Home Alone 4: Taking Back the House

Franchise fatigue is nothing new. Everyone is talking about the countless Star Wars and Marvel Cinematic Universe projects, but Home Alone was ahead of the game. The first one is a beloved Christmas Classic, the second is a worthy (if not overly familiar) follow-up and the third is the last one that most people are aware of. At the very least, Home Alone 3 is the last one that people are willing to talk about. That’s because, those who have seen Home Alone 4: Taking Back the House, usually have nothing good to say about it…which isn’t a surprise.

The story serves as a direct sequel to the original, despite the 4 in the title, lack of anybody involved with the original and, continuity errors it causes if Home Alone 2: Lost in New York is still canon. 9-year old Kevin McAllister is spending Christmas with his newly divorced father and his soon-to-be wife, who are barely in the house, as well as their staff – Mr. Prescott the butler and Molly the maid. When the house-owners are out during the day, Kevin fends off previous foe Harry and his new wife Vera, who have a secret accomplice working in the house. This was made specifically for TV, the first of the franchise to be so, and it feels like it. Barring the character names and concept of “hijinks to protect the house” there is very little to connect it to the IP. It was designed as a backdoor pilot for ABC, with the intention being that it would get picked up for a full series but this never happened and means that it feels like a Children’s TV show from the ABC network in the early 2000s.

There’s snappy editing galore and enough screen-wipes to make George Lucas proud, but it’s the pacing and script that do the most damage. Whilst the former installments took their time, allowing the audience to get familiar with the characters and their surroundings, this one just throws you into it. News of the divorce is shoehorned into dialogue within the first five minutes and the scenes rarely take place far from Mr. McAllister’s glorious mansion. Gone too are the softer lighting and barrage of Christmas colours, replaced with harsh studio-esque lighting and barely any decorations save for the tree. Then there’s the score. John Williams is a titan of the music industry and, even if he only composed for the original two, his influence can be felt in Nick Glennie-Smiths score for the third installment. Teddy Castellucci was brought in for Taking Back the House and he does a decent job for the task he was assigned but it doesn’t really hold a candle to previous installments.

That’s not to say that there’s nothing of value. Acting veterans Erick Avari and Barbara Babcock turn in solid performances as Prescott and Molly while Actor French Stewart takes over the role of Marv from Daniel Stern with as much energy as when he took over as Inspector Gadget from Matthew Broderick. It’s a zany, over-the-top performance but it fits the tone of the film and often provides a giggle. The dynamic he has with his wife Vera is also quite nice and it is funny watching him banter with Kevin like they’re old friends. Had this been a stand-alone film I doubt anyone really would have given it much notice but it does carry the Home Alone name. More than that, it features the original characters (for the most part, two of the McAllister children have vanished). As an early 2000s ABC production, it’s allowed to be tolerable but as a Home Alone film it needs to be more than that. The original is a Christmas classic alongside the likes of It’s a Wonderful Life and How The Grinch Stole Christmas despite being several decades newer than them. It has an inviting vibe and is simply drenched in the feelings of the season. The sequel managed to feel festive too and even the third one is an acceptably goofy comedy that appeals more to children than family’s. Taking Back the House feel corporate. It feels like a cash-grab designed to appeal to peoples nostalgia, without understanding why the IP works so well.

The film would fail to provide that TV series that the creative team hoped it would and it would take another decade before ABC would try again. That’s a pretty damning critique in itself and it’s hard not to agree with the sentiment. Honestly, trying to find the good in this film was difficult and it’s only a film that should be recommended to Home Alone completionists but that’s what we do here. No film is without merit, even if you have to dig deep to find it.

Besides, it doesn’t hurt to be a little kind at this time of year.

Merry Christmas, ya filthy animals.

Doctor Who Christmas Specials: The Moffat Era (Part 2)

Last Christmas

It’s never just a fun little sci-fi adventure, there’s always at least one extra layer. The whole show is like this, delivering a message even if you don’t notice it, but it’s especially true of these festive episodes which pick the most impactful ideals. This time, The Twelfth Doctor and Clara face off against face-hugging aliens that send people to sleep as they slowly dissolve their brains and only Santa Clause can stop them. It’s all very silly, a little dark at times and constantly keeps the audience guessing but the episode’s meaningful message is hidden in plain sight – Last Christmas. As is pointed out during the adventure, every Christmas is somebody’s last with someone else. What’s upsetting is that you don’t know it’s the last Christmas until the day itself has passed. Christmas is finite, lasts for one day out of the year, and a lot can change in between celebrations. Relationships can end and lives can be lost so every Christmas should be cherished.

This doesn’t mean that the season should be without grief and the episode makes that clear too. Clara is facing her first Christmas without the love of her life Danny Pink. When she finds herself celebrating the day with him in a deadly dream, she contemplates allowing herself to die knowing that she will do so at her happiest. Ultimately, she allows herself to wake up because, while people may not always be with us, the memories made with them are. And what is Christmas for if not making memories?

The Husbands of River Song

Christmas specials aren’t designed to flow neatly into each other. There’s a year of real time between each and a whole series-worth of storytelling. Companions come and go, villains are fought and defeated, The Doctor’s appearance occasionally changes. However, if any era was close to having it’s own structure, it’s this one. The theme of Last Christmas carries over as beloved femme fatale River Song makes her final appearance to fight alongside The Doctor. Having been introduced by Moffat during the RTD era, it makes sense that he would wish to give her closure, especially since her timeline has been so turbulent. Her and The Doctor are never meeting in the right order but here, their timelines finally sync up, in her final adventure before that fateful trip to The Library.

This episode almost mirrors that first meeting, where the Tenth Doctor didn’t know who she was, by having her fail to recognise him. She is forever seeking him out and is aware of every face from his first regeneration cycle but is unaware that he has been gifted a new one with a brand new face. Of course, this doesn’t last forever and fans finally get the River/Doctor dynamic where they both have all the details. It’s a melancholy meeting because we and The Doctor know that this is their final night together at the Singing Towers of Darillium. She spends the majority of the episode oblivious to his presence and believes he doesn’t truly care about anyone because he can’t afford to as the universes protector. His final act of love for her proves her wrong in one of the sweetest and most heartbreaking moments of the show because of course he cares. He doesn’t protect the universe because he wants to be praised or rewarded, he does it because it’s right and, above all, it’s kind. If there was ever any way to approach the year ahead…there it is.

The Return of Doctor Mysterio

Superheroes are an interesting concept. Everybody lives a double life to an extent, hiding at least one secret from everyone they know, but superheroes take that to the extreme. They invite the age old query “if you had powers and anonymity, would you use them for good or evil?” which can often lead to some hefty introspection. The stories can be silly (Shoutout to The Condiment King) but at their core they usually say something about humanity. Superman fights for truth, justice and a better tomorrow while Batman fights for what is right even if his methods can be a little sketchy. This episode explores much of that idea – erring on the Superman side of things.

Of course, one could argue that The Doctor is something of a superhero himself. He sweeps in from nowhere when there is danger, barely ever sticks around to receive any gratitude and almost never tells anyone his real name. The main difference is that he isn’t living two seperate lives, there’s no Bruce Wayne to his Batman. However, like many, he has two very different faces. The public Doctor laughs in the face of danger whilst the private Doctor is sadder because he knows nobody can see. This special sees him grappling with the loss of River Song, meaning it also flows quite nicely from the previous special. His current companion Nardole (again, from the previous special) is doing what he can to help but the only true cure for grief is time. There’s no antidote for this pain, it just has to be lived with until one day you find you’ve barely thought about it at all. Anyone who can do that is a true superhero.

Twice Upon A Christmas

The twelfth Doctor has always been underrated. It’s no secret that a large section of the general public stopped watching the show when Russell T Davies left and that numbers continued to dwindle as the Moffat years went on. It’s a genuine shame because, whilst the Eleventh Doctor was good, this Twelfth incarnation was everything the famous Time Lord should be. He was mysterious, charismatic, charming, fantastical and just a little bit grumpy. Actor Peter Capaldi once said that he was aiming to channel all the men who had come before him, particularly classics like William Hartnell and Jon Pertwee, which absolutely comes across. It’s particularly prevalent here as a regenerating Twelfth Doctor encounters a regenerating First Doctor portrayed by David Bradley.

Bradley’s characterisation isn’t perfect, being overly sexist in a way that Hartnell never was, but has the same inquisitive nature and cheeky attitude. He’s clearly written this way to demonstrate how far society has (allegedly) come since 1963in terms of the attitude towards women but the show was never like that. It has always represented the best of humanity, regardless of the year. The very first episode was produced by the late Verity Lambert – a woman – and directed by the talented Waris Hussien – a gay, British Indian – which set the standard for representation behind the screen as well as on it. This episode features the introduction of Jodie Whittaker’s 13th Doctor, which was a landmark moment in the shows history, but the plot isn’t building up to her specifically. With both the First and Twelfth Doctors refusing to regenerate, it’s about how far this show has come and how long it could continue to go. Sure, Jodie gets a couple extra seconds to really bask in her presence but then it’s straight back into business as usual. Pretty much sums up the end of the year too. Let’s all take a little moment to bask in the year just gone before diving into the one to come.

Doctor Who Christmas Specials: The Moffat Era (Part 1)

A Christmas Carol

Probably the most well known Christmas tale aside from the Nativity Story and for good reason. The tale of miserable miser Ebenezer Scrooge, whose heart is changed by the Ghosts of Christmas Past, Present and Future, has everything. It’s filled with all the joy and heartache that the yuletide season can bring as well as a sprinkling of scares but it primarily features an important message about life itself. Every single adaptation, regardless of quality, manages to capture at least an inkling of that spirit because the story at it’s source is so pure, and this episode is no exception. Crotchety curmudgeon Ezran Sardick is unwilling to allow a spaceship to land on the planet whose skies he controls, risking the lives of all onboard, until The Eleventh Doctor pulls a Christmas Carol on him. In a fascinating twist to the classic tale, The Doctor spends many Christmases with him and a young woman named Abigail who Ezra falls in love with despite her short lifespan. It switches between these adventures in the past and Old Kazran in the present as he deals with these newly acquired teenage memories. All the elements of the globally famous book are here, just adapted slightly and with a timeline twist that only The Whoniverse could provide.

This is notably the very first Christmas special where The Doctor is joined by his full time companions, in this case the recently married Amy Pond and Rory Williams, as well as the third time that he joins in with a Christmas dinner. It also features real snow, which will become a constant for this era, and zero on-screen deaths, which will not be a constant ever again. As far as Christmases for the timelord go, this is a fairly relaxed one (unless you count the shark).

The Doctor, The Widow and The Wardrobe

Christmas isn’t easy for everyone. It’s a special day for many but, even for them, life carries on. After all, December 25th is just one of 365 days in the year. This particular episode sees newly war-widowed Madge taking her son and daughter to an uncle’s country house for the holidays. Waiting for them is the house’s new caretaker – The Doctor – who has recently faked his death in front of his friends (Amy, Rory and River) meaning he is the loneliest he has been in quite some time. The messaging in this episode is likely to hit harder than in previous years as it deals directly with processing grief. Madge knows that if she tells her children that their father is gone, then they will forever link that to this time of year, which is heartbreaking enough on it’s own, but it’s the very human way that The Doctor responds that may cause a few tears. His response is one of the most meaningful lines The Doctor, or any other character on the show, has ever uttered: What’s the point of them being happy now when they’re going to be sad later? The answer is, of course, because they are going to be sad later.”

It’s impactful on its own but it means more coming from The Doctor at this particular moment because kindness always means more when it comes from someone who needs it the most. He just wants to provide a magical Christmas for this family, knowing it’s something he can never have, especially with those closest to him. Eventually, the adventure ends and Madge gives him some tough motherly love about being with those you love at Christmas which leads to The Doctor to visit the Ponds and unveiling the truth of his survival. It’s another beautiful, quiet moment that requires no dialouge to convey how much this reunion means to him. Actions speak louder than words and choosing who you spend Christmas with is one of the most impactful actions of all.

The Snowmen

Love isn’t always easy, especially if it ends in loss. Unfortunately, this lesson is often learned the hard way – through first hand experience. The world feels unjust and cruel, like nothing will ever matter again. It’s easy to shut yourself away from everyone and become ambivalent to those who still care because having feelings again just opens you up to more pain. This is the situation The Doctor finds himself in as the episode begins, only to be pushed into a plot involving carnivorous snowmen and a secretly cockney nanny, but his heart isn’t in it initially. This incarnation of The Doctor was known and loved for his whimsical delight and enthusiasm, which was present in his previous special, so to see him like this is upsetting. It feels wrong.

Of course, as the adventure progresses so does he. He finds himself lost in the mystery and fails to realise how much fun he’s having until he clocks himself in a mirror. Without even thinking about it, he has adorned his iconic bowtie, which he’d abandoned it when he no longer wanted to be The Doctor. It’s a small moment but it’s poignant as those moments often are. All it takes is a small moment of self reflection (metaphorical or literal) to remember how good things used to be and to realise that they could be again. Sure, life has its sorrows, but they make those moments of joy even more meaningful. Find things and people that you love and hold on for as long as you can. Treasure those precious memories because it’s those experiences that make life worth living.

The Time of The Doctor

Another regeneration special and another reminder that it’s okay that nothing last forever. As The Doctor finds himself in a stalemate in the town of Christmas on the planet Trenzalore (where it’s prophesied he will die) he faces his mortality and his principles. Yes, he could leave, allowing the town to be destroyed by every villain he’s ever faced but he never would. The Doctor will always fight for what is right, down to his last breath, for even just one life. Even here, as he approaches the end of his final regeneration, he tells the townsfolk that he has a plan because he would rather give them hope than allow them to wallow in despair. The Doctor stands for hope, kindness and the promise that someone out there cares.

That’s true of the show as a whole. For those who love it, it’s a safe space that’s always there when it’s needed. Stories can have dark moments but with The Doctor at your side, there’s no need to be scared. The show has a lasting impact on the fans and this episode is a powerful reminder of that legacy. This special aired Christmas Day 2013, one month after the 50th anniversary special The Day of The Doctor aired in cinemas around the world, and it felt like a defiant stand to anybody who thought the show was close to finished or a niche interest. Doctor Who has been around for nearly 60 years now, and fan-willing, it could go for another 60 because it’s a premise full of promise – all of time and space. The Doctor has 13 more lives (11 as I write) and every single one of them will have their time. This episode asks the oldest question “Doctor Who?” and there’s your answer.

Doctor Who Christmas Specials: The RTD Era

There’s never really been time for seasonal celebrations in the Whoniverse. The classic run only aired on Christmas Day once, during the 12 week-long story The Daleks Master Plan, with a Christmas specific episode titled The Feast of Steven. The footage is currently missing, as is much of the William Hartnell era, thanks to the BBC wiping tapes to re-use at the time. They weren’t to know it would be one of the most popular shows on Earth. It’s especially frustrating for this case in particular because an episode like that never aired again during the classic run. In fact, no episode was ever broadcast on Christmas Day again…until 2005. That’s when showrunner Russell T Davies, who had recently revived the show for a new generation, aired the first of his dedicated Christmas specials The Christmas Invasion. These specials continued throughout his 5-year stint as showrunner, becoming something of a running joke for characters on the show itself and cemented the beloved day as a British Christmas Tradition.

The Christmas Invasion

There is something very human about this episode. That shouldn’t be a surprise given it focuses on human characters, with The Doctor out of commission having just regenerated, but it’s how it shows the humanity within people that makes it wonderful. With Earth under threat of alien invasion on Christmas day and ⅓ of the world’s population being held hostage on rooftops via blood control, it’s up to the human race to save themselves. But how do you handle such a crisis? Do you attempt peaceful negotiations or plan a “defensive” attack and face the potentially deadly consequences? Of course, The Doctor awakes but British Prime Minister Harriet Jones still makes her final decision and she faces the career-defining ramifications.

It also serves as a spectacular introductory episode for The Tenth Doctor. David Tennant slips into the role comfortably, bringing an element of comedy, but still brings an air of gravitas that demands attention whenever he speaks. He does so in just 15 minutes of screentime, so it’s no surprise looking back that he became one of the nation’s favourite Doctors. There are plenty of noteworthy performances throughout the rest of the episode too, particularly from Penelope Wilton as Harriet Jones (former MP for Flydale North and current Prime Minister). It’s clear that she’s afraid but it’s never for herself, rather for the people of her country and the rest of the world, but it’s masked by a steely resolve. Meanwhile Billie Piper as Rose Tyler brings a layer of dramatic emotional devastation over losing the Doctor that she knew whilst still having the courage to stand in his place as Earth’s spokesperson and defender. It’s an episode about having hope, even when it feels like there’s none left, and what’s more Christmassy than that?

The Runaway Bride

The Doctor’s own humanity is front and centre here. For the first time since he met Rose, he finds himself alone whilst mourning a great loss. When Donna Noble materialises in the TARDIS on her wedding day, he becomes swept up in a plot that dates back to the dawn of time even though he doesn’t have to. He only initially gets involved out of curiosity but, as the plot progresses,it becomes clear that he’s sticking around to save Donna’s life because (despite not wanting to) he cares. It’s clear from the mournful looks he gives her, and the ones that he keeps to himself, that he needs to save someone…anyone. There’s a sweet and simple moment where they’re sitting on a rooftop having just escaped a robotic santa in the TARDIS where The Doctor puts his coat around her. It’s a tiny gesture but, given his desire to be uninvolved, it’s clear how meaningful this act is.

It all builds to the moment where The Doctor faces off against the enemy, defeating her in an act of pure rage. He isn’t doing this because he’s worried about humanity or even because he’s worried about Donna, he’s doing it because he feels alone and doesn’t care what happens to him. For him, this is a moment of acceptance of his place in the universe and his final sacrifice for humanity because the pain of his losses is too much to bear. Donna stops him but she still refuses to travel time and space with him. It’s rare that someone turns him down and it clearly stuns him. He once again finds himself all alone, which breaks his hearts because life is only truly an adventure if it’s shared.

Voyage of the Damned

In times of struggle, there should be no class divide. In times of crisis, everybody is human…or alien as the case may be. Once again The Doctor finds himself stumbling alone into an evil scheme, only to find himself surrounded by a delightful cast of characters. On the space cruiseliner Titanic, whose crew features robotic angels set on murdering everyone, there is no shortage of class representation. There’s the rich businessmen who feel like they deserve their wealth, the waiting staff who have very little and the farmers who toil away endlessly to earn theirs. It’s easier to sympathise with some of the characters more than others but it’s not difficult to hate the villain behind the whole scheme – a morally bankrupt CEO. It doesn’t matter how many people die, even if it’s everyone on Earth, so long as he gets his paycheck. Whilst this portrayal of CEO’s is comical, the underlying truth unfortunately is not. For the rich, it’s all about getting richer.

Meanwhile, the story manages to grapple with grief and loss. The cast is larger than just The Doctor and his companion but each character is fleshed out in a way that makes them easy to root for…even the stockbroker. It wouldn’t be a Christmas special without death and this one is no exception, featuring several of them, with each more devastating than the last. They are all inspired to sacrifice themselves, because that’s what they feel The Doctor would do, and his guilt is evident but grief can and should be felt at Christmas. Not everybody makes it from one Christmas to the next and that hurts but it doesn’t mean that feeling should be avoided. Celebrate Christmas for those you’ve lost with those you haven’t.

The Next Doctor

Sometimes Doctor Who is just a classic Doctor fights the monster story with a lot of heart. Battling the cybermen in 1800’s London alongside a man claiming to be The Doctor is one such tale. The major draw at the time was the spectacle of it all and the tease of a Doctor we hadn’t yet met. David Tennant’s Tenth Doctor was beloved by the nation (still is) so his leaving the role was a major deal. The announcement was made prior to the airing of this special so it wasn’t improbable that 11 (or even 12) could have popped up. Of course, this turned out not to be the case but that’s a shame because David Morrisey is one of the best Doctor’s we never had. He embodies the very heart of the character. He’s charming, suave, and charismatic in a way similar to classic incarnations like The Fifth Doctor. His impassioned speech to a crowd of Victorians about how The Doctor has saved humanity countless times and has never been thanked turning into a raucous applause for the man himself is a beautiful moment.

The previous two specials have left The Doctor alone and grieving but here he finally gets a moment of peace. For the first time since The Christmas Invasion, he is convinced to enjoy a Christmas dinner. Given everything he’s been through, and everything he’s about to go through, it’s a brief moment of levity that brings joy to the soul.

The End of Time

It’s apt that this is ultimately a story about fate and acceptance. This two-parter was a major event at the time as, for many people, it was their first regeneration. David Tennant had been the titular timelord for 5 years and was adored by the general public but his fate was the same as every other actor to play the role – to leave. This idea is baked into the plot, which sees him facing off against The Master on a global scale. It’s been prohpisied that he’s going to die but he isn’t ready and is barely holding back his frustration. It perfectly echoes the emotions of the audience who were’nt ready to let him go either.

However, as it must, his fate arrived all the same. The Tenth Doctor, though upset, understands and accepts that it’s his time to go. He takes an emotional walk down memory lane, seeing where all his companions are and how they’re doing, seemingly to put himself at ease. The universe is currently resting easy, as are those in it that he cares about, so there’s no stone left unturned for him. The episode only shows Ten’s companions (although The Sarah Jane Adventures later clarified it was all of them) which makes a great deal of sense because it brings everything full circle. It’s obviously sad to see him go but visiting his companions serves as a reminder of all the good times. It’s almost like a clean slate, so that The Eleventh Doctor can burst onto the scene without baggage and embark on his own adventures. What a dynamic entrance it is too filled with excitement and wonder. This wasn’t to be the final festive regeneration (in fact it’ll be a little bit of a recurring thing) but it was the first and it knew the weight it carried. It was big, bold and beautiful.

Black Panther: Wakanda Forever (Spoilers)

How do you achieve longevity? There are a couple of solutions and they are both present in Marvel’s 30th(!) feature length film Black Panther: Wakanda Forever. The background surrounding production is as well known as the title Black Panther, with the sequel entering development before the unfortunate passing of Chadwick Boseman and being reworked with a new name taking the mantle. It introduces beloved comic character Namor to the MCU in a rivalry between his underwater tribe and the Wakandans on land, which invites comparison to the DC hero Aquaman, although these comparisons end up being unwarranted. There is such a vast difference in the portrayal of both characters and the oceans they live in that it would do each world a disservice to compare them.

Naturally, at the forefront of this film, is the legacy of Chadwick Boseman. His introduction as Prince T’Challa (later King T’Challa) AKA The Black Panther gave children of colour across the globe a hero that represented them. He took the largest franchise in the world and used it as a platform at a time when racism in the West was on the rise. He seemed destined to continue in his role as actor and activist for years to come, which made his unexpected passing all the more upsetting. There were calls to recast the role but, given this surrounding context, it wouldn’t have felt right and the plot does address that. With all the heart shaped herbs, which provide the power of The Black Panther, being burned in the previous film Shuri is determined to replicate it…to no avail. The opening scene where she attempts to recreate it’s synthetic structure to save her brother is heartbreaking, especially since he is dying of a mysterious illness that he has been hiding from those around him. The story beat works on its own but it, very deliberately, hits close to home mirroring the real life circumstances surrounding Chadwicks passing. Eventually Shuri recreates the herb, consumes it, and becomes the Black Panther but initially she is only doing so out of vengeance. Her arc sees her struggling between letting the hatred consume her and deciding what this role as “protector” actually means. For those who have faced grief, it’s a familiar battle, to let the grief overcome us or to do our best moving forward. To shy away from the darkness or to run toward it. She struggles with it until the bitter end, right up until the moment she is about to kill Namor but, of course, she chooses the lighter path because this story is about healing…or beginning to heal.

The film’s conclusion sees her sitting on a beach, burning the funeral clothes, before being joined by T’challa’s partner Nakia and Nakia’s son T’Challa. It’s a clear indication that while Chadwick (and his character) may be gone, his legacy carries on. It’s not a straight-up recast but still allows for there to be a T’Challa in this world which is the perfect middle ground. Young T’Challa won’t be taking up any mantles any time soon but some day, presumably, he will. Chadwick won’t be forgotten in that time (or in anytime thereafter) but this allows for as much healing as can be done in a moment like this before life carries on. Through this character and these films, Chadwick has achieved longevity and ensured that we will never forget him.

The presence of T’Challa Junior also highlights the intended longevity of the MCU itself. Whilst it seems inevitable that he’ll become Black Panther someday, it’s likely that this won’t occur for perhaps another decade. He’s not the only new character either with the introduction of Riri Williams AKA Iron Heart and the aforementioned Namor. Riri is a delightful enough character who seems destined to entertain people in her own series next year before cropping up as “New Iron Man” for the foreseeable future. Meanwhile, Namor is rather interesting with his disdain for land-dwellers and long life span (having been around for several centuries) which is deserving of more exploration. Namor receives a rare treat as an MCU villain in that he gets to live, which is for the best considering dead characters can’t really be explored further. Then there are the returning characters, whose own stories are just beginning. Everett Ross returns to light up every scene he’s in with a charm that British Men seem to have patented with Valentina Allegra de Fontaine (or The Countessa) by his side. She makes her return after appearing in Black Widow and The Falcon and The Winter Soldier, where she is clearly putting together a Discount Avengers (or The Thunderbolts as they’re otherwise known), making her in essence the new Nick Fury. The MCU has ramped up its production rate since Phase One but considering Fury has been present since the start and is still kicking around, this should give some idea of how long The Countessa should be cropping up for.

The discussion surrounding “superhero fatigue” is a complex one but when the MCU alone is taken into account, it’s not difficult to see why it’s brought up. Black Panther: Wakanda Forever is film number 30 but, with TV Shows included, it’s project number 39. The newly released Guardians of the Galaxy Holiday Special is release number 40 and it aired only a couple of weeks after Wakanda Forever’s initial release. Here’s the thing about the MCU…it’s good. Even at its worst (bar a couple special cases) the projects are still adequate at worst. Even Wakanda Forever, which suffers from usual issues like obvious greenscreens and unnecessary characters, is still good. The issue isn’t and has never been the quality, it’s the rate and the risk that there will be an inevitable drop in that quality to maintain release schedules. There’s been a large conversation surrounding Phase 4, which started with Spider-Man: Far From Home (yes it did, I don’t care what Kevin Feige said) and ended with Wakanda Forever. “It feels directionless” is the big critique and it’s partially true but that’s mostly because it lacks context. Every piece in this phase that feels out of place will make sense in time as The Multiverse Saga draws to a close. It’s a promise to the audience that there’s a reason to stick around. People have already clocked off and that’s fine because the critics will still be here, keeping track for you.

We remember it so you don’t have to.

Women X Festival 2022

Attending film festivals has been a dream since I was aware they existed. However, it’s always been a distant dream because I can’t travel for them…well without at least spending a bunch of money I don’t have. This past year, thanks to the rise of online film festival attendance as the world was told not to travel, I’ve been able to live out that dream. From September 2nd to the 4th, I was lucky enough to experience a glimpse of the Women X Film Festival founded by Caris Rianne. As a Trans Woman, being a small part of this festival meant the world to me and I hope to attend in person someday. For now, here are some short(ish) thoughts on the amazing projects that I watched.

Head Over Feet: A Series of Shorts

First Kiss With A Girl is a short voiceover with related imagery about a girls first kiss with another girl. It’s really cute, shot in a 6:9 ratio, with the theme of the part at which this case occurred being present but not obvious until it’s stated.

Kiss Chase sees a young girl of colour struggling with a crush on another girl, while a boy develops a crush on her. It’s a classic “nerd to beauty” story done well, made more uncomfortable by the age of those involved, which I’m sure is the point. There’s really no knowing what children get up to and the thought that several of the more intense scenes in here do occur is terrifying.

Silent Pride features a private spat between two best friends at a party. The most notable aspect is that one of the girls is hearing impaired, although that’s never the sole purpose of the story. It is used for a cute little moment of connection though.

Virtual Love sees a female couple playing dom and sub for viewers on a camgirl website until an argument breaks out. It makes excellent use of the website itself, often showing the chat window which is itself a lynchpin of the plot. Despite being in skimpy clothing, the camera never leers, which shouldn’t be noteworthy but it is.

Pitching features a woman lost in her tent on a trail, leaving a desperate voicemail for her former girlfriend. The frame composition is fascinating, having been split into 9 squares, each telling a different story from the relationship. At 17 minutes, it’s one of the longer shorts but the lone voicemail is heartbreakingly engaging throughout.

The Cost of Living focuses on a woman in control of her life finally giving up control for the seductive personification of death. It’s the artsiest film in this series and it’s totally engaging. Seems to have the highest production budget so far but this story would be wonderful regardless.

Pragma sees a woman partaking in a rigorous Partnering Programme but struggling to trust the system. It also has a higher production budget and a longer runtime but it’s also consistently funny. A really interesting take on the two core kinds of relationship (short-term and long-term).

Besties: A Series of Shorts

Scuzz features the surprising friendship of a female rocker and the young teen boy who stole her guitar. It’s super sweet and it demonstrates the kinder side of Scotlands gig scene which could use more prevalence.

Venetian Men is the tale of two 15-year-old best friends’ trip to Venice. It has an excellent blend of photos and footage taken on the trip with interprative dance scenes featuring actress stand-ins. The voiceover is soothing too, telling of an often underappreciated time in young women;s lives.

@scroll_alice features a conversation between two people about the benefits of Instagram. With the stop-motion animation depicting conversation topics and use of AI voices, it comes across as a little horrifying despite the dialogue claiming otherwise. It feels like it lacks humanity but at the same time it tells such a human story. Brilliant.

Run With Her is a short documentation of an Irish teens friendship with her running partner and best friend. This short was also featured in last years EIFF so this is a second watch for me but it’s no less lovely. I hope everything is working out for them.

Farewell She Goes sees two Gregorian women grappling with how to bury a bird at sea whilst a deeper issue lies just below the surface. It never explicitly states that one of thee women wants an abortion but it’s made clear through the dialogue, line delivery and notes about abortions history at the films conclusion. Sad but necessary.

Sequin features a little girl at a bus stop encountering a drag queen who looks just like her Barbie doll. It’s adorable and a perfect demonstration of how accepting children are. It manages that without anyone ever uttering a word, which is a real skill.

7 Bannanas features a woman dealing with the deathvof a friend sh’ed been neglecting to message. It feels real, grappling well with the genuine emotions of grief and guilt. Serves as a poignant reminder to keep in touch with people more.

Homegrown: A series of shorts

GSNE is a small doc centres around the foundation of Girls Skate North East, a group specifically for female skaters in the North East of the UK. It’s about camaraderie and support and being female in a seemingly male dominated space. Very inspiring.

After the break is a monologue about living life away from the tv screens and the music. It’s interesting to listen to with simple but elegant visuals.

The Air in Cyberspace features the beginnings of self organising cyborg existence. Not live-action so it caught me off guard, but the CGI visuals and visuals are very impressive.

The Girl Next Door sees a girl trying to vlog her life whilst her psychotic adopted sister lurks in the background. Shooting it purely from the cameras POV is a great way to tell the story and the performances are wonderful.

A Call to the Void follows 24 hours in a depressed young mans life and is quite the experience. A self-motivational tape plays over the entire short providing this juxtaposition between what the world expects and the reality of life.

Halloween Watchlist 2022

Wallace and Gromit: Curse of the Were-Rabbit (2005)

One of the earliest, and finest, family-friendly horror films. A loving homage to the genre with plenty of laughs, scares, and references to both the character’s history as well as the history of horror. Full review in the upcoming edition of UnDividing Lines.

Cloverfield (2008)

A certified classic that solidified the “found footage” style of horror movies. With regular, flawed characters and a shining example of having a horrifying creature without having to show much of it. Full review HERE.

10 Cloverfield Lane (2016)

A stunning follow-up that proves not only can a sequel be as good as the original, but it can be better. Perfect use of a minimal environment with a twist that continues to chill, even if you already know what it is. Full review HERE.

ET The Extra Terrestrial (1982)

A beloved family classic for a reason. It has marvelous characters, great emotion and excellent visuals…all of which were stronger upon a cinematic viewing. Beautifully re-mastered and masterfully scored.

Jaws – in 3D! (1975/2022)

The original blockbuster remains one of the best. It’s a slow burn, with very few shots of the shark and a minimalistic but beautiful score. Also stunningly remastered for the big screen.

Bodies Bodies Bodies (2022)

The first new release on this list is a delight. Funny, full of violence and with an on-point take on class structure this is worth catching up on if you missed it.

Werewolf by Night (2022)

An MCU installment that’s only an hour long, and it’s about time. This spooky tale feels unlike any other part of the franchise, proving Michael Giacchino isn’t just great with music, but can master any craft he puts his mind to.

Don’t Hug Me I’m Scared [Series](2022)

Based on the YouTube series of the same name and created by the same team, this show is a trip. Life lessons shrouded in humour and dark imagery, it’s exactly the kind of show young people deserve.

Gravity Falls [Series](2012)

One of the greatest shows ever created and worthy of a full, loving analysis someday. Funny, heartfelt and occasionally featuring genuine scares, the story of the Pines family is worth every second.

The Cloverfield Paradox (2018)

An odd creature for sure. Developed in the same way as it’s predecessors but lacking the same oomph, it’s worth watching for a couple performances and the score. Full review HERE.

The Babysitter (2017)

A new seasonal classic from Netflix, this is an absolute delight to watch. Horror-comedies feel underrated and with films like this, that shouldn’t be the case.

The Simpsons Halloween Specials I-XII (1990-2001) / The Simpsons Treehouse of Horror XIII-XXI (2002-2020) / The Simpsons Thanksgiving of Horror (2019) [Series]

A staple of the holiday that continues to entertain with new installments every single year. The “original” run of 7 episodes were solely focused on horror and remain undisputed classics, but even as the series began to lean more heavily on current pop culture references it never began to disappoint. There are a couple of dud segments but no entire episode worth skipping over. The Thanksgiving edition is especially wonderful.

The Babysitter: Killer Queen (2020)

More proof that a sequel can be as good as the original. It manages to retread old ground without ever feeling like a direct copy, has plenty more laughs and features the sweetheart of the moment Jenny Ortega.

ParaNorman (2012)

Coraline may have thrust Laika Studios into the limelight, but ParaNorman ensured that they stayed there. This loving homage to the horror genre may be a little basic but it has everything it requires to entertain people of all ages. Full review HERE.

The Lost Boys (1987)

The Joel Schumacher classic remains a seasonal favourite for a reason. Only a director like Joel in a decade like the 1980s could have brought forth something this bizarre, camp and filled with brilliant special effects. Worth hunting down if it continues to escape your watchlist.

Ghostbusters (1984)

One of the best films ever made. Sure, it’s cheesy and the special effects aren’t exactly on par with something like The Terminator, but it has so much character. Every cast member is bringing their A-Game, the effects are still impressive, and it’s tied together beautifully with that ethereal score. Full review HERE.

Ghostbusters II (1989)

A guilty pleasure for many fans, including myself. It feels at times like a rehash of the original and is definitely more geared towards children, but it has just as much fun packed into it. Full review HERE.

Beetlejuice (1988)

A highlight of the season every single year. It’s a special effect, comedy, and acting masterclass all rolled into one package. Relentlessly quotable with a great score, it sticks in the mind all year round. The soundtrack for the Broadway musical gets plenty of playtime too. Full review HERE.

Hocus Pocus (1993)

Only the second viewing for this apparent classic and it’s not difficult to fall in love with. It’s corny in a way that only 1990s Disney Channel movies can be but is held together by some extremely over-the-top performances and a heck of a musical number. Another highly quotable delight.

The Muppets Haunted Mansion (2021)

The Muppets have always rolled with the times and this special is no exception. With a slew of current celebrity cameos and a delightful performance from Will Arnett, it’s honestly just nice to hang out in the Henson realm for a bit. And there’s no better choice for this bizarre season than the oddest of Muppets – Gonzo.

Bram Stoker’s Dracula (1992)

I’ve often heard this described as THE definitive version of Dracula but that might just be in reference to the vampiric maestro himself. This adaptation is gorgeous to look at but is often too surreal for its own good when it isn’t being dull. It’s a lot of flair with very little punch.

The Nightmare Before Christmas (1993)

Director Henry Sellick’s timeless fantasy continues to delight. It’s all about the visuals and the score, both of which are on point. Though the story and characters are basic, they have a certain amount of charm that makes seeing them once or twice a year totally worth it.

Hocus Pocus 2 (2022)

If the original was corny in a 1990s way, then it makes sense that the sequel would be corny in a 2020s way. Once that’s accepted, it can often be just as wonderful, even if there are perhaps more musical numbers than there need to be. The childhood counterpart for the Sanderson sisters do a particularly wonderful job.

Tucker and Dale Vs Evil (2010)

An underrated classic, which has been on my watchlist for many years now. A hilarious subversion of horrors “killer hillbillies” trope, with a couple of endearing performances from the main pair of bumbling doofuses. It doesn’t skimp on the gore either, leaving it in the same vein as something like Scream.

ParaNorman

Animation is for children. At least, this is what some adults will try to have you believe. Current Disney CEO Bob Chapek is one such adult, which may partially explain why the world is in the midst of a live-action-remake-renaissance. The fine folks over at PIXAR Animation Studios have never held such a belief, knowing that children can handle most of what life can throw at them and that’s there no use hiding them from reality. The same is true of Laika Studios, whose 2009 classic Coraline delighted and terrified audiences of all ages. It was the very first film they’d produced for themselves, having assisted on other projects like The Corpse Bride, but it wouldn’t be their final forray into the world of horror. 3 years later came ParaNorman, which is often overshadowed by it’s predecessor but is no less creative.

The story follows 11 year old Norman, who has the unique ability to see and speak to ghosts, as he attempts to stop a 300 year old witches curse from destroying his town. The curse, which until recently had been held at bay by a crazed hermit, brings back to life the seven jurors who sentenced the witch to death as well as the spirit of the witch herself. Along the way, he is assisted by his older sister Courtney, school bully Alvin, best friend Neil and Neils older brother Mitch. It’s a simpler plot than Coraline but the characters and their dynamics are just as interesting. There’s the classic sibling rivalry betwween Norman and Courtney which also exists between Neil and Mitch, whilst Alvin finds himself clinging to the group out of fear. Courtney’s infatuation with Mitch is especially fun to witness, particularly on a rewatch with the knowledge that Mitch is gay.

The plot never makes a big deal out of that fact. It isn’t a running thread throughout themovie and, when revealed, isn’t given an aura that demands praise. It’s just part of who he is and comes up naturally, which is how it should be. Gay people are more than just their sexuality, which is something that Laika continues to understand. Their following three films would include gay characters, both in the background and the foreground, but there was never a massive deal made about them. Disney has been expecially bad for using gay characters as a marketing gimmick but the fail to grasp that this community isn’t demanding attention. The goal is simply to be included because that’s how it is in reality. The LGBT community only seems loud because it fights so hard to exist without prosecution, which is only getting more difficult by the year. Characters like Mitch normalise a community that has been seen as “other” for decades and help children to realise that, not only are there gay people, but that it’s ok to be gay yourself. It breeds a more open and loving ideollogy in children who see it and provides hope for a netter tomorrow for the community. Mitch was the first gay character in a “children’s” movie and he remains one of the best examples of how such a character can be handeled.

The most interesting development in ParaNorman occurs as act three begins. The seven undead jurors are not the steotypical undead, but are instead victims of the witches curse who wish to be set free. The overall message here is to not jusge a book by its cover but this only works because the idea of a “zombie” is so ingrained in popular culture…which is fascinating. It’s an idea embeded so deep withing society that this tweist works regardless of the age of the viewer and it only works better as time goes on. The zombie genre has seen a surge in popularity over the last decade propelled, in part, by the success of shows like The Walking Dead (a show which ironically will not die). However it also means that subverting the expectation of brain-hungry zomnies is not as unique as it once was, having been used in films like Warm Bodies and Life After Beth. ParaNorman was one of the originators and, considering how well they pulled it off, it’s no wonder it stuck around.

It’s also a remarkable homage to the B Movies of old. The opening scene is an in-universe B Movie which perfectly sends up the hoaky acting, simple sets and bright colours. This homage continues throughout the film itself. Laika’s signature stop-motion animation comes across on screen as more jagged and slow in movement, providing a slightly uneasy feel akin to the low frame rates of early cinema. There’s also a lighter tone than something like Coraline, although it still has its dark moments. The eventual reveal of the witches identity is as heartbreaking in terms of narrative as it is in terms of historical accuracy. There is also a direct link between the witch, the hermit and Norman which is never stated outright but is evident enough from context clues. It feels that a link like that would be directly adressed in a film today, but again ParaNorman refuses to talk down to its audience.

Despite the admiration the creative team clearly have for the horror genre and the admiration audiences should hold for their creative process, ParaNorman remains second fiddle to Coraline.This is likely down to its simplicity and lack of emotional weight in comparrison, but that doesn’t make it a lesser film. ParaNorman has enough charm, humour and stly to stick around in the public conciousness…even garnering a 4K remaster for its tenth anniversary. There is plenty of room for both and they make a spectacular double bill, with Coraline serving as the major scare and ParaNorman acting as a semi-palette cleanser. Both feature a suitably spooky aesthetic and are sure to entertain.

ParaNorman is fun for the whole family.

And, incidentally, a Happy Halloween to you at home!