arrival he seems to upset everyone he meets. He unwittingly ends up arranging to duel with Athos (Oliver Reed), Aramis (Richard Chamberlain) and Porthos (Frank Finlay) but then becomes friends with them when they all have to defend themselves against a bunch of Cardinal Richelieu's guards. And so begins the advenutres of D'Artagnan and The Three Musketeers, adventures that will involve a beautiful woman named Constance (Raquel Welch), the ruthless Rochefort (Christopher Lee), the Cardinal (Charlton Heston) and the beautiful and scheming Milady (Faye Dunaway).

Made at the same time as the direct sequel, The Four Musketeers (much to the chagrin of the actors involved, who sued for money owed to them as they thought they'd just worked to make the one movie . . . . . . . though there seems to have been no bad blood as they would also get together again for The Return Of The Musketeers), this is the slightly better film but there's not that much in it. As I mentioned in my review of the sequel they all blend into one big, mildly amusing, swashbuckler.

The leads all have their obvious charms but the real pleasure here comes from a supporting cast that includes the likes of Roy Kinnear, Spike Milligan and Rodney Bewes mixing with Simon Ward, Joss Ackland and Sybil Danning. Talk about an eclectic mix.

While it's hard to get too excited about, there's still certainly some easy pleasure in watching, for example, Oliver Reed have a bit of a drink and still swagger around, ready to lunge at anyone who engages him in swordplay. The film, and the sequels too, allows viewers to look at stars through rose-tinted glasses and to see them in roles that really play to their strengths. Michael York was always the handsome up and coming star, Richard Chamberlain was always relaxed and assured and Frank Finlay was always very entertaining. At least, that's how they have remained in my mind and that is how they are made to appear in this adventure.

Richard Lester may not have been the best director of this kind of material but he sure knew how to throw some big names together and let them have some fun. That fun is infectious, even if the actual movie never moves into top gear.

6/10

http://www.amazon.co.uk/Three-Musketeers-Four-Double-Blu-ray/dp/B005GJTLCS/ref=sr_1_3?ie=UTF8&qid=1352912351&sr=8-3

Silkwood (1983)

Based on a true story, Silkwood is all about a woman who works at a plutonium processing plant. Her name is Karen Silkwood and she starts to make some trouble for the management of the plant when she becomes directly involved with the union and starts doing her damnedest to blow the whistle on the numerous dangerous practices that happen around her and her colleagues every day.

It may not be the most exciting story in the world, and the lead character isn't put across as the most likeable person in the world, but Silkwood certainly has a fine pedigree. The script was written by Nora Ephron and Alice Arlen and Mike Nichols has the directorial duties. Then there's that wonderful cast. Meryl Streep plays the titular character, though it's not her best performance by a long shot, while Kurt Russell plays her on-off lover and Cher does well as her good friend. If you don't like any of those folks then how about Fred Ward, David Strathairn, Bruce McGill, Ron Silver or Craig T. Nelson? All, in my view, mighty fine actors. Even the people with names you probably won't know, such as Diana Scarwid and Sudie Bond, give very good performances and Bond is involved in one of the most harrowing scenes in the entire movie.

It's the real horror of the material here that raises it up for me, otherwise I wouldn't have been able to score the film above average. The dangers of radiation are very well known nowadays but it wasn't all that long ago when people were being misinformed and basically used up, as is the case here. Management and business owners needed results and that meant exposing employees to some serious potential health risks. Best case scenario = they really weren't aware of just how damaging it could be. Worst case scenario = they knew, they knew all too well and would go to any lengths to keep their dirty little secrets hidden away. Silkwood tends toward the latter scenario but there is some ambiguity in the first half, at least, to avoid making the company villains absolute monsters.

The film, as a whole, just didn't work well enough for me but I know that I won't forget certain moments. The character played by Sudie Bond being hauled off and cleaned down after exposure to radiation is as upsetting a scene as any that I can recall from any genre, made all the more effective by Bond's heartbreaking performance in her supporting role. Surprising as it may seem, I have to suggest that Streep is actually the weakest link here. Perhaps there was only so much she could do with her character as it was written or perhaps, as I suspect, it just so happens that someone else would have been much better for the role. I don't know who that actress would be but I do know that when I think of the likes of Margot Kidder or JoBeth Williams in the lead role I feel more intrigued about what could have been. And those are just two choices off the top of my head.

Do watch the movie to see something powerful and distressing and to see some actors doing great work but don't watch the movie just to see Streep in the main role because you may find yourself disappointed.

7/10

http://www.amazon.co.uk/Silkwood-DVD/dp/B001EJW0SG/ref=sr_1_1?ie=UTF8&qid=1354035513&sr=8-1

Vamp (1986)

Written and directed by Richard Wenk (who was helped by Donald P. Borchers in coming up with the story), Vamp is one of those movies that I know isn't for everyone . . . . . . . . . yet I recommend to everyone anyway. It's a favourite of mine and the more people who come around to my way of thinking, at least in this matter, the better.

After almost being bored to death while pledging to a fraternity, Keith (Chris Makepeace) and AJ (Robert Rusler) offer to get the guys anything they want instead of being made to go through the usual humiliations. The frat guys, somewhat predictably, want strippers. So our two young men borrow a car from Duncan (Gedde Watanabe), and also allow him to join them, before setting off to procure some dancing girls. After a few wrong turns, a fair bit of lost time and a run in with an albino punk (Billy Drago), they get inside the After Dark club. At last. The After Dark club is quite a place. There's the guy who looks after the place but dreams of Vegas (a superb turn from the ever-brilliant Sandy Baron), a waitress who keeps trying to get Keith to remember her (played by the lovely Dedee Pfeiffer) and a star turn from the mysterious and animalistic Katrina (Grace Jones). Unfortunately, there is a side to the club that people only see if they're not getting out again. A vampiric side.

Yes, as you may have guessed, years before the enjoyable From Dusk Till Dawn used the strip club setting for some monster mashing, Vamp had already paved the way. Was Vamp the first? No, but it remains one of the best (especially when compared to, for example, The Monster Club, which I think contains a few similiar elements).

The performances from everyone involved really help lift this above numerous other vampire movies of the decade. Robert Rusler and Chris Makepeace play off each other superbly, Gedde Watanabe is great comic relief and Dedee Pfeiffer is adorable - like an '80s Meg Ryan but a Meg Ryan that I'd actually contemplate trying to hit on. The villains are just as good, if not better. Billy Drago is his usual intimidating presence, Grace Jones is her . . . . . . usual intimidating presence and Sandy Baron steals pretty much every scene that he's in.

The special effects don't overwhelm the movie but they're very well done and the same can be said for the score from Jonathan Elias. Wenk may do a great job as director but he's helped no end by a very talented team, including Alan Roderick-Jones in the role of art director and cinematographers Elliot Davis and Douglas F. O'Neons. I don't usually mention art directors and cinematographers in my movie reviews for a number of reasons. First of all, I usually KNOW more about the cast, writer and director. Secondly, a movie is always a collaborative effort and I worry that if I start to single out too many people I end up having to go down the list of credits to include absolutely everyone (which, in an ideal world, is as it should be). But Vamp has such a unique and wonderful visual style that I have to mention the guys who helped to get that onscreen.

At times it's a surreal, off-kilter world. It's very much a cinematic horror landscape - nobody helpful is around when the sun goes down, the sets are full of deep shadows and often lit with pink and green colouring, there's a lot of dry ice around - but it's one that just uses the artificiality of everything to make things more interesting and entertaining throughout. There is always the risk that these elements can pull a viewer out of the experience but it's a worthwhile risk when the viewers that go along with the whole thing can take so much away from it.

I can still recall, even to this day, looking at that garish VHS box and being both impressed and curious. Those feelings stayed with me as I watched the film for the first time and by the time the end credits rolled I wasn't curious any more but I was still impressed, mightily so. It's a horror movie that's easy to dismiss and forget about, it's a horror comedy with some teen elements that I'm sure will annoy quite a few fans who like their horror adult and serious, it's a film that will even have some viewers switching off by the halfway mark. But it's also a film that really delivers some great vampire moments, it somehow made Grace Jones even scarier than she already was at that time (and, by god, she was already terrifying) and it made such a great impression on me that I will always step up to defend it in front of those who don't appreciate its magnificence.

9/10

http://www.amazon.co.uk/Vamp-Blu-ray-Grace-Jones/dp/B0041H9N4W/ref=sr_1_1?ie=UTF8&qid=1353981297&sr=8-1

Judge Dredd (1995)

I think it's pretty widely acknowledged nowadays that Judge Dredd was a bit of a letdown for fans of the character. I still like it more than a lot of people but even I must admit that Dredd spends far too much time not wearing his iconic headwear and there's a bit too much screentime given over to the comic relief AKA Rob Schneider. Anyway, let's start with the good stuff.

Judge Dredd has a great cast, including Sylvester Stallone in the title role. When he first appears onscreen he's fantastic in the title role. Stallone may not be the best actor in the world (though he certainly has his moments) but he's surrounded by a quality cast. There's Diane Lane, Max Von Sydow, Armand Assante, Jurgen Prochnow and the great James Remar (although he's, sadly, not in it for long). There are also small roles for Ian Dury, Ewen Bremner and Scott Wilson. And then there's Rob Schneider.

The plot sees the most infamous peacekeeper in Mega-City One being accused of murder. It's unbelievable but all the evidence clearly points to Dredd as the perpetrator. Dredd is to be sent away for a long time but that doesn't quite go to plan thanks to a big fight on board a vehicle full of prisoners that leads to a crash that leads to Dredd and a hapless criminal named Herman (Rob Schneider) stuck in some waste lands and needing to deal with some bad folks before finding their way back into Mega-City One and clearing Dredd's name. Meanwhile, it turns out that the real villain is someone very close to Dredd with his own warped reason for revenge. Even better, he's played by Armand Assante, in superb eye-rolling form.

Michael De Luca may have managed to come up with the story with William Wisher but it's Wisher and Steven E. de Souza who crafted the final draft of the screenplay and due credit must also, of course, go to the many fine folks who have written stories for Judge Dredd during his long-running stint in the mighty 2000 AD. The story, and the backstory (both that which is revealed and that which is just known to fans of the comic), is solid and the direction from Danny Cannon isn't that bad at all. The film simply starts to fall apart when Judge Dredd stops seeming like Judge Dredd and that happens, as silly as it may sound, when the helmet comes off. And when it stays off for most of the movie. It's not true to the character and it just leaves viewers with a half-decent Sylvester Stallone action movie. There are already plenty of those, thank you very much.

Judge Dredd is fun. It has one or two enjoyable set-pieces (one that involves James Remar, one involving the delightfully demented Angel Family and almost any moments that involve Assante), I don't hate Schneider as much as some people and it's good to see so many big names involved with what is, essectially, pulp fare. It's just not a great JUDGE DREDD movie and that is, ultimately, a big black mark against it.

6/10

This Bluray plays  in the USA AND the UK - http://www.amazon.co.uk/Judge-Dredd-Blu-ray-US-Import/dp/B008C0C1Y8/ref=sr_1_8?ie=UTF8&qid=1348590005&sr=8-8

The Evil Of Frankenstein (1964)

Written by Anthony Hinds, and directed by Freddie Francis, The Evil Of Frankenstein is another of the consistently entertaining Hammer movies focusing on the ongoing difficulties of Herr Baron (played once more by the great Peter Cushing). It's not as good as some of the other Frankenstein movies but it's still worth seeing if you're a fan of the character.

The Baron tries, once again, to return to a place he was once driven out of with an assistant (Hans, played by Sandor Eles) in tow. This time it is the town of Karlstaad. It will be worth it if he can resurrect his creature and come up with some way to communicate with its damaged mind. That method of communication may be found in the shape of a hypnotist named Zoltan (Peter Woodthorpe) if everything goes according to plan but, alas for poor Baron Frankenstein, things rarely go according to plan.

I like the character of Baron Frankenstein when he's portrayed as he is in this movie, a man who really does have the answers to the big questions in life but is beset by attacks from the morally indignant masses and attempts to ruin his good name.

Peter Cushing, if you don't realise how good he is by now then I can't help you but, rest assured, he's one of my all-time favourites for good reason. Sandor Eles is okay, though he doesn't get too much to do, and Peter Woodthorpe is a lot of fun as Zoltan, the hypnotist who quickly realises how he can use the situation to feather his own nest a little. Duncan Lamont is enjoyable as the Karlstaad Chief Of Police and Katy Wild does just fine in the rather thankless role of "beggar girl". The creature this time around is played by wrestler Kiwi Kingston so there's certainly a solid physicality to the monster, if little else. The design work may hark back to the Universal flicks of old but it ends up being quite a disappointment.

Hinds laces the script with a few good lines, as per usual when it comes to dialogue uttered by the good Baron, but the direction from Francis is flat and lifeless. There's enough here to please Hammer fans but that's probably more to do with goodwill than good film-making on this occasion.

6/10

http://www.amazon.co.uk/Evil-Frankenstein-DVD-Peter-Woodthorpe/dp/B000W2223O/ref=sr_1_1?s=dvd&ie=UTF8&qid=1351588008&sr=1-1

The Spiderwick Chronicles (2008)

I couldn't tell you the exact facts and figures involved but it seemed to me that, when it was released, The Spiderwick Chronicles didn't do all that well at the box office. I hope it did okay but it certainly didn't create any major excitement and talk of big new franchise opportunities. That's a shame because it's a very enjoyable family film. The same thing happened to Lemony Snicket's A Series Of Unfortunate Events (another family film I also enjoyed a lot). Hmmm, I hope I'm not jinxed.

Anyway, to the movie. The Spiderwick Chronicles. Young Freddie Highmore takes on two roles here, playing twin brothers Jared and Simon Grace. After their parents separate, the two boys, along with their older sister (Sarah Bolger) and mother (Mary-Louise Parker) move into the Spiderwick Estate, an old and run-down house in the middle of nowhere. Jared is convinced that his mother is to blame for this family split and he reacts with anger and insolence, resenting every minute of his new life. That all changes, however, when he discovers a book filled with details of many magical creatures living in the area. He doesn't believe any of it, of course, until he actually sees the creatures for himself. There are quite a few nice, sweet creatures to be observed but, sadly, also a number of nasty baddies out to cause harm and get their hands on the book in order to deliver it to their master, an ogre named Mulgarath (Nick Nolte). Jared must keep the book safe at all costs, which isn't going to be easy unless he enlists the help of his family. Will anyone believe him?

Based on the books by Tony DiTerlizzi and Holly Black, this is an imaginative, consistently entertaining adventure that mixes great special effects with a great cast all portraying nicely rounded characters. Freddie Highmore is a very talented young actor and gives two great performances as Jared and Simon, Sarah Bolger is very likeable as Mallory and Mary-Louise Parker plays a very understanding and loving mother. Nick Nolte isn't onscreen physically for very long but he's excellent whether voicing Mulgarath or portraying him in human form. There are also roles for the likes of the great David Strathairn, the great Joan Plowright and the . . . . . ummm . . . . pleasant Andrew McCarthy. They may not be seen onscreen but Martin Short and Seth Rogen provide some enjoyable vocals for a couple of creatures that are on the side of good.

Three people, including John Sayles, worked to adapt the screenplay and the end result is well balanced. There are moments that may feel a bit intense for younger children but there are also many moments of comedy, spectacle (a flight on a griffin is a particular highlight) and sheer wonderment to keep everyone happy.

Director Mark Waters has given audiences a couple of poor movies in his career but he's also responsible for the remake of Freaky Friday, the great Mean Girls and, his first film, The House Of Yes. The Spiderwick Chronicles easily sits alongside that lot and I think that my high rating here could easily rise after future repeat viewings.

8/10

http://www.amazon.co.uk/The-Spiderwick-Chronicles-Blu-ray/dp/B001B6CCD0/ref=sr_1_6?ie=UTF8&qid=1353725018&sr=8-6

We Are What We Are (2010)

A number of years ago, a little Mexican movie called Cronos came along and gave fans a wonderful and unique vampire movie. Well, someone else from Mexico has come along now and given fans a fantastic and unique cannibal movie. Okay, it may not be all THAT unique from start to finish but it certainly couches the grisly subject matter in a way that allows it to feel enjoyably refreshing.

This is not a movie for gorehounds so bear that in mind before you go running off to get your cannibal fix (as in a fix of cannibal movie fun and not a repair from a cannibal). Writer-director Jorge Michel Grau has crafted something that's arguably more disturbing because of the way that the cannibalistic need to eat human flesh is shown as the main defining aspect of a fairly dysfunctional family.

Alfredo (Francisco Barreiro) and Julian (Alan Chavez) are two very different brothers. Alfredo is the older of the two and tries to do his bit whenever he is required to help the family while Julian is hotheaded and not nearly as caring for his loved ones. This is all clarified when the two boys have to cover the family market stall. There is no sign of their father, who makes a living repairing watches, so they go along for the morning until Julian gets into a fight and they are told that they must stop trading at the market. When they get home the boys are told by their sister, Sabina (Paulina Gaitan), that their father has died. This is slightly upsetting for all concerned, and especially for their mother (Carmen Beato), but the biggest problem for the family is just where their next meal is going to come from. Their father would provide them with victims for cannibalistic rituals. Alfredo is told he will have to step up and fill the role but it's not exactly an easy task.

All of the actors involved here do a great job, and there are is a sub-plot involving a couple of police officers (played by Daniel Gimenez Cacho and Jorge Zarate) trying to solve the case, but the real beauty of We Are What We Are lies in the fact that the cannibalism is almost secondary to the other problems that the main characters have. Almost.

Sabina may seem to be the most well-adjusted of the group but it quickly becomes clear just how well she could step into the matriarchal role to ensure that the family is safe while Alfredo and Julian never appear to be in control of their own destiny. As for the mother, it's hard to discern whether she has been driven mad by years of brainwashing or whether she was the one who led the whole family down the path to cannibalism. Whatever the case, she certainly grows more and more desperate as more time passes without the next meal becoming available.

Quietly impressive from start to finish, when the end credits rolled I then began to formulate my thoughts for this review and realised that I'd just watched a new favourite. I'm not sure if I would easily recommend it to most horror fans, I just know that I loved it.

9/10

http://www.amazon.co.uk/We-Are-What-Blu-ray/dp/B00450AGFK/ref=sr_1_2?ie=UTF8&qid=1353695664&sr=8-2

Ghostbusters II (1989)

When Ghostbusters II was released in 1989 it did solid business at the box office. You wouldn't think that nowadays, with the way many people deride it and claim that it's a completely unworthy sequel to the classic first movie. Well, the first movie is a classic. I completely agree with that and already praised it here. What I don't agree with is the opinion that this sequel is completely unworthy. It's not as good as the first movie but few films are. It is, however, a very enjoyable film that picks up some years after the events of the first movie and allows viewers to find out just what the main characters have been up to since their big battle with Gozer.

And just what have the Ghostbusters been up to since saving New York City and, indeed, the world? Well, they were sued by a number of city and state agencies and the brand became worthless. Ray (Dan Aykroyd) and Winston (Ernie Hudson) are trying to keep the Ghostbusters name out there by entertaining ungrateful children at birthday parties, Egon (Harold Ramis) is conducting scientific studies with his usual, detached demeanour and Venkman (Bill Murray) is hosting a paranormal chat show. Dana Barrett (Sigourney Weaver) has a son and is enjoying the time that she spends helping to restore paintings under the watchful eye of Dr. Janosz Poha (Peter MacNicol). There's one painting in particular, of a nasty man called Vigo (Wilhelm Von Homburg) that starts to cause no small amount of trouble and so the gang need to get back together and get back to doing what they do best.

The baddie may not be as memorable this time around and there's no denying that the movie doesn't feel as fresh as the first film (but sequels rarely do, by definition) but there's a hell of a lot here to enjoy and anyone dismissing this movie completely is, I'd say, being very harsh.

Murray, Aykroyd, Ramis and Hudson are all still great in their ghostbusting roles, Weaver plays off them all very well once again and Annie Potts and Rick Moranis return to reprise their memorable characters. Peter MacNicol is also good fun and Wilhelm Von Homburg keeps his mean face on throughout. Kurt Fuller may not be able to replace the great William Atherton as the main jerk of the movie but he tries his best. David Margulies returns to play the Mayor of New York and Harris Yulin has a small, fun role as a very strict judge who ends up seeing the Ghostbusters on trial in his court.

With Aykroyd and Ramis also returning to their writing duties and Ivan Reitman once again directing the action, this is very much the kind of sequel that feels like audiences are getting to catch up with some old friends. Because that's exactly what it is. I will watch Ghostbusters any number of times and never tire of it but this second outing is almost as rewatchable and has a smattering of great lines in almost every scene. The ending is a bit of a letdown but I think that any ending would have been slightly underwhelming compared to the brilliance of that big finale of the first movie featuring Gozer and The Traveller.

Oh, okay, there's also a pretty lame soundtrack compared to the complete '80s greatness of the first movie but that's the only other major complaint I have.

If you haven't seen it in a while then do give it a go and you might just find that the Ghostbusters are still the guys to call when you want some ectoplasmic entertainment.

7/10

http://www.amazon.co.uk/Ghostbusters-2-DVD-Bill-Murray/dp/B001G61178/ref=sr_1_1?ie=UTF8&qid=1351446146&sr=8-1

True Grit (1969)

John Wayne. He was the ultimate macho man to many people and could always be relied upon to show the very best assets of being a man completely in line with the will of Uncle Sam. I have never been a fan but that's just because I've never seen any clips of his acting in which he wasn't just the swaggering bull of a man that he so often portrayed. Finally seeing the original True Grit after I'd enjoyed the remake so much, I realise that I should make an effort to watch the films of someone who made such a big impact on cinema audiences. He's an icon and icons are usually icons for good reason.

True Grit is a wonderful film with some fine performances in there and the turn from Wayne, as grizzled and oft-drunk Rooster Cogburn, is the highlight of the film. In fact, it gave him his only Oscar win. There may have been worthier candidates that year but it's hard to begrudge him the win after he gave audiences so much pleasure over the years.

The story here is all about young Mattie Ross (Kim Darby) looking to hire someone who will hunt down the murderer of her father. She gets Rooster Cogburn and offers him some money to do her bidding. He takes her up on the offer but then tries to get her to stay behind and wait while he heads off with a Texas Ranger named La Boeuf (Glen Campbell) to catch some crooks and collect some rewards. However, young Mattie isn't going to stay put and she wants everything resolved her way. It doesn't take long for anyone who meets this young woman to realise that she often gets what she wants.

Based on the novel by Charles Portis, True Grit has a fine screenplay from Marguerite Roberts and capable direction from Henry Hathaway yet it's hard not to think that the movie is really lifted by all of the performances. Wayne is fantastic, being both a hero and sometimes a drunken ass. Darby is superb as Mattie Ross, a young girl easily able to shame and correct anyone trying to pull a fast one on her, and Glen Campbell is perhaps the weakest of the trio but an essential part of the group dynamic. Jeff Corey is the main man being hunted but film fans will probably get more enjoyment from watching a young-ish Dennis Hopper in a small role and the great Robert Duvall playing the villainous Ned Pepper.

The cinematography and visual style may be indistinguishable from the hundreds of other Westerns made during this decade but that doesn't detract from the fact that so many people hold up True Grit as a classic because it IS one. See, and enjoy, it for yourself.

9/10

http://www.amazon.co.uk/True-Grit-Blu-ray-Region-Free/dp/B004E10Q9G/ref=sr_1_5?ie=UTF8&qid=1353517747&sr=8-5