It’s not Christmas if you haven’t watched Home Alone, which is the best festive movie ever.
I have an annual festive viewing of Home Alone because it is one of the ways I get into the festive spirit.
There are plenty of decent Christmas films but they don’t give the same tingle of festive excitement or nostalgic glow as Home Alone.
It is the perfect Christmas film for these reasons.
1. Macaulay Culkin is the cutest kid ever
Macaulay Culkin shot to fame playing Kevin McCallister in the 1990 film and it’s no surprise – he is so bloomin’ adorable!
Over the course of the film, he transforms from an annoying brat to lovable cutie-pie.
Watching the eight-year-old Kevin do grown-up stuff such as shopping for essentials is charming as hell, and he takes down the Wet Bandits like a boss.
Culkin received a Golden Globe nomination for the part and he – not Gerard Depardieu – should have won.
2. It’s seriously quotable
‘Keep the change, ya filthy animal’ and ‘I wouldn’t let you sleep in my room if you were growing on my ass’ are two that spring to mind, but Home Alone has loads of quotable lines like this.
The fictitious black-and-white gangster film – Angels With Filthy Souls – Kevin watches is perfect for quotes, including: ‘I’m gonna give you to the count of ten to get your ugly, yella, no-good keister off my property before I pump your guts full of lead.’
3. His battle plan for the robbers is utterly genius
Harry (Joe Pesci) and Marv (Daniel Stern) get more than they bargain for when they try to rob the McCallister house, foolishly assuming Kevin will be no problem.
They soon think differently after receiving an iron to the face, a blowtorch to the head and a nail in the foot.
Pesci and Stern have the best reactions too – their faces are what make it work, with Stern’s girly scream over the tarantula a personal favourite.
4. The stellar soundtrack
The soundtrack boasts Christmas classics such as Have Yourself A Merry Little Christmas and Rockin’ Around The Christmas Tree.
John Williams created a distinctive theme song that puts me in the holiday spirit from the opening credits.
I can never listen to Carol Of The Bells without thinking of the Home Alone choir version; they start singing the haunting hymn just as Kevin heads home to defend his house.
Same for White Christmas, which always makes me think of Kevin singing into a comb in the mirror.
5. It is so heartwarming
There must be something wrong with you if you don’t come away from Home Alone with a warm, fuzzy feeling inside and a big smile on your face.
Call me sentimental but it really touches my heart.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”