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Film Review: Two classic films that are great for Christmas watching are also touching reflections

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Film Review: Two classic films that are great for Christmas watching are also touching reflections

Meet Me in St. Louis is only partly a Christmas movie. The musical follows the Smith family of St. Louis from the summer of 1903 until the spring of 1904. The opening song goes “Meet Me in St. Louis, Louie, meet me at the fair” – and the fair is the St. Louis World’s Fair, known as the Louisiana Purchase Exposition. All four sections of the movie are magnificent, but the Christmas sequence is especially poignant, and it’s marked by the film’s star Judy Garland singing the beautiful, wistful “Have Yourself a Merry Little Christmas.”

One reason for the sadness is that Meet Me in St. Louis is a wartime picture. It premiered in New York on December 30, 1944, right in the middle of “The Battle of the Bulge,” the German counteroffensive that made millions of people all over the world wonder if they would ever see another Christmas. Even though the story starts in 1903, the movie signals the profound changes coming to America because of World War II. The lovely, romantic gas lights in the Smith home will give way to more efficient electric lights, but for Americans in 1944, family life, courtship, food — just about everything — will change.

Metro-Goldwyn-Mayer (Loew’s Inc.)

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The movie poster from the film Meet Me In St. Louis. The film isn’t strictly a Christmas movie, but it does have an iconic Christmas moment.

The Christmas sequence includes a big, colorful dance for young people, and they all get matched up with the person they most like. But hanging over the family is the father’s decision to move them to New York. When Garland sings, her despairing little sister Tootie, rushes out to destroy all the snow people in the back yard. And the movie honors her despair.

But Meet Me in St. Louis is also about how World War II diminished the power of men in their families — while the men were away, the women ran the home, worked in factories, ferried airplanes all over the world and were major figures in the creation of the first computer. So, many currents run under Meet Me in St. Louis, but the complexities only make the film more astonishing and delightful. Characters cope with change and through the movie find joy and excitement — as does the audience.

American actor Jimmy Stewart is featured in a still from the film The Shop Around the Corner. Stewart would go on to be in notable holiday films.
American actor Jimmy Stewart is featured in a still from the film The Shop Around the Corner. Stewart would go on to be in notable holiday films.

German-born Ernst Lubitsch brought middle-European angst and manners to his great comedies in the ‘30s and early ‘40s. Unlike Meet Me in St. Louis, The Shop around the Corner takes place in Budapest and not the middle America. The staff of the gift shop is a cross-section of Europe. Characters are evasive, and comically terrified of giving offense. Lubitsch loved indirection and suggestion. The movie came out in 1940, but doesn’t mention the war, yet you feel it all through the picture, and audiences in 1940 knew it for certain. Lubitsch loved the interaction of real life troubles and laughter in his comic fantasies. The shop owner is even driven to attempt suicide before the affection of his staff brings him back to himself and his feeling that this little store is for him a wonderful home.

The lead clerk, played by James Stewart, and the newest employee (Margaret Sullavan) feud throughout the movie. By the rules of romantic comedy, strife will turn to love, but the convoluted getting there is pure delight. Lubitsch and screenwriter Samson Raphaelson are masters of ironic comedy and of puncturing the pompous. When the owner tells the staff that he wants an absolutely honest opinion, which of course he doesn’t, one man over and over runs for cover. But in this tiny, self-absorbed microcosm, Christmas brings out the unexpected best in its people. A former head of production at United Artists called The Shop around the Corner a perfect movie. I agree.

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Watch Meet Me In St. Louis for free on Tubi TV or on a variety of streaming services.
The Shop Around the Corner is available on many streaming services or for free here.

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Movie Reviews

‘Greenland 2: Migration’ movie review: Gerard Butler does all the heavy lifting in limp sequel

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‘Greenland 2: Migration’ movie review: Gerard Butler does all the heavy lifting in limp sequel

A still from ‘Greenland 2: Migration’.
| Photo Credit: Lionsgate Movies/YouTube

Watching Greenland 2: Migration, one almost feels as though one is in a time capsule watching all those big disaster movies from the ‘90s, in single-screen theatres that looked like palaces with velvet curtains and chandeliers.

It was the time of slides saying “chatterboxes keep quiet,” and where popcorn, cheese sandwiches or curry puffs came hot in aluminium trays at the interval.

Greenland 2: Migration (English)

Director: Ric Roman Waugh

Starring: Gerard Butler, Morena Baccarin, Roman Griffin Davis

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Runtime: 98 minutes

Storyline: Five years after the comet strikes Earth, the bunker is no longer safe, and the Garritys strike out for the crater, where life has apparently hit the reset button

It was the time of radioactive lizards with eyes as big as Gol Gumbaz, hurtling comets, rising seas and an alien susceptible to a cold. But once you realise it is 30 years on in a world that has lost its innocence to a rapacious virus, you are less willing to grant as much leeway to a lazily made sequel.

Greenland in 2020 was a critical and commercial success with Gerard Butler playing the world-weary action hero‑family man‑tech expert, John Garrity. A comet named Clarke (after the science fiction writer Arthur C Clarke) was scheduled to hit the Earth and end life as we know it.

At the end of the movie, after many trials, John, with his wife, Allison (Morena Baccarin) and insulin-dependent son Nathan (Roman Griffin Davis takes over from Roger Dale Floyd) reach a bunker in Greenland just as a large chunk of the comet hits the earth.

Five years later, the earth is still not a particularly safe space with earthquakes, radiation, tsunamis and other jolly things blighting existence. John is now a scout, while also attending to repairs in the bunkers, owing to his training as a structural engineer. At a meeting, there is discussion of food supplies running low and a decision to be taken on whether to respond to a call for help.

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While the mean army man reasonably says they cannot feed anyone more, Dr. Amina (Amber Rose Revah) asks for the matter to be put to vote and when the snowcat is sent out to get the refugees, an earthquake destroys the bunker.

Garrity and others head to the coast, fight over lifeboats, drift without food, water or fuel to England and then go on to France where the Clarke crater is a new Eden where the air is fresh and land is fertile.

ALSO READ: ‘People We Meet on Vacation’ film review: Tom Blyth and Emily Bader’s sweet rom com checks all the right boxes

Greenland 2: Migration suffers from a woeful lack of logic, even of the film kind. How is it that everyone looks well fed and groomed even as we are repeatedly told they are running out of food? How are there still bullets given the way people are shooting at each other? How are vehicles still running on fuel?

Why are robbers or insurgents fighting in an area controlled by the army? And of course, the bridge across the English channel, which is now a dry wasteland, has to collapse exactly at the moment when our heroic gang is creeping across.

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Every time there is a crisis, it is as if the makers got bored and decided to move on. So despite running out of fuel, the lifeboat drifts to Liverpool, and Nate’s diabetes is reduced to “pack all the insulin.” Still it is fun to see the ever-dependable Butler do his melancholic routine and that is about all one can say for the haphazardly conceived sequel.

Greenland 2: Migration is currently running in theatres

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Movie Reviews

Movie Review – Night Patrol (2025)

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Movie Review – Night Patrol (2025)

Night Patrol, 2025.

Directed by Ryan Prows.
Starring Jermaine Fowler, Justin Long, Phil Brooks, Dermot Mulroney, Freddie Gibbs, RJ Cyler, YG, Nicki Micheaux, Flying Lotus, Jon Oswald, Mike Ferguson, Evan Shafran, Zuri Reed, Kim Yarbrough, Nick Gillie, Dennis Boyd, Colin Young, Brionna Maria Lynch, Dartenea Bryant, Reed Shannon, Leonard Thomas, and TML.

SYNOPSIS:

An L.A. cop discovers a local task force is hiding a secret that puts the residents of his childhood neighborhood in danger.

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There is a storm brewing between the Zulu gang and LAPD, particularly the titular racist night patrol comprised of officers who conspicuously only come out at night. They feed on the blood of Black people, typically poverty-stricken ones driven into gang culture under the impression that no one will care.

Within the first five minutes of co-writer/director Ryan Prows’ Night Patrol, that unit (which is spearheaded by Phil Brooks’ Deputy, better known by his wrestling name CM Punk, putting that assertive and aggressive showmanship to work even if his limitations as an actor are limited and on display) is killing unarmed Black civilians minding their own business, notably the girlfriend of RJ Cyler’s Wazi, previously seen in a flash forward opening impaled and bloodied in an interrogation room, setting the stage that, yes, all-out war is inevitable.

That’s all well and good with a tantalizing horror concept ripe for sociopolitical commentary, except Ryan Prows and his crowded team of screenwriters (Tim Cairo, Jake Gibson, and Shaye Ogbonna) seemingly have no idea what to do with it or say that hasn’t already been made clear from the first 15 minutes. This is most evident in the three-act chapter structure, which switches perspectives from LAPD officers to night patrol to the project housing that becomes the battle stage, where it becomes confounding who the protagonist is supposed to be.

Justin Long’s Ethan Hawkins seems like an upstanding cop partnered with Xavier (Jermaine Fowler), the brother of Wazi, who had grown tired of the African mysticism their mother, Ayanda (Nicki Micheaux), relentlessly preaches and jumped sides to the police force. However, Ethan isn’t afraid to let out his corrupt, racist side if that’s what he has to do to get in with night patrol and bring them down from the inside.

At times, the filmmakers can’t decide how much they want the supernatural and African mysticism aspects to influence the action and the story. Although the visual effects are impressive (containing everything from exploding heads to regenerating bodies), the entire stretch of battling is bogged down by characters rambling about rules and what they are possibly dealing with, while throwing in other pointless thoughts. This is also a film that goes out of its way to make its villains damn near impossible to kill, only for the reveal of how that must be accomplished to come across flat, with the final fight specifically being a severe letdown after some otherwise serviceable violent carnage.

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As mentioned, Night Patrol is aimless, sometimes too comfortable switching perspectives, even if it means killing off a main character, simply because the filmmakers have no idea what else to do with them. At one point, a character mentions culture (among other things) being the only way to fight back against these supernatural beings, but it’s yet another aspect that comes across as a thought rather than an explored concept. One of last year’s best films already did that with much more profundity, style, and absorbing entertainment. As for this disjointed and scattered genre exercise, one can get everything out of it from a rudimentary understanding of the premise and concept.

Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist

 

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Movie Reviews

Thalaivar Thambi Thalaimaiyil Movie Review: Familiar romp with enough comic spark

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Thalaivar Thambi Thalaimaiyil Movie Review: Familiar romp with enough comic spark
0

The Times of India

TNN, Jan 15, 2026, 11:11 AM IST

3.0

Thalaivar Thambi Thalaimaiyil Movie Synopsis: A village panchayat member tries to broker peace when a wedding and a funeral collide on the same morning.Thalaivar Thambi Thalaimaiyil Movie Review: Nothing strips civilization off grown men faster than a scheduling conflict. Thalaivar Thambi Thalaimiyil understands this. It parks us in a remote village for one long night where two neighbors go to war over whose event gets the morning slot, and watches as every attempt at reason bounces off their egos like rubber balls off concrete.Jeevarathinam (Jiiva) is the local panchayat head, summoned to oversee a wedding. The bride’s father (Ilavarasu) treats the whole affair like a personal coronation. Next door, an old man dies, and his son Mani (Thambi Ramaiah) decides mourning means asserting dominance. Both want 10:30 AM. Neither will move. Jeevarathinam tries to mediate, fails, tries again, fails again. The man cannot land a single compromise.Nithish Sahadev, making his Tamil debut after the well-received Malayalam film Falimy, makes an interesting call with Jiiva’s character. Jeevarathinam isn’t portrayed as bumbling or clueless. He’s smart, reasonable, level-headed in conversation. The problem is that when situations escalate beyond discussion, when Mani starts swinging a giant sickle in the air and someone needs to physically put him down, Jeevarathinam just... doesn’t. He’ll talk, he’ll reason, he’ll negotiate. But that extra step required to actually resolve things is not in his toolkit. It’s a curious limitation to build a protagonist around, and while it generates some dry humor, you do wonder if the film needed him to be quite this passive for quite this long.The laughs come through texture rather than big setups: a reaction held just long enough, the specific cadence of village dialect landing a punchline, two patriarchs puffing their chests like they’re settling ancient blood feuds when they’re really arguing about procession routes. The director understands that comedy lives in small beats, even when the material itself rarely surprises.Jiiva commits to the energy without overplaying it: a man who keeps hitting walls he won’t climb over. Ilavarasu and Thambi Ramaiah deliver their usual reliable work. TTT draws considerable mileage from its rotating cast of village characters. The groom and his brother have an amusing accent they really play up. Mani’s bedridden father gets a couple of funny moments before shuffling off. Jenson Dhivakar is a total weasel, meaning he did his job. A lot of small characters perform one or two well-timed bits before fading into the background. Not all of it lands, but enough does.TTT asks for too much credit eventually. Once a woman chases a persistent suitor into the forest with a blade, once shotguns emerge, once ruffians lob homemade grenades at wedding decorations, the make-believe world you’d accepted tips into something sillier than it can support.You likely won’t recall much of the film in a few days, but it is a good festival watch. There’s craft in knowing your lane and staying in it.Written By: Abhinav Subramanian

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