We’re mostly agreed these days that BAD SANTA is a timeless Christmas classic, right? I have friends and loved ones who it’s too mean for, and it got brutal critical reception at the time, done no favors by Miramax insisting on more ball punching and shit so the theatrical and “BADDER SANTA” cuts could fit some lowbrow comedy marketing strategy that must’ve worked for them on SCARY MOVIE or something. The superior director’s cut has been available for years now, and now I watch that and mourn the loss of one dumb joke from the theatrical ending:
But in any of its incarnations, BAD SANTA makes me laugh so much and channels so much of my most negative thoughts that it’s one of the few movies I can watch once a year without getting tired of it. Willie (Billy Bob Thornton, THE MAN WHO WASN’T THERE) is a funny asshole for the ages, a burnt out piece of shit full of self-loathing and even more full of loathing-others. His caustic wit and self-destructive behavior died for our sins, transforming humanity’s worst tendencies into wise ass Yuletide fuck yous both deserved and undeserved, but in a forum where no one can be hurt. He uses his asshole powers for good in his dealings with treacherous Marcus (who can dish it out too) or Bernie Mac’s quietly scheming “store dick.”
After so many viewings I sometimes find myself teary-eyed at Willie’s realization that Thurman (Brett Kelly, TRICK ‘R TREAT) cut himself while carving his weird Christmas gift, and at his attempt to return the favor before being gunned down by police. The smallness of the gesture to me makes it more authentic and in turn puts this jerk in line with more severe holiday transformations like Scrooge‘s or The Grinch’s. (read the rest of this shit…)
PUPPET MASTER VS. DEMONIC TOYS came out the year after FREDDY VS. JASON and a few months before 
Do you remember the syndicated TV show Monsters that ran in the late ’80s? I don’t really either, but I do remember seeing commercials for it. It was a horror anthology series produced by Richard P. Rubinstein, the guy who co-founded Laurel Entertainment with George Romero and produced MARTIN, 
CASH ON DEMAND is a 1961 Christmas crime movie that I learned about from that 
I don’t know why it took me more than 20 years, but I’ve finally seen JACK FROST, “not the Michael Keaton one, the other one,” as writer/director Michael Cooney says in his introduction to the (surprisingly) lovingly remastered Blu-Ray from Vinegar Syndrome. “The Michael Keaton one” (1998) is about a guy who tries to be a better father after dying and coming back as a snow man. “The other one” (1997) is the DTV horror movie about a serial killer who tries to continue serial killing after becoming a snowman.
THE MONSTER’S CHRISTMAS is a holiday special that aired on New Zealand television in 1981. I’m going to be up front and admit that I don’t have a whole lot of insightful things to say about this one, but it’s so charmingly weird that I felt like I owed it to the world to write it up and share some screengrabs so more people can know it exists.
My friends, the time has come for the THRILLING CONCLUSION to the Twilight Saga review saga. This is the one where the most crazy shit happens, especially in a big deadly snow battle between all the characters. So I had fun. If you support me on Patreon thank you, if not thank you also but consider signing up some time if you can. Either way, more reviews coming soon and
I’ve said it before, I’ll say it again, I’m saying it now: when it comes to balancing horror and comedy, AN AMERICAN WEREWOLF IN LONDON is the goal. I mean, there ones I love just as much that I consider a little heavier on the goofiness, like 
I’m more of an action guy than a thriller guy. But I can appreciate different stuff. Martin Campbell’s THE FOREIGNER (2017 – not a remake of the Seagal film) is definitely more on the thriller side, mostly seeking its excitement in a complex web of police, compromised politicians and terrorist groups all dealing with the aftermath of the bombing of a London clothing boutique.
BLINDSPOTTING follows 
