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Premiering on Sky this Friday but also showing at Everyman throughout the week, A Boy Called Christmas looks to be one of this year’s higher calibre offerings (which isn’t, admittedly, saying much) – adapted from the popular 2015 children’s book by Matt Haig, it serves as an origin story for the man in red and boasts a quality cast including Sally Hawkins, Toby Jones, Jim Broadbent and Maggie Smith.Ĭity Screen’s Japanese season concludes on Sun 27th with Tokyo Story, the 1953 family drama which is director Yasujirō Ozu’s most celebrated work.
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In fact, since the double whammy of Elf and Love, Actually in 2003, I’m struggling to think of a more recent movie that has properly made the cut – and with Channel 5 and content-hungry streaming services churning out the cinematic equivalent of cheap plastic cracker toys every year, the chances of a new bona fide classic joining the pantheon seem ever smaller.
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When it comes to Christmas films it often feels that, to borrow a phrase from The Sopranos, the books are closed – that, just like the young Christopher Moltisanti, any festive film from the last 15 years or so must patiently bide its time and wait to be ‘made’: to join that elite club of the 30 or so seasonal favourites that do the rounds on TV and in cinemas year in, year out.
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The studio’s 60th animated feature offers a different spin on that familiar story, with its heroine Mirabel ( Brooklyn Nine-Nine’s Stephanie Beatriz) feeling like a misfit precisely because she is ordinary – she is the only one of her family not to possess magical powers.ĭwelling in an enchanted house in the hills of Colombia, each member of the Madrigal clan has their own unique magical gift, except for Mirabel – but when the family home’s mystical powers begin to disappear, the spirited teenager finds she might be the only one who can solve the mystery.įrom the co-directors of 2016’s excellent Zootopia, and with songs courtesy of Moana tunesmith Lin-Manuel Miranda, there’s a very promising pedigree to this one – and enthusiastic reviews suggest that the House of Mouse has another hit on its hands. Let’s dive in to look at some of the movie roles that, with a little background digging, we can clearly see were meant for other people.From Dumbo to Frozen’s Elsa, many of Disney’s most beloved characters have been the odd ones out – those whose unusual characteristics or powers make them an object of fear or ridicule to those around them. Screenwriters may not get to choose who plays the parts they write, but they always have someone in mind – and sometimes you even get a situation where a part is written specifically for a specific actor to play, only for the usual round of Hollywood roulette to pass that part on to someone else. However, despite the writer mapping the way and applying directions that (at least nominally) will be used to decide every step that follows, they will typically have about as much influence over the route as whoever cleans the toilets at the rest stop. The studio has the money and the contacts to organise and provision the trip the director has the wheel and (at least nominally) decides the direction and the method and speed of travel. Now imagine you’re the screenwriter, the lowest head on the totem pole of the people responsible for initiating the movie-making journey.