Friday, December 13, 2024

That Christmas: No coal in this stocking!

That Christmas (2024) • View trailer
Four stars (out of five). Rated PG, for mild rude humor
Available via: Netflix

Christmas movies have become an explosive growth industry, usually with lamentable results; most have the cookie-cutter plot of a Harlequin romance novel, and the lingering impact of a snowflake on a slushy afternoon.

 

The extremely anxious Sam, foreground right, worried that she'll blow her lines in this
rather unusual school Christmas play, fails to notice that Danny — helplessly trapped
in a chickpea costume — worships the ground on which she walks.


I’ve not seen a truly memorable new Christmas movie since 2011’s Arthur Christmas ... until now.

Trust our British cousins to strike gold again.

 

Director Simon Otto’s animated charmer is adapted from three best-selling children’s books by author Richard Curtis and illustrator Rebecca Cobb: That ChristmasThe Empty Stocking and Snow Day. Curtis also is well known as the writer and/or director of Four Weddings and a FuneralLove Actually and Pirate Radio, among others.

 

He collaborated on this film adaptation with co-scripter Peter Souter, and the result is totally delightful ... and slyly subversive. Curtis also brought along several of his actor buddies, to voice these characters: icing on the cake.

 

As is typical of Curtis stores, numerous character arcs intertwine and revolve around loneliness, dashed expectations, unrequited love and rebels with a cause.

 

The setting is the picturesque seaside village of Wellington-on-Sea, which — as related by Santa Claus (Brian Cox), looking back on past events — recently endured what is remembered as that Christmas, when a huge blizzard challenged the close-knit families and their children.

 

(Curtis based this community on a portion of East England’s Suffolk, where he lives.)

 

But all initially is boisterous and fun, a few days before that ill-fated holiday, thanks to energetic and progressively minded young Bernadette (India Brown), director of the annual school Christmas play. She’s determined to abandon stodgy Biblical tradition and shake things up with some gender equality and earth-friendly touches, in an original script called Three Wise Women.

 

Her cast includes identical twin girls Charlie (Sienna Sayer) and Sam (Zazie Hayhurst); the former is a bold, mischievous prankster who never cleans her half of their shared bedroom, the latter a forever worried over-thinker who is the “good girl” yin to her twin’s “bad” yang. 

 

Introverted newcomer Danny Williams (Jack Wisniewski) lives with his recently divorced single mother (Jodie Whittaker); he’s frequently left alone, because she accepts double work shifts in order to make ends meet. They “communicate” via her endless stream of Post-it notes (a cute touch, with a great third-act payoff).

 

Danny also is deeply in love with Sam, but can’t work up the courage to even talk to her.

 

“I’m shy, and she’s anxious,” he laments, early on. “It’s hopeless.”

Friday, December 6, 2024

Blitz: A powerful, WWII-era character study

Blitz (2024) • View trailer
Five stars (out of five). Rated PG-13, for dramatic intensity, violence, occasional profanity and racism
Available via: Apple TV+

Back in 1987, writer/director John Boorman’s semi-autobiographical Hope and Glory presented the London Blitz as something of a “boys’ own adventure,” focusing on children who were too young to understand what was happening, and viewed the chaos as oddly exciting.

 

Shortly after joining hundreds of similarly frightened Londoners seeking shelter from a
bomb raid, by fleeing into a subway, George (Elliott Heffernan) suddenly becomes
aware of something just as dangerous...

Writer/director Steve McQueen’s Blitz takes a decidedly different view.

The setting is London, September 1940; Hitler’s Germany has just begun the eight-month bombing campaign designed to terrify England into quick submission. (He sure got that wrong.) As one immediate result, Operation Pied Piper evacuated 800,000 children from urban centers to outlying rural communities, over the course of just three days.

 

McQueen’s film opens on a terrifying scene, as untrained and outmatched firefighters attempt to extinguish multiple blazes caused by the most recent attack. It’s noisy, chaotic and scary ... particular when the scene shifts skyward, as more bombs slowly spiral their way down. In a few brief minutes, McQueen and his filmmaking team sketch the horror of random death and destruction.

 

This prologue is replaced by brief random shots, concluding with a field of flowers, which slowly fades as piano music is heard. Working-class single mother Rita (Saoirse Ronan) readies her 9-year-old son, George (Elliott Heffernan), with a tattered suitcase. They live with her father, Gerald (Paul Weller), a doting man who radiates kindness and compassion; he’s the piano player. Fleeting flashbacks establish the tight bond between these three, and the deep love that Rita and George share.

 

She’s shattered. Ronan’s stricken expression is heartbreaking, her eyes clenched, in order to prevent tears.

 

George, on the other hand, is furious. He absolutely doesn’t want to leave, refuses to understand why he should, and feels betrayed when his mother resolutely hustles him to the train station.

 

“I hate you!” he snaps, pain in his face, as he breaks from her and runs into a train car. When she spies him through a window, as the train pulls away, he refuses to meet her gaze as she implores him to say a proper goodbye.

 

What follows is powered by two phenomenal performances, from Ronan and young Heffernan, both so solidly “in character” that we soon forget we’re watching actors; they become Rita and George.

 

As the train proceeds, McQueen hits us with the jolt we’ve been dreading ... because George is a mixed-race child. Two loutish boys in the seat behind lean over; one runs his fingers through George’s “unusual” hair. Heeding his grandfather’s advice about bullies, George stands up to them ... and they retreat in embarrassed silence.

 

“All mouth, and no trousers,” George scoffs, recalling his grandfather’s words.

 

(Love that expression!)