The Muppet Christmas Carol was also the first theatrical release during The Muppets’ troubled partnership with Disney. Despite Disney’s lacklustre legacy since their full takeover of The Muppets brand in 2004, A Christmas Carol enjoys a unique place in the Muppets chronology, benefitting from that sweet House of Mouse money yet enjoying more creative control. This concoction of incredible production value from Disney alongside the imaginative and creative prowess of The Jim Henson Company was the perfect storm. As such, The Muppet Christmas Carol is a chart-topping showstopper, considered by many to be the best of all Christmas films.

In this Movie List from The Film Magazine, all of The Muppet Christmas Carol has been put under the microscope and evaluated. Having explored each individual moment to see why this particular Muppets movie has become such a special festive favourite over the last 30 years, we have compiled a list of the most fun, emotionally resonant, powerful and beloved bits, for these: the 10 Best The Muppet Christmas Carol Moments.

Follow @thefilmagazine on X (Twitter).

10. Christmas Scat

By 1992, the technological innovation of the Jim Henson Company had come a long way since Jim himself had cut up his mother’s dressing gown to make his first sock puppet. The Muppet Christmas Carol is distinct from the previous cinematic releases of the Muppets as the direction took a bold step from camera angles akin to ‘The Sooty Show’, finally having the CG technology available to erase away pesky visible puppeteers. No more shots exclusively from the waist up! Thus, far more dynamic and exciting shots were finally achieved to truly fool us that the Muppets can inhabit our human world.

This technological innovation reaches its peak in this single scene of Bob Cratchit and Tiny Tim returning home from church whilst singing to each other. It’s hard to believe that this cute little scene was the most challenging to film, but the efforts in creating a free standing and dancing puppet will convince children that Kermit the Frog is just as real as Santa Claus.

Recommended for you: ‘The Muppet Christmas Carol’ at 30 – Review

9. One More Sleep ’til Christmas

For those who share in the tradition of watching The Muppets Christmas Carol on Christmas Eve, it is very likely due to this single song. Nothing is guaranteed to get young children as hyped and excited for Father Christmas’ imminent arrival as much Kermit the Frog does. After our first introduction to Michael Caine’s frankly terrifying Scrooge, no wonder his book-keeping staff are overjoyed by the prospect of having a day off.

This moment doesn’t just capture the excitement of the season, but also the solemnity. As Kermit sings the final notes of “One More Sleep ’til Christmas”, staring into the distance as a shooting star streaks by, a tangible melancholy fills the screen. The anxieties and hopes of the season come to a fruition for this single moment; will peace finally reign this Christmas? The whole mood is made more palpable knowing that Kermit’s performer Steve Whitmire was full of anxiety, filling his beloved mentor’s boots in the first feature film since his passing. Kermit’s pensive moment is as if a reassurance that Henson’s legacy is in safe hands.

It’s the hap-happiest season of all. We bring nature inside as we adorn our living spaces with seasonally appropriate trees, and we light up the longer nights with bright and colourful lights. Music from generations long since passed is re-played and re-contextualised, and centuries old iconography is re-evaluated and repurposed.

There’ll be parties for hosting, marshmallows for toasting, and carolling out in the snow. If we’ve been good, we’ll receive gifts (thanks Santa!), and if we’re lucky we’ll eat so much food we can barely move. Almost certainly, we’ll watch a movie. From the Netflix Originals of the current era to the silver screen classics of wartime Hollywood, Christmastime movie watching doesn’t discriminate based on picture quality, colour or the lack thereof, acting powerhouses or barely trained actors – if it works, it works. And if it’s good, we’ll hold onto it forever.

In this Movie List from The Film Magazine, we’ve scoured the annals of Christmas movie history to bring you the very best of the best to watch this holiday season. These films are Christmas classics and beloved cult hits, some culturally significant and others often overlooked. These films are seasonal treats; two advent calendars worth of movie magic from the big-wigs in Hollywood and beyond.

Short films (those with a runtime of under one hour) will not be included here, nor will films that cross multiple seasons but feel like Christmas movies – sorry You’ve Got Mail and Bridget Jones’s Diary. Debatable Christmas movies like Gremlins have also been omitted because of their inclusion in our alternative list “10 Excellent Non-Christmas Films Set at Christmas“. Seasonal classic The Apartment has also been disqualified on the grounds that it covers Christmas and beyond, and is arguably more of a new year’s movie.

These are 50 Unmissable Christmas Movies as chosen by The Film Magazine team members. Entries by Mark Carnochan, Kieran Judge, Martha Lane, Sam Sewell-Peterson and Joseph Wade.

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1. Remember the Night (1940)

Golden Era stars Barbara Stanwyck and Fred MacMurray (who would go on to star in The Apartment) spark an unlikely romance when Stanwyck’s Lee Leander steals a bracelet from a jewellery store and MacMurray’s John “Jack” Sargent is assigned to prosecute her over the Christmas holidays.

One of the era’s many beloved studio romantic comedies, Remember the Night features all the elements that would come to define the genre while encompassing some screwball comedy and classic transatlantic accents. The tagline read “When good boy meets bad girl they remember the night”, and it’s likely you’ll remember this seasonal treat too. JW

2. The Shop Around the Corner (1940)

Few things signal classic Hollywood Christmases like Jimmy Stewart, and 6 years before arguably his most memorable performance in the iconic Frank Capra Christmas movie It’s a Wonderful Life, he starred in a seasonal favourite that was just as beloved by critics, The Shop Around the Corner.

This holiday romance from Ernst Lubitsch (who also directed Heaven Can Wait) sees Stewart’s Alfred fall in love with his pen pal who, unbeknownst to him, is the colleague he most despises at his gift store job – You’ve Got Mail has got nothing on this. With some hearty moments and all of the circumstantial comedy of the best movies of the era, The Shop Around the Corner will make you laugh and fill your heart in that special way that only the best Christmas movies can. JW

3. Holiday Inn (1942)

Early sound pictures were revolutionised by famed tap dancer Fred Astaire, and by 1942 he was a certified movie musical megastar. In Mark Sandrich’s seasonal musical Holiday Inn, he teams with would-be Christmas icon and man with a voice as sooth as silk, Bing Crosby. The result is one of the most iconic and influential Christmas movies ever made.

The film’s outdated attitude towards race are cringe-inducing and inexcusable in a 21st century context (there’s a whole sequence featuring blackface), but its other dated sensibilities shine bright amongst more modern and commercial Christmas films; its wholesome aura, classic dance scenes, and era-defining songs making for an unmissable experience. To top it all, Bing Crosby sings “White Christmas” for the first time in this film, cementing it in history as a seasonal classic. JW

4. Meet Me in St. Louis (1944)

Widely acknowledged as one of the holiday season’s best-ever films, Vincente Minnelli (An American in Paris) illuminates his would-be wife Judy Garland in arguably her most established performance, bringing Christmas cheer to all without sacrificing any of the harsh realities facing the American people in the first half of the 20th century.

Featuring the original (and arguably the best) rendition of Christmas classic “Have Yourself a Merry Little Christmas”, and being anchored by some heartbreaking story elements, Meet Me In St. Louis maintains its power and relevance 80 years on. It offers a Christmas movie that will forever mark the height of its sub-genre, as well as the two filmmaking careers (of Minnelli and Garland) that helped to define the era. JW

Recommended for you: There’s No Place Like St. Louis at Christmas

5. Christmas in Connecticut (1945)

Remember the Night star Barbara Stanwyck is once again front and centre for a Golden Era Hollywood Christmas movie, this time playing a city magazine editor whose lies about being a perfect housewife are put to the test when her boss and a returning war hero invite themselves to her house.

This is screwball comedy with all the spirit of the festive season is as romantic as it is funny, and prominently features the shadows of World War II to gift the film a unique emotionality that has ensured it is rewatched year on year. JW

The Muppet Christmas Carol (1992)
Director: Brian Henson
Screenwriter: Jerry Juhl
Starring: Michael Caine, Dave Goelz, Steve Whitmire, Jerry Nelson, Frank Oz, Steven Mackintosh, Meredith Braun, Robin Weaver, Raymond Coulthard

Even on its 30th birthday there remains a melancholic touch to the opening moments of The Muppet Christmas Carol. Its immediate dedication to Muppets creator Jim Henson and fellow performer Richard Hunt (the voice behind Scooter), each of whom had died before the film’s production in the January of 1992, has grown more bittersweet over the years in lieu of Disney’s complete takeover of the Muppets franchise (even owning the rights to the word “Muppet”). In witnessing these dedications in the current era, it is difficult to not think of the words of Jim Henson’s close friend and long-time collaborator Frank Oz, who in an interview with Hadley Freeman of The Guardian in 2021, said: “The Disney deal is probably what killed Jim. It made him sick.”

Disney only gained full ownership of The Muppets in 2004, but they had pursued the frog and pig show since the late 80s: according to Oz, Jim had expressed interest in selling the company so that he could focus more on creation as opposed to running a business. However, in getting into talks with Disney’s head at the time, Michael Eisner, a Pandora’s Box of greed swung open, with Disney’s intent being to buy ‘Sesame Street’, which Henson was vehemently against. Jim Henson died suddenly in 1990, not soon after the beginning of these talks. The cause: toxic shock syndrome from a streptococcal infection.

‘Sesame Street’ remains out of Disney’s grasp to this day (though it has sadly been messed around with by the HBO and Warner Bros. merger), but Disney has indeed massively benefitted from its Muppet purchase with their massive backlog of movies, TV specials and numerous episodes of ‘The Muppet Show’ fleshing out their Disney+ streaming service library. Of course, since its purchase, Disney have helmed their own Muppet productions with one of their latest series ‘Muppets Now’ being lauded as the Muppets renaissance; but Oz in the same interview doesn’t pull his punches with regards to this latest output. The original voice behind Fozzie Bear and Miss Piggy hasn’t worked on any Muppet productions since 2007 and believes there is a stark difference between the Henson and Disney era of the Muppets:

“The soul’s not there. The soul is what makes things grow and be funny. ” 

Indeed The Muppet Christmas Carol finds itself in the middle of this claim – it is often revered as the hallmark of Muppet film productions and hasn’t been surpassed critically or in popularity since. Made in the shadow of his father’s passing, Brian Henson was the one in the director’s seat and (in accordance with Frank Oz’s claims) struggled with protecting his vision from the criticism of the Disney overseers. Thus, The Muppet Christmas Carol very much remains in the Henson era camp, and represents the importance of creativity and soul when it comes to creating truly memorable Muppets moments.

As it celebrates the big 3-0, now is the best time to examine how and why The Muppet Christmas Carol remains the perfect Muppet movie.

Charles Dickens’ 1843 novella “A Christmas Carol” is one of the most adapted works of English literature in history. It has featured prominently throughout the entirety of film and television, from the silent short films at the very beginning of Hollywood to a BBC and FX-collaborated mini-series starring Guy Pearce in 2019 and a number of feature releases in the 2020s. It truly is a timeless tale.

Recommended for you: A Christmas Carol Films Ranked

The story of a cruel and miserly money-lender’s reformation and redemption by learning the importance of kindness and generosity during yuletide – via a series of hauntings from the ghosts of Christmas’ past, present and future – has become as integral to telling the true Christmas message as the actual Nativity story. But, as Dickens’ festive tale has become so memorable that any Christmas lover could tell it as easily as describing the back of their own hand, how does one make a truly unique re-telling?

Frankly, the whole production of The Muppet Christmas Carol is nothing short of genius; the very idea of using Muppets to tell one of the greatest fables of all time is beautifully subversive. The creative team’s self-awareness of the Muppets’ association with goofy fun made the shattering of expectations of an asinine re-telling that much more brilliant. Of course, every opportunity to make a gag is taken and, despite this laugh-a-minute approach, the authenticity of the production team’s handling of the source material means The Muppet Christmas Carol certifies itself as one of the most evocative and dark film adaptions of them all. Consequentially, children are never pandered to but instead thrilled, leading them to be enthralled by re-watches as adults.

“Boy, that’s scary stuff! Should we be worried about the kids in the audience?”

“Nah, it’s all right. This is culture!”

The Muppet magic begins instantly as the opening credits present the Muppets themselves credited in the different roles (with Rizzo the Rat as Himself), alongside the correct listings of the human players, such as Michael Caine as Scrooge. This seamless blending of humans and Muppets, in not just the principle characters but also in the numerous extras, succeeds in the creation of a little world ripe to be immersed within. As such, both the zaniness of the Muppets and the seriousness of the humans are normalised, allowing for rapid but not jarring switches in tone.

The film’s MC is Gonzo the Great in the role of Charles Dickens, who is essentially the guide of the story through his narration. This is one of the key features that contributes to this adaption’s distinctiveness (and why it is also lauded as the best version); for by taking the story-teller approach there are no issues with exposition, so no awkward plot backflips are made to address key literary points. It also leads to greater authenticity, as the film is consequentially littered with direct quotes. There is no awkward out-of-time modern dialogue, just the atmospheric narration of one of England’s greatest wordsmiths.

Gonzo and Rizzo’s narration is largely responsible for the changing tone throughout the runtime, providing comic relief amongst the dark themes of the narrative. Unlike many modern children’s movies however, intense emotional moments are not ruined by unnecessary quips or sarcasm. The narrative vehicle complements sorrowful story beats, such as Gonzo comforting an upset Rizzo after witnessing a younger Scrooge lose the love of his life, and at times even completely stands back to let a heavy atmosphere breathe, such as in the sequence with the Ghost of Christmas Yet to Come in which both narrators are completely absent. Conversely, their continuing shenanigans in trailing behind Scrooge during his ghostly journey helps to entertain younger viewers who may not be able to understand the main storyline, thus consolidating its universal appeal.

Gonzo and Rizzo being one of the main sources of the film’s comedy illustrates the intuitive casting of The Muppet Christmas Carol: human and Muppet. This is the first of the Muppets’ feature length movies in which the fuzzy puppets aren’t the narrative focus of the plot; the movie is more akin to ‘The Muppet Show’ in which the Muppets are the talented ensemble supporting the human guest star, and here they are used to their full potential. Many of the beloved Muppet characters have quite a short appearance (as many original puppets were necessary for the telling of this particular story), but they make their impact instantly, i.e Fozzie Bear’s simplistic optimism and Sam Eagle’s austere air (and his continuing American Patriotism even when trapped in a British novella).

Kermit the Frog has not only been the long-time straight man of the gang, but has also been the heart of most of the Muppet productions. The Muppet Christmas Carol is no exception. Here, our little green friend is cast in the role of Bob Cratchit, Ebenezer Scrooge’s underpaid clerk. If the magic of this film is to be summarised by one screen capture, it would be that of Bob Cratchit singing the last few notes of “One More Sleep ’til Christmas” whilst watching a shooting star fly past in the wintry cityscape. It is Kermit as Bob that steers the plot through its most poignant and saddest moments, soothing his family with wisdom relevant to those experiencing grief in real life.

Additionally, it is Kermit as Bob Cratchit who embodies the true meaning of Christmas through his joy. The joy of being able to spend time with his family, to share in their excitement of sharing a simple meal (but one prepared with love), and to feel pride in his children, particularly for their developing kindness and empathy. Even the usually flamboyant Miss Piggy manages to bring an understated tenderness and domesticity to her role as Emily Cratchit, pairing with Kermit in moments of sadness and the joy of family life (although she does manage to fling an insult at Scrooge’s fashion taste). And yet, the most ingenious Muppet casting of the film is Kermit’s nephew Robin as Bob Cratchit’s son, Tiny Tim.

Dickens had the unfortunate habit of making some of his main sympathetic characters absolutely detestable through their unnervingly sweet nature (looking at you “Oliver Twist”), so any depiction of Tiny Tim tends to be in danger of being utterly despicable. Luckily, when your cast is made up mostly of Muppets, nearly all of the characters have some guaranteed charisma, and quite frankly Robin as Tiny Tim is nothing short of adorable, the undisputed cutest performance of all adaptions.

Bob and Tim’s performance in the “Christmas Scat” is endearing, charming and joyful. Even when Tiny Tim leads the family in a song of “Bless Us All”, Robin’s performance avoids a sanctimonious air and is instead convincing as having a genuine love for his family and of those around him (especially as he seconds his father’s choice to name Mr Scrooge the founder of the feast). In what could have been something overly pious, unrelatable and cringe, the music and lyrics are inclusive through a non-denominational approach, with the prayerful intentions heartfelt and simple: the hopes for a happy Christmas and a happy family.

Credit must also be given to The Muppet Christmas Carol for portraying Tiny Tim as actually being sick: this lifts the adaption from clichéd disability inspiration into a fable of the injustice of poverty. Through his journey with The Ghost of Christmas Present, Scrooge is able to witness how his miserly ways and cruelty has a direct impact on the innocent people (and Muppets and creatures) around him. His wilful underpaying of his employees has threatened the health of innocent children and has potentially drastically shortened their life expectancy, and the guilt is etched all over Scrooge’s face. This represents the sincerity of this adaptation – Charles Dickens for all intents and purposes was the 19th Century equivalent of a modern-day social justice warrior who used his talents to channel his outrage over the poverty and mistreatment of the vulnerable throughout his society. In kind, The Muppet Christmas Carol makes every choice to give Dickens’ message as much impact as possible with no waste on dramatics and operatics.

The greatest shred of evidence of the production’s dedication to an authentic re-telling of Dickens’ story is the casting of Sir Michael Caine in the role of Ebenezer Scrooge. Michael Caine has admitted that he’d been dying to be a part of Muppet chaos since ‘The Muppet Show’ first aired in the 70s, which he was sadly never available to guest star on. As soon as he heard that a Muppets version of “A Christmas Carol” was in the works, he had his agent badger the production daily until he was offered an audition. He was duly offered the role that would become the most memorable to Sir Michael Caine himself, and would be the introduction to his incredible career for all generations that have been raised with this movie.

A common frustration with later Muppet features is the way human characters interact with The Muppets, often treating them as novelties or freaks, which can shatter the illusion. The same cannot be said of The Muppet Christmas Carol: Sir Michael Caine told director Brian Henson that he had the intention of acting as if he was doing a production for the Royal Shakespeare Company, which aligned precisely with what those behind the camera were reaching to achieve. A Scrooge acting as if it’s completely normal having a frog and rats work as his book-keeping staff is indeed the perfect recipe for top notch comedy. This is a key factor in the careful orchestration of this film’s tonal changes, allowing tension to be broken and giving young audiences a deeper insight into an often frightening story whilst providing them with raucously funny moments.

It is this sincere performance by Sir Michael Caine that carries most of the emotional weight of the movie and elevates Caine himself above other on-screen depictions of Scrooge. Many an actor’s version of Scrooge has been frozen into a curmudgeonly glower, particularly those offered by Albert Finney and Jim Carrey. In stark contrast, Michael Caine’s Scrooge is boasting the entire range, from cool derision to fiery rage and even a touch of gleeful sadism. Furthermore, his Scrooge lacks the initial twinkle in his eye that has often been employed in other adaptations, including Bill Murray’s and Kelsey Grammer’s; instead Caine employs the use of his iconic cold stare, the likes of which made him an unmissable movie star in violent films throughout the 70s and 80s, such as Get Carter. Michael Caine’s Scrooge is not only formidable but genuinely quite frightening, and therefore the progression of his character’s arc proves to be quite the wild ride as Caine’s performance through Scrooge’s tragedies and regrets is nothing short of incredibly moving. As Tiny Tim leads the Cratchit family in a round of “Bless Us All”, we melt as Scrooge melts; we see him fill up with guilt, regret, and even love and fondness – it’s etched all over his face. Scrooge’s redemption is not a case of us finding out what we knew all along, that Scrooge was a decent man deep down – Caine’s Scrooge is an actual transformation that had to win our sympathy through his moving experiences.

Thus it proves to be extremely frustrating that one of the most poignant scenes that provides significant backstory as to why Scrooge had become so cold is cut from the film. Meredith Braun as Scrooge’s fiancée Belle sings “When Love is Gone” when she ends her engagement with the young Scrooge as Caine looks on and shakily joins in with the last verse only to break down in tears. This scene was cut in the original theatrical release as Disney had thought it was too upsetting to younger audiences. It was subsequently included in the VHS version but was again excluded for the DVD, Blu Ray, television and streaming releases, much to the protest and dismay of those who grew up with the VHS version (especially at the news that the original master recording may have been lost, and especially as its exclusion leaves a jarring cut). Brian Henson revealed in 2020 that this version had been located and that the scene was hopefully going to be added back into later editions.

Ultimately, the cutting of this scene represents a lack of vision from Disney and supports their current reputation for preferring the least offensive and most lazy filmmaking, often coasting on the creativity of other innovators like Jim Henson, Stan Lee and George Lucas. When thoroughly examining the production choices of The Muppet Christmas Carol, it quickly becomes apparent that such powerful storytelling could never come from a boardroom, Disney or otherwise. The film’s message is not merely a reminder of being kind and generous during Christmas, it promotes the transforming power of kindness and preaches that the unfair hoarding of wealth is immoral, evil. Scrooge’s death in the Ghost of Christmas Yet to Come’s vision is portrayed as brining joy to the townsfolk; the song “Marley and Marley” explicitly states Scrooge’s late partner’s greed as the cause of their damned afterlife (doomed to drag around heavy chains for all eternity). It really is a song many of us would want some of the current world leaders and public figures to sit down and listen to.

As such, the creative team behind The Muppet Christmas Carol have become a part of the rallying cry that has continued for well over a century since Dickens’ death. It is a film in defence of the vulnerable in society and denounces the greed of the super-rich. This is something that the tax dodging and anti-LGBTQ+ lobbying suits of the Walt Disney Company could never meaningfully achieve.

Score: 22/24

Recommended for you: The Muppets Movies Ranked

“Marley was dead: to begin with”. As Rizzo the Rat might say, spoiler alert! 

In December 1843, Charles Dickens published “A Christmas Carol” (unnecessary full title: “A Christmas Carol. In Prose. Being a Ghost Story of Christmas”) and it was a hit. Each edition published quickly sold out and prompted Dickens himself to undertake hugely popular public readings during Yuletide in the following years right up until his death in 1870. An inevitable staple of the leadup to Christmas, Dickens’ timeless story has become one of the most frequently adapted titles for stage and screen in the English language.

This is the story of Ebenezer Scrooge, a cruel, miserly and solitary businessman who despises charity, human warmth and empathy shown to others, especially during the festive season. To Scrooge, Christmas is “a humbug” and those who keep it and make merry, such as his impoverished clerk Bob Cratchit and kindly nephew Fred, are merely deluding themselves and others of the notion that we are kindly by nature. Following his usual 24th December dismissal of cheer and goodwill, Scrooge is visited the night before Christmas by three ghosts offering visions of his his past, present and future, and in so doing inspire lasting change in his outlook on life and his treatment of others.

If we considered every film, television special, miniseries and animation, we wouldn’t be done in time even for next Christmas, so we’ve limited our selection in this edition of Ranked to the most prominent film adaptations released theatrically. Based on creativity of the adaptation, critical reception and how each version evokes the spirit (pun intended) and message of Dickens’ work, this is The Film Magazine’s A Christmas Carol Films Ranked.

Follow @thefilmagazine on Twitter.

9. Spirited (2022)

The second prominent contemporary reimagining of Charles Dickens’ supernatural fable appeared 34 years after Scrooged and is pretty shy on everything that appealed about Richard Donner’s film.

Advertising hotshot Clint Briggs (Ryan Reynolds) is the latest target for the Ghost of Christmas Present (Will Ferrell) to save from themselves, despite his soul being branded “irredeemable”.

If you’re going to quip about “all the other adaptations nobody asked for” in your film, you’ve really got to make sure yours delivers on its own terms. Spirited doesn’t.

New elements introduced in this version include the reason that the towering, hooded Christmas Yet to Come (voiced sporadically by Tracy Morgan) doesn’t talk is because he gets stage fright whenever it’s his line, and Christmas Past (Sunita Mani) has sex with the Scrooge stand-in because “it’s been a while” for her. Ha-ha.

“Now you’re going full Dickens on me?” Spirited ineffectually folds the Dickens story back in on itself and adds an unnecessary extra plot twist to it to stave off the boredom.

It’s also an original musical, for better and worse. You get one funny song (the so-bad-it’s-good bad cockney-accented Victorian musical number “Good Afternoon”) and one lovely one (a tender duet between Present and Octavia Spencer’s Kimberly, “The View from Here”), but generally the music sucks. At least the dance numbers are pretty energetic.

Spirited just doesn’t work on any compelling level, smothering the natural charisma of its two stars and Octavia Spencer, and dragging on its runtime to an annoying degree with witless humour and mostly lacklustre musicality.

8. Scrooge: A Christmas Carol (2022)

Netflix’s animated version of A Christmas Carol is actually a loose remake of the 1970 Albert Finney musical Scrooge, but this time starring an actor who can actually sing.

Jacob Marley’s wintry entrance scene and ominous warning to Scrooge is well done and easily the most imaginative sequence in the film, but all too often the visuals (particularly how the human characters are realised) seem more good-enough kids TV quality or overwhelmed by too many admittedly impressive environmental effects.

There are a couple of decent one-liners here, like Scrooge puzzling over the reality of his situation with “My dreams are never this… exciting” and commenting in surprise to the Ghost of Christmas Yet to Come “You don’t speak? Your colleagues are really rather fond of speaking”.

The ghosts all receive pretty creative re-designs, with Marley (Jonathan Pryce) looking like a creature from Elsa’s ice palace in Frozen, Christmas Past (Olivia Colman) portrayed carrying a candle made entirely of wax, and Christmas Present (Trevor Dion Nicholas) looking and acting like Santa if he appeared as a guest on ‘Drag Race’.

Everyone knows Luke Evans can belt out showtunes in his sleep, and he equips himself admirably here, especially in a nice duet with Jesse Buckley, even if you’d struggle to hum along to many of these songs by the time the credits roll (except the two best ones lifted from the Finney film, “I Like Life” and “Thank You Very Much”).

The voice talent filling out the ensemble is impressive and little ones will probably quite like it because it’s colourful, not too scary and there’s a bit where a dog farts on Scrooge’s face. Scrooge: A Christmas Carol is just about passable, but you will want to watch a more inspired version of this timeless story in short order.

Yes, another one.

The latter half of the 2010s has been dominated by massive political instability the world over, but in the UK things have been particularly rocky, with seemingly no household left untouched by the poison of Brexit.

The now infamous EU referendum seems to have brought out the worst in British people as it has fanned the flames of ignorance, xenophobia and jingoism, as well as stirring up ridiculous aspirations of long gone imperial glory.

Christmas Dinners haven’t been the same since: nothing is quite as crushing as finding out your grandparents do not care for the plight of Syrian refugees over a plate of Brussel Sprouts. It’s enough to make you consider bribing the paperboy to stop delivering the Daily Mail to their house.

Christmas 2019 is currently shrouded in mystery, and we can’t help but be overwhelmed by anxiety over the result of this election. As the UK seems to lean towards the values of isolationism and exceptionalism, it is exceedingly difficult to not see the irony in the Yuletide setting of this General Election.

Despite prominent Conservative Party figures such as Theresa May, Angela Leadsom and Jacob Rees-Mogg being self-proclaimed “Christians”, the policies of the “Nasty Party” do not fit with the spirit of The Gospels that proclaim the story of Christmas.

So, with the policy of Austerity firmly in the forefront of the public’s consciousness and the empowered so-called “religious right” insulting the true meaning of Christmas on an undebatably daily basis, it is perhaps without surprise that a publication titled The Film Magazine would have writers such as myself who would find solace and humour (though admittedly more regularly dark humour) in comparing the draconian landscape of Tory ruled Britain and its somewhat woeful political discourse to movies of the festive period we currently occupy… Christmas.

Here’s to hoping that this piece, an article of five Christmas films re-worked to fit current political discussions, can inject a little humour into our midwinter darkness.

Have an opinion? Make sure to leave a comment! 

1. A Christmas Carol

Instead of a grasping miser who cares not a button for those less fortunate around them, Dickens’ festive masterpiece would focus on those individuals who sit on the political fence. You know the type: those who parrot the irritating phrases “Politics doesn’t interest me”, “They’re all as bad as each other” and etc.. The kind of person who in this age of political crises are conspicuous by their absence come election day.

On the eve of the election, such an individual – one who is happy to not take the responsibility of the choice that their ancestors fought valiantly for – is haunted by three ghosts: the ghosts of British Politics Past, Present and Yet to Come; and each take their turn to show their subject a horrifying vision.

The Ghost of British Politics Past shows the great injustices of the 20th Century, including the 1930s with Britain boasting millions of unemployed, Europe’s poorest slums and graveyards full of tiny coffins.

The Ghost of the Present shows the plight of modern day working families: both parents are in work yet they still rely on food banks or skipping meals to feed their children, who are consequently clinically depressed by impending ecological disaster.

Finally, The Ghost of British Politics Yet to Come reveals the final vision of a tax haven run by a handful of super rich overlords in which the masses live as slaves. The land is full of Amazon workhouses where the “employees” are obligated to pull 18 hour days and spend the remaining six within the workhouse premises where no relationships or familial units are allowed to exist.

Thus, our poor soul is saved and they swear to change their ways; but despite their best efforts, Tiny Tim still dies as millions are a no-show at the polls and the Tories continue with their dismantlement of the NHS.

2. It’s A Wonderful Life

Since the results of the EU Referendum were announced on that fateful day in June 2016, not a single person has been happy since.

Remainers have been on a three-year long anxiety bender, whilst hardcore Brexiteers foam at the mouth and risk an aneurysm with each deadline extension.

Folks more transient in their views have suffered throughout the whole journey, with some Leave voters left feeling incredibly guilty and some in the Remain camp being no longer able to abide the uncertainty, just wishing to crash out of the EU as soon as possible.

Even further, those who live the sweet apathetic life can’t even escape it as it has blighted the news every single day since the result.

In short, the whole thing is a dreadful mess and the end is nowhere in sight.

Why can’t things go back to the way they were before? Back to the days when we never even talked about the European Union!

In the madness and despair orchestrated by the incompetent leaders in Downing Street, and almost schoolboy antics in Westminster, complimented by the apparent cold indifference from Brussels, it’s enough to make any “George Bailey” cry out:

“I wish the EU was never formed!”

Clarence, the angel sent to rescue them from their Brexit depression, complies and pulls back the curtain to reveal a world in which the EU was never created. And what a hideous sight it is!

Our George Bailey staggers through a very different Europe, one ravaged by famine and war. Without the work of those first pioneers and the growing economy in the community of the first six membership nations, the rest of Europe has no attainable vision of an alternative to their oppressors.

Half of Europe is shuttered away behind the Iron Curtain, any movements for democracy are crushed by the Soviet Union; whilst concurrently, fascism lives on with successors of Salazar and Franco going strong.

Finally, George Bailey drops to his knees at the graveside of his brother Harry – a victim of a bombing attack on Britain. With no reconciliation between the entwined turbulent pasts of Germany and France, there is no centralised movement towards continental peace. Europe remains divided with old grievances not forgiven. The continent is plunged into constant war with countless casualties.

With the realisation of how much death and destruction his wish causes, George Bailey calls out to God that he wants the EU back – a prayer we may all find ourselves wailing out in the following months.

Recommended for you: It’s A Wonderful Life: The Truest of Christmas Films

Deadline – 1st Nov 2019

Jodie Foster, Shailene Woodley and Tahar Rahim will support Benedict Cumberbatch in a new movie from The Last King of Scotland director Kevin Macdonald titled Prisoner 760. The film will be a drama based on a real story about a suspected terrorist kept in Guantanemo Bay.

THR – 1st Nov 2019

Sony Pictures Animation have announced that a sequel to their hugely popular Spider-Man: Into the Spider-Verse Oscar-winning animated film will be released worldwide on 8th April 2022.

Twitter – 1st Nov 2019

Get Out stars Daniel Kaluuya and Lakeith Stanfield are set to star in a yet-to-be-titled drama from Warner Bros. about the activist and Black Panther member Fred Hampton. ‘Euphoria’ star Algee Smith will also star.

THR – 28th Oct 2019

2019 Oscar nominee Rachel Weisz (The Favourite) will play iconic actress Elizabeth Taylor in a film from Slumdog Millionaire writer Simon Beaufoy and directors Bert & Bertie (Troop Zero). The film will focus on Taylor’s AIDS activism in the 1980s and will be titled A Special Relationship.

THR – 28th Oct 2019

Ant-Man and Ant-Man and the Wasp director Peyton Reed has signed on to direct a third Ant-Man film for Marvel Studios.

THR – 1st Nov 2019

Former Spider-Man lead actor Andrew Garfield has been cast as the lead in the directorial debut of Lin-Manuel Miranda for Netflix Original film tick, tick… BOOM!, an adaptation of Jonathan Larson’s autobiographical off-broadway show.

Empire – 30th Oct 2019

Paul Schrader, the screenwriter behind Taxi Driver (1976) and the screenwriter-director behind First Reformed (2017), has cast Oscar Isaac as the lead in his next film The Card Counter. The picture will see Isaac play a gambler who seeks to reform a young man out for revenge.

THR – 29th Oct 2019

Dwayne “The Rock” Johnson was a special guest at the UFC BMF championship weigh in on Friday to announce that he’ll be working alongside the Ultimate Fighting Championship to make a film on famed MMA fighter Mark Kerr. Johnson, who was himself a professional wrestler, will star as the lead and produce the film.

ESPN – 1st Nov 2019

Channing Tatum will star in and produce Soundtrack of Silence from Paramount Pictures. The project will re-team the filmmaker with the screenwriters and producers of his 2010 movie Dear John, and tells of the real-life story of a student who learns he is going deaf and memorises his favourite songs to help remember the most important memories in his life.

Variety – 1st Nov 2019

Oscar-winning actor Casey Affleck is set to star in new Christine Jeffs (Sunshine Cleaning) film Every Breath You Take, a thriller set to co-star Sam Claflin, Michelle Monaghan and Veronica Ferres.

Variety – 31st Oct 2019

‘Game of Thrones’ creators David Benioff and D.B. Weiss have quit a partnership with Lucasfilm that would see the duo helm a trilogy of live-action Star Wars movies. The pair told of how they couldn’t dedicate themselves to the partnership given their commitments to Netflix in a statement released Monday.

THR – 28th Oct 2019

Star Wars: The Last Jedi director Rian Johnson is reportedly still in discussions with Lucasfilm to helm his own trilogy of Star Wars movies, stating “we’re still engaged with Lucasfilm so we’ll wait and see”.

Deadline – 2nd Nov 2019

Patrick Schwarzenegger and Ike Barinholtz have joined the cast of upcoming Amy Poehler Neflix Original Moxie, which is set to be led by Hadley Robinson. The film is based upon the book of the same name by Jennifer Mathieu.

THR – 29th Oct 2019

A sequel to Netflix Original movie The Princess Switch has been given the go ahead, with production set to begin in the UK next month ahead of a 2020 release date. The film titled The Princess Switch: Switched Again will tell of Duchess Margaret (Vanessa Hudgens) unexpectedly inheriting the throne of Montenaro.

THR – 29th Oct 2019

Tank 432 director Nick Gillespie has assembled an ensemble of British TV and film talent for his next film Paul Dood’s Deadly Lunch Break, with Alice Lowe (Sightseers), Kris Marshall (Love Actually) and Johnny Vegas (‘Benidorm’) heading up a group that also includes Tom Meeten, Katherine Parkinson, Kevin Bishop, Mandeep Dhillon, Craig Parkinson, Steve Oram and Pippa Haywood.

THR – 28th Oct 2019

Bill Condon, the director behind Dreamgirls (2006) and Disney’s live-action Beauty and the Beast remake, is to re-team with the “house of mouse” to make a new musical adaptation of famed novel “A Christmas Carol“. The picture, titled Marley, will focus on the perspective of character Jacob Marley and will have music written for it by Pocahontas Oscar-winning writer Stephen Schwartz.

THR – 28th Oct 2019

And finally…

Delta Air Lines this week came under criticism for cutting same-gender sexual acts from their cuts of popular 2019 releases Rocketman and Booksmart. The airline has since apologised and vowed to restore the scenes to their original films.

Deadline – 1st Nov 2019