Review
Christmas culture
Culture
5 min read

Five Christmas films to revel in

Haunting, salving, teary, side-splitting and glorious - our recommended festive films.
Muppet characters dressed as Dickensian characters stand in a snowy street.
'Dickens made the fatal error of not putting Muppets into his story.'

‘Tis the season to be jolly and watching a good film with a cup of tea and a biscuit, while the freezing wind and rain whip at the window, can be one of the jolliest things you can do this year. The genre of ‘Christmas’ has only grown and grown over the decades, so if you’re stumped by the myriad of choices – often dreadful schlock that feature the word ‘Prince’ and ‘Christmas’ in the title superimposed over a picture of two ludicrously attractive people staring lovingly into each other’s eyes in a blizzard – take comfort in my Top 5 Christmas films. 

Note – this is my top 5. My personal top 5. These are not the ‘best’ Christmas films. You will not find It’s a Wonderful Life on here. It is glorious and lovely, but I saw it too late in life, and just don’t emotionally resonate with it as much as other Christmas films. I will not apologise. You will not see Die Hard. It is indeed and iconic action film, with a superb Alan Rickman performance, and it is indeed set at a Christmas party…but that isn’t enough to make it a ‘Christmas film’. I WILL NOT APOLOGISE! 

5. The Nightmare Before Christmas 

An animated scene shows a grandmother readng a story to children on her lap in front of a fire.

I would have put this film higher up the list if not for the fact that it straddles two seasons – All Hollows and Christmas. This film is iconic, however. The stop-motion animation gives the whole affair an extra haunting air. The music is superb – I still find myself humming What’s This every few weeks. The story is unhinged (what else do you expect from Tim Burton?) but to just the right degree, and behind the ghoulish setting and mad-cap story there is a good old-fashioned moral-of-the-story for children and adults alike to enjoy. Nightmare is a marvellous reminder of what it means to have the Christmas spirit, and the great thing about it is that it’s a film you can enjoy any time from October 31st! 

4. Bad Santa

A dishevelled looking Santa, without a beard, stares to the side.

Billy Bob Thornton is mesmerising as an ‘eating, drinking, sh***ing, f***ing Santa Claus’. This is not one for the kids! Thornton’s Willie T. Soke is a professional thief who, with his dwarf assistant, get jobs as a grotto Santa and Elf in shopping malls during the festive season so as to case the place and rob it…but this time is different. Soake’s degeneracy has become a serious liability, and his instability and vulgar sexual exploits catch the attention of John Ritter’s mall manager and Bernie Mac’s security chief. Soake is spiralling out of control, but perhaps a romantic relationship with Lauren Graham’s barmaid and a chance encounter with a vulnerable young boy (to whom Soake becomes the least appropriate father-figure) might just be his salvation, and teach him the spirit of Christmas. The script is jet-black funny, and all the performances are spot on – although this is entirely Thornton’s film to shine in. Lewd, rude, and crude, but with a heart of gold (deep down under all the effing and jeffing), this film is the perfect antidote for those who find the jollity of the festive season a little twee. 

3. The Holiday

A couple, wrapped up in winter clothes, flirt with each other.

This film has Jude Law in it. This ought to be enough to commend it to you, but I’ll go further. This film has Jude Law playing a jumper-wearing widowed single-dad, who can turn the humble napkin into a delightful children’s entertainment, and who gives smouldering glances across a crowded pub. Before you all rush out to watch it, let me finish the blurb. Cameron Diaz and Kate Winslett are two women, unlucky in love, who decide to swap homes for the Christmas holiday. Winslett is escaping a toxic infatuation and finds solace in a friendship with a nonagenarian scriptwriter from the Golden Age of Hollywood, and a possible romance with Jack Black (giving a genuinely restrained and enjoyable performance). Workaholic Diaz is desperate to learn how to switch-off, relax, and maybe give love a chance. She finds solace in…Jude Law’s many lovely jumpers and smouldering glances. This is not a film to be described but experienced. Its camp and frothy and silly, but its also just really lovely and gets the tears going every time. If my recommendation isn’t enough, listen to my wife – watch this film over Christmas!  

2. The Muppet Christmas Carol

Kermit, a frog talks to rats dressed as Victorian children.

It’s a well-known fact that you can’t improve upon the indominable prose of Charles Dickens…WRONG! Dickens made the fatal error of not putting Muppets into his story. Rizzo and Gonzo take on the role of narrators of the story, Kermit does a sparkling turn as Bob Cratchit, and Michael Cain stars as the best on screen iteration of Scrooge (go on, fight me on this!). It’s the well-worn story brought to life by glorious songs – every year I start to sing “Tis the season to be jolly and joyous” to myself – a side-splitting script, and a clear and tender reverence for the original story and its central message. I defy anyone, child or adult, to sit through to the end this wonderful film and not want to keep Christmas in their heart every day. If you don’t like this film then I can only guess that you’ll be visited by ‘Marley and Marley, WOOOOOOOOOOA’! 

1. Love Actually

A women rubs her eye, close to tears.

Richard Curtis is my favourite director. Every film of his, however flawed (and there a several flaws in Love Actually), is so warm-hearted and good-natured that I can’t help but love them. Love Actually is Curtis firing on all cylinder: a painfully funny script, an ensemble cast of Britain’s finest talent, and a score that plays your emotions like a fiddle. A series of interconnecting love stories – love found, love lost, unrequited love, misdirected love – playing out in the run-up to Christmas, this film will not fail to put a tear in your eye and smile on your face. At times it’s a little too ‘laddy’ – I’m looking at you American sexcapade storyline – and the fact that all these people live in gorgeous houses in Wandsworth in spite of doing no discernible work is infuriating, but the fact that it is number one on this list in spirt of this is mark of just how strong a film it is. The cast list alone puts it at the top: Hugh Grant, Colin Firth, Alan Rickman, Liam Neeson, Chiwetel Ejiofor, Bill Nighy, Rowan Atkinson popping in for a bit…EMMA THOMPSON! The raw power of Emma Thompson quietly weeping as she listens to Joni Mitchell and contemplates the implosion of her marriage is stunning to behold. At its heart, it is a simple Richard Curtis film; it wants the viewer to relax in the beautiful spectacle of love, and to know that they are loved. I love Love Actually, and Love Actually loves me. 

EMMA THOMPSON! 

Article
Attention
Culture
Weirdness
Wildness
6 min read

Take a walk: the world is weirder than you think it is

Psychogeography and the dark alleyways of the mind.

Mockingbird connects the Christian faith with the realities of everyday life.

A backlit person at twilight holds a hand out towards the camera, holding some fairly lights
Riccardo Annandale on Unsplash.

This article, by Blake Collier, first appeared in Mockingbird. Published by kind permission. 

 

Entre chien et loup. 

The phrase literally means “between dog and wolf” and has most immanently been used to describe the twilight hour where day and night intermingle before night fully takes hold. 

Jean Pruvost, a linguist who has studied the expression, gave some background on ‘entre chien et loup.’ He says it comes from a Latin phrase, intra hora vespertina inter canem et lupum, that dates back to at least the seventh century. And it refers to the time when the daylight dims and you could mistake a dog for a wolf. 

One could imagine before the advent of electricity and modern public lighting how ambiguous this time of day could be as the landscapes around your small village were being consumed by the darkness — the human eye not fully able to calibrate fully for day or for night, hence the inability to distinguish between a friendly pet and a looming threat. 

This is what is popularly known as liminal space in our current epoch. This liminality is always present, however, not just at dusk. As we move through the worlds we inhabit, whether natural or built, we are constantly finding ourselves within transition or transformation. Psychogeography is a broader term that is often used to investigate the liminal movement of bodies through space. In its most simplistic form, it is how our mind interacts with and processes the physical landscapes that we inhabit and how those landscapes affect our mind. The actual history of the term is much more complicated — honestly, convoluted — however at its core it is scratching at the nebulosity of things like entre chien et loup

At the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land.

About seven or eight years ago at the height of my running prowess, I got up one Friday morning very early and started a ten-mile run I had planned around nearly the full border of my hometown of Canyon, Texas. I did not know if I would make it the whole way, but the intent was there and the map was set. However, something interesting happened as I began plodding down my route. Those lines that show up on our maps often engender varying qualities of trails. Most of the time I was hitting asphalt and sidewalks, but when you are following a broad circle around a town, it’s not uncommon to find ambiguous stretches between incorporated and unincorporated parts of the town. Somewhere within the first mile or two, one of the “roads” I had included on my path ended up being nothing more than a worn trail through prairieland behind a group of houses. 

I bring this story up because, though I did not know it then, I was enacting a psychogeographic practice. Iain Sinclair, who is probably one of the most well-known proponents of modern psychogeography, walked the M25 around London in seven different treks over a time period. The M25 is a 125-mile loop around London and is considered one of the busiest highways in the world. As he ambled along the highway — sometimes on asphalt, sometime “around” the trace of the highway — he would take note of what he saw, and he eventually wrote the book London Orbital. This practice allowed him to see London in a new way because at the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land. They have neither been captured by urban sprawl nor have they been renovated and gentrified. These lacunae are ambiguous regions between the built and unbuilt (or decayed). Once again, we are placing ourselves intentionally into places where we attend to the ley lines which connect the physical markers to the perceived or imagined topographies of the places where we exist. 

To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

The path through the prairieland I spoke of earlier ended at a concrete curb and a recently repaved residential street that ran right next to a Catholic church, almost like the church was posting itself on the fringes of the town to warn of impending threat, or perhaps giving a welcome sight to a weary traveler. I suppose it depends on how you look at it. 

Yet it is exactly this work of attending to where we live and reacquainting ourselves with it that is, I believe, at the heart of this purposeful ambulation through space. Our lives fall into banality most of the time. We take everything for granted and we see our lived environment through that myopic lens. But take a walk on the outskirts of where you live, without a phone or music or any other technological mediation, and just look around the space and pay attention to how it embroils your emotions. I can nearly guarantee that you will find the place you live is much weirder than you thought it was, and you might even learn a thing or two about what your place values. I knew that Catholic church was in that general area of that path, but I didn’t realize how that path would empty me out before its hallowed presence. 

However, as I thought about it, it made sense that in this community the Catholic church would be found on the edges of the town. There are somewhere around ten other churches in a town of about 17,000 all of which are Protestant. However, if you go just ten or eleven miles west to the town of Umbarger, the roles are reversed. There is still one Catholic church, but as far as I know no Protestant churches. Merlin Coverley, in his book tracing the history of psychogeography, finds that “contemporary psychogeography as closely resembles a form of local history as it does a geographical exploration.” One could take the observations from their ambulation and dig into their place’s past to see why this might be the case. However, this is very much the chien of this psychological study of environment.  

What about the loup? Psychogeography has always had connections to the occult and the weird. Coverley continues later in his book, 

“Here, then, we find all the features ascribed to psychogeography today: the mental traveler who remakes the city in accordance with his own imagination is allied to the urban wanderer who drifts through the city streets; the political radicalism that seeks to overthrow the established order of the day is tempered by the awareness of the city as eternal and unchanging; and the use of occult symbolism reflects the precedence given to the subjective and the anti-rational over more systematic modes of thought.” 

All of this is to say that what we might find out about the place we live in when we give ourselves to its fringes and walk its shores might have a darker tone which implicates local politics and powers. Perhaps we will even find ourselves confronted by a metamorphosis which changes the very way we live, work, and move in these places. 

Sinclair’s earlier work Lud Heat in 1975 set out to remap London by way of connecting London’s churches built by eighteenth-century architect Nicholas Hawksmoor and their odd loci to numerous prominent murders like the Radcliffe Highway Murders and those by Jack the Ripper. There is a thread that ties some of the imagery Hawksmoor used in his churches to ancient Pagan symbolism. To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

If nothing else, this study of the ambiguous transgressions between mind and place helps us bring a new profundity to our existence. It psychologically brings us back to a place where our intellectual, physical, and technological prowess cannot protect us from the hairs that stand on the back of our necks. Because everything, if attended to perceptively, can be seen as a dog or a wolf. And that should give us great pause in the everyday grind of our lives.