What if Will Farrell interferes in Ryan Reynolds’ life?

Anders’ movie is a modern take on Charles Dickens’ A Christmas Carol, but with a beautiful twist. What if the Ghosts of Christmas Past, Present and Future would transform someone into a much better person every Christmas and not only once? The world would be so much better! For this Christmas, the Ghosts and their team found the perfect man: A hotel boss who treats his staff in the rudest way possible. However, before they start interfering in his life, the Ghost of Christmas Present (Will Ferrell) runs into a hotel guest, Clint Briggs (Ryan Reynolds). The businessman uses social media and his ability to swoon everyone over with his fancy words to profit from weaponizing the war on Christmas. This goes against everything the Ghosts stand for, and because of that, Briggs becomes their target.

Present discovers that Briggs has no sense of morality when infiltrating his life. Briggs doesn’t see how worn out his loyal assistant Kimberly (Octavia Spencer) is, and when his young niece Wren (Marlow Barkley) wants to become an important person at her school, he convinces her to play it dirty instead of fair. However, it turns out that this mission might not be an easy one at all for Present. Briggs is stubborn as hell, and Present falls for Kimberly and has to face his dark past. Will Briggs be the unredeemable who’s redeemable after all, and how will Present face his demons?

Go on a joyful, Christmassy and never-ending trip

What makes Spirited extremely enjoyable is the chemistry and performances of the leads. After appearing in Elf and Eurovision, a film that combines the Christmas spirit and musical numbers is right up Ferrell’s street. He leads this movie with such humour, sassiness and emotional touches so that you can connect instantly with the characters. Hollywood-favourite Reynolds (Free Guy, Deadpool 2) is again on-point as a cruel and macho businessman who lets no one or nothing stands in his way. He brings bags of humour, witty moments and even an uplifting vibe to this movie.

For us is Spencer (Snowpiercer, Ma) an actress who shines in every role she takes due to her impeccable talent and delicate performances. This time is no different. She took singing classes for this movie, and it paid off beautifully. Her lovely singing voice is a beautiful addition to her multi-layered performance, and she heightens that touching feeling of this movie immensely. Some cameos throughout this movie will put a smile on your face.

When watching Spirited, it’s clear that cinematographer Kramer Morgenthau (Thor: The Dark World, Creed II) understood the assignment perfectly. The combination of red-green is seen in every scene in one way or another; the tailing shots bring the songs and dance routines perfectly to life, and the wide shots add another beautiful layer to this movie. With music from The Greatest Showman and La La Land duo Benj Pasek and Justin Paul, it’s not surprising that the songs and dances are full of glitz and glamour.

Sadly, Spirited is not all fun-fun, joy-joy. Due to using the same songs, sung each time differently, the film becomes too repetitive to stay interesting for the 2h7min runtime. Another reason why we can’t give this movie the full five stars is the cheap-looking production design. Sometimes it feels like the musical numbers are sung in front of a green screen or on a cheap set. The songs would have had a much better impact if the director would have used actual physical spaces.

Not a classic Christmas film but a pretty damn good movie!

Whether you like this movie mostly depends on how much cheesiness you can take from a film. As long as you want to be carried away by sweet and predictable plots, uplifting songs, over-the-top choreography and outstanding acting performances, this is certainly a movie you will enjoy! While Spirited won’t become a classic Christmas film, it’s a pretty damn good movie!

Rating: (4 / 5)

Spirited is out now in UK cinemas and on Apple TV+.

Also Read: Who Did It Better: Miracle on 34th Street

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We of course had some nice extras to enjoy as well. Including horror merchandise stalls. And some in-person and online Q&As with filmmaking professionals.

But, how good was this year’s film line-up? Like in 2019 I managed to watch everything. To my delight, there were even some classic horror film screenings. However, this year I was also impressed by several short films. So, today along with reviewing and ranking every programmed feature film (in 30 words or less) I will also recommend 5 shorts to watch. Let’s begin.

Reviews

Tin Can: What could have been a thought-provoking Cronenberg-esque body horror is hampered by hollow characterisation, overdone cinematography, and dire pacing. Unfortunately, this can’s contents are rotten. (1.5 / 5)

The Deep House: This well-shot film with initially great atmosphere becomes unintentionally hilarious once supernatural elements are introduced. When combined with abysmal exposition and performances The Deep House sinks completely. (2 / 5)

The Advent Calendar: Get past the ableist messaging (the protagonist is a wheelchair user whose sole goal is to walk again to have a “normal” life) and the story is competent but repetitive.  (2.5 / 5)

Ultrasound: Full of twists and high aspirations. But the human anchors get lost in the confusing plot. Ultimately, this sound feels like background noise.  (2.5 / 5)

Hellbender: Teen angst and witchcraft is well-trodden ground for coming-of-age stories. Unfortunately, this movie brings little to the table beyond some ok performances. (2.5 / 5)

When I Consume You: This film juggles multiple genres, from supernatural horror to borderline sports movie. Sadly, this mashup lessens the impact of the film’s addiction theme. Which needed a consistent tone. (3 / 5) 

Offseason: Despite some hokey delivery and the unfolding cosmic horror being kneecapped by overexplaining everything the atmospheric sound design and visuals make this Lovecraft/Fulci tribute worthwhile. (3 / 5)

Event Horizon: Event Horizon has much to love. Like the set design, witty dialogue, and good performances. That said it never achieves greatness thanks to the ever-present obnoxious stingers and stock characters. (3 / 5)

We Need To Do Something: A single location film carried by dialogue, the central players, and a few standout set-pieces. Sometimes that’s all you need to do for a good time. (3 / 5)

Lamb: Is this film about humanity’s relationship to nature, or just the struggles of raising a human-lamb hybrid? Either way, the film remains oddly engrossing despite its slow pace. (3 / 5)

Antlers: Clunky exposition, a superfluous child character, and native American mythology appropriation aside, this sharp folk horror shines through its central performances (especially Jeremy T. Thomas), heavy story, and grisly violence. (3.5 / 5)

A Banquet: Using food as a metaphor for rebellion this mothers and daughters tale effectively explores how terrifying it is being a parent and knowing your child won’t always need you. (3.5 / 5)

Titane: Julia Ducournau’s latest is vicious, well-crafted, and perhaps overly daring. But the story is sometimes hard to engage with emotionally. Still, the audience saw it as the festival’s best film (3.5 / 5)

Broadcast Signal Intrusion: An eerie conspiracy thriller. It works more emotionally than logically but it builds a fantastic air of paranoia. And Harry Shum Jr. is impeccable. (3.5 / 5)

Nocturna: Intrusive music notwithstanding this film deals with ageing and dementia in an amazingly unique genre-defying way. And Pepe Soriano gave the festival’s best performance.  (4 / 5)

Mad God: My favourite movie so far this year. An insanely bleak post-apocalypse film that mixes stop-motion and live-action with little dialogue or conventional structure. It’s an incredible trip.  (4 / 5)

Little Shop of Horrors (Director’s Cut): One of the best movie musicals ever. (4.5 / 5)

Shorts

Of the short films screened at Celluloid Screams here are five you must see.

FREYA & Please Hold: Both disturbingly relevant shorts about how the system can use technology to control women’s reproductive rights and oppress the marginalised.

Guts: An over-the-top silly comedy that really runs with its ridiculous premise – a man with his guts on the outside of his stomach. Creating hilarious results.

The Moogai: Undoubtedly the festival’s scariest short. Creating an unrelentingly tense atmosphere through showing very little of the monster and the lead couple give some great performances.

You’re Dead Hélène: This year’s Short Film Jury Award winner is all-around great. It deals with the pain of letting go of love; is scary, funny and heart-warming.

Conclusion

That wraps up 2021 at Celluloid Screams. While some films worked better than others it was simply a pleasure to attend the festival again and hopefully you all found some films to watch. See you next year Celluloid Screams.

Also Read: Online Film Festivals Are Here To Stay

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Musicals exist in this strange realm, akin to sci-fi and fantasy. They live in parallel universes, similar to our own, except a character can take five and sing a power ballad about how they’re feeling with a full orchestra playing somewhere off-screen. They appeal to our need to be heard, to process the complicated and confusing emotions we run through daily living in the modern world. It feels like 2020 might be when we need that escape the most.

Initially expected in June, In The Heights will likely arrive later this summer. The adaption of the Tony-winning musical, from Hamilton creator Lin Manuel Miranda, follows a group of characters in the predominantly Latinx community of Washington Heights, New York City. Things take an exciting turn when Usnavi (Anthony Ramos) sells a winning lottery ticket from his struggling bodega, meaning someone from that rundown section of Manhattan has won a whopping $96,000. The film, directed by John M. Chu (Crazy Rich Asians), looks like a colourful and vibrant visual feast full of optimism and is, potentially, tipped for Oscar glory.

Another Broadway adaption, this time for Netflix, comes in the form of The Prom. This star-studded story, directed by Glee’s Ryan Murphy, follows a self-involved Broadway actress (played by Meryl Streep) as she and gaggle of theatrical characters descend on a small town in Indiana where the school has cancelled their prom. Why? Because a female student has asked if she can bring her girlfriend and this rag-tag bunch of performers are looking for an ‘issue’ to solve. The original show wasn’t a massive hit during its initial Broadway run but seeing the likes of Streep alongside Nicole Kidman, Andrew Rannells, and Kerry Washington will likely be something that draws in a big audience. But, The Prom isn’t the only choice when it comes to queer-centric musicals expected this year as Billy Elliot meets RuPaul in Everybody’s Talking About Jamie which due this October. Richard E. Grant and Sharon Horgan join newcomer Max Harwood in this adaption of the Olivier nominated musical set in Sheffield the story follows a sixteen-year-old boy with aspirations to become a drag queen.

It’s also safe to assume we’ll see Leos Carax’s Annette on the film festival circuit this year (if they go ahead). The film, which finished shooting last year, has been in the works for a while with stars like Rooney Mara, Natalie Portman, Rhianna, and Michelle Williams all attached at some point before Oscar-winner Marion Cottillard joined Adam Driver for this Los Angeles set love story with original music from 70s alt-rock band Sparks. Described by Cottillard as having ‘profound depth’ and a ‘singularity’ to it, Annette is likely to be one of the stranger, yet like visually stunning and moving, musical offers of the year.

The last musical release of 2020 is likely to be a big one as a beloved classic returns to the screen after 60 years. Despite most of its promotional shots looking like they’ve been swiped from a Marks & Spencer catalogue, Steven Spielberg’s West Side Story remake is expected on December 18th. The story, a revised take on Romeo and Juliet, sees young love blossom at the centre of a gang war between the Jets and the Sharks. This remake aims to update the 1961 classic for today’s audiences though it’s unclear, outside of the casting actual Puerto Rican actors to play the Sharks, how it’s planning on doing that. From the on-set photographs and the new stills released in Vanity Fair last month, it looks as though the film is retaining the 1950s setting unlike the latest ‘millennial’ revival currently running on Broadway that does away with most of the iconic choreography (as well as two songs) and aims for a stronger political message adding Black Lives Matter and border walls into the mix. It may well go the route of the 2009 Broadway revival, a production saw Stephen Sondheim, the original lyricist, team up with Lin Manuel Miranda to translate some of the lyrics and the dialogue into Spanish for a more authentic feel. Still, it’s unclear if Spielberg’s remake, which explicitly sought Spanish speaking actors, is going to do the same. Whatever Spielberg does, will it be enough? Will any of these big, bold, musicals be enough? Will the singing and dancing be enough to raise our spirits?

It might seem facetious to ask what it is about our current times that is drawing us back towards the musical? The constant onslaught of politics, social issues, Brexit, division, COVID-19, and the rise of populism (to name a few) might mean that, globally, we are craving the escapism and magic that movie musicals bring. After all, it’s scientifically proven that music makes us feel better and who doesn’t need a pick me up in 2020? 

Hell, even beyond 2020 we’ll be craving that hit of dopamine a big dance number brings. Thankfully, it was recently announced that Jake Gyllenhaal will star in an adaption of Fun Home, the award-winning musical based on Alison Bechdel’s seminal graphic novel, while Scarlett Johansson and Taron Egerton are supposedly circling a Little Shop of Horrors remake but that casting has already been criticised. There’s still a long-awaited adaption of Wicked in the works and, of course, the much talked about Hamilton movie will eventually make its way to the screen. By the looks of it, we’ll have the movie musical to escape into for a few years yet. Fingers crossed.

Once, the musical was once the toast of Hollywood, almost like comic-book movies are today, and now it’s safe to say they’re less bankable. But, it’s still here. It’s fighting, with every jazz hand and Fosse neck it can, to stick around and we need it. In the face of it all, we need the singing, the dancing, and the joy. We need the escape, to find a place that isn’t like our modern times, one where emotion is made sense of through song. To quote one of the aforementioned musicals, we hope that ‘peace and quiet and open-air / wait for us somewhere’ but until then, let the musicals whisk us away. God knows we need it.

Also Read: How The Coronavirus has Affected The Film Industry

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