Jack Frost 2: The Revenge of the Mutant Killer Snowman (2000)

Look, sometimes lightning strikes at the right time, in the right place.  And that happened with the 1997 horror comedy Jack Frost.  With the decent marketing, outlandish plot, and the cast playing it straight (and delivering good performances), the film was a direct-to-home-video success.  So, of course, we're going to a get a sequel, but...

Really, Chris, you're going back to the bottom of the barrel.

Hey, Ghost of Christmas Past.  I liked the first one, and in my review of it, I said I'd get to the sequel.  If I can't follow up my promise for twelve holiday reviews by the end of December, I'm at least going to get to this film.

Well, I can respect that.

Hey, I'm doing my best.  Now please leave, and let me get to this review.

Fine.  See you soon.

Oh, lucky me.  Okay, so the first Jack Frost (not the Keaton movie) was a home video success, so it's no surprise writer/ director Michael Cooney (oh, wow, he wrote Identity, starring John Cusack, Ray Lotta and Amanda Peet; I didn't expect that on his resume) was able to raise enough money for a sequel three years later.  But, honestly, we didn't need it.  The film offers no reason for a follow-up, other than to make more money and set up a franchise.  Oh yeah, Cooney had plans for a third.  More on that later.

The film takes place a year after the events at Snowmonton, where Sheriff Sam Tiler (Christopher Allport) and his wife Anne (Eileen Seeley) are heading out to a tropical island to celebrate the wedding of deputy Joe (Chip Heller) and his fiancee Marie (Marsha Clark).

Look, it's nice that the original actors are back.  But it doesn't make the movie a must watch.  As before, they all are good, but the script doesn't give any reason for the audience to care about their reprising their roles.  

Of course, some government agency is still interested in using snowman Jack (voiced once again by Scott MacDonald) as a weapon, so they dig him up and allow him to escape, because of course they do.  No government facility is secure enough to stop a movie plot.

You "snow" I'd be back.  I'll see myself out now.

Jack is able to follow Sam to the island, because in the first film, their DNA mixed when Sam and Jack dropped into the ani-freeze trap the sheriff set up.  Yeah, okay, I'm a fan of bad 50s sci fi films, so I can get the SCIENCE! behind this (and if you don't shout it, it's not 50s SCIENCE!).  It also gives Jack a weakness the cast can exploit, which is good, as Jack now seems to be a snow god on par with Elsa in that Disney film.  He's now able to manipulate the weather, can create indestructible, murderous snowball critters, and is unaffected by anti-freeze.  

Look, this worked in Gremlins.  What's the problem now?

So, with Sam succumbing to his PTSD, Anne has to step up and find a way to stop Jack, as snowy mayhem ensues.

If you've seen the first one, you know what to expect, an intentionally cheesy horror film with low budget effects, plenty of gore and, this time, some gratuitous nudity.  We even get an appearance from Doug Jones (yes, THAT Doug Jones).  But this time, something's missing, and I think it's due to the setting.

Hey' we're shoot at a location with a pool.  Might as well use it for a skinny dipping scene!

Look, I get that relying on the weather to deliver what a filmmaker wants is dicey.  You plan shooting at a location that usually has snow, but it turns out to be a dry year.  You go to film in Hawaii, and the film is delayed due to a hurricane.  You can't predict the weather, so setting this film at a tropical resort seems a good idea, as you can fake a tropical island better easier than trying to fill a town with snow.

But, the first Jack Frost location gave the film a bit more charm.  The second one comes off looking terribly cheap.  And moving the location to somewhere sunnier doesn't keep with the Christmas vibe.  Though Jack does cover the island with snow, the film looses the holiday charm of the original, just like Silent Night, Deadly Night 2.  If you're making a Christmas slasher film, the setting needs to fit the season.  You can't just throw up a few Christmas lights and call it good.

Sorry, it just doesn't look as good as the first film.

But the biggest problem with this film is it tries too hard to capture what made the original work.  Sometimes, you just have to accept that your first effort was the best you could do with the story, and just let it go.  But I'm sure the idea of a franchise, and the money that comes with it, was impossible for filmmaker Conney to resist.  I can't blame him for making a sequel when he could, but I don't think he should have.

As I mentioned, Conney teases a third film with an end credit scene.  Yeah, he was planning Jackzilla.  Appears that wasn't a joke, though I think it's better left as a comedic final scene.

Look, the original Jack Frost is a fun holiday slasher.  But Jack Frost 2 just doesn't work.  It might be fine playing in the background while you wrap presents or prepare your holiday meal.  But if you're going to sit down on a cold winter night and watch a Christmas horror film, I can suggest others more worth your time.

You won't want to got to this extreme while watching the film.  You'll just wonder why you bothered.

A Christmas Carol (1971)

Alright, time to address my lack of reviewing films based Charles Dickens classic.  In ways, I find them lacking.  Filmmakers tend to focus more on the season, and forget the story is a creepy Christmas ghost story.  But this animated version, broadcast on ABC in December of 1971, delivers the message, and chills, in just 25 minutes.

 Well, Chris, you're finally getting to this classic.  I didn't think you had it in you.  But why this version?

Because it really follows the beats of Charles Dickens' story.  And it doesn't shy away from delivering some Christmas fear.

Okay, I can see that.  Please continue.

Thank you.  Though I expect to see you later.

Of  course.  I have to uphold the tradition

Yeah, great, thanks.  Okay, I don't think we need to get too detailed in the plot.  Scrooge is a miser, visited by ghosts intent on making him a better person.  And, by showing him visions of Christmas past, present and future, Scrooge becomes a better person, holding the spirit of the season in his heart year round.

If only it was that easy.  I don't see Elon Musk changing his ways by a haunting like this.  He'd probably just post on Twitter/X that some woke ghosts are out to get him.

Oh, I'd be so all over the internet after this.

So, why review this version of the timeless tale.  Well, the animation is gorgeous.  Director Richard Williams (The Thief and the Cobbler, Who Framed Roger Rabbit) worked with animator Ken Harris (How the Grinch Stole Christmas) to deliver a unique style for the animated feature.  Sure, most of the feature is standard cell animation, but unlike other animated Christmas features, we get moments that look like an oil painting come to life.  It's beautiful, with some sweeping shots that are pure art.  And we get transparent ghosts!  I can only guess how hard they were to animate.  Oh, and did I mention they're scary as possible for a broadcast animated feature!

Yeah, this is some Christmas nightmare fuel right here.

And, I can't not talk about the Ghost of Christmas Past.  This version is the closest to Dickens' description I've seen put to film.  And I get that some past versions of the tale were limited by visual effects at the time.  But given John Fulton's work on 1933's The Invisible Man, I suspect someone could have tackled a truer version of this ghost than the ones in previous versions.

Oh, I'd love to see a practical VFX version of this ghost.

Alastair Sim and Michael Hordern reprise their roles as Scrooge and Marley, who they portrayed in 1951's Scrooge, which is great.  The rest of the voice cast is equally good, and helps to deliver the emotional impact you'd expect.  Animator Chuck Jones was executive producer, but let the animation team deliver a stunning feature without his classic characteristics (which I love, by the way).  And kudos to him, as a Grinchy version of this Christmas classic wouldn't be as powerful.

The film was released theatrically after its broadcast premiere, making it eligible for Oscar consideration, and it won for Best Animated Short Film in 1972.  However, some industry insiders took issue that a television show was given the award, and the Academy changed its policy, disqualifying eligibility for any future works broadcasted on television.  It seems silly now, as streaming services are releasing films into theaters.  But at the time, any television production wasn't considered true art.  So now, release a film in theaters BEFORE it's available online, and you've got some Oscar consideration.  As I said, it's silly, but that's the world we live in.

To my knowledge, this version of A Christmas Carol has not had an official home video release, which is stunning to me.  So many subpar versions of the tale exist, I'd like to see this one get a Blu-Ray version.  Well, I hope Santa reads this review and we'll get a proper release next year.  Until that time, you can watch it on YouTube.  And I suggest you do, as it's a great version of a Christmas ghost story.

Check it out.  I suspect you'll like it.

Christmas Bloody Christmas (2022)

A film dealing with a Santa-800 running rampant through a small town sounds like fun, but...

Hi, Chris.  It's the Ghost of Christmas Past.  I'm back!

Yeah, like a bad case of food borne illness. 

Just a reminder, you've only done three reviews this month, and it's half over.

Hey, I posted a review of Godzilla Minus One.

That's not a Christmas movie.

It's a big Christmas gift for Kiaju fans.  And a great movie.

Doesn't count.  Oh, and you missed posting the Weekly Update last Friday.

I know.  But I was sick last week, and my weekend shift was bloody hell.  Cut me a bit of slack.

No can do.  That's not how Christmas Ghosts work.

Whatever.  Just go away so I can get back to writing this review.

Sure.  See you later.

Oh, lucky me.  So, Christmas Bloody Christmas.  Basically, this is a low-budget take on The Terminator, only the killer robot is dressed as Santa.  Sounds like fun, but the film has some flaws that limits its ho-ho-horror delivery.  

The film opens on Christmas Eve, where record store owner Tori (Riley Dandy, who's appeared in a few less-horrific Christmas films) is looking forward to a night of drinking and getting laid by a Tinder date.  Her employee Sam (Robbie Reynolds), who's crushing on her, convinces her to spend the night drinking with him instead.  

During a stop at a local bar, the two see a news broadcast about robotic Santas, based off a US Defense Department program, malfunctioning.  But that doesn't bother them, even though pair visit a local toy store to visit a couple who work there, and has one of the Santa units, apparently switched off.

But after they leave, the Santa-800 activates itself, grabs an axe, kills the two employees (while they're having sex, of course), and heads out to create some Christmas mayhem.  And Tori gets caught up in the bloody rampage.

Well, I've got an axe, and evil green eyes.  Your milk and cookies won't be enough to appease me.

While the film sounds like fun, it didn't work for me for a few reasons.  The biggest flaw is that Tori comes off as unlikeable right off, and the script gives her no opportunity to change during the events of the evening.  It's not the fault of Dandy, who gives a good performance, but the script gives her a personality that's just grating and leaves you cheering on the Santa-800.

I'm not saying characters have to be likable when they're introduced in a film.  They can have flaws, but a protagonist needs some redeeming qualities to make the audience want them to survive the upcoming conflict.  Comparing Tori with David Harbour's Santa in Violent Night, you can see how the script fails her character.  

At the start of Violent Night, Santa's not a likable character.  He's cynical about Christmas and kids, he pukes on a bartender, and seems more interested in getting drunk than delivering gifts.  But his antics are presented in a comedic tone, and his reasons for being Grinchy are relatable.  And through his relationship with Trudy, Santa is given a redemption arc that Tori lacks.  While Santa still has some rough edges at the conclusion of the film, we've seen him become a better person than he was at the start of the film.

Unfortunately, after her battle with the Santa-800, it's easy to feel Tori's will be the same insufferable person as she was in the opening.  While it's fine to have a character the audience doesn't like at the start of a film, the events of the script needs to make them more appealing, or else it's hard hope they survive.  As I said, Dandy is good in the role, but the script gives her little to work with, or make me not care if the Santa-800 kills her.

Sure, she's covered in blood and takes on the robotic Santa by herself.  But dammit, I just didn't care.

Another problem is how a small town toy shop could afford a robotic Santa.  Sure. some large chain stores buying such a device makes sense, as a robot doesn't need breaks, their programming will insure they don't call out sick or have a bad day that affects customers.  That's capitalism, baby.

But we have no indication that such an extravagant device would be affordable to small retail stores, given potential upgrades and replacing worn out parts.  The script could have delivered a line or two explaining how this toy shop could afford a robotic Santa, but doesn't even try.  Again, going back to Violent Night, a lot of what happens in that film is explained away by Christmas magic, which even Santa doesn't understand.  It might not make sense, but it gives the audience a reason to believe in the events occurring during the film.  But the script for Christmas Bloody Christmas doesn't deliver even a sliver of an explanation and expects you'll go with it, which doesn't work.

It's a robotic Santa with laser eyes.  Do you have any idea how much that would cost?

And, I have to add, two of the actors playing law enforcement officers just felt off.  While they give good performances, their facial hair resembles Lemmy, and they don't look like cops.  Yeah, you can call me out for stereotyping two minor characters.  But if the script doesn't give them a bit of a back story, the actors need to look the part, or the audience might not accept them.

That's not to say writer/director/producer Joe Begos' film isn't without some good points.  The film has some good action scenes and impressive visual FXs.  Though the cinematography is pretty dark during the kills, I suspect it was to appease the MPAA, as the film was released in theaters.  And as the Santa-800 is damaged enough to reveal its robotics, the effects look great.  

And, bravo to Begos for getting the film made.  One has to admire his tenacity.  Anyone with a script and the ability to get it onscreen should be applauded.  I just wish he'd spent a bit more time working on the script.

I hate saying it, but I just can't recommend Christmas Bloody Christmas.  While I admire the fact that Begos was able to make the film, the script doesn't work and the dark cinematography makes some of the kills and action sequences hard to follow.  It's not a terrible film, but it just didn't deliver the holiday horror high I was hoping for.

Sorry, Riley, just couldn't recommend this Christmas movie.  Better luck on your next one.

The film is available on Shudder and other streaming services.

Godzilla Minus One (2023)

 

After 2016’s amazing Shin Godzilla, it took a while for Toho Studio to give us a follow up. Another stand alone film, Godzilla Minus One gives us Godzilla as a metaphor for war, and how humans deal with the crushing effects imposed by mass destruction.  And, damn, it's a great film.

The film opens on a small airfield on an island in Japan, as kamekazi pilot Koichi Shikishima (Ryunosuke Kamiki) feigns mechanical issues to avoid his mission. After mechanic Sosaku Tachibana (Munetaka Aoki) tactfully calls him out, the island is attacked by a twenty to thirty foot Godzilla. 

Koichi goes to his plane, with the intent of shooting the giant monster with the plane’s guns, but freezes, allowing the creature to kill everyone on the base but Koichi and Tachibana, who blames the pilot for the deaths of the others on the island. 

Things don’t get much better for Koichi when he returns home to find his family died during the bombing  and his neighbor, Sumiko Ota (Sakura Ando), blames him for not following his mission and causing the death of her family.

Koichi gets involved with Noriko Oishi (Manami Hamabe), a woman trying to survive in the ruins of Tokyo with Akiko, a child she “adopted” after her parents died.  Dealing with this new family, Koichi gets a job clearing the mines left in the waters surrounding Japan after the war.  But Godzilla comes back, juiced up by the Bikini Atoll test, and unleashes hell on post-war Japan. While America is unwilling to bring its military might to confront the threat, fearing such actions might provoke the Soviet Union, it falls upon a group of Japanese civilians to take Godzilla down

And, of course, kiaju mayhem ensues.

 I'm here to stomp across Japan and chew bubble gum.  And I can't find enough bubble gum.

But mayhem is not what this film is about. It’s about people dealing with the destructive consequences of war, expected to fight a devastating power that dwarfs their capabilities, and how it affects them should they survive. Whether or not you condone how the characters react in the film, it all feels very real. 

Unlike Shin Godzilla, which highlights a government's inability to react to a massive threat (I'm not going to say the Japanese government, as that film could apply to any world power), writer/director (and VFX director) Takashi Yamazaki harkens back to Godzilla as a metaphor for nuclear war (his heat breath unleashes a mushroom cloud), while dealing the struggles of those caught in the middle. And the guilt Koichi feels for his inaction during the war delivers an emotional impact that I didn’t expect from a kaiju film.  You'll probably find some tears in your eyes during the final act, as I did, but the script earns it.  Even if the last scene feels improbable, I was happy to cry during it.  It showed that, no matter the horrors we face from government dictates, and events beyond our control, we can always find a space for forgiveness and peace.   It's a powerful message, as characters put their animosities aside and forgive those they feel failed them.  I must admit, I really felt hope for humanity watching this film.

Takashi does include several scenes that harken back to the 1954 classic, which is fun for fans.  But it also cements the fact that he's using the monster as a metaphor for something bigger than simple kiaju thrills.  Not that it doesn't deliver on that aspect.  The sequences when Godzilla appears are as exhilarating as any recent giant monster movie, despite the low budget.  Seriously, given the reported budget, the VFXs are amazing.  

But such thrills aren't due to the effects, as good as they are.  As most of the movie is spent with the human characters, it's their reaction to the threat that makes the action sequences so engaging.  I wouldn't have been so engaged during the boat chase had Takashi not spent time with the crew of the mine-sweeping boat that Koichi is on.  The three other crew members are so well written, and the actors are so good, that, while I expected they'd survive (as the main protagonist is aboard), I was still concerned for their safety.  I wanted them all to live, and worried somehow they'd die and Koichi would be the sole survivor.  That's great filmmaking.

Sure, this scene is cool.  But if you care about the people on the boat, it's more terrifying.  Just like Jaws.

I don't want to say much more about this film, and risk spoilers, other than you must see it on the big screen if you can.  If you don't like giant monster movies, well, you're probably not reading this review.  But, again, this isn't about Godzilla, the film is about the people that have to react against the overwhelming force facing them, after dealing with the horrors of a war that caused as much devastation as the giant lizard stomping across Japan.

The emotional impact delivered by Godzilla Minus One  makes it a strong candidate for the best film I've seen this year, which includes my previous number one, Oppenheimer.  Yeah, it's that good, and it deserves the box office attention it's receiving.

I get every studio is trying to create a money making cinematic universe, but I really hope Toho keeps giving us one offs like Godzilla Minus One. Let Legendary Pictures continue the Monsterverse.  I'll go see them for the thrills, but I’d like Toho to continue to deliver Kiaju movies with a message and an emotional impact. As this film proves, there’s room for both. 

 Metaphor or not, this Godzilla is terrifying in this film.

It's a Wonderful Knife (2023)

 

If you're going to remake a classic film, you should try to deliver something new, and It's a Wonderful Knife certainly tries.  Taking the basic plot from Frank Capra's 1946 Christmas movie, this film adds a slasher into the mix, and the results...

Well now, it's 5 am.  This is rather early for you to be writing, Chris.

Oh great, the Ghost of Christmas Past is back.  As if this sudden bout of insomnia isn't enough to deal with.

I told you I'd be checking in with you.  And I see you're working on your third review, and the month is almost half over.  You're behind, as usual.

I thought you Christmas ghosts were suppose to teach people lessons about life, not taunt them.

What's the difference?  We taunt people by reminding them of their failings in life, and they learn a lesson.

What?  That can't be right.

Just think about it while you're righting this review.  Seems quite fitting.  Bye!

Oh, this day is starting out great.  Insomnia, a visit from that pesky ghost, and I have to start my work week in about six hours.  How could things...  You know, I'm not going to ask that, I'm just getting to the review.

The film takes opens on Christmas Eve in the town of Angel Falls, as real estate tycoon Henry Waters (Justin Long: Live Free or Die Hard, Drag Me to Hell, Tusk) is trying to convince the final property owner holding out to sell, so he can develop a luxurious shopping center.  The man refuses, and is soon murdered by a figure dressed in white.

Meanwhile, Winnie Carruthers (Jane Widdop: Yellowjackets) is heading out to a Christmas Eve party with her friend Cara, the granddaughter of the man refusing to sell his property to Waters.  To no one's surprise, the killer crashes the party, killing Cara and her boyfriend, then attempting to kill Winnie's brother Jimmy.  But Winnie takes him out first and, surprise, the killer is Henry Waters.

Have to say, the killer's look is iconic.  I can't think of another slasher wearing white so well.

The film cuts to a year later, and Winnie, along with Angel Falls, isn't having a great time.  Her family is ignoring the events from last year (and I should mention Winnie's father worked for Waters), Henry's brother Buck confronts her, her application to NYU was rejected, and she gets a pink tracksuit as an early Christmas gift, while Jimmy gets a truck.

Heading off to a party, Winnie runs into Bernie (Jess McLeod: Van Helsing TV series), a social outcast everyone, including Winnie, calls "Weirdo."  When asking about her boyfriend, Bernie suggests looking in the backyard, while some other party goers tell her to check out the laundry room.  The laundry room was the right answer, as Winnie finds out her boyfriend has been cheating on her for over a year.  Confronting Bernie about her misdirection, Bernie replies she was only trying to protect her.  Though I'm not sure why.  

This ties into a problem with writer Michael Kennedy's (Freaky) script, so I need to explain now that Winnie and Bernie have no real connection at this point in the story.  It makes no sense why Bernie would be so protective of Winnie, until later in the film.  But let's get on with the plot.

Contemplating suicide, Winnie goes out to the waterfront and, while viewing the lights of the aurora (a rare sight for Angel Falls), she wishes she was never born.  And wish granted, as she witnesses a man killed by the slasher she didn't kill, now dubbed The Angel.

 Still loving the look.

Buck is now the sheriff, Henry is the mayor, and her family doesn't recognize her.  Even worse, her brother Jimmy, and her aunt's (Katharine Isabelle: Ginger Snaps) partner were killed by The Angel.  Winnie heads back to a party at the house she went to last year, only to find everyone smoking crack rather than drinking.  She meets with Bernie again, and, at some point, asks her to be her Clarence.  Yep, if the title wasn't enough to clue you in, we get this reference.

Bernie takes Winnie to her house, and we get some insight into Bernie's fractured family.  Bernie also questions the timing of Winnie's appearance, as a party goer was killed by The Angel.  Fortunately for Winnie, the slasher attacks, Bernie takes her to the movie theater she works at, and they deduce The Angel is killing the children of property owners Henry Waters wants to buy from, causing them to sell out and leave the town.

Um, it appears Bernie might be might be a bit of a conspiracy nut.  You might want to rethink your choices in friends, Winnie.

Winnie decides to make things right, and, of course, slasher mayhem ensues.

As I said earlier, if you're going to remake a classic, do something different with the story, and this film does.  It's not about the lives Winnie changed, but the lives she saved by killing Henry.  And the film reveals that Bernie was contemplating suicide this Christmas, making Winnie the Clarence figure.  While the script never develops the idea fully, it's a nice twist.

Okay, SPOILERS IN THE NEXT SIX PARAGRAPHS.

Unfortunately, Kennedy's script has some flaws.  While I'm fine accepting the aurora somehow grants Winnie her wish of never being born (it does add a deadline for Winnie, as the aurora is fading), Henry's mystical powers to enthrall a crowd of followers needs some explaining.  The crowd is obviously enchanted, as their eyes are glowing, and how Henry got such power is never explained.  And though the spell is broken, Henry's followers are forgiven for their actions because, well, they were enchanted.  The script absolves their complacency, and that's annoying.

Hey, I'm a rich businessman, a politician, and I have hypnotic powers.  So I should be your favorite mayor.

My other issue with the script is where I start treading on thin ice.  So please, read everything I have to say before posting comments.

Winnie and Bernie end up as a couple by the end of the film, but the script doesn't give us a reason why this happens.  Sure, Winnie is surrounded by gay couples.  Her aunt is in a relationship with a woman, and we have a scene of two male jocks kissing at the party in the opening act.  And, as they should, no one questions it.  

But Winnie starts the movie with a boyfriend, and nothing suggests she's questioning her sexuality.  Okay, she finds out he's cheating on her, but the script never gives us an indication that this would somehow lead to Winnie starting a relationship with a woman.  And let's be honest, Bernie is a Manic Pixie Dream Girl, leading me to further wonder why Winnie falls for her.  

Oh, we are so going to be a couple by the end of this film, because the script says so.  No other reason.

Don't get me wrong, I'm fine with the romantic ending.  I just wish Kennedy's script had done more to show why it happened.  And he does it, in his script for Freaky.  If you've seen the film, you know I'm referring to the kiss between Millie, who's trapped in a male serial killer's body, and Booker, who has a crush on her.  It's a wonderful moment that the script builds up to in a realistic fashion.  But Winnie and Bernie becoming a potential couple isn't as well developed.  

I know such sudden realizations happen (Cassanda Peterson's coming out story is a perfect example).  But the script feels as if Kennedy wanted the romance to happen and wrote it in, without developing why it would happen.  Again, I'm not saying the two shouldn't have gotten together.  But the script makes it feel that Winnie, upon discovering her boyfriend is cheating on her, decides to start dating women, which makes the budding relationship feel cheap.  I'd have liked the script to give us some justification for the romance, rather than expecting us just to accept it.

END OF SPOILERS.

It's a Wonderful Knife is a fine holiday slasher flick.  The cast is great, and director Tyler MacIntyre (writer of Five Nights at Freddy's and director of a segment of V/H/S/99) delivers some great moments (the attack at the theater in the final act is really well done).  While I think had Kennedy done a bit more work on the script, this could have become a holiday horror classic.  Even if it falls short of that goal, it's still a fun little watch if you're looking for some Yuletide fear.

I scream, you scream, we all scream for Yuletide fear.

Jack Frost (1997)

Well, The 12 Reviews of Christmas continues with a look at the direct to video slasher camp classic, Jack Frost.  Not to be confused with the Michael Keaton comedy that came out a year later, this film...

Really, Chris?  You're stooping so low you're reviewing this travesty?

Look, Ghost of Christmas Past, I like this film, despite it being really, well, cheesy as hell.  But that's my tastes in film, it's my blog, and I'll review what I want.

Oh, right.  Remind me why you want a director's cut of Maximum Overdrive once again.

Because I want to see the footage trimmed to appease the MPAA.  What horror fan wouldn't?

And how you enjoy House of the Dead?

Hey, I'm shouldn't have to justify my love of that film.  I know it's bad, but it makes me feel like a ten year old, watching something I shouldn't, and that makes me happy.  And I've working on my second review of the holiday season, heading for twelve, so leave me alone.

Sure.  Just checking in.

As if my day job isn't distract enough, now I have to deal with you.  Why don't you bother some billionaire?

Oh, like they'd care about what I have to say.  Good luck reaching twelve reviews.  See you later. 

Thank Cthulhu they're gone.  So, let's get back to Jack Frost.

It's obvious writer/director Michael Cooney was leaning heavily into camp with this film.  And it helps that the cast play their parts straight, despite how silly the script is, which I suspect helped the film developed a bit of a cult status.  Add in some nasty kills on a meager budget, and a cool prismatic VHS cover when it went straight to home video, and it's no wonder this film became a hit on home video.  Jack Frost isn't high art, but it's silly fun on a very low budget.

The film opens on a snowy December night, as serial killer Jack Frost (Scott MacDonald) is being transferred to the site of his execution.  Passing through the town of Snowmonton, Jack kills his guard as the vehicle crashes into a genetic research tanker truck.  Jack is exposed to the chemicals from the tanker and fuses with the snow, allowing him to became a killer snow man, and take vengeance on Sam Tiler (Christopher Allport), the sheriff who arrested him years earlier in Snowmonton.

And in the silliest ways possible.  Just saying.

Of course, the FBI gets involved, downplaying the threat though knowing what happened to Jack.  Sam does his best to confront the killer that promised vengeance upon him and his family, but he has a hard time finding the killer, as the town has a snowman contest, giving Jack perfect cover.  

And so, holiday mayhem ensues.

Look, this isn't a good film by any stretch of the imagination.  But it's great cheesy fun, thanks to the script and the cast.  We get some funny moments, such as when the authorities mull over the cause of death of Jack's first victim as a snowman.  The scene where Jill (Shannon Elisabeth, in her film debut) and her boyfriend Tommy strip down for some sexy time is pretty funny, as they both shed multiple layers of clothing (reminds me of how we layer clothing in Portland).  And again, kudos to the cast for playing their roles as straight as they could.  The film wouldn't have worked without their efforts, and they deserve an award for that.

Okay, no laughing as you hold the killer snowman at bay with a blowdryer.  And, ACTION!

As expected, the snowman effects are laugh inducing, as Jack looks like a fourth rate Muppet.  But the kills are pretty nasty, even the ludicrous decapitation by sled moment.  And with the actors not winking to the camera, it makes the campiness of the film work.  If you can handle some low budget effects and the basic silliness of the plot, this film is a blast. 

But, I have to say, Jill's demise is too nasty for this film.  Jack's vanishing nose during her death has some horrid implications, which delves into grindhouse territory and doesn't fit with the tone set up by the rest of the film.  While Cooney filmed the scene as tastefully as possible, it's a jarring moment in such a silly film.

Why does the film have to be remembered for this moment?  Oh yeah, naked Shannon Elisabeth.

Of course, the film ends with the possibility of a sequel.  I think this would have been better if the film was just a stand-alone feature, but the film did well enough to ensure a second entry.  Even as a fan of cheesy low budget horror, I've seen Jack Frost 2: Revenge of the Mutant Killer Snowman, and it just doesn't work.  More on that one later.  

Again, I'm not saying this reaches the level of high art horror.  But if you're looking for some goofy, gory fun during the holidays, Jack Frost delivers.  Lower your expectations and you will enjoy this slice of cheesy goodness.  And that's all you need on a dark and stormy December night.

Wrapped around the Christmas tree, have a happy holiday!

I'm caught up on all the events! It's a holiday miracle!!

There I go, tempting The Fates once again.  But I feel pretty good about getting all the events I've found, including several announcements for cons coming in 2024, on the site.  I still have a few movies to add being shown towards the end of the month, but I'm calling my site up to date!

But I still have the feeling some holiday events are creeping up behind me.

The Horror/Sci Fi/Fantasy Calendar, as I mentioned, has plenty of news about the great events coming in 2024, so take a look.  Just remember, it's always being updated, and you know I'll have even more to share in the coming months.

In this edition of the Weekly Update, you'll find details on the local theaters showing both Godzilla Minus One and The Boy and the Heron, several Krampus haunted attractions, and lots of great holiday films and stage events.  You'll be amazed at all the things for Horror/Sci Fi/Fantasy Fans to go see this week!

If I missed your event, I'm sorry.  I think Facebook has changed the site's algorithm, and I'm not getting notifications from some events as frequently.  If you want to make sure your event is on the site, please email me the details and promotional art at shadowoverportland@live.com, and I'll be sure to post it.

By the way, if you haven't seen Godzilla Minus One yet, do check it out on the big screen.  It's amazing, and easily one of the best films of the year (review to come).

Anyway, time to get the Weekly Update out on the web.  Happy Holidays, stay safe, and I'll be back next Friday with more great things to do under The Shadow Over Portland!

Happening This Week

Live Attractions 

Kate Hamill's adaptation of Bram Stoker's novel, Dracula: A Feminist Revenge Fantasy, Really, will be at the U.S. Bank Main Stage at the Portland Center Stage at the Armory (128 NW 11th Ave in Portland, OR) through Sunday, December 24.  Sounds like a great way to spend Christmas Eve!  The show is in previews from Sunday, November 26 to Thursday, November 30, with the opening on Friday, December 1.  

The Halloween Cultural Preservation Museum have posted updated hours for December.  The museum is located in Lloyd Center (2201 Lloyd Center in Portland, OR), on the second floor inside the former Spenser's, next to Brickdeculous.  Admission is $5.

Alberta Abbey (126 NE Alberta St in Portland, OR) presents The Empire Strips Back: A Burlesque Parody through Saturday, December 9.  This is an 18 and older event. 

Jurassic Quest continues stomping across the Pacific Northwest this month, stopping at the Ford Idaho Sports Center (16200 N Idaho Center Blvd in Nampa, ID) from Friday, December 8 through Sunday, December 10, with a final stop at the Washington State Fairgrounds (100 9th Ave SW in Puyallup, WA) from Friday, December 15, to Sunday, December 17.

Hidden Worlds: The Films of LAIKA is open at the Museum of Pop Culture (located in the Seattle Center; 325 5th Ave N in Seattle, WA).  The exhibit features never-before-seen artifacts from the Laika production studios, immersive set displays, character interactive and a sneak peek at the studio's next feature, Wildwood.  The exhibit will be open through Summer 2024.

 

The Museum of Pop Culture (325 5th Ave N in Seattle, WA) has Jim Henson puppets and set pieces from the 2019 Netflix series The Dark Crystal: Age of Resistance on display now.  You can read about the display, and the work the museum put into displaying the artifacts, at the link.

Back in Theaters

HEY YOU GUYS!  The Goonies playing at McMenamins Kennedy School (5736 NE 33rd Ave in Portland, OR; scheduled through Thursday, December 14).

Yippee Ki Yay, Mother F*er!  The Christmas action classic Die Hard is playing at the Sandy Cinema (16605 Champion Way in Sandy, OR; scheduled through Thursday, December 14)

The cheesy holiday film Santa Claus Conquers the Martians is playing at the Academy Theatre (7818 SE Stark St in Portland, OR; scheduled through Thursday, December 14). 

Monty Python and the Holy Grail is playing at the Darkside Cinema (215 SW 4th St in Corvallis, OR; scheduled through Thursday, December 14).

The holiday fantasy It's a Wonderful Life is playing at The Grand Illusion (1403 NE 50th St in Seattle, WA; scheduled through Thursday, December 28).

Joe Dante's holiday horror classic Gremlins is playing at McMenamins St Johns (8203 N Ivanhoe St in Portland, OR; scheduled through Wednesday, December 13) and the Kiggins Theatre (1011 Main St in Vancouver, WA; scheduled through Sunday, December 10). 

The Muppet Christmas Carol is playing at Central Cinema (1411 21st Ave in Seattle, WA; scheduled through Wednesday, December 13).

The Cassandra Cat, about a feline able to change the color of a person as it reveals their hidden character, is playing at The Beacon (4405 Rainier Ave S in Seattle, WA) tonight at 7 pm, and at 2 pm on Sunday, December 10.

The Olympia Film Society brings The Running Man to the Capitol Theater (206 5th Ave SE in Olympia, WA) today at 4 pm, on Sunday, December 10, at 7 pm, and Thursday, December 14, at 7 pm.

The Olympia Film Society Kids Club presents Jim Henson's dark fantasy Labyrinth at 1 pm every Sunday this month at the Capitol Theater (206 5th Ave SE in Olympia, WA).  Kids 12 and under are admitted FREE.

First Run Features  

Godzilla Minus One is playing at  Studio One (3945 SE Powell Blvd in Portland, OR; scheduled through Thursday, December 14),  the Sandy Cinema (16605 Champion Way in Sandy, OR; scheduled through Wednesday, December 13), the Yelm Cinema (201 Prairie Park St SE in Yelm, WA; scheduled through Thursday, December 14), CineMagic (2021 SE Hawthrone Blvd in Portland, OR; scheduled through Thursday, December 7), the Academy Theater (7818 SE Stark St in Portland, OR; scheduled through Thursday, December 14), McMenamins Bagdad Theater (3702 SE Hawthorne Blvd in Portland, OR; scheduled through Wednesday, November 6), Studio One (3945 SE Powell Blvd in Portland, OR; scheduled through Thursday, December 7), the Sandy Cinema (16605 Champion Way in Sandy, OR; scheduled through Thursday, December 7), and the Ark Lodge Cinemas (4816 Rainier Ave S in Seattle, WA; scheduled through Sunday, December 10).

Cinema 21 (616 NW 21st Ave in Portland, OR) will show both the dubbed and subtitled version of Hayao Miyazaki's latest animated feature, The Boy and the Heron, scheduled through Wednesday, December 13 (subtitled version) and Thursday, December 14 (dubbed version), as will the Laurelhurst Theater (2735 E Burnside St in Portland, OR; scheduled through Thursday, December 14), and the Yelm Cinema (201 Prairies Park St SE in Yelm, WA).  SIFF Cinema Uptown (511 Queen Anne Ave N in Seattle, WA) will show both versions through Thursday, December 14 (dubbed version on the 1 pm showing on Saturday and Sunday only), the Living Room Theaters (341 SW 10th Ave in Portland, OR; scheduled through Thursday, December 14) will show both versions, and the Hollywood Theater (4122 NE Sandy Blvd in Portland, OR) is showing the dubbed version through Thursday, December 21, and the subtitled version through Wednesday, December 20, as well as the Pickford Film Center (1318 Bay St in Bellingham, WA; scheduled through Thursday, December 21).  The dubbed version is playing at the Yelm Cinema (201 Prairie Park St SE in Yelm, WA; scheduled through Thursday, December 14), and  both versions are playing at the Ark Lodge Cinemas (4816 Rainier Ave S in Seattle, WA; scheduled through Sunday, December 10).  The dubbed and subtitled versions will open on Friday, December 8, at CineMagic (2021 SE Hawthrone Blvd in Portland, OR; scheduled through Thursday, December 21), and the Sandy Cinema (16605 Champion Way in Sandy, OR; scheduled through Thursday, December 14).  The film opens tonight at the Kenworthy Performing Arts Centre (508 S Main St in Moscow, ID; scheduled through Thursday, December 21) and the both subtitled and dubbed versions open at the Academy Theatre (7818 SE Stark St in Portland, OR; scheduled through Thursday, December 21), Studio One (3945 Se Powell Blvd in Portland, OR; scheduled through Thursday, December 14), the Darkside Cinema (215 SW 4th St in Corvallis, OR; scheduled through Thursday, December 14), and The Grand Cinema (606 Fawcett Ave in Tacoma, WA; scheduled through Thursday, December 14).  The dubbed version is playing at the Tracyton Movie House (1520 NE Riddell Rd in Bremerton, WA; scheduled through Wednesday, December 13).

Wow, this is getting messy.  Please check the links to find out what version is playing at the theater near you.

The holiday slasher It's a Wonderful Knife is playing at The Grand Illusion (1403 NE 50th St in Seattle, WA; scheduled through Wednesday, December 13).

The folk horror film Lord of Misrule is playing at the Metro Cinemas (888 Willamette St in Eugene, OR; scheduled through Thursday, December 14).

Here's one that was off my radar.  And now I see why.  The Shift, a take on the biblical story of Job (only this time, the character is hopping about various alternate worlds trying to get back to the woman he loves), is playing at the Sandy Cinema (16605 Champion Way in Sandy, OR; scheduled through Wednesday, December 13), and the Yelm Cinema (201 Prairie Park St SE in Yelm, WA; scheduled through Thursday, December 14).  Yeah, it's a religious sci fi movie, from the studio that gave us Sound of Freedom.  Nothing wrong with that, just figured you should know

John Woo's action Christmas film Silent Night is playing at the Yelm Cinema (201 Prairie Park St SE in Yelm, WA; scheduled through Thursday, December 14).

The dark comedy fantasy Dream Scenario, starring Nicolas Cage, is playing at The Grand Cinema (606 Fawcett Ave in Tacoma, WA; scheduled through Thursday, December 14), Cinema 21 (616 NW 21st Ave in Portland, OR; scheduled through Thursday, December 14), the Pickford Film Center (1318 Bay St in Bellingham, WA; scheduled through Thursday, December 14), the Metro Cinemas (888 Willamette St in Eugene, OR; scheduled through Thursday, December 14), the Lauralhurst Theater (2735 E Burnside St in Portland, OR; scheduled through Thursday, December 14), the Salem Cinema (1127 Broadway St NE in Salem, OR; scheduled through Thursday, December 14), the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR; scheduled through Thursday, December 14), Studio One (3945 SE Powell Blvd in Portland, OR; scheduled through Thursday, December 14), SIFF Cinema Uptown (511 Queen Anne Ave N in Seattle, WA; scheduled through Thursday, December 14), Living Room Theaters (341 SW 10th Ave in Portland, OR; scheduled through Thursday, December 14), the Darkside Cinema (215 SW 4th St in Corvallis, OR; scheduled through Thursday, December 14), and the St Johns Twin Cinema (8704 N Lombard St in Portland, OR; scheduled through Thursday, December 14).

Film Festival Submission Information 

 

The BoneBat Comedy of Horrors Film Fest 2024, taking place on Saturday, April 13, 2024, at the SIFF Cinema Egyptian (805 E Pine St in Seattle, WA) is now accepting submissions through Friday, March 1.  Visit the link for details.

Kickstarter Campaigns

The BoneBat Comedy of Horrors Film Fest 2024 has started a Kickstarter campaign for the 2024 festival.  As of December 7, you have 7 days to help back the festival.  Visit this link for details.

December, 2023  

Friday, December 8

Weird Elephant at The Grand Cinema (606 Fawcett Ave in Tacoma, WA) will screen the George Romero classic Dawn of the Dead tonight and tomorrow night at 10 pm.

Godzilla Minus One is playing at the North Bend Theatre (125 Bendigo Blvd N in North Bend, WA) tonight and tomorrow.

Mary Harron's American Psycho, starring Christian Bale, is playing at the Rio Theatre (1660 East Broadway in Vancouver, BC) tonight at 11 pm.

The PAM CUT Tomorrow Theater (3530 SE Division St in Portland, OR) will screen Room 237, the documentary exploring various theories about hidden meanings in Stanley Kubrick's The Shining, tonight at 6 pm.  Separate admission required.

But stick around, as the PAM CUT Tomorrow Theater (3530 SE Division St in Portland, OR) will screen Stanley Kubrick's The Shining Backwards and Forwards.  Yep, you can watch the film backwards and forwards at the same time, accompanied by a live score from Corey J Brewer.  I'd suggest being careful what you ingesting during this screening.

Saturday, December 9

Lady Raven Productions presents the 10th annual Vespertine Winter Ball from 9 pm to 2 am tonight at the Portland Art Museum Kridel Grand Ballroom (1119 SW Park Ave in Portland, OR).  This is a 21 and older event, and a formal dress code is enforced.  Think a formal attire, white winter, woodland-creature, Gothic gala, and check out the photo gallery for a sense of the dress code and costume ideas.

An encore screening of A Disturbance in the Force is scheduled for 2 pm today at the Kiggins Theatre (1011 Main St in Vancouver, WA).

The Muppet Christmas Carol is playing at the Rio Theatre (1660 East Broadway in Vancouver, BC) today at noon.

Max Fleischer's animated version of Gulliver's Travels plays at 3 pm today at the Whiteside Theatre (361 SW Madison Ave in Corvallis, OR).

The Grand Illusion Cinema (1403 NE 50th St in Seattle, WA) will screen Neil Breen's sci fi thriller Cade: The Tortured Crossing tonight at 9:15 pm, with a final showing on Saturday, December 30, at 9:15 pm.

Andy Milligan's Seeds, about a caustic family reunion that brings out the murderous rage in someone, is playing at 9:30 pm tonight at The Beacon (4405 Rainier Ave S in Seattle, WA).

The Family Pictures series at the Hollywood Theater (4122 NE Sandy Blvd in Portland, OR) will screen The Muppet Christmas Carol today and tomorrow at 2:30 pm.

UPDATE: Both shows are SOLD OUT.

Sunday, December 10

The PAM CUT Tomorrow Theater (3530 SE Division St in Portland, OR), along with The Numberz, will screen horror writer/director Sommer-Breeze Martin's short film Swipe Left, followed by a Q and A, then a screening of Bomani J. Story's The Angry Black Girl and Her Monster.  Doors open at 5 pm with a live DJ set, with the short starting at 5:30 pm.

The Olympia Film Society Kids Club is showing The Nightmare Before Christmas every Sunday at 1 pm through December 24 at the Capitol Theater (206 5th Ave SE in Olympia, WA) through December 24.  Kids 12 and under are admitted FREE.

Joe Dante's holiday horror classic Gremlins is playing at the Roxy Theatre (270 4th St in Bremerton, WA) tonight at 7 pm.

Tuesday, December 12

The holiday zombie musical Anna and the Apocalypse is playing at The Grand Illusion Cinema (1403 NE 50th St in Seattle, WA; scheduled through Monday, December 18).  You can read my review of the film here.

The folk horror film Viy-Spirit of Evil is playing at The Beacon (4405 Rainier Ave S in Seattle, WA) tonight at 7:30 pm.

Wednesday, December 13

Church of Film brings The Snake Girl and the Silver-Haired Witch, based on Kazuo Umezu's manga, to the Clinton Street Theater (2522 SE Clinton St in Portland, OR) tonight at 7 pm. 

Trek Nights at the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR) will screen Star Trek Into Darkness tonight at 7:30 pm.

The Science on Screen series at the Kenworthy Performing Arts Centre (508 S Main St in Moscow, ID) will show Christopher Nolan's sci fi film Interseller tonight at 7 pm.

Thursday, December 14

Raven's Manor (235 SW 1st Ave in Portland, OR) is hosting Circus Obscura, a series of wicked performances by Night Flight Aerial tonight at 8 pm.  Buy your tickets at the link.

Baron Von Terror brings the over-the-top Dial Code Santa Claus (AKA 36-15 Code Pere Noel and Deadly Games) to Central Cinema (1411 21st Ave in Seattle, WA) tonight at 8 pm.  And yes, it sounds like a rip-off of Home Alone, but the film was release one year earlier, and writer/director Rene Manzor was threatening to sue for plagiarism.  Believe me, this ain't no family film.  You can read my review here.

Poor Things, based on Alasdair Gray's novel about a young woman who is resurrected after her suicide to embark on an odyssey of self-discovery and sexual liberation, is playing at Cinema 21 (616 NW 21st Ave in Portland, OR; scheduled through Thursday, December 21), the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR; scheduled through Thursday, December 28), and SIFF Cinema Egyptian (805 E Pine St in Seattle, WA; scheduled through Thursday, December 21).

SIFF Cinema Uptown (511 Queen Anne Ave N in Seattle, WA) will show The Muppet Christmas Carol through Sunday, December 17.

The Moscow Film Society brings Tim Burton's Batman Returns to the Kenworthy Performing Arts Centre (508 S Main St in Moscow, ID) tonight at 7 pm.

Friday, December 15

Mill Creek Haunted Prison (5465 Turner Rd SE in Salem, OR) is set to deliver holiday fear with all new haunts through Sunday, December 17.

The Fear PDX Haunted House (12219 NE Glisan Street in Portland, OR) presents Krampus The Frightmare Before Christmas, Portland's largest Krampus event, through Sunday, December 17.

Strangest Things Haunted Farm (8917 Sprague Rd in Eugene, OR) opens its 2023 Christmas Haunt tonight.  The attraction is open Friday and Saturday, December 15, 16, 22 and 23, with a final chance to get scared on Saturday, December 30.

A Christmas Horror Story-Christmas Haunted House (1301 Grade St in Kelso, WA) is open tonight and tomorrow to fill you with holiday FEAR!   You'll find four Christmas-themed haunted house, have a chance to have your photo taken with Krampus, and MORE!

Friday Night Frights brings the holiday horror classic Krampus to the Blue Mouse Theatre (2611 N Proctor St in Tacoma, WA) tonight at 10 pm.  You can read my review of the film here.

The Sense of Wonder series at the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR) will screen Joe Dante's unsettling kid's movie Small Soldiers tonight at 7:30 pm.  Hey, what do you expect from Joe Dante?

The Future of Film is Female series at the PAM CUT Tomorrow Theater (3530 SE Division St in Portland, OR) will screen director Jennifer Reeder's horror film Perpetrator, with Reeder in attendance for a Q and A, tonight at 6 pm.

Violet Hex presents a queer celebration and screening of David Lynch's Twin Peaks: Fire Walk with Me tonight at the Clinton Street Theater (2522 SE Clinton St in Portland, OR).  The show starts with a themed Twin Peaks drag show, followed by the film.  It all starts at 7 pm.

The Future of Film is Female series at the PAM CUT Tomorrow Theater (3530 SE Division St in Portland, OR) will screen Piaffe, the tale of introverted Eva, forced to take a job as a Foley artist when her sister suffers a nervous breakdown.  As she struggles to create sounds for a commercial featuring a horse, a horsetail grows out of her body.  Sounds strange enough to be included here!

The Rio Theatre (1660 East Broadway in Vancouver, BC) will screen Bob Clark's Christmas classic (No, the OTHER one), 1974's Black Christmas tonight at 11:30 pm.

The supernatural Christmas slasher film Blood Beat, which involves a figure in a samurai outfit murdering the townsfolk, is playing at The Beacon (4405 Rainier Ave S in Seattle, WA) tonight at 9:30 pm.  Just look at the poster and you'll know what you're in for.

The Bad Sci-Fi series at the North Bend Theatre (125 Bendigo Blvd N in North Bend, WA) brings the cheesy holiday film Santa Claus Conquers the Martians to the big screen tonight at 10 pm.

Weird Elephant at The Grand Cinema (606 Fawcett Ave in Tacoma, WA) will screen the Finnish Christmas horror film Rare Exports tonight and tomorrow night at 10 pm.

The Muppet Christmas Carol is playing at is playing at the Kiggins Theatre (1011 Main St in Vancouver, WA; scheduled through Monday, December 18).

Saturday, December 16

The Oregon Symphony will perform the score to The Muppet Christmas Carol, as the film plays on the big screen, at the Arlene Schnitzer Concert Hall (1037 SW Broadway in Portland, OR) today at 2 and 7:30 pm, and tomorrow at 2 pm.

Wyrd War brings the uncut version of Amando de Ossorio's Tombs of the Blind Dead to the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR) tonight at 9:30 pm.

VHS Uber Alles brings the tale of an evil elf causing holiday mayhem to The Grand Illusion Cinema (1403 NE 50th St in Seattle, WA) at 9:30 pm in GLORIOUS VHS.

The Empire Pictures slice of cheesy goodness Trancers is playing at The Beacon (4405 Rainier Ave S in Seattle, WA) tonight at 9:30 pm.  A young Helen Hunt costars with Tim Thomerson (Dollman).

Sunday, December 17

The Christmas fantasy classic It's a Wonderful Life is playing at the Roxy Theatre (270 4th St in Bremerton, WA) today at 12:30 pm, and on Tuesday, December 19, at 4 pm.

The Sequelopolis series at the Hollywood Theatre (4122 NE Sandy Blvd in Portland, OR) brings Batman Returns back to the big screen today at 3:45 and 7:30 pm.