Just A Little Bit Random

Alternative Christmas Film Advent Calendar 2025 – Mr Soft Touch

While The Grinch is the most famous example, from Hans Gruber to Willie Soke each year we return to stories of characters trying to steal Christmas. Amongst shopping busyness or ‘Closed for Christmas’ signs the season seems to be an ideal time to pull off a heist, or upfront robbery. So, this year’s Alternative Christmas Film Advent Calendar looks at a series of less-mentioned attempts at festive thefts.

At the heart of Mr Soft Touch is a story all about giving back, albeit through the lens of taking back. Joe Miracle (Glenn Ford) returns from fighting in World War II to settle back into his life running a nightclub. However, he soon finds out that the club has been taken over and his co-owner brother presumed killed. With a ticket to sail out on Christmas Eve, Joe plans to take $100,000 (worth roughly over $1.3 million today) from the club’s safe, hide for a few days and then properly flee.

With the mob after him his temporary place of safety is a settlement house, provided by social worker Jenny Jones (Evelyn Keyes), who believes she’s one of Joe’s friends. The place is scattered with some loose decorations to celebrate Christmas, largely collected in one room, circled around the tree. It’s around this that a number of the key events in the final stages will pan out as Joe tries to blend in with a selection of Santas charitably giving out gifts to children as part of a fundraiser. Although, in this case the tone is quite different to slightly similar actions in previous Calendar entry The Lemon Drop Kid.

For Joe the charity displayed by Jenny and the settlement home extend far beyond what he would expect, and perhaps is usual, as he enters a back-and-forth of sorts with those now in charge of the club. And, as you might expect from a film set against the backdrop of the festive season, Joe’s intentions for the money start to shift towards more generous uses.

Yes, redemption arcs and the different guises they have may happen often outside of Christmas films, but there’s something about the festive season – perhaps because of classic stories such as A Christmas Carol and It’s A Wonderful Life – that brings us into them more, and simply pushes what they’re getting across. Mr Soft Touch may not do it in the most conventional of senses, with its mob basis and noir tones, and it’s not entirely pitched as a ‘redemption arc’ in style, or at least push. But, it’s certainly there with the backing of charity and giving, particularly giving back, at this time of year.

Mr Soft Touch can be watched on YouTube.
To find other places where the film is available, especially in different countries, check out its page on JustWatch.

Alternative Christmas Film Advent Calendar 2025 – Stealing Christmas

Stealing Christmas is bookended with attempts at stealing Christmas. Jack Clayton (Tony Danza) is going through a routine heist when a security guard suspects his wrongdoing. After a hasty, multi-mile escape Jack finds himself, now disguised in a Santa costume, stumbling into a small town that’s both waiting for a Santa to appear at the local Christmas tree shop and has a convenient bank that could make for a big payday whilst the town is at the local church on Christmas Eve.

Whilst waiting for partner-in-crime Harry (David Parker) to arrive, Jack takes on the role of the expected Santa amongst the Christmas trees sold by Lea Thompson’s Sarah. His attitude is far from jolly, and could see him thrown out of town before both the previous heist has cooled down and, more importantly, the new one can even start to be planned. Thus, we see him getting slightly more into the spirit of the role with a push from both Sarah and other members of the local community who start to embrace the new-in-town stranger who they largely just know as Santa – with Jack seen more in the costume than his own clothing.

This is certainly the case for Betty White’s antique store owner who perhaps welcomes Jack in the most, especially with the fascination he shows to a train that she has on display. It’s White’s character who agrees that it would be a wonderful idea to have the church bells ring on Christmas Eve, not knowing it would disguise the sound of the bank being broken into. Yet, even at this point it seems as if Jack is having second thoughts, largely from the kindness and welcoming he’s experienced from the random town he’s stumbled into. One that, like with Trapped In Paradise a couple of days ago in this year’s Calendar, fully embraces the spirit of the festive season, and almost appears to all year long. Leading it to rub off on Jack, even if initially just through attraction to Sarah.

Stealing Christmas has somewhat found a mild place with reruns on American cable TV networks every now and then. With its Hallmark-adjacent leanings, although not entirely style, it ticks a number of festive boxes and makes for light, likable viewing that may provide just what you’re looking for from an amusing less-mainstream watch this year. Even if it does focus on two attempts at stealing Christmas.

Stealing Christmas can be watched in the following places:
YouTube
To see where else you can buy, rent or stream the film, including in various places around the world, JustWatch is always helpful to have a look at.

Alternative Christmas Film Advent Calendar 2025 – The Unholy Three (1930)

Perhaps the fact that 1930’s The Unholy Three is a slightly less festive remake of an already alternative Christmas film makes it even more fitting of a place on this calendar. Yet, while less festive than the silent 1925 film of the same name the heist in question pans out over the Christmas season, with Christmas Eve itself acting as the day of the big job.

Three former carnival acts (Ivan Linow, Harry Earles and Lon Chaney in his first, and only, speaking role – the tagline for the film was ‘Lon Chaney TALKS’) leave the demeaning sideshow circuit and use a pet shop to attract wealthy customers who they subsequently steal from. Over time they welcome in pickpocket Rosie (Lila Lee) who Chaney’s ventriloquist Echo falls for, although her attentions are turned to the pet shop’s only proper employee, Hector (Elliott Nugent), who in turn has feelings for Rosie.

The not-quite love triangle starts to play out against the backdrop of growing Christmas decorations. Hector brings a tree for Mrs O’Grady (the disguise Chaney’s ventriloquist character uses in the shop) and her family (wrestler-turned-actor Linow’s strongman, Hercules, plays son-in-law while Earles’ Tweedledee takes on more-than-disgruntled grandson) which shines brightly with decorations in the corner of the black-and-white scenery, pushing the gloom of the Unholy Three’s plans and actions. They’ve pushed Christmas to the side and have little care for the season, it’s another day of the year, although one that could interfere with their plans and creates unnecessary clutter in their apartment.

But, those relationships themselves play out as something of a backdrop to the Christmas Eve heist and the different changing views towards it from the titular trio. Some slightly more in the spirit of the season than others, especially when it comes to eventual decisions and events post-robbery. Some living up to the unholy name the group gives themselves, others looking more at forgiving and redemptive actions fitting of this time of year – a favourite theme of many Christmas films.

The Unholy Three can be watched in the following places:
YouTube
You can see where else the film is available to buy, stream or rent, especially in your country, on JustWatch.

Avatar: Fire And Ash – Review

Cert – 12, Run-time – 3 hours 17 minutes, Director – James Cameron

The Sully family are separated whilst trying to get adopted human Spider (Jack Champion) to a place of safety, each hunted by a tribe of fire Na’vi helping humans cull Pandora’s Tulkun species.

Although this is only the second sequel it feels slightly odd to have another Avatar film so soon after 2022’s The Way Of Water. Made back-to-back with that film it shares a lot of the same DNA, including a third act which feels as if it could be almost identical. For those who have claimed that the first two films were derivative of many films that came before it, including notably Dances With Wolves, then Fire And Ash won’t do anything to change their minds, especially with its similarities to its own previous entries.

Spectacle in this third outing to Pandora, revisiting the water and jungle lands before venturing to burnt forestry belonging to the new fire Na’vi tribe introduced as antagonists alongside returning Quaritch (Stephen Lang) and co, is certainly still present. The design of the world and the creatures in it are still engaging, but there doesn’t seem to be that same sense of wonder or full immersion from them alone. A shame as Cameron spends much of the first hour, and many individual scenes in-between, almost always broken by the sudden re-arrival of the enemy, indulging in the visuals and workings of the planet. Moments contributing to the feeling that a good hour could comfortably be cut from the run-time.

Once things start to very gradually come together the Sully family are separated whilst journeying to get adopted human Spider (Jack Champion) to a place of safety – with Quaritch and the human army still seeking him, and Jake (Sam Worthington). On the way the family are attacked by Varang (Oona Chaplin), who doesn’t seem to be named until around two-thirds into the film, and her tribe – who bring a layer of darkness with their rituals, merciless outlooks and how their seeming isolation has differed them from the other Na’vi we’ve seen so far. While Varang may not have a lot of detail she still manages to get one or two moments where she feels like a real threat, while Quaritch who was once a traditional, albeit slightly clichéd, boo-hiss bad guy has been relegated to an outline. Downgrades are scattered throughout Fire And Ash as even Zoe Saldaña’s has gone from playing Neytiri to a character who may as well be credited as ‘sad wife’.

All meaning that emotional engagement is held back on with the many characters we see in this film. While the action can sometimes feel repetitive, and look like it’s been pulled from a video game, it manages to find a spark when feeling most abrupt and leaning into the actual threat at hand rather than a visual aspect, or jumping around between characters, most of whom I still probably couldn’t name. If the film had a stronger narrative to fill its near 3-and-a-half-hour run-time then it would perhaps flow better and the explosive action, even when underwater, would likely have more of an impact. For what there is here it’s effective, and certainly the film as a whole picks up pace the more it feels as if it’s properly brought things together after a very slow build-up. The second half feels more active with the backing that it has from the scattered events of the first.

Especially when playing out in the human-built city, looking like the Arrakeen palace in Denis Villeneuve’s Dune has been placed in Blade Runner’s LA, on Pandora. Battles unfolding here feel more fluid and as if all happening as one, due to the closeness and combined force from each character in that particular sequence. There’s a better sense of connectedness to everything at play here, and the design of the location pays off, especially as an expansive yet still somehow confined area.

Yet, James Cameron has so many individual ideas at play in terms of visuals, from years of collecting them and constructing Pandora alongside production designers and visual effects artists, that the film can often feel like it’s trying to show these off more than move the story along. Yes, there’s still a visually impressive nature, but the marks show here of an overlong film that needs more narrative emphasis.

Cameron has spoken about the individual and overarching stories at play here, the latter which is meant to continue in two more sequels which will explore more parts of Pandora. While these may bring new visually stunning locations they hopefully will offer new details for the plot that plays out in them. As it stands with Fire And Ash, there’s certainly threat, when leaning into upfront character and exploring new points; and, as expected, strong visuals, if feeling slightly retrodden. The flame is certainly not burnt out, but it’s missing a spark or two to properly give it power.

The visuals are still engaging, but not always impressive as they’re sometimes put at the fore over a thin, drawn-out narrative in Avatar: Fire And Ash. Needing to push its characters that bit more, as when it puts them at the the fore the threat and action are stronger and more fluid in this very familiar sequel.

Alternative Christmas Film Advent Calendar 2025 – Trapped In Paradise

Nicolas Cage has starred in a handful of festive and festive-adjacent films in his wide filmography yet it’s taken seven years for one to appear as part of the Alternative Christmas Film Advent Calendar. While he’s starred as Jacob Marley in a 2001 take on A Christmas Carol and The Family Man may be a more notable Christmas title 1994’s Trapped In Paradise seems to have slipped more into the background than these.

The Firpo brothers, Bill (Cage), Dave (Jon Lovitz) and Alvin (Dana Carvey) arrive in a small Pennsylvania town on Christmas Eve. They plan to get in quickly, steal the $275,000 in the vault (with Dave and Alvin claiming it’s for a fellow inmate (Vic Manni) from when they were in prison while Bill managed a restaurant having avoided a life of crime) and get out just as fast. However, a series of events in the quiet town of Paradise, where it seems everyone knows everyone, and a failed getaway leave them stuck there over Christmas, with the main roads out blocked by snow.

While desperate to leave, the trio are welcomed by the residents and treated to an array of festive treats and traditions. Trading in the coldness of their home apartment for the warmth of festivities and knitted jumpers (or a bundle of multiple layers). Paradise is a place of community and generosity, even shown in the responses of those caught in the bank during the initial robbery as they tell the masked criminals holding them at gunpoint that the manager is on his lunchbreak. It’s the people of Paradise that bring about the good tidings of the season, and in some ways push the central characters as they try to get out of the snowy confines with the stolen money, especially before they’re caught up with by either police or henchmen from the man they stole their plan from.

Much of this largely gone through by Cage’s character as the straight man to the frantic comedic turns of Lovtiz and Carvey – both not long after their respective SNL runs. It’s him who experiences the conventional Christmas film angles of Paradise and its residents. All ready for a cosy Christmas Day by the fire., and more than happy to welcome the three stranded, if slightly odd, strangers that have turned up on Christmas Eve after the escape of those bank robbers. Because, giving and helping those around us is what Christmas is all about in Paradise.

You can watch Trapped In Paradise via:
Amazon
iTunes
To find other places where you can buy, rent or steam the film, in whichever part of the world you might find yourself in, JustWatch is worth having a look at.

Alternative Christmas Film Advent Calendar 2025 – Fitzwilly

With the news of him having just turned 100 it seems fitting to start this year’s Calendar with a film led by Dick Van Dyke. Mary Poppins, which acts as festive-feeling viewing for many at this time of year, may have seen him tackling jobs such as street painter, chimney sweep and one-man band just three years later in Fitzwilly he’d take on the double duty of butler and heist mastermind. Keeping his employer, Victoria Woodworth (Edith Evans), in her life of luxury. With he and the other staff living comfortably, too.

However, as their plans come close to being foiled Fitzwilly and co find themselves needing to pull off a major heist in order to bring in the money they’ve missed out on due to the presence of Barbara Feldon’s Juliet, helping Miss Vicki to write a special dictionary. With Buddy The Elf not yet monitoring festive cheer throughout Gimbels, the department store is the target to steal $75,000 (in 1967 – today the value would be around $720,000). With a difficult-to-move-through sea of customers darting from one counter to the next in each department Fitzwilly and co go almost unseen as their organised plan plays out amongst the festive chaos.

Over time we see a rom-com style relationship that grows less and less performative/ scheme-based form between Fitzwilly and Juliet, slotting right into a familiar vein in Christmas viewing. Set against the backdrop of a house that starts to see a scattering of decorations amongst the stolen trinkets, silverware and piano – all obtained by the title character in various different guises and accents, with a slight wink to camera as he very briefly reprises his infamous Poppins accent.

Unlike most examples of festive robberies where we’re largely rooting for Christmas to not be stolen, there’s an enjoyment in Fitzwilly to seeing the heists in action, and in most cases pulled off. Perhaps because the season largely seems to be a backdrop than a full driving force, although it of course helps with the need for a bigger scheme. Alongside the lightness with which the thefts are played out in the comedic tones of the film, and relationships at play in the unit of criminals trying to maintain both their lifestyle and that of their employer, some of whom have served for generations. All in a bid to make sure that everyone continues to get what they want for a more-than-comfortable Christmas.

To see where you can buy, rent or stream Fitzwilly, JustWatch is always worth checking out.

LFF 2025: The Blue Trail – Review

Release Date – TBC, Cert – TBC, Run-time – 1 hour 26 minutes, Director – Gabriel Mascaro

In the near-future the aging population are sent to remote, controlled living spaces. Not wanting this to be her fate, Tereza (Denise Weinberg) flees through the Amazon rainforest in the hope of achieving her dream to fly in a plane.

There’s a truly degrading set of images as we see elderly figures queued up and pushed onto buses as they make their apparently inevitable journey to the remote ‘community’ where all Brazilian citizens are sent at age 77. Up until this point there have been only a scattering of near-future elements in The Blue Trail, but this sequence highlights something truly dystopian in tone and imaging. Elderly citizens are seen as a burden on society, stopping the country and younger members of society from being properly productive. Thus, they must be sent to a growing village where they won’t cause trouble to anyone but themselves.

The shots come in contrast to the open spaces of the Amazon, and other locations seen throughout protagonist Tereza’s (Denise Weinberg) journey. Fleeing the clutches of her life being taken away from her she pursues her dream of flying in a plane by first travelling through the rainforest – with the help of boat captain Cadu (Rodrigo Santoro). As the boat sets off the initial stages of the pair’s journey is a calm and gentle one. Cruising along, taking in the scenery and the freedoms of the outside world which Tereza may be slightly overwhelmed by, although trying not to show it, and drinking it all in with a hint of determination.

It’s a tone that’s struck throughout and proves to be quietly engaging. Holding interest for the 86-minute run-time which grows the bond between the two leads, and Tereza’s independence along with it. All done in a largely calm manner that makes the more dystopian elements stand out and land a tense impact when the coldness of the attitude and environment are glimpsed up close. A sudden change from the sense of wonder that’s captured in the characters as they look with new eyes at their natural surroundings.

In some ways the best way I could describe The Blue Trail is as a film that I simply enjoyed being in the company of. A calm, likable piece of work that captures two characters making the most of their freedom and independence by exploring the world around them with different backgrounds. Yet, the push is very much with Tereza. The heart is in her journey to the end. Which is perhaps why when the final stages seem uncertain as to where they’re going to go the end manages to stick the landing.

A calm and gentle journey where the heart is consistently with the main character, there’s brief cold dystopia to contrast with the freedom and independence of the rainforest journey which quietly holds attention throughout The Blue Trail.

LFF 2025: The Devil Smokes (And Saves The Burnt Matches In The Same Box) – Review

Release Date – TBC, Cert – TBC, Run-time – 1 hour 37 minutes, Director – Ernesto Martínez Bucio

When their parents don’t come back home, a group of siblings are left to fend for themselves, and their grandmother (Carmen Ramos), as being stuck in the house plays with their minds, or are their visions real?

It takes some time for the parents in The Devil Smokes to seemingly leave their children, by the time that they do co-writer (alongside Karen Plata) and director Ernesto Martínez Bucio has decided to focus on all five siblings left at home with their grandmother (Carmen Ramos), who keeps them inside, away from the threats and dangers of the outside world. With the film switching between the perspectives of five children the narrative that follows can feel more wandering rather than jumpy. Even when held in a relatively short 97-minute run-time.

The narrative itself, perhaps because of how many times the perspective switches to show us the blending visions and reality unfolding inside the house, feels slight. The pacing is slow, but with how much changing around seems to happen, even before the children are left alone, it almost feels as if there’s an attempt to make it seem like The Devil Smokes has more happening than is actually the case, despite the different experiences for the characters at the centre of it.

Yet, I would be lying if I said that my attention wasn’t held; especially during moments which sustain the questioning, and an almost sense of hope, from the children. The final shot in particular proves to be very effective, making me wish that the film had struck more of a mysterious supernatural tone. Horror certainly doesn’t seem to be the genre at play here, more dramatic with themes relating to the former genre – despite the idea of visions and minds being played with in the confines of the same structure.

Much of this is dealt with in rather surface-level form, often I found myself wanting the film to get more involved with what was happening, to flesh itself out that bit more to create greater interest. For what there is, there’s a watchable film that has some good moments and ideas but, due to just how tonally restrained it is, in addition to what it shows, proves to be very forgettable once it’s over.

Watchable but never fully engaging, The Devil Smokes has some good ideas, especially when sustained in a moment and leaning more into the horror themes at hand, but never quite rises above surface level detail.

LFF 2025: Animal Farm – Review

Release Date – TBC, Cert – TBC, Run-time – 1 hour 36 minutes, Director – Andy Serkis

A group of animals take control of their farm and start to run it for themselves, however their home of equality soon shifts into a corrupt power structure the more the pigs take greedy charge.

In a pre-recorded introduction to an LFF screening of Animal Farm director and producer Andy Serkis said that he wanted to make an adaptation of George Orwell’s classic novel that told the story in an entertaining way rather than a messagey, browbeating way. However, isn’t part of the point of Animal Farm that it is browbeating in its allegory of communism and fascism? There’s certainly not-entirely-subtle dialogue scattered throughout, especially when early on one character declares that “freedom is the ability to act, speak and think what we want!”

Adapting Animal Farm has been something of a passion project for Serkis for the best part of 15 years. Having gone through development hell, different studios (even Netflix ditched it after a while) and moving away from initial motion capture intentions; I don’t believe that this is the film that he initially set out to make, and one or two tweaks may have been made for the sake of the studio, but it’s still one that he wanted to make, and that he’s happy with. One that takes a look at the world as it is today – Napoleon (Seth Rogen), now in a state of full control of the farm after ousting owner Mr Jones (Serkis – who also plays rooster Randolph), declares “everyone is saying I’m doing a really, really super job.”

Generally the film is likable enough for what it does and passes its run-time fairly well with its more commercially leaning targeting of a younger/ more family-based audience, with a couple of bumps along the way. But, what diminishes it the most is that in the attempt to make an entertaining version of the story screenwriter Nicholas Stoller has made the pigs (also including Kieran Culkin’s Squealer) the comic relief. Perhaps in an effort to make them seem foolish, their acts of greed and corruption don’t quite come across in that way, and don’t perhaps have the threat that they should have either when a couple of fart gags are thrown in. Or just slightly strange sequences seeing the characters ascending a never-ending escalator to a supermarket – or a bank representative (Steve Buscemi) going to a group of animals about mortgage repayments.

Yet, there are occasional amusing moments here and there throughout the film. One which manages to hold its head just above water and I was glad I watched. This was one of the films I was looking forward to most at this year’s London Film Festival, largely because of how long Serkis had been working on it, and I was perhaps more glad I saw it at one of the two public screenings where it seemed to go down ok with an almost full screening room. I don’t believe that Serkis’, or the audience’s, time was wasted on this project. It may not be perfect and it may have some key creative choices that truly hold it back from landing that impact that it needs – although the note of the ending is effective and the decisions made understandable considering the angles the film has taken in trying to depict the world today in some way.

A world that sees no Old Major, where Moses has turned from a crow into a drone and the opening credits play out like an action sequence as the animals rid the farm of Mr Jones. As mentioned, this may not be the film Serkis initially set out to make, but it’s at least one that he wanted to make and appears happy with. And one that’s generally worthwhile as it manages to amuse and make some solid points, especially in its closing stages, amongst its still-rather-messagey nature that follows the familiar themes and beats that many of us will have likely studied in great detail at school. It may not be perfect, and it could possibly do with some more browbeating, but there’s a solid family-friendly take here.

Animal Farm somewhat shoots itself in the foot by making the pigs the comic relief and focusing more on entertainment than message, yet, while it could do with a more looming sensibility it manages to amuse and make for a likable enough time whilst on.

Fackham Hall – Review

Cert – 15, Run-time – 1 hour 37 minutes, Director – Jim O’Hanlon

To remain in Fackham Hall the Davenport sisters (Thomasin McKenzie, Emma Laird) must maintain tradition and marry a fitting suitor (and first cousin) (Tom Felton), however new hall boy Eric (Ben Eadcliffe) could change things.

For those who have seen the opening of any episode of 8 Out Of 10 Cats, its Does Countdown spin-off or even the annual Big Fat Quiz Of The Year, or simply anything hosted by Jimmy Carr, you’ll likely have seen his selection of quick ‘your mum’ jokes which tend to kick off each episode. They raise a light chuckle to ease into the show, but are, of course, never the highlight. With a co-writing credit on Fackham Hall (one of four total writers) this Downton Abbey spoof feels very much like 90-minutes of these gags – with Carr himself making an appearance as a vicar.

Not entirely made up of crude humour, although there is a good deal of it throughout (which isn’t alone a negative), Fackham Hall strikes best when it captures the fast-pace, almost throwaway nature of gags in classic spoof films that it clearly takes some inspiration from. While many jokes are spoiled by the fact that the punchline can be seen coming from the drawn-out build-up, the snappier lines throughout made up of wordplay and misunderstandings tend to gain healthy chuckles (when told that people’s presence are requested in the drawing room Katherine Waterston responds “but we have nothing to give him”) amongst frequent reminders of the Davenport family’s aristocratic tradition of marrying first cousins.

In this case, sisters Pippa (Emma Laird) and Rose (Thomasin McKenzie) are expected to marry a suitable gentlemen if their family is to stay living in the grand Fackham Hall estate. However, both are swayed away from Tom Felton’s Archibald by other loves. We particularly see Rose’s interest in recently-arrived hall boy Eric (Ben Radcliffe), arriving at the manor from the orphanage where he grew up, with a secret letter to give to Lord Davenport (Damian Lewis). Over time the screenwriters shift from less a Downton parody and more targeting the wider work of Julian Fellowes, a sudden murder-mystery turn in the narrative brings about feelings of Gosford Park.

It’s at this point that the film embraces silliness more rather than near crude for the sake of shock or crude, lacking humour which constructs a lot of the first half’s faltering gags. A lot of jokes in this first half in particular fall flat and the silence they’re met with can be deafening, especially when the set-up is so lengthy and obvious. As things go on there are more chuckles to be found, the gap between them seemingly decreasing over time, but even that’s a very gradual shift. And even noticeably good wordplay on signs doesn’t quite manage to gain a response simply because of the stumbles in the surroundings.

The aristocracy and clear period drama inspirations primed for spoofing certainly help the film along, but at times can also hinder it when it goes for gags that largely involve dropping a dirty joke into the upper-class surroundings. When almost ‘blink’-and-you’ll-miss-it questions and wordplay are fired that’s where the more enjoyable gags which actually gain a laugh to be found. It’s just unfortunate that they’re not more frequent and showing off the lengthy gaps between certain laughs. Luckily, there are at least a couple more laughs than references to the aristocracy marrying first cousins.

Producing laughs with intermittent snappy wordplay, Fackham Hall’s effective gags are certainly spaced out amongst the more obvious ones which are given away in the lengthy set-up which unfortunately hold things back from being simply more enjoyable.