SPOILER Magazine Holiday Edition 2022

Almost Dead is a postapocalyptic horrordrama adventure about triumph, growth, and the resiliency of the human spirit. With their cinematic comic book series which depicts vicious and visceral events in a raw yet beautiful way, Galaxy has redefined the genre and

nearly invented one of their own. Infusing the perilous and unexpectedly exciting journey with absolute horror and an attention to detail that’s rooted in and dedicated to realism, the creator and writers have established a nexus point between exhilaration and terror.

Editor-in-Chief

Galaxy

Design and illustration Supervisor

Ronald Garcia

Design Manager

Zerologhy

Copy Editor

Dr Mary Riley

INSIDE OUR UNIVERSE by Galaxy

Hello readers, both old and new! Welcome to our Holiday flashback edition of SPO!LER magazine!

Staff Writers

The Greatest Writing Team in Our Universe

Ethan Brehm

Tom Tormey

Matthew Mclachlan

Vanessa Bellew

Robert Napolitano

David Grand

Phuong Pham

Natalie Reade

Moses the “Gamer”

Bjoern Kommerell

Joshua Amber

Social Media Manager

Thor the all mighty Advertising Ads@SpoilerMagazine.com

Sponsorship Sponsorship@SpoilerMagazine.com

Press Please send all press releases to: Press@SpoilerMagazine.com

Please send all review material to: Review@SpoilerMagazine.com

Subscriptions

For all subscription enquiries please contact: Sub@SpoilerMagazine.com

Check out our website for details on how to get our DIGITAL EDITION

Circulation

Do you want this magazine at your local book store, comic book hangout, toy shop, or anywhere else for that matter? Let us know, we can make it happen. circulation@SpoilerMagazine.com

SPOILER Magazine is published by Spoiler Media Magazine Publishing. Nothing in this magazine can be reproduced in whole or in part without the written permission of the publisher. Whilst every effort is made to ensure all information in the magazine is correct, details may be subject to change. All photographic material is copyright to the relevant owner and appears with their kind permission. Visuals are used in a review context and no copyright infringement is intended. All rights reserved.

SPOILER Magazine is printed in the USA

SPOILER Magazine

7095 Hollywood Blvd Hollywood, California 90028

“Good Morning, Good Afternoon, Good Evening” - Galaxy

Inside these pages you’ll find some of the most amazing articles and interviews from the past and present. We’ve curated a perfect sample of the best holiday features SPO!LER has to offer.

You’ll notice everything from toys and collectibles, to the best movie reviews to get you ready for the holidays. This special issue was created so you can enjoy the most of the holidays right from our magazine and for those of you who are new to our universe - welcome home.

In addition, you’re going to see the ever popular Amazon’s Toys We Love List for 2022. Plus our At the Movies section featuring reviews of some the holidays best films, and let’s not forget our 40 of the Best Classic Holiday Films of All Time list

And if your into collecting, we have a very cool treat for you You might just have some valuable items laying around somewhere in the basement or attic and you might not even know it Just check out our very interesting 10 Collectibles Hidden in your Home article, you might have some amazing items that may fill your pockets this holiday season.

I hope your 2022 was much better than your 2021. And no matter what, we’ll always here for you to provide a slight distraction from all the hustle and bustle (or even the sitting around at home) of your hectic lives. Remember together we can accomplish anything, so this holiday season get your family and friends and watch a movie or two or three.

Look out for our special issue spotlighting all of the greatest interviews from the past several year’s in our SPO!LER Top Interview Edition, that should be coming out in a couple of weeks as we’re still deciding who gets in

Thank you, once again, for taking a peek into what we’ve been up to these past few years. We hope you have a great Holiday Season and a very Happy New Year!

Have fun and stay safe!

Love you all…

table of contents

By robert napolitano

Money’s super tight around the holidays

It always is, but 2020 even more so than usual. Any little bit helps, and if working overtime isn’t a option (or you’d rather spend your time with family) now’s the perfect time to rummage through the attic, search the basement, clean the garage—whatever you’re working with, just be resourceful. For those of you hoarding collectibles waiting for their value to mature, now’s a great time to cash them in. However, some of you are sitting on a gold mine and don’t even realize it. Whatever the case may be, here’s hoping this list can help you score some extra holiday cash.

10. tools

If you’re the type of person who’s always in the garage or doing yard work, then you know which tools you never use. If you’re not that type of person, then you might have hundreds of dollars worth of handy tools wasting space. Go through what you have and take advantage of the internet. Anything you find is likely being sold on eBay at any given moment.

9. COMIC BOOKS

This is a special type of art that got the “nerdy” stigma early on, but the more time passes the cooler comic books have become in pop culture. Whether it’s hot commodities like Iron Man, or no-name comics (because you never know who the next Iron Man is gonna be), the right book in mint or near-mint condition can sell for anywhere between 3 and 7 figures.

8. BARBIES

Since its release over 60 years ago the name Barbie has become synonymous with dolls. Little did people know at the time, but with each passing year these dolls have gained value, and every once in a while somebody turns a 20-year-old Barbie doll into a small fortune.

4. STAR WARS

Disney has given us more sequels than we can stomach in recent years, keeping the enthusiasm behind Star Wars at the forefront of society’s mind. However, old and rare collectibles are always better. Anything you find pertaining to the original trilogy is where the big bucks are at the moment. So hang on to the toys from the new movies so that years from now you’re not lamenting what you should’ve hung on to.

7. FURNITURE

Most of the time they’re hefty and a real pain in the butt to move, but people are always looking for furniture. Vintage and foreign are usually good sign, and of course condition is a huge factor, but you’d be surprised what a unique looking chair or table can really sell for on eBay, Mercari or even Craigslist.

5. POKÉMON CARDS

6. ACTION FIGURES

There are tons of different kinds of action figures out there, but the most popular ones often go hand-in-hand with the movies that are popular. However, rarer franchises are sought after as well. Also, complete sets might get you money quicker, and new-in-thebox figures are will make you a little more dough—and if you have both, you just might be in luck!

“Gotta catch ‘em all” might be the greatest marketing slogan ever used for kids’ toys. There are around 900 different species, with over 9,000 cards to collect in the English sets and around 7,000 in the Japanese sets at the time of this printing, so catching them all is a tall task for even the most diehard Pokémon fanatic. While most commons can go for a couple quarters to a few bucks, the rare ones (look for the first edition badge) can go for as high as 6 figures.

3. Sports Cards

For years now people have known the potential value in a Michael Jordan baseball card. or a limited edition Ken Griffey Jr. baseball card. As society becomes more and more virtual, something as traditional as a sports card can now be worth thousands and thousands of dollars. Cards are appreciating in a way only art can. It can be overwhelming dealing with, in some cases, thousands upon thousands of pieces, but thankfully the internet makes it easy for you to check the worth of any cards you find lying around.

2. COCA-COLA

The random Coca-Cola merchandise you can come across is insane, and these days almost anything attached to the brand is considered a collectible. Unique is great, but vintage is most important in terms of value. For example, a prototype glass Coke bottle sold on eBay for around $250,000 in 2011.

1. SPORTS MEMORABILIA

This expands far past sports cards. These are jerseys, balls, figurines, magazines, autographs, and much more. If you have anything Michael Jordan from the ‘80s or ‘90s, it could be worth a small fortune. If it was ever in the hands of the athlete, himself, it could be worth a big fortune. A signed picture? A game-used jersey? If you can prove it’s the real McCoy, you can make good money on it.

You could have 50, 100, or 1,000 bucks just lying around your house, but you won’t know unless you look. Don’t believe me? Go browse random toys and collectibles on eBay and take a quick peek at not only what’s selling, but how much it’s selling for. It will blow your mind.

Coca-Cola/NBA/MLB/NFL

BY ROBERT NAPOLITANO

THE SUMMER HEAT IS GONE, HALLOWEEN HAS PASSED

and once again the holiday season is upon us. This year, sadly, it might be hard to get into the holiday spirit, but few things help the way a good family classic can.

A lot of us ran out of TV and movies to watch after these last 6-7 months, but I doubt any of us were watching How the Grinch Stole back in August.

The coolest (and probably uncoolest) part about most Christmas movies is that they’re only really enjoyable this time of year. Along with these 25 I added a few honorable mentions that weren’t theatrical releases.

Even though these TV specials could supplant any of the other films on this list to get you into the spirit of the holiday.

HONORABLE MENTIONs

If you ever attended elementary school ever, there’s no way you haven’t seen A Charlie Brown Christmas at least once. These days, teachers likely don’t play the VHS tape on the last day before Christmas break like they used to, but this holiday classic has graced airwaves each year since the ‘60s. If you have a youngster at home, it’s your job to keep the tradition alive.

Frosty the Snowman (1969)

When I watch these Rankin/Bass specials

I find it interesting that, despite coming out over 50 years ago, they’re still just as good now as I’m sure they were back then. This is a story about a group of kids who build a snowman named Frosty. When they place a magical top hat on his head, he comes to life. The special is the epitome of what Christmas magic is all about.

A Charlie Brown Christmas (1965)

The Polar Express/Warner Bros./Castle Rock Entertainment/Peanuts/Charles M. Schulz/CBS/Lee Mendelson Company/Sony/ CAA-GBG/Why Him?/20th Century Studios/Elf/New Line Cinema/How the Grinch Stole Christmas/Universal/Dr. Seuss

KRAMPUS (2015)

I figured I’d start my list off with a horror film since there are so few good ones for this time of year. I don’t consider Krampus to be a classic by any stretch, but if Christmas horror is your thing, then this is a good one to check out. Based on European folklore, Krampus is a horned beast that punishes naughty children on Christmas. Let a naughty kid watch this movie and I bet they’ll be a little bit nicer next year.

The Year Without a Santa Claus (1974)

The title sounds like a kid’s worst nightmare. Rankin/Bass’ 1974 TV special introduced us to the Snow Miser and the Heat Miser, and made some of us wonder if it’s really possible for Santa to be sick on Christmas. This movie’s themes of giving and generosity will always remain relevant.

With so many changes as far as how we view content nowadays, I hope millennials do their best to keep these specials a tradition for the next generation to grow up on.

THE POLAR EXPRESS (2004)

The duo who gave us Forrest Gump (Tom Hanks and Robert Zemeckis) bring us one of the best animated Christmas movies of all time. Hanks stars as not only the young boy protagonist, but also the boy’s father, the narrator, the train conductor, a hobo, a Scrooge puppet, and even Santa Claus, himself. That’s quite a lot of roles, but Hanks proves to be the perfect man for the job. The film is a coming-of-age story about self discovery, but best of all, it’s a movie that can be enjoyed by kids AND their parents.

DUTCH (1991)

This is probably one of the more unexpected entries on the list. Starring the man I’ll forever know as Al Bundy (Ed O’Neill), Dutch follows a working class man who offers to drive down to Atlanta to pick up his girlfriend’s bratty 13-year-old son (Ethan Embry) from school in order to bring him home for the holidays. As the man and the boy’s

JINGLE ALL THE WAY (1996)

As many of you may remember, back in the ‘90s, well before everybody over the age of 8 had the internet at their fingertips at all times, people actually had to physically go to the store to buy gifts. Looking back, we may long for the more personal experience, but at the time it was nothing but stressful, especially when the items were hot. Few people are more aggressive and physical than lastminute Christmas shoppers.

Arnold Schwarzenegger plays a dad who learns this lesson the hard way while trying to win back his son’s affection by trying to get him the ever-popular Turbo Man action figure he wants for Christmas. This movie exemplifies a very ‘90s conflict and is guaranteed to remind you why you love Amazon so much.

20

MIRACLE ON 34TH STREET (1947)

It seems like the younger the person is, the less likely they are to go back and watch old movies. I get it, sometimes even the most iconic classics can feel dated, but they’re still classics for a reason. Today, Christmas movies are a dime a dozen, but back in the day, that wasn’t really the case. Miracle on 34th Street holds up just as good as any movie you can find from the ‘40s. It follows Kris Kringle, an old man who claims to be Santa Claus. Once beloved by many, people begin questioning his mental health. The name “Kris Kringle” stuck so well that it has since become interchangeable with Santa Claus.

A CHRISTMAS STORY (1983)

This movie has become so popular that TNT and TBS have been airing a 24-hour marathon of it every Christmas since 1997. Each year it’s the easiest movie to find. Everyone remembers a toy on their wishlist as a kid that they begged their parents for incessantly. For little Ralphie, that toy is a Red Ryder carbine action two-hundred shot range model air rifle BB gun. He’d give anything for it, and the more he hears, “You’ll shoot your eye out, kid,” the more he wants it. A sleeper hit upon its original release, A Christmas Story has accumulated a rabid cult following over the years due to its nostalgic themes and often dark humor.

TRADING PLACES (1983)

Lifestyles don’t get more opposite than those portrayed by Eddie Murphy and Dan Aykroyd in this holiday classic. Critics have called this the movie that brought back the screwball comedies of the ‘30s and ‘40s. Already known for his SNL tenure and hilarious comedy specials, this film helped turn Murphy into one of the biggest and most bankable box office stars of the ‘80s. The ultimate story about nature versus nurture, Aykroyd’s character, because of a bet between the brothers who own the brokerage firm he works for, trades places with Murphy’s—a broke street hustler willing to do whatever it takes to make a quick buck.

FOUR CHRISTMASES (2008)

If you love Christmas, then four of them sounds great...in theory. That is, until you have four separate families—all crazy in their own way—to make happy. Vince Vaughn and Reese Witherspoon’s characters are the perfect married couple, but this Christmas they have to do the impossible. Even the craziest of families can muster up a way to enjoy each other’s company this time of year. Everybody believes their family is nuts, which makes this so relatable. Having a big family is a blessing no matter how crazy they might be, especially around the holidays, and this movie is a good reminder of that.

WHY HIM? (2016)

Have you ever had a boyfriend or girlfriend you waited until the holidays to introduce to your family? If not, it’s very possible you might someday. And if they’re anything like James Franco’s character in Why Him?, I’d recommend not waiting so long. Franco plays a rich, lovable, but over-thetop oddball. He’s very easy to like, unless, of course, he’s dating your daughter. Bryan Cranston plays the perfect straight-man/protective father. Franco’s desire to be liked by his girlfriend’s dad and Cranston’s refusal to give his approval is what really brings out the funny.

You’d be hard-pressed to find an actor as born for a part as Billy Bob Thornton is as Willie T. Soke, a mall Santa by day, a thief by night, and a 24/7 sex-addicted alcoholic. As you can imagine, Bad Santa is very raunchy for a Christmas movie, but with Thornton as the lead we wouldn’t want it any other way. The funniest parts come when Willie meets a dimwitted little chubby boy named Thurman Merman. Thurman’s the nice, innocent type of kid who can’t help but attract bullies. When Willie finds out Thurman’s parental situation is a bit shaky, he develops a soft spot for the kid that you can clearly tell is out of character for him. As far as black comedies go, this is a very hard one to top.

JUST FRIENDS (2005)

This is one of those movies that can really be watched any time of year if you’re into rom-coms. However, the snow, the caroling, and the decorations make it that much better to watch come December. Long before Ryan Reynolds ever graced us with his iconic role as Deadpool, he still had that same dry humor and undeniable charm.

In Just Friends, he plays a guy who used to be the fat kid in high school. He got friend-zoned by the girl of his dreams (Amy Smart), and now, ten years later, he reluctantly returns to his home town as a certified dime piece: a thin and handsome LA hotshot on the outside, yet the same love-struck fat kid on the inside. As far as Christmas rom-coms go, this one ranks towards the top.

THE NIGHTMARE BEFORE CHRISTMAS (1993)

Few people do Christmas quite like Tim Burton, and this movie is a prime example of that. Its unique goth style has helped keep it relevant throughout the years. Few movie characters have been tattooed on people’s bodies as often as the Pumpkin King, Jack Skellington, and his love interest, Sally. Although the film’s style is very much Halloween (the town they live in is even called Halloween Town), but with the Christmas subject matter, this is a great one to watch either time of year.

NATIONAL LAMPOON’S CHRISTMAS VACATION (1989)

This is the third in the original trilogy of National Lampoon’s Vacation series starring Chevy Chase. Another family holiday classic, this comedy has more of a slapstick style of humor than the rest on this list. Chase is one of the best comedic actors of all time, never more evident than in his portrayal of the cynical every-dad Clark Griswold. This one focuses a lot less on the vacation aspect than the previous installments, but still the perfect way to end the trilogy. You don’t have to watch the first two films to laugh at and enjoy this one.

ADAM SANDLER’S EIGHT CRAZY NIGHTS (2002)

Almost every entry on this list is Christmas related. This one, however, is Adam Sandler’s gifts\ to the Jews. The film, the title of which comes from perhaps Sandler’s most famous SNL bit, “The Chanukah Song,” is an animated comedy/musical about an alcoholic troublemaker in desperate need of some holiday spirit. Not only does the comedian voice several characters, including the lead, he also co-writes and produces the film, which includes a hilarious soundtrack to go with it.

SCROOGED (1988)

The story has been retold at least dozens of times, but Bill Murray’s version of Ebenezer Scrooge is without a doubt the best of the bunch. In a spin on the Charles Dicken’s classic, A Christmas Carol, Murray’s Frank Cross is a cold, arrogant, and extremely successful TV executive who plans to stage a live production of A Christmas Carol all the while living out a variation of the story in his own real life. This modern take on the 1843 novella would end up being a big box office success, in large part thanks to its lead actor. Don’t get me wrong, the writing and directing are very good, but what Murray is able to bring to his character is the difference between a good movie and a holiday classic.

BATMAN RETURNS (1992)

Since we at SPO!LER love our superheroes, it’s only right this movie makes the list. Another one of Burton’s fringe Christmas films, Batman Returns is given a unique environment for a superhero movie as the director uses the holiday as a backdrop for the story. If you like superhero movies anyway, this one does a great job of incorporating the holiday spirit, even if it does so with a dark outlook. It also has a starstudded cast surrounding Michael Keaton in the title role, with actors like Michelle Pfeiffer, Danny Devito, and Christopher Walken all holding down strong supporting roles.

THE NIGHT BEFORE (2015)

While most great holiday movies focus on family, The Night Before focuses on friends, and how over time you’re bound to grow apart. That doesn’t mean you have to lose touch or can’t hang out. Of course you can. But a spouse, some kids, and a career make it much harder to do so. That’s just life, and that’s what’s so relatable about this movie. What’s funny about it, aside from its kickass trio of leads (Seth Rogen, Joseph Gordon-Levitt, and Anthony Mackie), is that these three grown men spend the night acting like high schoolers just trying to party, smoke weed, and do drugs. It’s everything you’d want and expect out of a Seth Rogen comedy, only this time it all goes down on Christmas Eve.

EDWARD SCISSORHANDS (1990)

GREMLINS (1984)

GO (1999)

Loaded with familiar faces, this is one of those movies that you can instantly tell is from the ‘90s. Its use of crime and dark humor, and the way it’s told from multiple points of view is very Tarantino-esque.

It’s much more fun if you don’t know the plot ahead of time, but just imagine the troubled, post-high school youth of the late-’90s, a Christmas Eve rave, and an excessive amount of drug use. Topped off with an ecstasy dealer in a Santa hat, played by Timothy Olyphant, this is a fun movie to watch any time of year, but if you haven’t seen it before, there’s no better time

This is Tim Burton’s 3rd film on this list, and without a doubt the weirdest of the bunch, which really says something. Some people might consider “weird” an insult, but I’m using it here as a total complement. I love weird, I love Johnny Depp, and I love Edward Scissorhands, which blends fantasy, suburban America, and a dash of Frankenstein. You have to watch the film to get a real feel for its Christmas themes, but the fact that it’s one of Depp’s most iconic roles is reason enough to go watch it.

More black comedy than horror, I’d still rank Gremlins as the creepiest movie on the list (all due respect to Tim Burton). A young man is given a mysterious little creature known as a mogwai as a Christmas present from his dad. There are three rules to caring for a mogwai: no sunlight, no water, and no feeding it after midnight. By the time these rules are all broken, there’s a pack of “gremlins” running around town destroying the neighborhood on Christmas Even like a bunch of savages.

DC/Warner Bros./The Night Before/Columbia/Sony/Go/Columbia/Edward

Scissorhands/20th Cenury Studios/Tim Burton/Gremlins/Warner Bros.

THE SANTA CLAUSE (1994)

If you haven’t seen The Santa Clause in a while, it’s easy to forget that *SPOILER ALERT* Tim Allen kills Santa. It was an accident and it wasn’t bloody or graphic, buuut ...Santa still got killed ...in a Disney movie. It’s pretty hilarious, really. There’s also a lot of body

die hard (1988)

04For years people have debated whether or not Die Hard is considered a Christmas movie. While I can see both sides of the argument, the events in the film all go down on Christmas Eve, in the middle of a Christmas party no less, so I’d say it fits the criteria. 32 years and about 37 sequels later (no, really!), John McClane is still one of the most well-known action heroes of all time. It takes a special kind of badass to walk on broken glass barefoot while carrying an automatic weapon and hunting down terrorists. Lucky for the franchise, Bruce Willis is the perfect man for the job.

How the Grinch Stole Christmas (2000)

Originally a book, then a cartoon TV special from 1966, Dr. Seuss’ How the Grinch Stole Christmas! was finally made into a live-action film in 2000 when Jim Carrey and director Ron Howard teamed up to give us this instant classic, which is still new enough that its popularity hasn’t waned. Even with a box office duo like this, it seems like a big gamble, but, as we’ve seen, an even bigger payoff. Carrey’s balance of comedic genius and unhinged goofiness is why it’s hard to imagine anybody else in the role.

elf (2003)

Will Ferrell has delivered some classic characters over the last 20 years, but few, if any, have hit quite like Buddy the Elf in this hilarious Christmas movie for all ages. Buddy’s a grown man who thinks he’s an elf, so obviously it’s pretty damn goofy. And if you like goofy, this will be sure to make your sides hurt. The part when Buddy accuses a man of being one of Santa’s little helpers is one of the funniest scenes I’ve ever seen in my life. Even if the silly humor isn’t your thing, this one’s so good that you should just give it a watch, for Christmas’ sake!

HOME ALONE 1 & 2 (1990, 1992)

I can’t say everybody would have these films at #1, but if you were born in the ‘80s or ‘90s, there’s no way at least one of the Home Alone movies doesn’t crack your top 3. The two films are so good I grouped them together, since you really can’t have one without the other. Written by the late John Hughes—a man who has written more classic movies than you can count on two hands—Home Alone stars Macaulay Culkin in easily the most iconic role of his career, a crafty little kid named Kevin McCallister who is accidentally left at home as his family goes away

BY ethan brehm

If It’s a Wonderful Life or Home Alone isn’t your style

you may be alone, but there are still some options for you. Perhaps you just want a variety during the Christmas season. Christmas movies don’t have to be overt. While some utilize their merriment to juxtapose a dark, twisted premise, others simply relegate the holiday as a milieu to offer a more subconscious setting. Something as subtle as snow falling, or red and green lights in the background, or “Jingle Bell Rock” playing over the radio is enough to put you in the yuletide mood.

Even though many of us prefer a more traditional approach, a good balance is fun to have too. Alt-Christmas comes in all shapes and sizes: some will be straight-up horror, others dark comedy, while one or two may combine elements of both…or neither. These entries prove that Christmas movies don’t necessarily need to be cheery or filled with feel-good sentiment to make for a certain watchability, or even evoke some sort of nostalgia. Nostalgia can come in all forms, but the feeling still remains the same. Here are some of our favorite alternative Christmas movies to mix in with our usual holiday fare.

This 1974 classic is not only an early example of Christmas horror, but one of the first and most influential slasher films of all time. Set in a college sorority house, the girls notice that the members of their sorority are slowly going missing. They begin receiving creepy phone calls with a breathy voice on the other end. Little do they know, the missing girls have been murdered, and the killer is actually living in their attic playing house with their corpses. This isn’t just another cheap slasher, but one of the fathers of the sub-genre, along with The Texas Chainsaw

Massacre from the same year, laying the groundwork for the likes of Halloween, Friday the 13th, and countless others. However, the film avoids the common exploitation traits that have riddled the horror genre for decades to follow. The scares aren’t cheap, but highly effective, and director Bob Clark gives us a sort of puzzle to solve as he unfolds the plot slowly throughout the movie. Clark would later go on to make the cult holiday classic A Christmas Story, which employs one or two subtle horror moments itself. Black Christmas is creepier than many of the movies it influenced and easily stands on its own, with or without its holiday context, but the Christmas elements add a contrasting warmth

Black Christmas (1974)

Black Christmas/Warner Bros./Silent Night, Deadly Night/TriStar Pictures/Anchor Bay/Lionsgate/Gremlins/Warner Bros.

Silent Night, Deadly Night (1984)

Controversial upon its release, this Christmas slasher is not one to watch with your young ones (not that most of these are, really). Parents and critics alike lambasted the movie’s marketing during its release, which depicted Santa Claus as an evil killer. TV ads played during broadcasts of Three’s Company and Little House on the Prairie with many kids becoming frightened of Santa. Undermining the film’s overall poignancy, its reputation overshadowed the story itself, which covered the topics of PTSD and childhood trauma. When Billy was 5-years-old, his parents were killed in front of his eyes by a man dressed as Santa Claus. The event obviously haunted him his entire life. He grew up hating Santa, whose image is ubiquitous during this season, and believing that if

he had been a “good boy” that year, his parents would still be alive.

When he’s 18,

trauma gets lost somewhere in the middle, Silent Night, Deadly Night is definitely a sick, twisted alternative to your favorite Christmas classics, and one that can’t ever be unseen—especially if you accidentally stumble across it as a child.

gremlins (1984)

Perhaps the truest alt-Christmas movie ever, Gremlins matches the cheeriness of the season with a sardonic flair. Not quite a horror film, this one just might have been in a league of its own back in 1984. Director Joe Dante, known for his dark sense of humor, managed to actually turn this black comedy into a Christmastime staple. Despite only tangential references to the holiday, its essence seeps through so much that when it originally came out, critics and audiences were perplexed by its June release date. A teenager is given a mysterious mogwai from his dad. Sweet at first, the mogwai turns out to be the gift that keeps on giving. The small creature of folklore, upon getting wet, spawns more mogwai, which wreak havoc all over town, destroying property and even killing some people. Gremlins is definitely more comedy than it is horror, but its uniquely indecisive tone has helped it earn a massive cult following throughout the years.

Black Christmas is creepier than many of the movies it influenced and easily stands on its own, with or without its holiday context.

he gets a job at a toy store and is asked to dress up as Santa for the kids, which turns out to be a really, really bad idea. While the exploration of the effects of

The Nightmare Before Christmas/Tim Burton/Disney/ National Lampoon’s Christmas Vacation/Warner Bros./

Gibson’s character’s depression and how depression cultivates itself much easier during this time of year. Gibson plays LAPD cop Martin Riggs, who teams up with Roger Murtaugh, played by Danny Glover. The Christmas setting is anything but frivolous and much more important to the story than you would think.

Lethal weapon (1987)

Compared to the ever-popular Christmas alternative, Die Hard, Lethal Weapon might very well be as overt as Miracle on 34th Street. At first glance, the holiday setting may seem frivolous. No snow, no lights, just LA heat and subtle atmospheric touches. If you were distracted enough, you’d hardly realize it was Christmastime at all. But the film feels like Christmas no less than it does in Los Angeles during this time of year. If you look closer, you’ll notice a plethora of Christmas trees in the background, characters drinking eggnog, and people around town, good or bad, always making sure to say “Merry Christmas” before they leave the room. On the outside, the film is about a murder investigation, but deep down, it’s very much concerned with Mel

national lampoon’s christmas vacation (1989)

“Where do you think you’re going? Nobody’s leaving. Nobody’s walking out on this fun, oldfashioned family Christmas. No, no. We’re all in this together. This is a full-blown, four-alarm holiday emergency here.” Leave it to John Hughes to give us one of the most absurd and subversive Christmas comedies of the ‘80s. The writer objectively pens the best of the Vacation series, putting together the most entertaining qualities of the first two to create a solid third installment. Clark Griswold is dead set on hosting the best Christmas ever, but this proves to be very difficult with a house full of rowdy relatives. As stubborn as he is, it’s

that same obsession that nearly renders the holiday pointless for him, speaking to our own fixation with making Christmas perfect at all costs, thus forgetting why we’re doing it in the first place. Perhaps the most minimalistic of the franchise, it’s that very tunnel vision that allows the film to acquire the focus it needs. The ideas and gags are finally fully-developed rather than shoehorned, featuring some of the series’ highlights, such as the running joke with Clark’s pretentious neighbors, whose Christmas keeps getting incidentally ruined as a result of Clark needing to have a perfect one. As concentrated as the movie is on the holiday, there’s such a comedic resentment towards its obligation to be so. Christmas Vacation seems to be smiling at us as it takes our coat, yet still shows a glimmer of indignation behind its eyes simply because we’re there to begin with—a sentiment so relatable this time of year, no matter how hard you try to avoid it.

Lethal Weapon/National Lampoon’s Christmas Vacation/Warner

Warner Bros./The Nightmare Before Christmas/ Tim Burton/Disney

batman returns (1992)

Tim Burton’s followup to his iconic 1989 Batman film may not be the most obvious choice for this list, but there’s no doubt that it’s a Christmas movie all the way. Michael Keaton returns one last time as the Caped Crusader and has to eventually bring down Danny DeVito’s Penguin, who serves as an anti-Grinch in his backwards trajectory. Although we lament the villain, it’s for a much different reason than our favorite green slenderman. From the opening sequence, the film is oozing with gaudy Christmas decor as Penguin, as a deformed infant, is thrown into the sewer by his parents. Not only is Batman Returns a movie set at Christmastime, but the plot relies on that very setting. In true alt-Christmas fashion, Burton utilizes the holiday to juxtapose the seediness of Gotham City, a tone he’s not unfamiliar with, concocting the best and most poetic example within the superhero medium. Characters and buildings are decorated for the holiday, and at one point, a squad of villains descend down an ornament-filled Christmas tree. The Christmas themes run deep, with Burton imbuing his film with a unique pathos for the holiday that almost defies explanation.

With his groundbreaking 1993 film, Burton goes all in on his love for alt-Christmas with his passion project that fuses Christmas and Halloween to the point that, nearly 30 years later, fans are still debating which

to. Undoubtedly a little more Christmas than its counterpart, Nightmare embodies the yuletide spirit, along with a love and appreciation for the holiday, but does so from a unique standpoint as it views our sentiment and nostalgia with an intangible outlook. Most, if not all, of us love Christmastime for the feelings it evokes, but we can’t always put our finger on why. The film (with the help of Hot Topic) coincided with the goth revival of the ‘90s and helped shape the emo movement of the ‘00s. It wasn’t the first movie to speak to outcasts and nonconformists, but this time it felt more intentional and direct. And even crazier, it was released by Disney—this thing was mainstream! Our hero, Jack Skellington, the Pumpkin King living in an allHalloween town, grows tired of the holiday and seeks something new. Discovering a land filled with Christmas, Jack adopts the holiday as his own, but doesn’t quite get it yet. The Nightmare Before Christmas has come to

the nightmare before christmas (1993)

Like a snowball rolling downhill, Bad Santa is relentlessly twisted, but not necessarily more than it needs to be.

with holidays as we grow older, especially as we become more aware of the over-commercialization of everything that we previously viewed as pure. What was once a magical time can find us desperately pining for those same sentiments as adults. We swear it’s still there, but sadly that’s not usually the case. However, if we dig a little deeper, we may find that magic reinvigorated for us once again. Or perhaps it never left after all.

bad santa (2003)

When it comes to R-rated Christmas comedies, Terry Zwigoff’s Bad Santa is as good as it gets. Admittedly offkilter, the movie isn’t for everyone, but there’s enough heart mixed into the cynicism to make it a worthy watch during the season. In fact, this is a story where the heart and cynicism are incessantly clashing with one another, trying to find a convergence. Billy Bob Thorton plays the titular character, a curmudgeonly con man who poses as a mall Santa each year to perform low-profile heists with his partner. However, this particular Christmas, he befriends a shy young boy with a sweet heart who brings out the best in him, which threatens to compromise his task at hand. Like a snowball rolling downhill, Bad

Santa is relentlessly twisted, but not necessarily more than it needs to be—a film so poetic it could almost be considered a traditional Christmas movie. However, its specific brand of Coen-esque dark comedy puts this one in a league of its own; a paradigm for the altChristmas crowd that will entertain without destroying any holiday spirit.

rare exports: a christmas tale (2010)

Many believe the tradition of Santa Claus originated in Finland. Filmmaker Jalmari Helander couldn’t agree more. His Finnish film is rooted in his homeland tradition of Joulupukki, a pagan tradition

The Nightmare Before Christmas/Tim Burton/Disney/Bad Santa/Sony/Dimension Films/Rare Exports/FS Film Oy/Scanbox Entertainment/Better Watch Out/Well Go USA/Rialto Distribution

which some believe helped shape the modern image of Santa Claus.

Rare Exports explores these roots as it follows a young boy, Pietari, as he spies on a group of excavators who stumble across an ancient burial ground made to imprison some mysterious creature. Believing this unearthed being is the real Santa Claus, Pietari soon discovers that this particular version of Father Christmas may not be very nice at all. Helander mixes this adventure with some dark fantasy and horror elements, but despite all that, the eerie tone of Rare Exports is surprisingly cohesive as the filmmaker manages to tap into childlike wonder while getting under our skin as well. The ending is so satisfying and a testament to his incisive vision.

better watch out (2017)

These days, Christmas horror is seemingly a dime a dozen, so it’s tempting to overlook another entry that appears to promise standard conventions. However, Better Watch Out is much more than meets the eye. Starting out as a home invasion plot, it quickly transforms into something else entirely: a reverse Home Alone where the bad guys are the ones setting up the boobytraps. One of the funnier films on this list, Better Watch Out is more twisted than spooky, especially after the first act, emphasized with an almost-snarky, but mostly tongue-in-cheek, red and green atmospheric glow. Better than most in the Christmas horror sub-genre, this one embraces the season on an aesthetic level with its visual warmth contrasting the sick and demented scenarios at

play. However, the movie never dips into torture porn, keeping focus on the kinetics of the story instead. The influences may be worn on its sleeve, ranging from the aforementioned Home Alone to the very non-jolly Funny Games, but writers Zack Kahn and Chris Peckover (who also directs) give these classics a slight twist. Appropriately, the film sticks truest to the ‘80s slasher genre, giving us one of the best modern day Final Girls with Olivia DeJonge’s Ashley. It’s almost impossible to talk about the plot without giving anything away, but if you’re in the mood for something completely different, yet still apropos of the season, then this one should take you on a very fun ride.

A Wonderful Life A Christmas Story (1983)

Frank Capra’s 1946 film is considered to be one of the best movies ever, coming in eleventh place on the list of 100 Greatest American Films Of All Time by the American Film Institute.

Based on the humorous writings of author Jean Shepherd, this beloved holiday movie follows the wintry exploits of youngster Ralphie Parker.

The whole family will be singing along to this comedy about a talented foursome who put on an extravagant Christmas show.

This relatively new classic is sure to stand the test of time when it comes to those Christmas movies we turn to over and over for all the holiday feels. And you’ll get plenty of them in the dreamy worlds of Iris’s Surrey cottage and Amanda’s mansion.

10

11 12

There are many lessons to be learned from Buddy the Elf, played by Will Ferrell. For one, “The best way to spread Christmas cheer is singing for all to hear.” Oh, and that maple syrup can go on spaghetti.

This movie was remade in 1994 with Mara Wilson and Richard Attenborough, but head back to the 1947 version for the original magic.

Louisa May Alcott’s novel makes for an inspired holiday movie about family and love.

It’s a relatively new classic, but a classic nonetheless! The Griswold family will delight you with their nowlegendary antics.

It’s

White Christmas

The Holiday

Elf Miracle on 34th Street

Little Women

National Lampoon’s Christmas Vacation

13

Home Alone

06

07

Meet Me in St. Louis

Judy Garland is unforgettable in the musical that revolves around the 1904 World’s Fair.

There are a lot of versions of the Christmas Carols out there, but this Muppets holiday classic brings together all your favorites—Kermit, Miss Piggy, and Gonzo to name a few—and Academy Award-winning actor Michael Caine.

Irving Berlin’s song “White Christmas” was eventually adapted into a full-length feature shot in color, but listen to the original version in this 1942 musical.

The Bells of St. Mary’s

A priest (Bing Crosby) and a nun (Ingrid Bergman) butt heads about the outcome of their inner city catholic school St. Mary’s.

14

15

16

Beauty and the Beast

This 1991 cartoon is perfect for the whole family—and that snowball fight scene is peak Christmas. We dare you not to sing along!

Christmas in July

A hilarious tale of a young man is tricked by his coworkers into thinking he’s won a slogan contest, only to find out that the President of the company has been pranked himself and gives him the reward.

What’s more classic than a Norman Rockwell painting? In this film, you’ll see one brought to life—along with all the Christmassy goodness you could ask for.

Kevin McCallister’s tale of taking on thieves after his parents accidentally leave him home for the holidays is a favorite for viewers old and young.

The Muppet Christmas Carol

Holiday Inn

A Norman Rockwell Christmas Story

Did someone say “Katharine Hepburn”? We’re sold.

A single food writer who lies about living an idyllic country life in her articles, and must cover it up when a returning war vet and her boss invite themselves over for Christmas dinner.

Three men try to transport a newborn baby to New Jerusalem after the child’s mother dies in the desert.

Widowed reverend Martin’s detachment from his family is always at its worst during Christmas. But the tension finally comes to a head when his children reunite for the holidays.

Cary Grant stars an angel that helps a bishop and his wife out during Christmas in this 1947 movie. (Fun fact: it was remade in 1996 as The Preacher’s Wife with Denzel Washington and Whitney Houston.)

Ginger Rogers plays Polly Paris, a down-on-herluck woman who takes responsibility for an abandoned child to get a job at a department store.

A friendly squirrel helps out a down-on-their-luck family in the 1950s classic that also goes by the name A Christmas Wish.

No, it’s not outrightly a Christmas movie, but we consider it one! There are tons of festive scenes in this classic romantic comedy, which is actually a remake of The Shop Around the Corner.

One Christmas Christmas in Connecticut

3 Godfathers The Holly And The Ivy

The Bishop’s Wife

Bachelor Mother

The Great Rupert You’ve Got Mail

21

22

23

How The Grinch Stole Christmas

Award-winning director Ron Howard brings to life our favorite Christmas grump in this film adaptation of the famous Dr. Seuss book and cartoon.

29

Come to the Stable

Two nuns are determined to build a New England children’s hospital, and must overcome several challenges with the local townsfolk to do so.

I’ll Be Seeing You

Ginger Rogers plays a convict who has been released for Christmas. Her situation is further complicated when she falls for a handsome stranger on the train.

24 The Apartment

With a big portion of this movie set around the Christmas holiday, this Best Picture-winning movie will leave you with a heavy dose of nostalgia.

Meet John Doe

A priest (Bing Crosby) and a nun (Ingrid Bergman) butt heads about the outcome of their inner city catholic school St. Mary’s.

30

31

32

My Reputation

Another Barbara Stanwyck hit, My Reputation follows a widowed mother trying to navigate her love life while withstanding local gossip about her romances.

Babes in Toyland

This 1934 musical comedy stars Laurel and Hardy as toymakers struggling to pay off their mortgage on Mother Peep’s shoe. It’s also known by its alternative title March of the Wooden Soldiers.

A Christmas Carol (1951)

Even by 1951 there were countless film adaptations of this Charles Dickens classic, but this black and white version is considered to be the best by New York Times film critic A.O. Scott.

Remember the Night A Christmas Carol

This 1940 romantic comedy stars Barbara Stanwyck as a shoplifter who gets arrested right before Christmas and Fred MacMurray as the D.A. who saves her.

This earlier version of A Christmas Carol starring Reginald Owen as Ebenezer Scrooge is also worth watching.

Imagine if You’ve Got Mail starred Jimmy Stewart instead of Tom Hanks and featured a relationship through letters instead of email during Christmas— then you’ve got the 1940 romantic comedy The Shop Around The Corner.

This 1949 romantic comedy starring Janet Leigh and Robert Mitchum was a flop at the box office, but has gained a following over the years after Turner Classic Movies continued to air it every holiday season.

37

38

In this 1951 comedy, Bob Hope plays a swindler who needs to pay back a gangster $10,000 by Christmas Eve or else he “won’t make it to New Year’s.” The song “Silver Bells” also made its debut in this movie.

It Happened on 5th Avenue

While Christmas is merely the setting for this 1947 movie about a homeless man moving into a mansion while the owners are wintering down South, it’s still worth adding to your December movie lineup.

The Man Who Came to Dinner The Thin Man

Monty Woolley plays theater critic Sheridan Whiteside, the titular man who came to dinner. After breaking his leg on an icy patch, he finds himself confined to a family’s Ohio home.

Not a traditional Christmas movie, this murder mystery, starring William Powell and Myrna Loy as married sleuths Nick and Nora Charles, takes place during the holidays.

The Shop Around the Corner Holiday Affair

Bob Hope: The Lemon Drop Kid

8-bit christmas

DIRECTED BY: Michael Dowse / CAST: Winslow Fegley, Neil Patrick Harris, Steve Zahn

It’s hard enough to make a good Christmas movie these days, let alone a good live-action kids’ comedy. Combining the two into one may seem like an impossible task, even a recipe for disaster. And yet, Michael Dowse may have pulled off one of the best of both of the last few years with his latest film 8-Bit Christmas.

It helps to have a story that’s driven by something other than studio execs checking boxes of what they think the children of today want to see in their entertainment. Written by Kevin Jakubowski, based on his own book of the same name, 8-Bit Christmas oozes with personal touches as it tells the tale of an 11-year-old boy who will stop at nothing to get a Nintendo Entertainment System for Christmas, even though his parents have forbidden it. It’s unclear how autobiographical the story is for Jakubowski, but the protagonist

is named “Jake,” so infer from that what you will.

Set in the late 1980s, the film is told retrospectively by adult Jake (Neil Patrick Harris) relaying the events to his young daughter (Sophia Reid-Gantzert), who has been begging her dad for a cell phone. Through his own childhood travails, he attempts to prove to her that memories aren’t born from the material goods we think will provide us with happiness, and that those items typically serve as our own real-life MacGuffins on the path to unforgettable experiences.

Over 30 years ago, Jake (Winslow Fegley) and his friends had one of the best and most memorable Christmases ever, yet at the time they thought life couldn’t get worse. Jake himself has to deal with the school bully, a spoiled little sister, and parents who think that video games are evil, which leads to a town-wide ban by all the adults. Yet, Jake looks back on these memories fondly

as he’s now able to see how those challenges helped shape him today. Taking plenty of notes from Bob Clark’s A Christmas Story, which informs a lot of the episodic plot, the quirkiness, the surrealistic freedom it takes with certain events, and even the dysfunctional family dynamic—inattentive parents and all—8-Bit Christmas still handles the sentimentality much better than its 1983 forerunner. While tonally different, Home Alone is probably a better comparison to how the film balances its unvarnished appeal with a not-quite-buried Christmas ethos.

8-Bit Christmas:HBO Max; Warner Bros.

Top to bottom, the film is really well cast, from the ensemble of child actors, who each fits his or her role perfectly, to the comedy veterans who play the adults, including Steve Zahn and June Diane Raphael as Jake’s parents, and David Cross as the skeezy huckster selling questionably authentic items from the trunk of his car.

Zahn is particularly great, as always, as John Doyle, the intensely myopic dad who yells a lot and just wants his kids to play outside with sticks. John is wisely not coded as one note just aiming to ruin his kid’s fun, but his actions are sprinkled with sweetness and a love for his son that humanize him past his archetypal pretense. His character’s profile and verbiage are definitely inspired—perhaps by someone in real life—and because of that, he’s given authentic depth, as well as many of the film’s best moments, with Zahn hilariously delivering lines of dialogue so bizarre that we’re unsure if he’s actually improvising or not.

Even when the pacing feels more like an elongated sitcom, with less places to be and in a longer amount of time, 8-Bit Christmas still always thrives on its characters. Whether it’s Jake’s Lois Wilkerson-esque mother who serves frozen Eggo waffles for breakfast (“Put it under your armpit for 2 minutes and it’ll thaw out”); or neighborhood kid Farmer (Max Malas), a pathological liar who continuously forces his way into Jake’s friend circle; or Conor Stump (Jacob Laval), their outcast classmate who occasionally imparts some of his strange words

of wisdom upon Jake (“Just think of something happy: Tell me your favorite letters of the alphabet!”), each character in this movie is written to be completely different

Jakubowski’s script oozes with personal touches and a clever assortment of setups and payoffs. While the scenes can often become a bit talky, the plot is surprisingly lean and unpredictable, and the comedic bits are genuinely funny. Unlike a lot of lesser kids’ comedies, doesn’t dwell on any of its jokes, let alone the bad ones, of which there aren’t very many.

A frequent collaborator with

There are still plenty of times when the film feels like a second tier Netflix movie (the film actually came out exclusively through HBO Max streaming), but I just have to constantly remind myself that that’s the state of most kids’ movies nowadays anyway. There are certain details that the filmmakers thought would fly over their young audience’s head, such as the arbitrary countdown timer during the mall “heist,” or a line or two surmising that 11-year-old boys of today would not make fun of their friend for wearing florally purple girl boots. However, there’s enough genuine quality to justify all the oversights. Obviously, 8-Bit Christmas doesn’t hide its retro angle, but it also doesn’t just bask in the olden days on an aesthetic level. While nods to shopping malls, Cabbage Patch Kids, and the Power Glove (with a character who sparks comparisons to The Wizard’s Lucas “It’s So Bad” Barton) are definitely crucial to the plot, it’s the film’s focus on the more personal and intangible aspects of growing up that provides the highest nostalgia for the audience— whether you grew up in the ‘80s or not.

Dowse, Joseph Trapanese seems to be one of the few composers left who intentionally bakes these little hummable motifs into his musical scores. While most Hollywood genres are essentially conforming to melodic sameness, Christmas movies should still be legally required to have catchy and evocative riffs.

Even when the pacing feels more like an elongated sitcom, with less places to be and in a longer amount of time, 8-Bit Christmas still always thrives on its characters.

the harder they fall

DIRECTED BY: Jeymes Samuel / CAST: Jonathan Majors, Zazie Beetz, Idris Elba

Don’t let the Jay-Z-ladened soundtrack fool you. Jeymes Samuel’s feature-length debut The Harder They Fall might invent a brand new story, but as the opening text reads, “These. People. Existed.,” referring to the ensemble of real-life historical Black figures represented in the film. Experts now estimate that between 20 to 25% of cowboys in the American West during the 19th century were Black, and so Samuel’s story about two feuding Black outlaw gangs and the lawmen who aid them is no modernized subversion. Of course, the movie has its expected modern touches thrown in, but usually they serve the plot or its aesthetic.

We open as a 10-year-old boy, Nat Love, watches his parents brutally murdered by local outlaw Rufus Buck (Idris Elba). Some years later, this boy has become an outlaw of his own, played by Jonathan Majors, set out to exact his revenge on the man who scarred him for life. Instead of

robbing banks and trains, Love and his gang simply steal from the other criminals. But in the eyes of the law, which in this film is played by the affable Delroy Lindo, it’s all the same.

Nevertheless, Lindo’s Marshal Bass Reeves takes somewhat of a liking to Love and, after hearing of Buck’s release from prison, wants to see the ruthless killer behind bars once again—or better yet, dead.

Reeves and Love join forces, along with Love’s gang, which consists of his sharpshooter Bill Pickett (Edi Gathegi), quickdraw Jim Beckwourth

(RJ Cyler), Love’s formerly-estranged former lover Mary Fields (Zazie Beetz), who now owns and operates a chain of successful saloons, and her confidant Cuffee (Danielle Deadwyler), against Buck and his, featuring the likes of his own quickdraw Cherokee Bill (Lakeith Stanfield) and roughneck lover Trudy Smith (Regina King)—all real personages from the American West, but other than Buck, Smith, and Cherokee Bill, none of them were actual outlaws.

Rather than take on a revisionist story or attempt to evolve the genre, Samuel sticks with a more traditional premise that he infuses with killer tension and a crisp lens. The characters live in Black towns— distinguished from White towns by their colorful, freshly-painted buildings—and so the story almost entirely concerns their matters with other Black people. White folks also exist in this world, but almost exclusively as hoity-toity

The Harder They Fall:Netflix

racist snobs, lampooned as such for comedy.

The Harder They Fall is perhaps, at times, too focused on its story, but Samuel’s dynamic worldbuilding is some of the best you’ll find in modern depictions of the Old West, anachronistic reggae fusion and all. Tonally more along the lines of a Quentin Tarantino neo-Western with snappy dialogue and tongue-incheek banter built into a screenplay by Samuel and Boaz Yakin, this movie still always feels fresh. The director opts out of the teal and orange coloring of concurrent period pieces, proving that perhaps that trendy tint is not only unnecessary, but a hindrance for us to get a tangible feel for the era. With the help of cinematographer Mihai Mălaimare Jr. (The Master, Jojo Rabbit), Samuel complements his anamorphic widescreen ratio (2.39:1) and makes the most of his depth-of-field and rack focuses to obtain a vividly immersive response from the audience that, paired with the evocative set design, toys with expressionistic aesthetics.

As the high-stakes chess match between Love and Buck comes to fruition, we experience a rewarding climax featuring some of the best gunplay since Django Unchained, with a mix of smooth choreographed sequences and messy, naturalistic free-for-alls, even if it all goes on for a tad bit too long.

Majors has a daunting screen presence and is undeniably

convincing as our admirable hero. His counterpoint in the picture is Elba, who brings an unwarranted humanity to Rufus Buck—cold, yet pensive. The actors share only two scenes together, but both instances are immensely gripping and weighty, reminiscent of the pair of providential meetings between Jack Nicholson and John Huston in 1974’s Chinatown

Love is a kind and generous outlaw, only living this life of crime because of a personal vendetta; a mere reverberation of someone else’s evildoings. Whereas Buck, presumably motivated by more toxic and insidious trauma early in his life, is a cruel and unscrupulous killer.

Samuel crafts his themes ingeniously. Prior to coming full circle with these fateful ideas directly, he’s able to hint at the influence of a father on a young boy and how that affects who he will become. The result is a climax not just of plot, but of motifs.

Hall is another standout as the impervious Trudy, employing a uniquely complex accent that the

actress is able to lock in for the duration. Her own dueling matchups with Beetz are both enlightening and wickedly fun to watch.

Toeing that line between fun, angry, and thought-provoking, the film doesn’t just hit all three marks, but allows them to complement one another. One of the prettiest looking Westerns in several years, The Harder They Fall might be one of the best recent examples of how the genre can still survive without its format needing to be challenged.

Rather than take on a revisionist story or attempt to evolve the genre, Samuel sticks with a more traditional premise that he infuses with killer tension and a crisp lens.

army of thieves

DIRECTED BY: Matthias Schweighöfer / CAST: Matthias Schweighöfer, Nathalie

With Matthias Schweighöfer, who plays Ludwig Dieter, the eccentric safecracker from this year’s Army of the Dead, filmmaker Zack Snyder knew he had something special on his hands. As a relatively unknown actor in America, Schweighöfer is one of the few standouts in the ensemble cast and could very easily carry his own film with his charm alone. As fate would have it, the comedic relief side-character turns out to be a formidable leading man in the standalone prequel, Army of Thieves. He’s the reason why even when the jokes don’t always land, we still have a smile on our faces.

It turns out “Ludwig Dieter” is just an alias. Prior to changing his

name when moving to the United States some years earlier, Sebastian Schlencht-Wöhnert practices safecracking as a hobby in his home country of Germany. That is, until one of his instructional YouTube videos is discovered by master thief Gwendoline Starr (Nathalie Emmanuel), who invites him to the safecracking-equivalent of a cage match, in which he beats out the reigning champ.

Gwendolyn discovers that Sebastian is one of the leading experts in the esoteric story of legendary locksmith Hans Wagner and his “Ring Cycle” of four purportedly uncrackable safes, all inspired by composer Richard Wagner’s four-opera Der Ring des Nibelungen. Three of the safes have been hidden at three separate European banks, but the fourth safe— the one in which Wagner entombed himself to die—is missing.

Sebastian meets the rest of Gwendolyn’s team—a hacker (Ruby

O. Fee), a getaway driver (Guz Khan), and a macho action hero (Stuart Martin)—in a stylish introduction sequence that ensures we know everyone involved is ultracool. Everyone except Sebastian, whose fish-out-of-water role supplies both the humor and the conflict.

Schweighöfer not only stars in Army of Thieves but leads the way behind the camera as well. Safecracking is key to any good heist, but also not terribly exciting. Fortunately, the director ensures that we see all the beautiful and elaborate intricacies of the three safes’ interiors as Sebastian attempts to unlock them—from easiest to hardest. And while the first heist focuses on just Sebastian and the safe, the last two are given some energy by crosscutting them with simultaneous events happening elsewhere.

The increase in difficulty of the three safes is also paralleled with Sebastian’s unlocking of his own assertiveness. Schweighöfer is not

Emmanuel, Ruby O. Fee

Army of Thieves:Netflix/The Elephant Man:Paramount

only a naturally charismatic lead, but he gets some added sympathy through his skilled acting chops. Believable as the pathetic loner, he also has hints of self-confidence early on that make his evolution feel fluid. Conversely, Gwendolyn sees her own impenetrable wall open up as she allows herself to become more vulnerable as she falls for Sebastian.

Emmanuel and Schweighofer’s chemistry is surprisingly palpable.

The dark and rainy European setting, elevated with beautiful establishing shots by cinematographer Bernhard Jasper, gives us the sense of an earlier time period. And if it weren’t for the computer hacking, YouTube channel, and a throwaway reference to Pirates of the Caribbean 2 (and a loose connection to the apocalyptic Army of the Dead), it could very well have been. Schweighöfer keeps the modern technology to a minimum while bringing out the timeless essence of his story.

The dark and rainy European setting, elevated with beautiful establishing shots by cinematographer Bernhard Jasper, gives US THE SENSE OF AN EARLIER TIME PERIOD.

If Army of the Dead crumbles under its own ambition, Army of Thieves lands a direct hit. Schweighöfer, utilizing a script from the returning Shay Hatten, remains focused on his premise, refraining from heavy subplots—for better or worse— but does a great job proving to us he doesn’t need one, with kinetic storytelling and a dynamic A-plot filled with deep symbolism surrounding the safes, the mythology

they keep, and how they mirror/ portend the events in this film.

There is a tangential strand about the detective who’s chasing after the criminals, but we never get more than we absolutely need, and it always adds an additional layer to the heists themselves by providing the viewer with a quasi-surrogate. Not only does Jonathan Cohen as Delacroix deliver some of the funniest lines of dialogue as the bumbling (and misleadingly incompetent) Interpol agent, but he balances the film’s tension in a way that none of the direct foils are capable of.

While Sebastian and Gwendoline are both very intriguing characters, their three cohorts are essentially flat—mere chess pieces put in place to either stir up the pot or move forward the plot. Likewise, the poorly written jokes make for unrealistic dialogue, suffering from Abundant Straight Man Complex, as though the writers thought that deadpan reactions to Sebastian’s quirks were the only ways to get laughs. The film throws in some heist genre parody as well, which also probably plays much better on paper.

Luckily, charm and humor are two different things. Army of Thieves is funniest (and funnest) when it’s not trying to be, through the overzealous enthusiasm of its lead and his saltof-the-earth interpretation of this sleek, Ocean’s Eleven-type world into which he’s been immersed. With the inclusion of a few heartbreaking and emotional moments, Schweighöfer keeps his movie relatable while making it feel appropriately epic in scope (even more so than its doomand-gloom predecessor), keeping a lean narrative that doesn’t overreach its grasp or make us want to look at our watches, despite the 129-minute runtime.

retro reactions

the elephant man (1980)

A biopic so audacious you forget that it’s based on the life of a real person, The Elephant Man, David Lynch’s sophomore effort, features simple overhead shots of cobblestone streets in 19th-century London that establish atmosphere in a way that most movies’ elaborate set pieces can’t. Following a young man named John Merrick (John Hurt) who was born with a severe deformity that’s earned him the pejorative nickname “the elephant man,” the Best Picture nominee draws the thin, yet distinct line between gawking with earnest curiosity and doing so to ridicule. The former, regardless of initial intent, can eventually yield kindness just from cracking open that door, allowing change to take place because of it.

Laughed at by some as a sideshow attraction and feared by others as a monster, John is eventually taken in by Dr. Frederick Treves (Anthony Hopkins), who at first wants to examine him for scientific purposes, but soon becomes very close friends with the patient, helping him find confidence to be himself and actually live life. This has a contagious effect on everyone else, eventually leading to many people of high society wanting to get to know John and accepting him despite his appearance. The movie also touches on the power celebrity has on influencing society, the arbitrary means by which we define that celebrity, and how the oddity of John Merrick is not dissimilar to that of an aristocratic elite.

John is housed in the attic space of the London Hospital, which overlooks the top of the

atm

AT THE MOVIES

cathedral, of which the belltower is all he is able to see. It all sparks comparisons to Victor Hugo’s The Hunchback of Notre-Dame. This, of course, is an alternate take to the 1831 novel, as John’s caretaker is much gentler and kinder than the pernicious Claude Frollo is to the deformed Quasimodo, although both men exploit their subjects in their own ways. However, Dr. Treves is still ultimately driven to do good, even if that good is dormant and subconscious at first—and under the pretense of selfish gain.

Hopkins is spectacular, effortlessly switching between both relaxed colloquialisms and a proper professional lilt depending on his environment. His co-star is equally as brilliant. Underneath all that makeup, you can still feel Hurt’s energy and, even more importantly, his soul. He’s able to evolve a character who requires choices that are big, yet selective. Every decision he and Hopkins make is spot-on.

“My life is full because I know that I’m loved.” For the climax, Treves fulfills a goal of John’s by taking him to see a stage play of Puss in Boots. It’s here where John is finally able to be the spectator himself; no longer the spectacle as he watches an anthropomorphized animal on stage who’s dressed like a man—the opposite of him, a man who had been degraded to the lowly status of an animal. After the finale, John’s famous actress friend comes out and dedicates the performance to him, earning John a standing ovation from the crowd. Finally, he is cheered for his resilient spirit rather than laughed at for his involuntary deformity. It’s these touches from Lynch that make this film arguably his best ever; the director’s purest piece of cinema.

Endlessly touching and thoughtprovoking, The Elephant Man is just as much an advocate for empathy and charity, especially when it’s difficult, as it is a victory of the human spirit by a horrifically deformed man who just desperately wants to be like everyone else—a dream which is found, in its own way, from the compassion of others. And lo, Treves doesn’t just change John’s life, but John changes his—a strong case for the incalculable value of life no matter what the circumstance.

the electrical life of louis wain

DIRECTED BY: Will Sharpe / CAST: Benedict Cumberbatch, Claire Foy, Andrea Riseborough

It’s as though Benedict Cumberbatch was made to star in period biopics, to the point where he almost seems out of place in movies set in modern day. The London-born actor has had his fair share of projects that require him to dress and act like he’s from earlier eras, but it always seems so effortless because he looks like he’s from another time to begin with.

Cumberbatch’s latest pair of films have given into those leanings. With the 1920s-era Western The Power of the Dog, he’s already earned some

Oscar buzz for how he’s stretched our expectations of his range as an actor, but in the whimsical Victorian piece, The Electrical Life of Louis Wain, the role almost feels too easy for him.

Set in late-19th-century England, Cumberbatch plays underachieving Renaissance man Louis Wain, who is the sole breadwinner for his mother and five sisters following his father’s death. His main gig is as an artist for a local magazine, where he’s commissioned to draw pictures of animals and scenery from various events. He doesn’t take his craft too seriously though, and has much more of an interest in science and music, among other things. However, it’s sketching that he’s best at and so it’s sketching that pays the bills.

He marries his family’s governess, Emily (Clarie Foy), much to the chagrin of his sisters because of how her lower class goes against the standards at that time. Nevertheless,

The Elephant Man/Paramount/The Electrical Life of Louis Wain/Amazon

the two move to a countryside home away from the judgement and pressures of city life. It’s there that they discover a small kitten in their backyard, who they take in as a pet and name Peter. Louis begins drawing pictures of Peter as a way to help his wife cope with her recent diagnosis of breast cancer.

With this news, paired with the fact that his magazine job is now in jeopardy due to the growing accessibility of photography, which is quickly replacing illustrations, Louis suddenly finds his blissful world crashing down around him. Emily suggests he submit his cat pictures to his boss (Toby Jones), which are surprisingly accepted as a novelty to fill up the empty Christmas pages. The images, featuring an anthropomorphized Peter doing human things such as playing golf or sitting at a dinner table, are a huge hit, so much so that Louis is

eventually able to change society’s perspective on the “ridiculous” animals that had previously been deemed by most as unworthy of domestication.

In our modern world, it’s impossible to think any differently, but prior to Wain’s artistry, having cats as pets was considered preposterous.

The most engaging part of the film is the first half, which turns this historical biopic into a romantic comedy of the most unexpected degree, with inspired and authentic moments of humor tethered to an honest emotional core, despite the sociopathic tendencies of our lead. One of my favorite directorial moments of the year comes when Emily (not an artist) attempts to paint a picture of herself. When Louis sneaks a peak, we see his subjective vantage point as though we (i.e., the camera) are his character. Upon catching a glimpse of her sad artistic progress, we can’t help but laugh ourselves, even though we don’t see Louis do so. And it’s not until Emily admonishes him for his flippant reaction that we realize we’ve been tricked by our filmmaker, who has cleverly fused our own perception with that of the protagonist.

Unfortunately, the narrative takes a bit of a dip following a tragedy in the second act, not because the story becomes less interesting after that, but because too much time (half the movie) is spent on the back nine of Wain’s life. Director and co-writer Will Sharpe (along with Simon Stephenson) abandons the comedic elements for a much more somber tone, which may match that of its protagonist but also partially betrays any of the viewers who had attached themselves because of it. Sharpe does his best to make

However, Louis found the connection between cats and humans, exposing their vulnerabilities as well as their hesitations. As Emily puts it, “They’re silly and cuddly and lonely; frightened and brave, like us.” There were definitely feline advocates in 19thcentury London, but like a lot of great art, Wain’s portraits gave awareness and wider exposure to parts of culture that were niche and hidden.

Where most movies such as this meditate on the personal connection art has with the observer, The Electrical Life of Louis Wain captures the effect it has on the creator as well.

these later scenes interesting with abstract flourishes that he only ever toys with early on. But the picture eventually becomes less focused on story development than it does on characters’ reactions to plot details, paired here with the cerebral intake of themes, for better or worse.

Wain was alleged to have schizophrenia later in life, something that has become disputed by historians. And while the film never takes definitive sides in this debate, despite evolving into kaleidoscopic imagery for much of the last third, Sharpe concerns himself less with giving his own opinion and more with the ways in which the artist was able to make human connections throughout his life.

The title refers to Wain’s description of the energy he continues to feel in everything he experiences in life; it’s around him when he spends time with his wife and their cat, or when he sees people interact with one another in the street. Little does he know, this “electricity” is commonly known as “love” to others.

Sharpe and his cinematographer Erik Wilson do a brilliant job crafting this gradual ethereality, exemplified in a scene of clever camera work

that imitates the rocking of a ship—a symbol of a near-drowning experience Louis faced as a child—or later when he places his character in these impressionist landscape portraits, in which the audience is not entirely sure what is real and what isn’t.

Where most movies such as this meditate on the personal connection art has with the observer, The Electrical Life of Louis Wain captures the effect it has on the creator as well. The film beautifully exhibits a man who may not have wanted to be an artist to begin with, but because his talent kept him financially afloat, he settled into the role and incidentally became inspired, ultimately unlocking his true creativity through emotional trauma

and indescribable pain. In a strange way, Louis battled his loneliness with his illustrations because of the impact they had on others. At times all it takes is somebody who can see the world differently. Louis Wain didn’t just find the beauty in what was there, but in what wasn’t. And his biggest revelation may have been that he was always an artist, even if he had previously written it off as merely a fortunate skill.

red notice

Amidst the mid-fall deluge of summer blockbusters making their way to streaming platforms, Netflix has released their very own big budget action flick, Red Notice, starring a triumvirate of stars that seem to just randomly show up in movies like this, good or bad, every year or so (although, for one of them, those movies typically come in the form of DC comic book adaptations). As generic and bland as the trailer (and the poster) would have you assume it is, there’s a lot of personality in Red Notice, a film that also happens to bring the most out of its three leads, whose own individual genericism may get transcended here as well.

We open with a sequence featuring Dwayne Johnson, as FBI agent John Hartley, chasing down notorious art thief Nolan Booth (Ryan Reynolds) in Rome after he steals one of the three legendary golden eggs that Marc Antony gave his lover, Cleopatra, two thousand

years ago. Booth eventually gets caught in another country where he’s shipped off to a maximumsecurity prison and the egg back to the museum—that is, before it’s intercepted by Booth’s rival thief, known only as “The Bishop” (Gal Gadot), who switches the egg with a fake and intentionally frames the law-abiding Hartley in the process.

Interpol agent Inspector Das (Ritu Arya), who apparently can’t figure out that the Bishop’s motives to frame Hartley are incredibly strong, doesn’t believe Hartley’s story and sends him to the same prison as Booth. Together, the two former adversaries team up to escape their fortress so they can get to the other two eggs before the Bishop. Booth wants the bragging rights and the money, of course, but Hartley just wants to clear his name and take down the Bishop in the process.

There’s a lot riding on coincidence in Red Notice, written and directed by Rawson Marshall Thurber, in order

for it to work, becoming even trickier with the unveiling of a WTF twist in the final act. The revelation, while clean and (mostly) plausible, opens up a few plot holes in the process. But more importantly, it undoes a lot of the emotional stakes cultivated over the course of the movie, ultimately sacrificing heart for its pitch-room hook.

Pulling inspiration from various movies, including Raiders of the Lost Ark, The Fugitive, Rush Hour, Wild

DIRECTED BY: Rawson Marshall Thurber / CAST: Dwayne Johnson, Ryan Reynolds, Gal Gadot

The Electrical Life of Louis Wain:Amazon/Red Notice:Netflix

Things, and the entire Fast & Furious franchise—with unfortunate green screen effects similar to the Will Ferrell disaster Land of the Lost Red Notice may get under the skin of certain viewers, especially those looking for a slightly fresher premise than, “Three household names play cat-and-mouse while hunting for ancient treasures.” But there’s a definite appeal to the popcorn action which features a great deal of spunk and humor. And despite any umbrella pretenses, the ride to the finish line is still a lot of fun.

Red Notice would be an otherwise scenic tour of exotic destinations if these locales weren’t obscured so much by the mere question of a green (or blue) screen. Even something as simple as the interior of a boxcar train or a sandy beach gets interchanged with shots of actors in front of what’s essentially a three-dimensional photograph. I’ve been seeing this in a lot of movies made during the pandemic, and I would like it to stop.

Both Reynolds and Johnson have always been very good at having authentic rapport no matter who their co-stars have been over the years. And despite already showing brief glimpses with one another in , the pair makes a good comedic duo here. Reynolds is such a believable scoundrel and is given quite the arc over the course of the movie. And although Johnson’s eyebrows are far more animated than any straight man in history (or leading man, for that matter), he bounces off of Reynolds’ flippant quips and occasional adlibs without needing to outshine him in that regard.

Gadot is not featured as much as the marketing would have you think, but she creates a necessary counterweight and tension—as irritating as her character is at times—for the other two in order to drive their urgency throughout the occasionally imaginative (aka convenient) plot.

The director’s knack for generational comedies, such as Dodgeball and We’re the Millers, shines through amidst the same kind of sanitized gloss that has pervaded past movies from all

three of these actors. But this time, there’s more to it. There’s an identity established with the cleverly staged fight choreography, the string of heists of different varieties, and the controlled humor that’s seamlessly integrated into everything else, never once disrupting the tonal balance. Thurber is a filmmaker who knows how to bottle up a tone and sprinkle it amongst his smooth narrative flow, no matter what the studio wants to do on the marketing side.

There are several Fast & Furious wannabes that will only ever hope to be turned into a successful franchise, but this is one of the few I think could actually pull it off, simply because it has the colossal personality and hubris to do so— and that’s something you can only really get with actors who have it built into their DNA. Despite all the unrealistically well-timed entrances and sleek costuming, both of which are only emblematic of the film’s refusal to betray the coolness of any of its stars, Red Notice ultimately prospers because of the same charms that made them cool to begin with.

There’s a definite appeal to the popcorn action which features a great deal of spunk and humor. And despite any umbrella pretenses, the ride to the finish line is still a lot of fun.

love hard

DIRECTED BY: Hernan Jimenez / CAST: Nina Dobrev, Jimmy O. Yang, Darren Barnet

Thanks to the Hallmark Christmas fodder that’s become some sort of self-embracing staple of the holiday season each year, yuletide romantic comedies of any kind have been stigmatized even more than they already were before. With dozens released annually, these made-for-TV movies have become a cautionary tale for what happens when quality control takes a backseat to sheer volume. Yet it’s clear why these films still come out at such a high clip: People watch them. For some, they’re guilty pleasures to be viewed ironically, perhaps with a couple drinks and plenty of company. For others, they’re quixotic escapes to places seemingly far better than here. But no matter who you are, there’s no denying that these cloying and overly expository tales are nothing close to reality.

While not produced by Hallmark in any facet, Hernán Jiménez’s own take on the Christmas romcom still checks all the same boxes at

first glance. Love Hard follows a dating columnist, Natalie Bauer (Nina Dobrev), who continues to get disappointed by the men she meets, whose unvarnished, reallife personas don’t match up with their much more impressive profiles on various dating apps. The story gets quickly propelled once its protagonist finally finds the perfect guy after broadening her location range to include matches outside of her own zip code in Los Angeles.

That’s when she meets Josh, an attractive, deep, down-to-earth dreamboat who lives in New York. Though she hasn’t met him in person, he sends her personalized photographs to prove that it’s really him on the other end. These first 15 minutes are borderline unwatchable as Natalie and Josh have these long talks on the phone where they playfully argue about whether or not Die Hard is a Christmas movie and joke with one another in a way that would only be humorous if you’re

(cont’d on next page)

retro reactions

the evil dead (1981)

It’s been 40 years since Sam Raimi’s The Evil Dead first premiered in a single Detroit theater in 1981 and continued to make the rounds of its grassroots release. But it has since become a paradigm for cult cinema and continues to influence the horror genre to this day. Never exactly reinventing the wheel, Raimi’s innate filmmaking vision and subversion of tones made the film one of a kind back then, still managing to surprise new audiences today.

Contrasting absolutely brilliant artsy shots with low-brow schlock and grainy pickup footage, Raimi revolutionizes the way filmmakers explore their sets and hold their scares. Still unlike most horror movies you’ll ever see, The Evil Dead is proof that during that era, comedy was inescapable in the genre—inherently embedded into even the most overtly serious premises. Never quite sure of the writer-director’s intent, we can’t help but chortle at least a few times during this raucous, yet dark spiral into chaos. With his use of certain comedic conventions that come off as more instinctual than they do self-aware, Raimi seems to embrace his own love of comedy just as much as he does his admiration for horror, inadvertently using zooms and angles that have traditionally been used throughout cinema to elicit laughs from an audience—not scares. Even his callbacks are playful.

Starring in the film about five

Red Notice:Netflix/Love Hard:Netflix/The Evil Dead:New Line Cinema:Sam Raimi

college kids who plan a weekend getaway at an old cabin, Bruce Campbell plays Ash Williams, the incidental Final Boy who almost seems to get arbitrarily chosen to be the one who wards off evil spirits and is built into a hero throughout the second act. Campbell was never great at delivering lines, which served him well for some of his later roles, laced more with self-parody, but his natural gift as a facial actor helps drive the last half of this film, which is just as much about one man’s paranoia as it is a tortuous display of him getting splooshed in the face with gratuitous pools of blood. However, Ash isn’t the only one suffering from relentless abuse. The audience is very much going through it with him.

If it weren’t for Raimi’s unforgiving editing, The Evil Dead would have been little more than an exhibition of a protagonist getting abused. Extending the grueling tussles between characters and the ugly creatures who are trying to take their souls, the director not only makes both the audio and visuals as unpleasant as possible, but also drags out these gross-out scenes for far too long (eventually a trope in horror-comedy) as though he’s simply curious what happens to an audience once they get past the point of uncomfortable and unsettled.

Perhaps less realized than its 1987 sequel, The Evil Dead is nearly as influential. Surprising us with how good it looks, constantly making us forget that this isn’t something put together or funded by a studio, the film manages to both embrace and transcend its low budget conceit simply by having pure genius behind the camera.

already happy about the fact that you’re talking to someone attractive. I’m not saying these conversations aren’t realistic. I’m just saying they’re simply not something I’d want to be a fly on the wall for, even if they were happening in real life.

However, it’s as though Love Hard is intentionally deceiving us with this first act; tricking the audience into thinking that it is, in fact, just another Christmas love story akin to its Hallmark compatriots. Personally, I was getting ready to switch to something else entirely. But once Natalie lands in Lake Placid, New York to surprise Josh in person, it’s as though she’s been reassigned to a different, much more competent movie altogether. The cringe-worthy banter early on doesn’t match the good instincts on display throughout the rest of the film, nor does the phony veneered gloss match the aesthetic warmth employed once our protagonist leaves California. And so, the dreadful first 15 minutes are likely by design.

To achieve this quasi-sendup of made-for-TV C-movies, Love Hard convinces us that it’s still “another one of them.” Showcasing a down-on-herluck and, for all intents and purposes, generic heroine, and reducing its sexual mindset for a broader, more PG audience, this love story seems like it fits the mold on the surface. Yet, once you settle in, you’ll realize not only did the boilerplate first act justify itself, but that this is a film willing to take a few risks.

After only a couple of weeks, Natalie and Josh seem to be falling hard for one another. But when Natalie shows up at his house unexpectedly, her hunky, modellooking boyfriend turns out to be a less-attractive, nerdy, 30-year-old (aspiring) candle maker who still lives with his parents.

Apparently, because his actual dating profile wasn’t getting any hits, Josh (Jimmy O. Yang) used the photos of his childhood friend, Tag (Darren Barnet), instead of his own. After changing his picture, he reports 85 messages within the first hour. But what’s more absurd is that the face of the guy Natalie was crushing on (Tag) still lives in Lake Placid. And so, Natalie makes a deal with Josh that if he can help Tag fall in love with her, then she’ll pretend to be his girlfriend for Christmas so that his family won’t see him as a loser.

Once it gets rolling, Love Hard is far more than a guilty pleasure, providing an interesting premise and a few surprises along the way.

It has all the aesthetic trimmings of a comfort Christmas movie set in a small, snowy village, but with the addition of actual subtext and a refreshing restraint from spelling out every emotion felt by these characters. Jiménez, along with screenwriters Danny Mackey and Rebecca Ewing, rightfully judges Josh for his catfishing, but also sympathizes with him and shows the inherent flaws in society (let alone in a town where everyone knows everyone) that have helped make him this way. The film confronts the importance of looks weighed against personality, and how they each play into the aspirations of love vs. the idea of love.

These themes wouldn’t come across the same way had it not been for an emotionally honest and authentic performance by Yang.

The actor fully buys into what’s happening with Josh as if he himself believes that his character’s fate is, in fact, always still up in the air. It helps that, despite setting itself up to be a cliché romcom filled with these characters who fit into archetypal slots, nearly each one is layered and lived-in, reaching far past any implied limitations put upon them.

While Josh is actually the more complex study, Natalie is an adequate leading lady in her own right. She might be the flattest character of them all, but that’s necessary to allow the others around her to evolve and grow. Dobrev lacks comedic conviction, but she’s good for this role, which asks more of her in an emotional capacity than a humorous one. We believe her self-reflection and compassion despite her making her own share of mistakes as well.

Although she lambasts Josh for hiding behind a face, she hides behind a personality in order to get Tag to fall for her. While the overall dialogue could have used some touch-ups, we should credit Jiménez and the writers for making Natalie and Tag’s chemistry feel unsettling without resorting to cheap

It has all the aesthetic trimmings of a comfort Christmas movie set in a small, snowy village, but with the addition of actual subtext and a refreshing restraint from spelling out every emotion felt by these characters.

awkwardness or turning Tag into an unlikable guy. A lesser film wouldn’t have figured out any alternative ways to get the job done.

If you can endure the awful first act, you’ll get rewarded with a Christmas story that features a clever, engaging plot and some

(but not too many) incredibly sweet moments that render moot the squirm-inducing clichés early on. Reminiscent of Matt Spicer’s 2017 masterpiece, Ingrid Goes West, about the two-way street of deception, Love Hard establishes more of a personal connection between the audience and its characters. It takes chances that might rub people the wrong way. After all, the premise is about a girl who befriends her online con artist and then spends Christmas sleeping in the same room as him. Somehow Jiménez makes it work. And this is also the kind of ballsy move that separates this film from the pack of holiday movies that favor sappiness for brains. Whether or not it matters to you that Josh had been a “nonmalicious” catfish, the movie isn’t wrong in informing us that he’s still just as worthy of love as our protagonist.

Love Hard:Netflix/The Evil Dead:New Line Cinema/Sam Raimi

THE tomorrow war

DIRECTED BY: Chris McKay / CAST: Chris Pratt, Yvonne Strahovski, J. K. Simmons

More along the lines of a late ‘00s summer blockbuster than an overripe 2021 big budget action flick, The Tomorrow War oozes with that post-Transformers carefree spirit, but with a time travel spin. Despite having a plot that’s constantly evolving and moving from one location to the next, the futuristic sci-fi action film always keeps its head on its shoulders.

In 2022, a former Green Beret, Dan Forester (Chris Pratt), who’s currently working as a high school biology teacher, fails to get his

dream job at a research facility. Down about the news, the family man is hosting a Christmas party at his home with his wife, Emmy (Betty Gilpin), and their young daughter, Muri (Ryan Kiera Armstrong), as the World Cup airs on television. Then suddenly a group of military soldiers interrupts the broadcast via a large portal in the middle of the field. They inform everyone that they’re from the year 2051 and give a warning that Earth is on the brink of extinction at the hands of alien creatures called Whitespikes.

In the following weeks, society is essentially crumbling to pieces with the news that the futures they’ve been working towards may no longer “matter.” The first ever worldwide draft is instated, where adult civilians of any age are being forced to go into the future and fight, untrained, against the Whitespikes.

Of course, Dan is drafted and sent to the future where he becomes the de facto leader of a small squadron

of very-non-military personnel. It’s there that he learns about his “future past” and how to better appreciate the life he’s actually been given.

Although The Tomorrow War doesn’t necessarily take a whole lot of risks with its story, the way the events unfold is rather unique to this film alone. The plot is always moving in a logical direction, yet one that could only happen with this premise. Rather than focusing on a single mission for its protagonist, the mission, and thus the movie, is constantly evolving as new conflicts arise.

Director Chris McKay, along with screenwriter Zach Dean, always has a firm grasp on the realities of a bizarre circumstance like this, toeing the line between following unwritten regulations put in place for a blockbuster movie and remembering that there are humans at the center of it. We see Dan break the news to his wife and daughter, each giving a completely different response.

His wife immediately thinks about how he can get out of it: “Let’s run,” while his 9-year-old daughter begins weeping, seeing that there’s no other choice, as children do often accept news they’re given, both good or bad.

At the film’s core is a very sweet father/daughter story between Dan and Muri that drives our anxiety in a way that even the best blockbusters aren’t usually able to do. For instance, in a similar film, Independence Day, we occasionally forget about Will Smith’s character returning home to his kid. But in The Tomorrow War, we can’t stop stressing about it.

McKay lays down an incredible first act, setting up an honest and inspired relationship between Dan and Muri. There’s an early scene where the two of them are talking on the couch and we see, with intimate low angles, from the young girl’s perspective how much of a hero her dad is to her, even if he considers himself a failure.

and spectacular things happening at a familiar-looking sports event. We see the future people arriving on TV, just as those sitting at home would be experiencing it. This doesn’t just look like a typical futuristic movie— it’s tied to reality.

The timeline details can get a tad murky, despite best efforts, and the second act drags a bit long, even if it’s a way of investing in the emotional weight of the

his costars, especially the young Armstrong, who the audience will undoubtedly fall in love with, J. K. Simmons, who plays his brash, estranged father, and Sam Richardson, the hilarious comedic relief as the neurotic, fish-out-ofwater scientist-turned-soldier that Dan takes it upon himself to look after.

But just as the director brings a level of attention to the small moments, he compliments them by doing so with the big ones as well, such as the arrival of the soldiers at the soccer game where we feel a level of uneasiness seeing such wild

characters, but The Tomorrow War is almost completely entertaining no matter what’s happening. The action sequences are wonderfully composed, utilizing suspense and deliberate choreography of even the grandest explosions and the wildest chaos. Some of the effects get a little wonky during the finale, but it’s the on-location settings and practical set pieces that make this movie feel real.

With a refreshing spin on the stereotype, Pratt brings his everyman approach to the soldier role, as well as his comedic wit which he never overuses. He has great chemistry with every one of

Undergirded with poignant themes about living in the moment, even if you think you already know the outcome, The Tomorrow War may follow the rules, but does so in a way that almost always yields entertaining—not frustrating— results. Perhaps a tad forgettable for some, the film is also capable of striking the perfect chord for certain viewers with its fatherly themes and sentimental payoffs. Hitting a majority of its marks, this is one of the few big budget blockbusters with a feel-good message and, most importantly, one that you know the filmmakers believe in as well.

Director Chris McKay always has a firm grasp on the realities of a bizarre circumstance like this, toeing the line between following unwritten regulations put in place for a blockbuster movie and remembering that there are humans at the center of it.

THE SUICIDE SQUAD

DIRECTED BY: James Gunn / CAST: Margot Robbie, Idris Elba, John Cena, Joel Kinnaman

It’s clear pretty early on in The Suicide Squad that James Gunn’s standalone sequel is not only aiming to fix all the wrongs of David Ayer’s polarizing 2016 original, Suicide Squad (without the “The”), but is successfully doing so. Though Ayer shouldn’t bear all the burden of guilt for his own film’s shortcomings since the studio practically set him up to fail by giving the hard-R director a premise ripe for blood and violence, yet constraining him to a PG-13 rating. The limitations forced the writer-director to focus more on the emotional weight of villainsturned-heroes rather than playing in the sandbox that is “psycho villain protagonists.”

The first Suicide Squad not only played it safe, but did so with unfunny, brooding stagnation, seemingly acquiescent to include any sort of action whatsoever while simultaneously struggling to utilize all five of its caricatured

antiheroes. Gunn, on the other hand, not only utilizes all of his characters effortlessly, but takes bold chances in every single scene, constantly challenging our expectations of what a superhero movie can be.

In the very first sequence of the film, half of the heavily-promoted ensemble cast gets wiped out. In the second, which takes place three days earlier, Idris Elba’s Bloodsport, a prisoner in Belle Reve penitentiary, engages in a profanity-laden shouting match with his teenage daughter when she comes to visit him. Where a typical movie would use this as a setup to the emotional stakes for a protagonist, The Suicide Squad literally has its main character yelling, almost guilting his own daughter, about how he never wanted to be a father to begin with, and, with Gunn’s near-perfect tonal control, almost plays as comedy. Almost.

Viola Davis’ Amanda Waller,

spearheader of Task Force X— the official name for the titular Suicide Squad—threatens to have Bloodsport’s daughter killed if he doesn’t accept her request for him to join her team in their mission to a former Nazi prison/laboratory in order to assassinate its current leader Silvio Luna (Diego Botto). The verbal melee between Elba and Davis is an incredible display of two great actors giving their emotional all to a scene that not only sets the intensity for the rest of the film, but is already better than anything its predecessor had to offer.

The Suicide Squad/Warner Bros./DC Comics

Bloodsport’s team consists of several other inmates, including Peacemaker (John Cena), a psychopath who’s willing to murder anyone in order to achieve peace; Ratcatcher 2 (Daniela Melchior), with the ability to communicate and control rats; King Shark (Sylvester Stallone), an anthropomorphic shark with low intelligence and a hunger for human flesh; and Polka-Dot Man (David Dastmalchian), who has the ability to expel explosive polka-dots out of his body. Together they meet up with Harley Quinn (Margot Robbie) and Rick Flag (Joel Kinnaman), the two survivors of the first team. By the end of the first act, every single character is showcased, and throughout the mission, those who survive continue to be utilized effortlessly.

Progressing the plot very swiftly, Gunn’s frenetic, relentless pace is no doubt his version of pedal to the metal, even if at times this course correct of the first film’s sluggishness comes at the sacrifice of actual character depth (which Ayer’s version did fairly well). There are moments where it feels like this plot isn’t even inhabited by characters at all, but chess pieces here to help move things forward. But at least there is little emotion threatening to undermine the evenly-distributed tonal flippancy.

Tapping into his horror-comedy roots, Gunn gets to infuse The Suicide Squad with creative gore, carefully-choreographed action, and a darkly comedic schlock which the film is an embodiment of. Gunn still picks his spots to develop one or two of his characters, such as a bus ride

where Ratcatcher 2 and Bloodsport exchange some enlightening dialogue (instead of literally taking a break from the action solely to have emotional conversations, as the first movie does in a bar), or later on with a single line about rats that conveys the full scope of depth that Ayer’s film took 2 hours to explain.

Rather than finding a villain who’s objectively worse than his criminal protagonists, Gunn focuses less on the villains themselves and instead plays with the idea of these protagonists fighting people as bad as they are. Rather than being force-fed sympathy for these antiheroes, we learn right away that they’re actually very bad people themselves. Finding the payoff for

that embeds itself implicitly rather than hitting us in the face. Always a standout in any movie he’s ever in, Elba has never been better than he is here.

Establishing an identity to its comedy as well as the violence that’s ingrained into the action, The Suicide Squad is definitely a director’s film with Gunn as the auteur at work. Every moment is an extension of his creativity and vision: a colorful, slightly-hypnotic action-comedy with an unstoppable momentum, even to a fault. This is what happens when a studio gives carte blanche to a filmmaker—something DC has finally learned can be a benefit of not having any congruency or as tight of a grip over their own extended

a theme that almost betrays his main characters, Gunn doesn’t try to make superheroes out of villains, but shows them as the screw-ups that they really are.

Tortured and relatively levelheaded, Elba’s Bloodsport is the heartbeat of the film even when we don’t love his character. As a straight-man, the actor doesn’t react for comedy, but as someone who’s authentically irritated with the fools around him. And yet he’s still capable of maintaining his own buried sense of humanity, with a pathos

universe—and even something that Marvel won’t really allow for with their own tight grip. Gunn ensures that any flaws that arise because of his deliberate execution get overcompensated for with undeniable entertainment, no matter what gets sacrificed because of it. Joining the likes of Mad Max: Fury Road and Terminator 2, this is one of the most artistic popcorn flicks you’ll ever see, and one you won’t soon forget.

GUNN, ON THE OTHER HAND, NOT ONLY USES ALL OF HIS CHARACTERS EFFORTLESSLY, BUT TAKES BOLD CHANCES IN EVERY SINGLE SCENE, CONSTANTLY CHALLENGING OUR EXPECTATIONS OF WHAT A SUPERHERO MOVIE IS.

BY robert napolitano and Ethan Brehm

roger ebert once said, “i know that to

get a movie made is a small miracle.” However, most of us don’t even stop to think about what goes into making the movies that have impacted our lives the most. But that doesn’t mean we don’t want to know. Filmmaker Bri an Volk-Weiss has done just that with his newest Netflix series The Movies That Made Us, which itself is a spinoff of his highly successful The Toys That Made Us. For the first run of the series, Volk-Weiss picked four popular movies from the ‘80s and ‘90s and made little 45-minute documentaries for each one, interviewing cast and crew to find out the backstories of these classics, from conception to release, and beyond.

Back by popular demand, Volk-Weiss has taken his show about movies and put a theme on it this time around. Titled The Holiday Movies That Made Us, this “second season” focuses on a pair of yuletide classics. While the first series featured four episodes, covering the likes of Dirty Dancing, Ghostbusters, Home Alone, and Die Hard, the follow-up features only two films, but they’re heavy hitters.

Christmas time stirs up feelings of nostalgia like few things can, so when we’re talking about a pair of holiday

classics like Elf and The Nightmare Before Christmas, it’s sure to bring up some (hopefully) good memories. Over the years both of these movies have become such staples in pop culture that even people who don’t celebrate Christmas tend to enjoy them.

In fact, 2003’s Elf was written by David Berenbaum, who is of Jewish upbringing. Inspired by the loss of his dad at such a young age, along with his love for Christmas movies, Elf was a personal film for him. Perfectly bridging the gap between laugh-outloud comedy and heartfelt Christmas glee, the movie became a timeless classic, but this was by design.

Informed by the stop-motion aes thetic of the Rankin/Bass films from the ‘60s, Berenbaum, director Jon Favreau, and the rest of the team be hind Elf studied Christmas movies and what made them so special. Wheth er you’re in the snow or in the heat, alone or with family, you can find a piece of Christmas spirit that may be absent elsewhere, as watching these films allows you to live vicariously through the characters on your movie screen. It can be Christmastime any where in the world, if only in your own

The Holiday Movies That Made Us/Netflix/Brian Volk-Weiss/Elf/New Line Cinema/The Nightmare Before Christmas/Tim Burton/Disney

living room.

And this mindset proved to be a success. The unassuming Christmas comedy topped the box office in only its second week, eventually earning over $200 million.

On the flip side of things is 1993’s The Nightmare Before Christmas. While both movies are Christmas classics in their own way, the two productions couldn’t have been more different. As the production of Elf seemed to consist of a team of individuals who all magically possessed the same exact vision, the peo ple behind the scenes on Nightmare didn’t always see eye-to-eye. In fact, there was so much animosity about a variety of things that

film itself. You might be able to attri bute this to the grueling and remote nature of assembling an animated movie, however, it seems like those involved still have a lot of opinions about the production all these years later.

The two films serve as a constant counterpoint to one another (al though both include stop-motion, strangely enough). One is a fun-lov ing paradigm of a Christmas tale that became massively popular upon its release, and the other a Halloween/ Christmas fusion musical that spoke to outcasts, is still one of the most unique films of all time, barely broke even at the box office, yet found an outrageous cult following through out the years to where Jack and Sally are two of the most tattooed fiction al characters that ever existed.

We learn that success can be found in a multitude of ways, from watching your vision come to life on screen to simply being allowed to do what you love for a living. But for

both movies, it’s clear that bringing a project to fruition and obtaining this kind of enduring legacy has a lot to do with being in the right place at the right time. It’s so interesting to hear about iconic movies that almost nev er happened, if it weren’t for people who believed in these projects and a great deal of serendipity—a Christ mas miracle perhaps.

Highly informative if you’re into any aspect of the filmmaking business, The Holiday Movies That Made Us goes into great detail on the things that went into making these classics from the side of the camera we don’t see on the big screen with fantas tic insight from the unsung heroes behind the scenes. These may not be the famous faces synonymous with these films, but every single person interviewed is an integral part of what’s made these movies so be loved all these years later.

The Netflix series is also filled with fun facts for people with even the least amount of interest in what goes on behind the scenes. For instance, studios turned down Elf left and right because they didn’t think Will Ferrell, who at the time was basically only known for SNL and some bit parts, could be the face of a movie. The iconic actor eventually became the most bankable comedian on the face of the earth, but without the risks taken by the producers on Elf, it would have been a different story.

with the script on The Nightmare

Before Christmas urged producer Tim Burton and composer Danny Elfman to go ahead and come up with the songs first. The script, eventually written by Elfman’s thengirlfriend Caroline Thompson, was then built around these preexisting lyrics, which turned out to be semiautobiographical for Elfman.

While the Netflix show is total ly focused on these two movies, Volk-Weiss is a master at creating narratives all of his own within each episode. With callbacks and subtle symbolism dropped here and there, the writer/director/producer has his hands all over these episodes, exhuming the essence of the back stories and finding the poeticism of each of these films, able to show case them in all their glory. You truly wouldn’t want these stories in the hands of anybody else.

The Holiday Movies That Made Us contains the same cheeky, off-kilter humor, and the same sly and clever editing that made Volk-Weiss’ first two series so successful. And with his third hit, the creator has not only proven to be a master storyteller, but able to provide consistency and even improve his game with each new outing.

Not often do we get to watch documentaries on our favorite mov

ies—that is unless they’ve built up a legacy over decades—with the type of perspective that Volk-Weiss main tains (especially with something as recent as Elf). But the showrunner continues to validate our love for these films and what they’ve meant to us all these years later. Just be cause they’re not older than us and haven’t won a plethora of awards doesn’t mean they don’t speak to us just the same.

The two-part series hit Netflix on December 1st with great reviews. And now having built up quite the resume, it’ll be exciting to see what the “That Made Us” series brings next. As long as Volk-Weiss and his team are leading the way, we know it’ll be great.

Watch The Holiday Movies That Made Us on Netflix!

The Holiday Movies That Made Us/Netflix/Brian Volk-Weiss/Elf/New Line Cinema/The Nightmare Before Christmas/Tim Burton/Disney

BURSTING WITH GIFT IDEAS AT EVERY PRICE POINT,

Amazon’s annual Toys We Love list also features more than 100 brand new toys, and more than 60 toys found exclusively at Amazon.

Amazon’s toys team spends all year refining the annual Toys We Love list. The result of rigorous research, passionate debate, and, of course, a lot of playing with toys and games, the list features a wide selection of the most innovative, imaginative, and entertaining toys and games of the season, meant to inspire gift ideas for the young—and the young at heart. Keeping affordability top of mind, prices on the 2022 Toys We Love list start at less than $10, and the list includes more than 100 new products and beloved favorites under $50 from brands including Crayola, Disney, Fisher-Price, LEGO, and National Geographic, as well as items under $50 from small businesses like MagnaTiles, MEandMine, Thames & Kosmos, and TeeTurtle.

Also key to the creation of the Toys We Love list is incorporating the vast selection that holiday shoppers expect from Amazon. The more than 100 brand-new toys and games on the 2022 list

include the Little Live Pets Mama Surprise! Guinea Pig Playset, the Squishmallows 14” Rainbow Platypus, and the LEGO Marvel Infinity Saga I am Groot, 476 Pieces set. We’ve included toys from beloved brands like Playmobil Day at the Aquarium and Breyer Unicorn Magic Wooden Stable  Amazon exclusives on the list include the Funko Pop! Deluxe Star Wars: Duel of The Fates Collection and the Bluey Ultimate Lights & Sounds Playhouse Mega Set. Customers can also find favorites from Black-owned businesses like Inklings and multicultural dolls from Orijin Bees, as well as Climate Pledge Friendly picks from eeBoo and Mega Bloks Green Town

“In 2022, we’re seeing enthusiasm for fresh toys and games from small business brands, as well as learning toys that allow kids to learn with games or arts and crafts projects,” said Anne Carrihill, Amazon’s director of toys and games. “Additionally, action characters from Marvel, Pokémon, and Star Wars are as popular as ever, for both kids and collectors. We can’t wait to see which of our favorites become the hottest gifts of the 2022 holiday season.”

Customers will find these trends reflected throughout the list of over 200 toys and games. Whether it’s for a family game night playing Jurassic World Dominion UNO, a playpen dance party courtesy of DJ Bouncin’ Beats from FisherPrice, or getting crafty with the Play-Doh Ice Cream Truck Playset, Amazon’s 2022 Toys We Love list has something perfect for everyone on your list who loves to have fun and play.

california

Washingtong

Illinois

new york florida

BATMAN & THE JOKER: THE DEADLY DUO #1

introduce you to a grim and gritty Gotham that only Marc Silvestri could bring you.

what’s it about?

The Joker will go to any lengths to get Harley Quinn back after she is abducted by a strange culprit. But who? Mysterious, Joker-like monsters are stalking the streets of Gotham, collecting severed heads. But why? Jim Gordon is missing, and after receiving a package containing a bloody piece of Gotham’s commissioner, Batman knows he must be willing to do anything to save him. But how?

When The Joker proposes an uneasy alliance with Batman, the answers to those questions begin to become clear— and they will shake Gotham City and the Bat-Family to their core. This meticulously crafted tale of the Dark Knight’s deadliest team-up will

the good Books like Batman & The Joker: The Deadly Duo are why I’m glad that DC’s Black Label exists. This issue features a darker and more macabre take on the Gotham that we know and fear. Silvestri’s art brings us a hauntingly beautiful rendering of Batman’s home city and its inhabitants. Silvetri’s take on Batman is wonderful; depicting a deep appreciation for Batman’s detec tive capabilities as well as Batman’s ability to make us smile, even in the darkest of situations. The Joker is de picted as a grotesque force of nature. Although we only see Harley and Selina for brief moments it’s enough to intrigue the reader. Every page and every panel is stunningly illustrated. Silvestri’s take on Batman is a visual treat but his narration is the real star of this issue. Batman’s analysis of ev ery GCPD officer and every situation he encounters is a welcome insight into the Dark Knight’s methodology.

the BAD Silvestri’s art is wonderful, as you’ve come to expect from the Image

Comics founder and current CEO. There were some panels that seemed to feature poses that exist outside of what we have come to expect from Batman. There’s a rather funny panel in which Bat man jumps over a corrupt GCPD in such a way as to willfully remove his toupee. It’s a funny panel in an otherwise dark tale that is off put ting due to the weird angle in which Batman is depicted. Batman & The Joker: The Deadly Duo is a really fun book but DC might be going over the top here with nearly $5.00 cover price and over ten variant covers. It’s prices and gimmicks like this that will keep the average reader away. It’s a shame too, this is an amazing book that could potentially become a classic.

Writer: Marc Silvestri | Artist: Marc Silvestri | Colorist: Arid Prianto

DC HORROR PRESENTS: SGT. ROCK VS THE ARMY OF THE DEAD #1

what’s it about?

Sgt. Rock and Easy Company are behind enemy lines, armed to the teeth, and ready to go up against the strangest—and deadliest— enemies they’ve ever encountered: zombies, and a whole lot of ‘em! Strap in, soldiers, it’s you against the world…of the dead!

THE GOOD

If you’ve ever read one of Bruce Campbell’s books you know that this B-movie icon is one heck of a storyteller. When DC announced this project a while back I was beyond excited. I grew up with the Evil Dead movies and fell further in love with Bruce when he was heavily featured on the Hercules syndicated series. I am happy to report that the whitt and clever dialogue you’ve come to expect from this cinematic icon is alive and well in the pages of this series. Risso’s art is simple yet effective with a Bruce Timm/ Darwyne Cooke quality to it.  The story is clever and fun despite not treading new ground in terms of horror or zombies. If you’re a horror, Campbell or Sgt. Rock fan this issue is a wonderful treat.

THE BAD

Sgt. Rock is one of those DC characters that I am certain would make a mint on the silver screen. I remember Arnold Schwarzenegger was set to star in a Sgt. Rock film in the late 80s but it never materialized. This book is the closest to a cinematic Sarge that I’ll probably ever see. I was a little disappointed with the pacing of the book as well as the unoriginality of the story itself. The

book itself was a combination of the Norwegiann comedy horror “Dead Snow” (a fantastic zombie flick featuring undead Nazis) and the underwhelming zombie action movie “Overlord.” I know this is a Sgt. Rock book but it would be cool to see some other World War II era DC characters. Here’s hoping for some cameos in issue two.

Writer: Bruce Campbell |

Artist: Eduardo Risso | Colorist: Kristian Rossi

DEADLY NEIGHBORHOOD SPIDERMAN #1

what’s it about?

A revolutionary dark take on SpiderMan begins here! What is reality and what is dream? What is science and what is magic? At the intersection of all of this stands the Deadly Neighborhood Spider-Man. Peter Parker goes to Los Angeles and what he finds there are definitely not angels. The demons waiting for Peter are going to test him like never before. One demon in particular, a very famous one for Marvel and X fans in particular, might just eat Spider-Man alive.

THE GOOD Is Peter actually successful, happy, surrounded by friends and hanging out in the Golden State of California? It would seem so! Good for you, Petey! It’s nice to see Peter’s genius being put to use and for him to

be successful for it. Admittedly, this is not the Peter Parker/SpiderMan I know but it was refreshing nonetheless. Cut into this tale is a fevered dream of a story that plays out in Spider-Man’s mind that is wonderfully brought to page by Juan Ferreyra! The art is far and away the star of this book. This issue is not only a departure for our Friendly… uh… Deadly Neighborhood SpiderMan but a bold experiment by Marvel to explore a darker side of good ol’ Peter Parker. I can only imagine how devise this issue will be with fans.

THE BAD

I have the feeling this is the tenth

Spider-Man #1 I’ve picked up in the last five years and they are hardly ever new reader friendly. I feel like I know a good deal about SpiderMan but, after reading through this issue twice, it’s clearly not enough. I wanted to enjoy this book and its bold direction but it felt too much like I’m trying to recall a fever induced dream. There’s demon bears and wild hallucinations throughout the book and a narrative that I found to be needlessly confounded and hard to follow. At the end of the day, this wasn’t an enjoyable issue, leaving me uninterested in its continuation and disappointed in yet another Spidey first issue.

VERDICT

Writer: Taboo and B. Earl | Artist: Juan Ferreyra | Colorist: Rahzzah

MADBALLS VS GARBAGE PAIL KIDS #1

what’s it about?

For the first time ever, the “heavyweights of gross” have combined forces in a massive merchandising blitz that pits the Madballs against the Garbage Pail Kids-winner take all! As part of this blitz, Dynamite presents the comic book crossover of these iconic 1980s brands!

For over three decades, Madballs and GPK have both been known as the “grossest of the gross,” co-ruling counterculture with their pun-heavy names and subversive humor. This allnew limited series event presents the first time these two delightfully crude forces have ever crossed paths!

THE GOOD

I picked up a lot of mature content comic books lately and, although they are extremely enjoyable, nothing beats turning off the ol’ brain and enjoying a gross out crossover involving two of my favorite toy lines from the 1980s. I’m happy to see that Dynamite and other companies have not forgotten that children are the future of this industry. It’s great to read a comic book adaptation of a true life crime story but most children are not interested in those

stories. Now a book with at least three stories, all of which are fun and gross, filled with corny puns and potty humor is exactly what a young child would love to read. I can imagine reading a book like this in school and being sent straight to the principal’s office for it. At least I’d have something to read in detention. The art is disgusting. The characters are disturbing. The jokes are plentiful. The book is enjoyable.

THE BAD

I’m not sure if even the most immature child would be able to take a whole series of these books. I can see putting out one large comic featuring several stories but don’t see myself or anyone else picking up a continued series of these comics that serve as a commercial for the new crossover toy line. Don’t get me wrong, the toy line is beautiful

(and gross at the same time) but I’m not sure if the intended audience of nostalgia addicted adults with adult money is where Dynamite needs to go with this. It’s a fun book, as I mentioned, but it exists largely due to a very thin premise; gross kids vs gross baseballs.

Writer: Sholly Fisch | Artist: Jason Crosby | Colorist: Jason Crosby

THE RIDDLER: YEAR ONE Book One

what’s it about?

As depicted in Matt Reeves’s hit movie The Batman, the Riddler wasn’t simply an amusing eccentric with an affinity for wordplay and baffling clues, but as terrifying a villain as any in the annals of the Dark Knight. Here you can see Edward Nashton evolve into the menace known as the Riddler. How did an unknown forensic accountant uncover the dark secrets of Gotham’s underworld and come so close to bringing down the entire city? This six-issue miniseries is an immediate prequel to The Batman—the detailed, disturbing, and at times shocking story of a man with nothing to lose. the good Well done, Mr. Dano! Well done! I wasn’t sure what to expect when this series was announced. I love the idea of continuing to explore the world of The Batman in any format, comics preferably. I am largely unfamiliar with Paul Dano’s acting (outside of The Batman and Swiss Army Man). I’m also not familiar with any of Dano’s writing. I will say I was pleasantly surprised by this piece. The art is stunning and appropriate in its representation of Edward’s

anxiety and inadequate feelings of worth. Showing the Riddler as a fan of The Batman and his efforts to clean up Gotham is a genius move. Riddler doesn’t see the Bat as a threat but rather an inspiration. This is an excellent way to explore the Riddler, expand the Matt Reeves Batman Universe and celebrate an iconic Bat-villain. the bad I thoroughly enjoyed this story, more so for the ambitious and bold art, but would absolutely recommend this book to any Bat-fan. My largest issue with the story is that it feels

like a perverse and twisted version of the Riddler story we got in the Batman Animated Series and, more closely, the Riddler we saw in Batman Forever. Paul Dano’s Riddler story is the Jim Carrey Riddler drawn in an abyss. I can’t say enough about Subic’s panel work and page layouts but if you’re looking for something original, look somewhere else.

Writer: Paul Dano | Artist: Stevan Subic | Colorist: Stevan Subic

FLASH: THE FASTEST MAN ALIVE #1

THE GOOD

what’s it about?

Race through the streets of Central City in this lead-up to the hotly anticipated blockbuster The Flash! After Barry’s adventure with the Justice League, he’s determined to become a truly skilled and inspirational hero. As a new threat emerges in Central City going by the name of Girder, Barry turns to Batman for advice on training to master his powers. Can the Dark Knight help show the Scarlet Speedster a way to defeat this metallic menace, or will the Flash be crushed by Girder’s strength?

If this series, which directly ties into the upcoming Flash film, is any indication of the Flash we’re going to get on the big screen, consider me officially excited. Porter does a splendid job capturing the relationship between the novice Flash and the seasoned veteran Batman as well as the relationship between Flash and his rogues, in particular Girder. When comic book heroes make the transition from page to screen often important characteristics of their personality are lost and the focus becomes a cinematic special effects fest that focuses on their powers. However, Porter does an excellent job giving us an insecure, selfless hero that despite his immense powers is both human and relatable. Lopez Ortis’ work captures the kinetic feel of the Flash and combines it with a manga influence that works beautifully.

THE BAD

The status of the Flash film’s release date, woes with its star and the constant shakeup within Warner Brothers has derailed much of my anticipation for this film. None of which are issues with this book but

rather with the movie it is tied to. This book made me realize how much potential the DC Extended Universe has on and off screen. The characterization of the Flash and the optimism and positivity of Batman were welcome parts of this book.

After reading this, I either have hope for the future of the franchise or lament the potential of something that may never come to fruition. Either way, this is a great book and can’t wait to see more from this team.

Writer: Ken Porter  | Artist: Ricardo Lopez Ortis   | Colorist: Romulo Fajardo Jr.

NIGHT OF THE GHOUL #1

canister of footage, he just might have discovered the remnants of the lost classic Night of the Ghoul. This discovery sends Forest on a dark odyssey, where he’s warned by a mysterious old man that the film’s ghoul is far more than a work of fiction: it’s a very real monster who plans to kill him.

THE GOOD

what’s it about?

Shot in 1936, Night of the Ghoul by writer/director T.F. Merritt was meant to sit beside Frankenstein and Dracula as an instant classic . . . But the legendary film never made it to the silver screen. Just before editing was finished, a mysterious studio fire destroyed the footage and killed the cast and crew celebrating at the wrap party. Forest Inman is a horror film obsessive who digitizes old films for the famed Aurora movie studio. When Forest stumbles across a seemingly forgotten

As a lifelong fan of horror stories and movies I’m extremely happy to see the genre has made a return to prominence in the last few years. Snyder’s writing is always a treat and his dialogue has a flow to it that is consistently organic. Night of the Ghoul is a fun story with nonlinear elements bouncing between the present and the past. The premise of the book centers around a classic, forgotten film that seemingly comes to life. Everything about this book feels like a classic Universal Studios horror film, which is meant to be taken as a compliment.

THE BAD Night of the Ghoul is a fun book with an occasional scare thrown in. Snyder’s writing is almost formulaic at this point but fun to

read nonetheless. I’m glad horror has made a comeback in recent years but I wish books like this were adding something original rather than retreading tired tropes. It’s hard to get a jump scare out of a comic but Snyder and Francavilla got one out of me in the panels where Orson is speaking to his mother on a cell phone. It’s a good scene, cleverly written, but there weren’t enough of them in the book to keep me going. Francavilla’s art is erratic and inconsistent at times but generally fits the tone of the book. If you’re a fan of the horror genre and Snyder/ Franvavilla’s work you’re going to enjoy this.

Writer: Scott Snyder |

Artist: Francesco Francavilla | Colorist: Francesco Francavilla

what’s it about?

Jessica Harrow finds herself trapped between the worlds of the living and the dead-something that no other reaper has ever experienced! Just what makes her so special? Can she make her way back to the afterlife, and what exactly is going to happen now that she can walk amongst the living?

THE GOOD

A brilliant second issue from Phillips and Flaviano! This issue is a tour de force with interesting angles and amazing art. Boom has another hit on their hands with Grim. The page

GRIM #2

and panel layouts were amazing from start to finish. In an issue full of amazing art and writing it’s the colors that really sell this book. Rico Renzi’s colors bring Flaviano’s art to life. Grim is intriguing and leaves you constantly guessing. Who really is Jessica? I have a sinking suspicion that Jess is way more than we think. Even with a number of characters throughout the book they are all fleshed out and interesting. Added to that the pacing of the books is perfect. I’m definitely hooked and ready to see where Phillips and Flaviano take us.

THE BAD

The pacing, writing and art went beyond my expectations. I raved about the first issue to most of my friends and now the second issue has

surpassed it. This series is getting better and better with every issue. If I had to critique the issue, exactly what this section is for, I’d have to say that two issues in and we have way more questions than we have answers about Harrow, her past and her superiors. I’m hoping that by issues four and/or five we are given some resolution to Harrow’s past so that we can move past this arc and build the Grim-verse out.

Writer: Stepanie Phillips | Artist: Flaviano | Colorist: Rico Renzi

HELL IS A SQUARED CIRCLE

what’s it about?

Ted “The Irish Mooska” Walsh is a third-tier wrestling heel with a problem — himself. He’s behind on rent, child support and his career, but he thinks he can change things. As he attempts to take control of his life, his actions leave him with blood on his hands. Ted finds himself on the run from the authorities and the darkness of his past. As Ted tries to escape his former self and build a new, better future, his mistakes come back to haunt him — in the ring and out of it.

THE GOOD

My love of wrestling is well documented. I’m happy to see a comic book/wrestling renaissance as of late. AfterShock’s bold Hell is a

Squared Circle combines wrestling with mystery and horror in a way I’ve seldom (if ever) seen before. Condon’s narration throughout this prestige format comic is masterfully written. Ted Walsh is an unlikable, yet relatable, main character and his comeuppance is well deserved. What really is amazing about this issue is that, as an editor, I would not dare match up the writing style with the art and coloring. The writing is dark and brooding. The art is erratic and stylized. The colors are bold and unique. None of them belong together yet they all work beautifully.

If you’re a wrestling, mystery and/or horror fan you need to check Hell is Squared Circle out.

THE BAD

If Vice’s Dark Side of the Ring and Tales From the Crypt had a baby it would be Hell is a Squared Circle. Everything about this book is bold, including releasing it at a time when wrestling comic books like Do a Powerbomb and Crimson Cage are on comic book store shelves. None of the aforementioned comments are meant to be taken as a negative. I absolutely loved everything about this book. The only negative is that this is not the start of an anthology series and is only a one shot. AfterShock, I want more Hell is a Squared Circle!

Writer: Chris Condon | Artist: Francesco Biagini | Colorist: Mark Englert

FLORIDA MAN #1

headlines and funny internet memes with a heart-warming story that’s squarely aimed at grown-ups who still love comics.

what’s it about?

Laugh-out loud funny and unapologetically offensive, but with a heart of gold, this is the comic book personification of all those wild and weird “Florida Man” news stories we’ve all been shocked by - and laughed at for years. Eisner award winning writer Mike Baron (Punisher, The Flash, Nexus, Star Wars) brings to life the tall tales of the most hilarious and notorious Florida native ever to be Google searched more than Kim Kardashian... Florida Man! Based on Baron’s series of critically acclaimed Florida Man novels, this outrageous comic dives into the heart of many of those bizarre stories we’ve all seen in news

the good Florida Man is a mythology and legend wrapped in one heavily tattooed, alcohol induced package. I’m not entirely familiar with the Florida Man novels by Mike Baron but this book was silly and enjoyable. The art is fun and, even with a trio of artists on the book, remains consistent throughout. If you’re going into this book expecting a deep, philosophical examination of working class America you’re going to be extremely disappointed. This book features a pair of protagonists whose luck runs out over and over again in a never ending series of unfortunate events. Check your brain at the door, check your toilet for snakes, crack open a cold brew and sit back and relax.

the bad Florida Man is billed as straight up hilarious, but I barely cracked a smile as I quickly read this book. Don’t get me wrong, Florida Man #1 was fun and enjoyable but not necessarily

funny. The pacing of the story is smooth and moves along quickly but never really gets anywhere interesting. If you asked me what the book was about I’d probably just say, “Florida Man.” If you asked me about the plot, I don’t think I could answer you. I don’t think there was much of a plot here outside of getting bail money for Florida Man’s girlfriend. If you like a silly book with zero consequences, you’ll enjoy this book.

Writer: Mike Baron  | Artist: Todd Mulrooney, Elias Martins and Marcelo Salaza  | Colorist: Ichson Ansori