Schalcken the Painter (1979)

In the late 17th century, Godfried Schalcken toiled as a painter of candlelit portraits. In 1839, lesbian vampire creator Sheridan Le Fanu cast the then-deceased artist as the protagonist of a ghost story. And in 1979, the BBC adapted the tale into the hourlong made-for-TV movie Schalcken the Painter.

While Schalcken (Jeremy Clyde, The Musketeer) serves an apprenticeship under Gerrit Dou (Maurice Denham, The Alphabet Murders), he also longs for the lovely petals and pistil of Dou’s niece, Rose (Cheryl Kennedy, The Magnificent Seven Deadly Sins). As he pursues her hand in marriage, Schalcken is not without competition: an old guy (John Justin, Lisztomania) who looks suspiciously like a rotting corpse, albeit a wealthy one.

Written and directed by Leslie Megahey (The Advocate), the film looks appropriately stately and proper. Although elegant and elegiac, it moves at the pace of drying pigments. That renders the story as low-wattage as the candles Schalcken reproduces on canvas, with only the occasional beat of madness — too occasional, as my interest waned before evaporating.

In this spiritual realm, I believe the Beeb fares better with its Ghost Stories for Christmas. While Schalcken the Painter enjoys a reputation of admiration, it plays like Peter Greenaway were hired to helm an episode of Tales from the Darkside, which is to say the vision and execution are misaligned. —Rod Lott

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Here We Go Round the Mulberry Bush (1968)

When I hit puberty, the only advice I remember my father giving me was, “Treat a whore like a princess, and a princess like a whore.” Not understanding it, I ignored it.

In the UK, however: When the exasperated, knickers-obsessed Jamie McGregor (Barry Evans, Die Screaming Marianne) is told the same in so many words, the 18-year-old grocery delivery boy puts his all behind it, in hopes of losing his virginity. From “grotty birds” to wealthy women, every attempt at a stolen kiss, popped button or unzipped zipper is comically foiled.

Given the sheer amount of ladies’ names bunched on one slide in the opening sequence, one correctly assumes Here We Go Round the Mulberry Bush to come by its nursery rhyme-derived title easily: Jamie tries to score; Jamie fails; Jamie tries again. And that’s exactly what director Clive Donner (What’s New Pussycat) delivers.

If not for the mod scenery, Swinging London vibe and preponderance of Steve Winwood on the soundtrack, the hormonally fueled farce would fit in as readymade for the ’80s teen-movie scene. And not unlike the eventual (but sex-free) Ferris Bueller, Jamie lets no thought go unexpressed to viewers.

With Evans striking the right balance between likability and believability, Mulberry Bush has a fun-loving innocence about it that doesn’t seem icky. (We’ll leave that to the McGregor bathroom cabinet’s tin of “medicinal charcoal biscuits,” whatever those are.) That said, like the real-life chase between — ahem — monkey and weasel, it eventually grows tiresome. —Rod Lott

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The Christmas Tapes (2022)

From concept to execution, The Christmas Tapes could be titled V/H/S: XMAS. Whatever you think of that lo-fi horror anthology franchise is a reliable barometer of your reception to this well-stocked project of merriment, mischief, mayhem and murder.

On Christmas Eve, the camcorder-captured celebration of a white suburban family — the kind with “Live Laugh Love” signs in place of art — is interrupted by an unexpected visitor. It’s Geoff (a wonderful Greg Sestero, The Room), a “stranded” driver asking to use their phone. They oblige.

Mere minutes later, Geoff has the clan at gunpoint, forcing them to watch unsung Christmas movies he’s brought on VHS cassettes. Said “movies” are homemade … and suspiciously acquired. Luckily, the modern family still owns a player; otherwise, this framing device would be for naught.

Numbering four, they range from a vlogging couple’s camping trip gone bad after summoning a German scarecrow (with jump scares galore) to spouses spending their first holiday season in their newly purchased house (complete with unexplained occurrences). Sandwiched in between is a quick bit in the POV of someone who has to deliver a package before a literally explosive deadline.

The best present of all finds a well-meaning dad (Jason Kuykendall) shipping an oversized gift box to his kids. Its contents: himself! To heighten the Christmas spirit, he hires a Santa to truck him there; unfortunately, this Kris Kringle (Vernon Wells, The Road Warrior) veers from the plan.

Although the aforementioned haunted-house segment allows Dave Sheridan (Scary Movie’s Doofie) to improvise a little too long, The Christmas Tapes satisfies as a maniacal party mix of playful terror and dark humor. The framing device holds its own as a story, too. My Christmas wish is for Sestero to again reunite with his Infrared directing duo for another dip into Geoff’s bag of found-footage tricks. —Rod Lott

Violent Night (2022)

Remembering the incredible — and incredibly ridiculous — controversy surrounding the 1984 release of Silent Night, Deadly Night, I’m wondering if the nary-a-peep outcry over 2022’s Violent Night is a sign that society has progressed or become desensitized. (I don’t have the answer.)

After all, whereas Silent Night’s slasher was merely a psycho killer disguised in a Santa suit, Violent Night casts David Harbour (TV’s Stranger Things) as the jolly, real-deal Claus. Instead of an ax, he wields a mighty sledgehammer. And ice skate blades. And a stocking stuffed with billiard balls. And candy canes sucked down to sharp, lethal points. You’ll poke your eye out!

No matter the weapon, it’s all for a good reason: With equal parts Die Hard and Home Alone, Santa’s defending a mansion of über-wealthy people against bad guys seeking the contents of the safe on Dec. 24. The have-nots are led by John Leguizamo (John Wick 2), while the haves’ balls-of-steel matriarch is Beverly D’Angelo, no doubt cast to upend expectations of her most visible role as the perfect wife of National Lampoon’s Christmas Vacation.

The setup is almost incidental, and Tommy Wirkola (Hansel & Gretel: Witch Hunters) directs accordingly. To the film’s credit, it does not take the first word of its title lightly; the punishment Santa doles out is gruesome and graphic. It’d be nihilistic if not for Violent Night also being a self-parody. Having a puking-drunk, public-urinating, F-bomb-dropping, skull-crushing Santa as a hero is no surefire audience-rouser, but with Harbour bringing the slovenly, beer-bellied elements of his Emmy-nommed Chief Hopper character to the table, his sardonic take works like a charm. —Rod Lott

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Coopers’ Christmas (2008)

Instead of watching National Lampoon’s Christmas Vacation again this holiday season, make a new annual tradition with its Canadian counterpart, Coopers’ Christmas. A should-be cult classic from Trailer Park Boys director Warren P. Sonoda, it has what the Chevy Chase sequel really lacks: the Lampoon’s anarchic humor and a hard-R rating to match.

Starring real-life spouses and The Daily Show vets Jason Jones (who co-wrote) and Samantha Bee, the film captures one crazy Christmas in 1985, all via a barely used VHS camcorder Gord (Jones) gives to his wife, Nancy (Bee). She’s pissed he spent their Orlando vacation money on it, but their youngest son (Dylan Everett) is so enthused, he tapes most of the day and night, often surreptitiously.

Each family member is royally screwed-up. Big brother Marcus (Nick McKinlay) is Star Wars-obsessed, socially inept and suicidal; teen niece (Hayley Lochner) seems well on her way to a career as a stripper and/or prostitute; and elderly Nana (Jayne Eastwood, 2004’s Dawn of the Dead) is perpetually sour-faced and would rather be dead. Then there’s Uncle Nick (co-scripter Mike Beaver), this film’s Cousin Eddie, as channeled through the Danny McBride blend of obnoxious and inappropriate — mullet included!

Then the real problems start: Gord’s brother, Tim (Ginger Snaps’ Peter Keleghan), arrives. See, rumor has it that Tim may or may have not have slept with Nancy on her and Gord’s wedding night. What is Christmas if not a time for dysfunction?

Known as Coopers’ Camera in its native country, this comedy has plenty of familial instability. It’s refreshingly politically incorrect, raunchy and, to my pleasant surprise, hysterical, as such adjectives don’t necessarily go hand in hand. It’s not all scatological humor, either, although even those instances manage to be funny. For example, when Marcus throws up Pine-Sol on the living room floor after a failed suicide attempt, Gord offers some fatherly advice: Clean it up. “It smells like egg salad and blue spruce.”

Daily Show devotees wanting to see Jones and Bee in action should know both are more than willing to ugly themselves up for a laugh. Dave Foley of The Kids in the Hall has a small role, as do his, um, ornaments. To borrow Christmas Vacation’s original tagline, yule crack up. —Rod Lott

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