After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

In terms of food, the festive season may bring to mind thoughts of warmer comfort foods and snacking, alongside the obvious thought of Christmas dinner. What it might not create thoughts of is ice cream, even something as luxurious as Viennetta. However, as the season to be jolly unfolds local radio presenter Alan ‘Dickie’ Bird (Bill Paterson) finds himself caught up in a battle between rival ice cream van groups. Neither particularly capturing the title of Comfort And Joy.

Alan finds himself feeling particularly un-festive, even if his jovial radio persona says otherwise to his dedicated fans, after his girlfriend (Eleanor David) leaves him, taking most of the items in their home. Unable to concentrate properly on his job – ad reads just aren’t the same in the wake of this turn in his life – he finds himself pulled into trying to stop the rivalry between two mob-like (one much more than the other) ice cream van groups before people get covered in blood over raspberry sauce, or his car gets even more beaten up. With the big day approaching it seems as if Alan, and everything around him, will be particularly broken and at odds with the spirit of the season.

While he broadcasts messages between ‘Mr Bunny’ (Alex Norton) and ‘Mr McCool’ (Roberto Bernardi) on his early morning radio show throughout the film, perhaps the best moment of presenting comes towards the end as Alan summarises his position at the end of the narrative in rather relaxed, and relaxing fashion. Raising a glass to himself and the listener/ viewer. Because, isn’t Christmas widely seen as a time for reflection and bringing people together, putting differences aside? Comfort And Joy certainly embraces this within its Bill Forsyth written (to BAFTA-nominated extent) and directed narrative.

As an actual event Christmas may be lightly scattered throughout, the odd decoration and festive track can be heard here and there but this is a film void of snow and seasonal knitwear, but with its handful of elements and the themes of the narrative it wraps itself up as a fitting film for the countdown to the big day. Particularly within the alternative frame which the Calendar focuses on. There’s a coldness to some of the environments – not just because of the freezers – and certain interactions with characters. Getting across the humour, particularly with Paterson’s charmingly performed outsider to the whole situation, only involved because he wanted to talk to the girl in the ice cream van he saw in traffic (Clare Grogan’s Charlotte). By the end of Alan’s venture, during the aforementioned lookback broadcast in the film’s closing stages, there’s a good deal of warm comfort to be found, and hints of joy scattered throughout the proceedings leading up to it.

Comfort And Joy can be watched in the following places:
Amazon
Apple TV/ iTunes
BFI Player
ITVX
If you don’t have a copy of the film on one of the various home entertainment mediums currently and formerly available on the market JustWatch should have a list of places where you can buy, rent and stream it in whichever country you find yourself in.

After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

As the weekend, and Christmas Day, approaches the more direct Christmas films continue as today sees perhaps one of the most obscure films yet for the Calendar. Set largely on Christmas Eve, Wigilia follows a Polish woman, Agata (Iwona Glowinska), observing the tradition of the same name. The film opens with her setting up a table in a flat she cleans, laying out a large spread with spaces at the table for her family – still in Poland while she’s in Scotland – and, as is tradition, a special seat set aside in case a wandering pilgrim arrives.

However, having planned on spending wigilia and Christmas alone, Agata is surprised when someone does actually turn up, the brother of her employer. Robbie (Duglas T. Stewart) was also planning on spending the holiday alone, taking refuge from the struggles of his life in his brother’s flat. With nowhere else to go the pair spend Christmas Eve in each other’s company, opening up as they share the large meal before them.

Very much rooted in traditional Christmas film themes there’s a gentle nature in which the two central figures develop their acquaintanceship in the spirit of the season. Opening up and getting to know each other things leaks into the next day, with the effects of the conversations reaching into the next year. Over the course of just over 70 minutes a likable relationship is formed from two people eventually finding solace in suddenly not spending Christmas alone, once past the initial surprise and hesitation of this being the case.

The drama certainly develops with more personal details for the central duo in the latter stages, but still generally bringing things back to that festive meal that brought them together in the first place. As it is for Agata and Robbie, Wigilia is a film of in-the-moment points and developments facing the unexpected, but not entirely unwelcome prospect of company at this time of year. It’s an interesting, very stripped back, indie film highlighting characters and relationships, fighting off isolation and loneliness at Christmas, capturing a quiet sense of what this time of year can do, and feel like, for people in a handful of contrasting ways.

Wigilia can be watched in the following places:
Amazon
Apple TV/ iTunes
Plex
To find out if you can buy, rent or stream the film anywhere else, particularly in your country, JustWatch should have the details of where to do so.

After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

With yesterday’s Calendar ‘door’ revealing something more conventional today’s goes further down that root, with a hint of nostalgia from both film and some potential viewers, in the form of wistful Christmas memories. Adapted from Dylan Thomas’ prose of the same name A Child’s Christmas In Wales, in both written and feature form, is met with a slice of warm fondness from those who remember it, although it’s certainly a lesser-thought-of film at this time of year.

Looking out the window on Christmas Eve Thomas (Mathonwy Reeves) is disappointed to see no snow; it’s not Christmas without snow, is it? Before settling in to bed he begins to talk to his granddad (Denholm Elliott) about how much, or little, has changed about Christmas over the years. Spawned by Elliott telling his grandson to wait for the actual day of Christmas to arrive for snow, and Thomas’ claim that socks are a rubbish Christmas Eve present (you can’t play with socks), a series of childhood memories unfurls.

The warmth with which the memories unfold, helped by Elliott’s performance and narration, simply adds to the nostalgia which the film tries to capture. Mix that with the stripped back nature of the way in which things are depicted and the film as a whole comes across and there’s very gentle Christmas viewing to be found within the short run-time (initially run as a TV movie). All as grandparent and grandchild quietly bond over the similarities and differences between Christmases over the years.

Traditions are at the heart of the similarities on display. Familiar themes of togetherness being a key part of celebrations. The quirks and oddities which we may witness, and the more innocent moments such as a simple snowball fight or a group of children carolling, alongside what memories make seem as the misinterpretations and imagination of a child’s mind. Capturing a storybook feeling in the pocket-like stories which crop up over the hour making for a simple, brief, lesser-remembered blanket-film for the festive season. Plus, it captures the simple, calm wonder of a snowglobe.

A Child’s Christmas In Wales can be watched in the following places:
YouTube
To see where else the film is available to buy, rent or stream, particularly if you’re in another country, JustWatch is well worth taking a look at.

After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

Alongside many films about redemption the festive season occasionally brings with it a handful of heist tales. One festive thriller which hasn’t been revisited as much over the years is 1961’s Hammer feature Cash On Demand.

Studio favourite Peter Cushing portrays bank manager Harry Fordyce; a direct, straight-faced, no-nonsense figure unconcerned with Christmas parties and focused on business-as-usual at this busy time of year for his branch. However, when held at gunpoint by André Morell’s fake inspector, his wife and child calling for help over the phone after being held hostage, a business-as-usual exterior hides a behind-the-scenes scramble to clear the vaults of £97,000 (just under £1.8 million today) before the day is over. All while people, including staff, go in and out of the bank in front of Fordyce’s rear office all day – even the window cleaner poses a threat to Fordyce’s life and family if he were to see anything suspicious.

Throughout we’re constantly reminded of the busy time of year in which everything is taking place. It’s just two days to go before Christmas day and everything is on the line for a man who eventually confesses that with no friends his family is all he’s got – in a moment which feels, much like the rest of the film, particularly well-aged as opposed to something dated and very much of the early-60s. Yet, the traditional nature of the narrative, and indeed the central characters, provides a fitting feeling for such a tale, especially when it comes to the imminent arrival of Christmas. Whilst other staff members chatter about their plans, looking forward to a work celebration, the boss fears that his may be ruined in more ways than one. Business turns into something much more personal as things develop.

As mentioned, these are very much familiar themes within a Christmas film, and in this regard Cash On Demand is a more conventional festive feature than a handful of other Calendar entries over the years. By the end it has a rather clear feeling of seasonal spirit akin to annual watches for many people, especially, of course, A Christmas Carol which this feels very much rooted in. An enjoyable watch suitable for the year-round, but perhaps most effective, when the film is lightly and effectively set, at Christmas.

To see where Cash On Demand is available to buy, rent or stream, including in your own country, JustWatch is a good site to check out.

After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

After yesterday’s sinister fairy tale today the Calendar turns into something much darker, perhaps one of the darkest ideas a Christmas film can play with: the death of Santa. There are plenty of films which show Christmas in jeopardy with Santa being thrown off course for just a brief amount of time, but what about future years if he’s put permanently out of action? Don’t Open Till Christmas faces just this prospect as a masked killer travels through London, targeting anyone dressed as Santa.

Don’t Open Till Christmas is a true piece of 80s slasher schlock, a pulpy series of attacks and murders with the odd strand of lifeless tinsel thrown over a small table to add some extra colour to the different shades of red on display. The inspiration of Halloween is clear from the start as the opening credits are set next to a burning figure of Santa in front of a snowy background. Yet, despite the fire there’s little warmth to be found amongst the coldness of this particular slasher. Can Christmas be saved? Maybe not for everyone, but the killer must be stopped before more Santa’s get killed in the build-up to the big day, or risk striking again during future seasons.

Unlike aforementioned London-set rom-coms where we see the bright lights of the various tourist attractions, Don’t Open Till Christmas bases itself in the alleyways, peep shows and porn studios of the city – although a far call from An American Werewolf In London. The lack of warmth, and excess of schlock, makes for a strong antithesis to standard Christmas viewing – some may suggest this also goes for quality. There’s cheer to be found within the proceedings, although not entirely festive, especially for fans of this kind of 80s slasher flick. But, as something different, and definitely alternative – even to fellow slasher Black Christmas, or growing seasonal cult horror, and previous Calendar entry, Anna And The Apocalypse.

If you don’t have Don’t Open Till Christmas on DVD, Blu-Ray or VHS, it’s worth checking JustWatch to see where the film is available to buy, rent or stream, especially in whichever country you may be in.

After last year’s Alternative Christmas Film Advent Calendar’s globetrotting venture this year things settle in to spend Christmas at home. There are a good deal of classic British Christmas films, and plenty of festive features which love to pitch a rom-com in London or a castle in the country, but this year the Calendar grabs a mince pie and takes a look at some lesser known or thought of British Christmas films.

It wouldn’t be Christmas in the UK without TV channels bringing about an animated take on a classic fairy tale or short children’s book, or, of course, there are plenty of pantos available across the country. So, behind the first door of this year’s calendar lies a quasi adaptation of Hansel And Gretel in the form of Whoever Slew Auntie Roo?

Christmas parties going wrong are a frequent favourite of festive features (Die Hard is a prime example), however it’s long after the party is over that the real darkness is shown to orphaned siblings Christopher (Mark Lester) and Katy (Chloe Franks), who themselves weren’t invited to wealthy American widow ‘Auntie Roo’s’ (Shelley Winters) in the first place. But, for Katy, it’s difficult to leave once the party is over when Auntie Roo – really called Mrs Forrest – takes a shine to the young girl who reminds her of her own deceased daughter, who she tries to communicate with via dodgy seances. And thus a twisted tale of entrapment begins.

Whoever Slew Auntie Roo? could so easily play out as a family film, and in many ways it does, however the occasional shot amongst the sinister 70s tone brings about the (currently) 15 – if re-rated today it’d probably get a 12 – rating. Fear of potential Christmases past begins to arise within Christopher and Katy as they witness an increasing madness in their former host. The decorations around the large house are similar veils of seasonal cheer and goodwill, behind closed doors they take an even more fake appearance contrasting with the threat of the homeowner, and her tragic past.

Yet, the darkness at play finds itself wrapped in that familiar fairy tale style. Leaving for something where the characters don’t walk off 100% happily, although certainly relieved, through the snow. It’s a festive feature with a slight bite to it, making it all the more enjoyable within its casing. Is Auntie Roo a panto villain? Perhaps one with a more manic edge thanks to Winters’ increasingly unhinged performance, but she slots perfectly into the film making for a strong antagonist for the central siblings to try and evade. This is a straight-faced, grown-up panto leaning into its darker edges and making for a much sweeter treat for doing so.

Whoever Slew Auntie Roo? can be watched in the following places:
Amazon/ Prime
To find out where else the film is available to buy, rent or stream, particularly if you’re in another country, JustWatch is always worth taking a look at.