Gremlins
You know the rules – no bright light, no water, no food after midnight. Doesn’t seem like a good kind of pet to give your kid, teenager or not, does it? And didn’t Billy Peltzer already have a dog, Buddy the dog who was causing so much trouble with the Lady Grinch of the town, Mrs. Deagle, anyways?
Well, who cares. Rand Peltzer likes the unique and unusual, and his son Billy seems to have inherited his curiosity and kind, well-meaning heart in the bargain. Gizmo, as the cute little Mogwai creature is dubbed, is an adorable bundle of fur with giant anime eyes, who can learn and even talk a bit; seemingly the perfect pet. Yet next thing we know all three rules have been broken and soft fur and giant melty-heart eyes have given way to scales, slitted pupils and a really nasty sense of humor!
Like his dad, Billy is smart and resourceful, and manages to find ways to defeat the Gremlins in this oh-so-very-80’s classic holiday hit. Those little scaly monsters learn to multiply way too fast, which would give any Christmas elf sent against them a run for their money!
The Nightmare Before Christmas
Apparently most of the major holidays have their own entire worlds, with like-minded denizens who inhabit those worlds and make sure their holiday gets observed in the grandest way possible every year. And who better than the always beloved king of whimsy-goth himself, Tim Burton, to bring Halloweentown to life?
As we all know, Jack is our Pumpkin King and he’s the very best at scaring the pants off of everyone in the world. But as it turns out, Jack is tired of his job and is looking for a new one, to actually bring happiness to the peoples of earth. But yknow, when you happen to be a humanoid-ish construct based around a particular holiday, trying to mix another holiday in there is simply unlikely to work. Only our patchwork princess Sally truly understands how Jack feels, and as she’s the only one who really makes sense around this insane asylum, it’s up to her to save Jack from himself! And also, because even Halloweentown has to have an actual villain, Sally is gonna have to help Jack defeat the Boogeyman!
Batman Returns
People have a tendency to forget that the second Michael Keaton as Batman film took place during Christmas-time in Gotham, because after all, there is so much else going on. The Red Triangle circus gang has descended in all its bloody glory on Gotham again, as has the charismatic freak-o Penguin, I mean, Oswald Cobblepot, ultimately deciding he wants to run for mayor, and a certain secretary that’s had way too much of men trying to kill her, which leads to her feline resurrection as that badass Catwoman. The movie also happens to feature Christopher Walken as the redoubtable Max Shreck, antagonist industrialist titan of Gotham.
The movie is everything my gothic Gotham-loving heart could want, and set during Christmas-time too, which makes it all the more poignant. Murder, revenge, betrayal, more murder, even rocket-suited penguins, and hey, toss some infanticide in there too!
Danny DeVito got the role of Penguin on the recommendation of his friend Jack Nicholson, who had of course played the Joker in the first Keaton-Batman film. Michelle Pfeiffer took kickboxing lessons and practiced with a whip for her role as Catwoman, once accidentally actually cutting her teacher. And for a great easter egg, the role of Penguin’s father in the very beginning of the movie went to Paul Reubens, better known as yes Peewee Herman. (Bonus easter egg twist – Reubens returned to play Penguin’s father once again on the FOX TV show Gotham!)
Jack Frost
One of the best of the worst of D-grade Horror flicks, Jack Frost boasts a mutant killer snowman antagonist, and I’m not even kidding either. On the way to his execution, the truck ferrying the serial killer Jack Frost crashes into a ‘genetics truck’, mixes the genetic sludge with the snow and turns ol’ Jack into a, wait for it, killer snowman! Of course after that nothing would do but for Jack to go hunting down the Sheriff who caught him, with some of the cheesiest bystander deaths you will ever see in any bad Horror movie.
I know – the special effects are bad, the movie is poorly shot and what story there is, is laughingly awful. Nevertheless, it’s a mutant killer snowman and the way Scott MacDonald cackles for his voice is just hilarious. For anyone who’s ever wanted to knife Christmas with the snowman carrot even once, this one’s for you!
Jack Frost spawned a sequel, Jack Frost 2: Revenge of the Mutant Killer Snowman, which yes I also own and enjoyed. The series was even slated for a third movie, but was cancelled when the actor who played the Sheriff who caught Jack in both films, Christopher Allport, died in an avalanche in 2008.
Krampus
The legend of Krampus, that anthropomorphic demon that is the antithesis of dear old Saint Nick himself, has been around for a long time of course, but has only really enjoyed ascendance in the last few decades. Krampus comes in the night and takes care of the naughty children, and occasionally adults too, that Santa Claus won’t demean himself to deal with, dispensing coal for the stockings and ruten bundles for the inevitable Christmas beatings about to ensue!
So, like oh so many of us during the winter holidays, the Engel family has issues. Max is a bit of a wuss, his mom and dad are a little pretentious-yuppie type, and German grandma Omi, she’s got a death-grip on traditions older than you might think. Aunt Linda and Uncle Howard, they’re a bit too down-home-y for my taste, their kids are animals that dad probably really does wish were boys, and cantankerous old Aunt Dorothy, also known as ‘eyeroll-she’s-here-too’. And inevitably as the family descends their personalities on each-other, the threat that people who are naughty to each-other on Christmas will receive unhappy visitors, becomes terrifyingly real.
Krampus stands out as a Christmas Horror movie by reminding us that there are real consequences to being assholes to people during the holidays. The things you place your faith in, even and perhaps especially as a child, can come back to haunt you as a regretful adult far too easily. And as a marvelous nod to his other glorious film Trick ‘r Treat, director Michael Dougherty snuck Sam’s lollipop weapon into Max’s Halloween stash.
TV
Sweetpea
Sweetpea is a new dark comedy series created by Kristie Swain and adapted from a novel series by CJ Skuse. The series stars the ethereal goddess that is Ella Purnell (Fallout, Yellowjackets) using her actual English accent!
Purnell plays a young woman whose name is not actually Sweetpea, though she is very much a wallflower. Though even Wallflower might have too much gravitas, Rhiannon (Purnell) is treated by those around her like a weed. She is stepped on and ignored by everyone except her dad and pet chihuahua. Many have argued that Purnell is just ‘too pretty’ to be that abjectly ignored by everyone. However, Purnell is an amazing actress who plays the washed-out, doe-eyed, shrinking ‘sweetpea’ so convincingly.
Rhiannon was bullied heavily in school which led to her developing trichotillomania (a hair-pulling disorder) which ultimately caused bald patches on her scalp. She still keeps an unconvincing brunette wig in a drawer in her bedroom. Rhiannon’s dad is constantly encouraging Rhiannon to stand up for herself. Unfortunately (light spoiler!) Rhiannon’s Dad dies from his illness in the first episode, leaving her alone in the world.
Rhiannon returns home to the large empty house she once shared with her dad. After yet another tragic incident Rhiannon looks at her life, her thirst for revenge is obvious. Particularly against her main school bully Julia Blenkingsopp (Nicôle Lecky).
Rhiannon sees Julia as having a perfect life and didn’t peak in high school “like bullies are supposed to do!”. When Rhiannon returned to work as an admin assistant for a local paper, not only did none of her colleagues notice her absence but they didn’t acknowledge her return. The only person who appears to talk to her is her boss Norman played by Jeremy Swift (Ted Lasso) who condescendingly calls her “sweetpea” and demands tea.
Rhiannon’s mental state declines enough for her to finally confront Julia in a club. Julia and her friends laugh at Rhiannon which brings memories of school back and anxiously tugging at her hair. This leads Rhiannon to commit a horrifying yet liberating crime when leaving the club leading to a whole new way of expressing herself.
What I Liked:
I enjoyed watching Rhiannon’s confidence grow throughout the series. Purnell herself spoke about the production of subtlety added makeup to subconsciously influence the change in her. Rhiannon transformed from a shrinking girl to a hip-swaying, go-getting career woman. Yet its clear there is a lot of mental turmoil within Rhiannon. Purnell (2024) jokes that she actually “got kinda jacked” due to the tension she held in her body whilst suppressing Rhiannon’s rage. Purnell also comments on how freeing it was to let it all out which Rhiannon does many times and is just as satisfying for the audience!
Initially, I found every character rather one-dimensional and stale compared to Purnell. However, as the show progresses most characters become multifaceted, particularly Julia. The narrative of the show really makes you question your own morals and sense of justice. You find yourself making excuses for Rhiannon and almost cheering her on when you really, really shouldn’t.
I also enjoyed how the show explores the victim complex. Is Rhiannon really a victim or has she taken on this mantle and lived her life accordingly? Sweetpea expertly plays with the shades of grey in the ideas of what makes someone a bully and what makes someone a victim.
Sweetpea fits in perfectly in the genre of British black comedy. Scenes like when Rhiannon is clearing out her chest freezer and then climbs in herself to see if it could potentially fit a body. The door of the freezer almost closes on her but she catches it just in time. This scene perfectly captures just what kind of character Rhiannon is.
I also liked how the character’s houses were used as metaphors for their lives. The home Rhiannon shared with her father is messy and cozy yet in desperate need of TLC and repair much like Rhiannon herself. You can tell it’s a well-loved home with a long history much like Rhiannon and her father’s relationship. In stark contrast to Julia’s fiercely stylish and minimalistic home which she shares with her fiancé. It’s sleek and modern yet ultimately empty with little sign of love.
The opening credits and music choices are also fire.
What Could Be Improved:
Like many others, I didn’t quite believe someone as beautiful as Purnell would be completely ignored by the general public. It did look at times like they were relying on drab clothing and too light foundation to make her look mousey. However, as stated, Purnell’s performance does save it.
The main ‘love triangle’ (if could even call it that) was a bit forced. Calam Lynch’s portrayal of Rhiannon’s colleague ‘AJ’ was a bit too enamored with Rhiannon with no real build-up. However, I found myself really enjoying Jon Pointing’s portrayal of ‘Craig’ and wishing his arc had been explored more.
I really wanted the show to lean more into the exploration of ‘abuser’ and the ‘abused’ and take it to a deeper level. Maybe in series 2?
All in all, I enjoyed this traverse through Sweetpea’s world. I am interested to see where they go with it in the future.
Three and a half stars.
Movie
Is This the Scariest Movie Ever?
It’s been called the scariest movie ever. Or the grimmest, bleakest, and most brutal. The post-apocalyptic drama; Threads, has only been aired three times, its premiere in 1984 (appropriate year), 1985, and 2024 for its 40th anniversary. Threads has also been made available on streaming services. The anniversary has stirred up memories from its initial release which has been dubbed ‘the night Britain did not sleep!’
Threads is a BBC-produced TV movie which explores what would happen if a nuclear bomb was dropped on the English city of Sheffield.
The film is structured like a documentary; with a voiceover speaking to the audience in a clipped, received pronunciation BBC English. The narrator speaks over what is possibly stock footage of a spider weaving its web, or its threads. The narrator explains how in urban society everything connects and how we all rely on one another’s skills to survive. Ominously the narrator points out how fragile these threads are.
THREAD 1 – FAMILY
The film then cuts to our two leads Ruth (Karen Meagher) and Jimmy (Reece Dinsdale). These two young lovebirds are in a car over looking the Sheffield countryside. A fighter jet flies overhead as Ruth remarks how “peaceful” it is. We follow Ruth Beckett and Jimmy Kemp as they navigate an unplanned pregnancy.
The film plays like a ‘kitchen sink drama’. I have heard ‘kitchen sink’ described as an ‘anti-Hollywood’ where everyone has their natural teeth and skin texture. The film looks similar to a British soap opera.
Whilst the narrative at this point just skirts around somewhat boring, it is clear something is playing out globally in the background. We see it on newspaper covers and hear snippets on radios and TVs. There is a situation unfolding in the Middle East with tensions building between the Soviets and the USA. Troops are mobilized and more importantly, nuclear warheads are moved.
And then it happens.
THREAD 2- SECURITY
At almost 50 minutes in, the bomb finally drops. The literal bomb that is. The omnipresent narrator tells us it is 8.30 am in the UK meaning it is 3.30 am in Washington DC; Western response will be at its slowest.
The bomb scene is incredibly powerful. This is where the ‘kitchen sink’ realism really comes into its own. It looks like any other British high street but people are running around screaming looking for shelter amidst the blaring siren. Children are being scooped up from their prams and the panic is palpable. Infamously one businesswoman is staring up at the blooming mushroom cloud rising above the city, the camera pans to see urine running down her trouser leg and pooling at her 80’s white heels.
There is constant screaming as buildings explode, windows smash, and curtains catch fire.
Text informs us that 210 megatons in total fell on the UK with an estimated 2.5 – 9 million casualties.
THREAD 3 – SOCIETY
Ruth exits her parents’ destroyed house to look for Jimmy. In her old neighborhood she is greeted by a horrendous sight. The whole street looks like that of The Blitz; with dead pets and both parents and children looking for each other. A shell-shocked woman covered in ash asks Ruth; “have you seen our Mandy?” she is proffering what looks to be a child’s coat, as if Mandy forgot her coat when going outside to play. A charred corpse with perfect white intact teeth (probably dentures) is embedded into a building. A staring woman is clutching the burnt remains of her infant.
After this, the horrific scenes come thick and fast.
Food has become the new currency and food stores are protected by force. It is here we see the figure who has haunted many viewers nightmares. The armed traffic warden with the bandaged face. Played by an extra who actually was a traffic warden in real life!
Hospitals are overrun with the injured. The harried staff are using sheets as bandages and table salt to disinfect contaminated water. Doctors resorting to amputation with no anesthetic.
THREAD 4 – CHILDREN
Ruth gives birth to a healthy child. A little girl named Jane. Ruth gives birth alone in a barn and has to bite through the umbilical cord. Later, on Christmas Day no less, a group of survivors gathers around a fire in the barn looking like a macabre nativity scene.
But what sort of world has Ruth brought her daughter into? We are told it is ten years later and society has returned to medieval times with the nuclear winter and UV damage affecting the crops. Jane does not call Ruth ‘mum’ only ‘Ruth’ and has no reaction when Ruth finally dies. Are the people in this society so profoundly broken by the sheer amount of loss and trauma that they can no longer form familial bonds? Has that thread been cut?
There is clearly little regard for human life anymore. Jane walks past three corpses hanging in the foreground paying them no attention. Is this a mass suicide or an execution? The corpses are also bare. Have people stolen their clothes to protect themselves from the harsh nuclear winter? Images such as these, shown for mere seconds can tell you so much about the situation.
THREAD 5 – LANGUAGE
In the second half of the film, there is barely any dialogue. Any words spoken by Jane and her peers are some strange form of pidgin English. Many fans have argued that language would not degrade that quickly. However, these children have been brought up by deeply traumatized parents (if they had parents at all). People barely speak anymore and death and disease are extremely common. Is it any surprise that mankind has been brought down to its most basic level? Or is this the cognitive effects of growing up around high levels of radiation?
Many fans comment how Threads gives no hope. But there appears to be a rudimentary school system-cum-workhouse with Jane and her peers watching an old educational video. Although the last scene definitely takes away from the tepid hope we are shown.
SO IS IT SCARY?
Well….as I had heard about the film through cultural osmosis I knew what to expect. I appreciate that during the 80’s, living in the fog of the Cold War, a nuclear holocaust was looking more and more likely. Having a film at that time showing exactly what it would look like if it were to happen in a typical British city would be horrifying.
With the film being set up as a documentary speaking to some unknown in the future, it is interesting when you are watching from the future. Before COVID I would think it was so unrealistic; the way a lot of people didn’t take the crisis seriously until they were practically underneath the bomb. Now I know differently. Everything is fine until it’s not and we don’t tend to tackle a crisis until it is right on our doorstep. Like Mr Kemp with his trousers down on the loo as the bomb went off, we are so ill-prepared. And all the systems (or threads) in place that you thought would protect you, such as the government, are just ill-equipped.
It is an extremely well-done film especially when I learned the budget was £400,000 (about 1.2 million today). The acting is superb and I can see why it’s such an iconic film. In today’s current climate Threads is more relevant than ever. Would highly recommend it.
Five Stars.
Streaming
Nobody Wants This on Netflix
Rating 8 10
Nobody Wants This, Netflix’s 2024 rom-com series, strikes a rare balance between familiar genre tropes and genuine originality. A surprising hit, it uses its single season to dive into the messiness of modern romance and human connection with a witty yet sincere approach that lingers after each episode.
At its heart, Nobody Wants This is a deep dive into everyday chaos, capturing life’s unfiltered messes in an unexpectedly heartfelt way. The show centers on two vastly different individuals brought together by chance, forced into a string of awkward encounters and life-defining moments. It’s a refreshing twist on classic rom-com setups, letting its characters face the consequences of their choices in a realistic way. Watching them stumble, adapt, and connect is like watching a slice of real life—raw, funny, and unexpectedly moving.
The writing shines with sharp, clever dialogue that feels both authentic and emotionally rich. Conversations capture not just how people speak but how they connect, creating exchanges that feel ripped straight from real life. Moments of verbal sparring and raw emotion are as delightful as the iconic banter of rom-coms like When Harry Met Sally, yet the story stays grounded, playing with the unpredictability of genuine connection. The direction adds another layer, framing everyday moments—like missed calls and clumsy first dates—with a cinematic flair that highlights the beauty in life’s chaos.
The chemistry between the lead actors is palpable, and their performances are infused with an authenticity that makes their characters’ flaws endearing. They grow with each episode, making the journey feel impactful and rewarding. The supporting cast adds even more depth, complementing the storyline without overshadowing the central romance.
Beyond romance, Nobody Wants This explores themes of self-discovery and connection, capturing the unpredictability of finding oneself—and perhaps someone else—in the chaos of life. Without giving too much away, the season finale is both heart-wrenching and uplifting, striking a perfect balance between realism and hope. It’s a conclusion that feels genuine, giving viewers a satisfying emotional payoff.
In a world where rom-coms can often feel formulaic, Nobody Wants This brings new life to the genre. It celebrates love’s imperfections, the inevitability of mistakes, and the connections that emerge in spite of it all. This series is more than entertainment; it resonates deeply, leaving viewers laughing, crying, and rooting for its characters.
As Roger Ebert once said, “Movies are like a machine that generates empathy.” While Nobody Wants This is a series, it achieves this empathy with grace, proving that even the simplest stories can have a profound impact.