Of Tail Ends and Turning Points: An Extended Review of “13 Going On 30”

For an avid movie fan, films are like friendships. There are your favorites, there are the not-so favorites, and then, there are the fond friendships. The ones you see when you can–the good people in life that you share a connection with that even time won’t take away.

For me, that film was “13 Going On 30”. After several avid watches (and rewatches) in my teenage days, I never found myself making an effort to rewatch it regularly. I only saw it again about a year or so ago, when it finally made its way to the streaming service I was using.

Watching it again after so many years made me so happy, the kind of happy that I can only find with nostalgic movies like Harry Potter and the Lizzie McGuire Movie. Back then, it was an inspirational film–a main character model to aspire for that romanticized a lot of things for idealistic little girls like me. Things like glamorous journalism jobs, unrealistic closets, and sweet childhood best friends that would end up as sweet husbands. Like so many millennial girls, Jenna Rink and Andie Anderson were some of my favorite female characters.

Years had passed since last seeing the movie. A lot of things the film romanticized had been debunked for me. But no love was lost. It was just one of those movies, you know. A comfort film, a real manifestation of movie magic playing out in my humble little life.

But now, I’m afraid that’s going to change.

Back in 2004, turning 30 felt like an eternity. 20 years was a big number that felt so far away for a 10 year old girl. But I’m here now, and I’ve got nothing but mixed feelings.

On the one hand, there are moments I want to freak out–when I worry why I’m not yet at a point of success to be proud of.

On the other hand, I decide to be rational and realize that I understand the movie so much better now that I’m at that age. Jenna may have been wildly successful, and gotten everything she wanted at thirty, but she was never truly happy. I’m probably less fortunate than she is given that I’m not yet successful nor truly happy, but it’s inspired me to get there.

I’ve had my own derailments and obstacles, and just like Jenna at the end, I’ve decided to embrace this new beginning and find a real reason to just be happy. I feel like if I start with that, everything else (success included), will follow suit.

Besides, if 13 Going on 30 played out like real life, she’d never be able to redo things.

Camp Fest 2023: When Stock Images Come To Life

I don’t know if it’s because I’ve seen too much Christmas movies at this point, but I’m six years into this and… is it just me, or are Netflix Christmas movies getting so much worse?

This year’s film haul was quite a slog to get through–and it wasn’t because I spent every few minutes pausing to cringe or laugh at something ridiculous. Perhaps I should’ve gone with my original idea instead: switching streaming services for a Camp Fest series aptly named (Amazon) Prime Time.

But alas, here I am–stubborn to uphold a tradition that I started out of boredom in the middle of the busiest month of my year. For now, the big changes to Camp Fest can wait.

Catering Christmas

While vying for the chance to cater a prestigious local yuletide event, an up and coming caterer to be meets (and falls for!) the nephew of the event’s longtime host.

This was the film that gave me hope Camp Fest would start out well. As someone who works in the catering business, it was a pleasant surprise to see this career in a Christmas movie. Imagine the aesthetic holiday buffets! The pretty shots of holiday ham glowing under the soft white light as snow falls outside! The potential was there.

I’m afraid that’s all the movie has: potential. First of all, no one in catering has enough time to hang around with one client in the midst of December. That’s a universal busiest time of the year for people in food. Second of all, you should be hustling much harder if you’re an up and coming caterer trying to succeed. What are you doing focusing on this one dinner when you should be out there getting more clients?

Lastly, I’m not expecting The Bear level presentation of a life in the culinary world, but can you at least look like you actually spend time in the kitchen?

Forgive me. I think I may have gotten a little too caught up in the food related aspects of the film to even absorb the story. It’s not like I lost out–really.

There wasn’t much of a story to begin with.

A Merry Christmas Wish

Manhattan Marketer has to tie up loose ends at her uncle’s childhood farm after he dies. While back at his place, she encounters a former childhood friend who turns out to be running the farm that she’s meant to inherit. Connections, conversations, and the revival of tradition ensue.

There isn’t much to say about this movie. It’s not good, but it’s not absolutely awful either. The story was pretty straightforward, and if there’s one thing I can say I like about this and all the movies I’ve seen so far–it’s that they seem to do a good job of casting actors that look like real people. But, yet again… that’s where the good things end. They look like attractive, real people–but the leads don’t have chemistry. The male lead doesn’t manage to pass as being related to his onscreen sister. The female lead and her supposed ‘boyfriend’ at the start of the film look more like brother and sister. No wonder they broke up.

This film’s worst offense might be its main premise. Really? That’s it?! Your big Christmas wish, your big holiday tradition is a barn centric night market? There was barely a town’s worth of people in that barn. Looks to me like Manhattan Marketer isn’t that good at her job.

A Brush with Christmas

From the moment this film’s opening credits left in a wall shot that showed a fake diploma hanging on the protagonist’s restaurant wall, I knew I wasn’t going to like this movie. It didn’t help that our frustrated artist by night/ reluctant chef by day kept doing the stupidest things which burned whatever food she was cooking.

While Catering Christmas’ lead at least had to work to get her big gig, A Brush with Christmas’ lead had her mom’s dating skills to thank for keeping her busy throughout the holiday season. If you watch the movie, you’ll see what I mean.

The only thing this has going for it is the unique premise.

Fall Into Winter

So this is what happens when you get into some legal trouble helping your kid get into a good college–you end up making a movie about being a childish small town chocolatier.

Lori Loughlin does what she can with a script that makes her go from mature single mother to teenager with a grudge in minutes, triggered by a nickname as innocent as ‘Bean’. Her male lead looks like the adult version of a famous childhood character (I can’t remember which one!) and seems like a nice enough guy that Lori’s grudge doesn’t really make sense. Another thing that doesn’t make sense? The film’s hilarious final sequence, which does a terrible job of speed running romantic comedy tropes that have been done a thousand times better in the past.

Good rom coms that use the person-from-my-past trope often have two things: a substantial past event, and a character who still embodies the traits from the so-called ‘substantial past’ that they share with the protagonist, albeit to a lesser degree.

Brooks McLeod (what is that name!?) and Kerrie, Lori’s character, share the ‘substantial past’, but the traits are gone. He’s a totally different, grown-up person, and she just seems immature holding a grudge about something he didn’t even know about. I would’ve loved a harsher misunderstanding that would make sense for such a longtime grudge.

On the plus side, the film has some endearing side characters–Brooks’ dad and Kerry’s sole employee Alexandra are my favorites. Another positive–the way the film tied the leads’ teenage beliefs to their present circumstance. The theme of big business businessman vs small town shop owner was another thing I enjoyed.

B&B Merry

This was the last film on my list, and it inspired the theme for this year’s Camp Fest, which runs through most of this year’s selections. When stock images come to life, they become movies like B&B Merry, a film so… bland I can’t even remember the names of the lead characters. Every scene feels more like a still image that you end up finding when you type ‘Christmas’ in Google Images.

It’s honestly kind of sad, given that the film has a cool premise going with a travel influencer protagonist meeting her match in a rugged photographer slash handyman who just happens to co-own the B&B she visits. When I first chose this movie, I was at least expecting some cheeky comedy involving the B&B having bad plumbing or something. What I did get was empty rooms, two so-so B&B owners, and another example of an onscreen coupling devoid of chemistry.

The film’s major conflict presents such an outdated opportunity as a big deal that it just makes things look even worse.

Look, I know the holidays are a time when we can afford to waste time–but this film doesn’t even deserve that kind of time. Just skip it.

Camp Fest 2022: Five Years, another Five Films

When does a tradition become a tradition? When you do it out of habit? When you don’t feel its impending arrival burden your heart for a second before it arrives? Or when it becomes such a seamless part of the life you live that you just can’t imagine a world without it?

I guess I’ve reached that point. This entry marks five years since I first started watching five Netflix Christmas films, and writing brief reviews of them for this blog every holiday season. In the months that precede and follow the holidays, I’m as far from writing as I could be. My day job is a living pursuit of a whole other passion. But, I did it. For some reason, even if my life is barely a life where I write regularly, here I am– another Christmas, another blog.

So, here I go again. I hope you’ll enjoy it.

Here’s to another five years, and another five blogs!

Falling for Christmas

A millennial blast from the past comes to life with the acting return of Lindsay Lohan alongside Chord Overstreet, who I only know as that hot blonde guy from Glee who I thought was cute when I was a teenager. Snobby heiress loses her memory after falling from a cliff, and ends up in the arms of a widowed resort owner and his down-on-its-luck ski resort. The plot is cookie cutter Netflix Christmas, but I feel like its a film that will resonate with millennials who grew up on Lindsay Lohan. The best part of the film was her ebullience–you could tell she was so happy to be there, so happy to be acting again, and that adds to the charm of Falling for Christmas. Unfortunately, she plays snobby heiress a bit like Cady Heron, but richer and dressed in couture (read: too nice!). Either way, it’s a respectable return, and a good start. Hoping to see more!

Christmas at the Palace

Ever wonder what it would be like if stock images came to life and ended up as a Netflix movie? Christmas at the Palace is your answer. Skating choreographer ends up working during the holidays when she agrees to produce a Christmastime show for male model/king/widower and his meh princess of a daughter. A mess of a film and a plot with potential wasted terribly thanks to bad acting–flat out bad acting. I hope someone picks up on the theme of skating and Christmas in another movie because that is a plot point that has so much potential if done right, and done beautifully. Lifeless is an understatement to describe the chemistry between the leads. P.S. Someone needs to do a ranked list of Best and Worst Netflix Christmas Movie Daughters. Why do they always have daughters? Why not sons?

Elf

A mainstream film that always seems to appear on quintessential Christmas film lists. I gave it a watch after so long and the appeal is there–unlike Netflix movies, it doesn’t slap you in the face with Christmas, but presents a plot tied to the holiday in a sensible, non convoluted manner. Its themes are also pretty constant when it comes to the holidays, and I think that’s what adds to its charm. What doesn’t add to its charm is the gratuitous spaghetti and chocolate syrup scenes. That was gross.

This Christmas

I consider this a goldmine find– a slice of life movie that centers on dynamics and not the occasion with a talented cast of African American actors that have gone on to bigger things (Idris Elba, Regina King, Loretta Devine, etc.) since 2007. The film centers on the Whitmore family, their first holiday celebration together in four years and the shenanigans that go along with the season. It’s been called cliché, but the film does those tropes good and makes the movie a timeless watch. My favorite part is how the writing unfolds the conflicts that the film presents–beginning with a seemingly wholesome family celebration, and slowly peeling away, onion style, to unearth the not-so savory themes underneath.

It apparently did pretty well at the box office when it came out in 2007, so I’m wondering why people don’t bring this film up when we talk of holiday films. Could it have something to do with Chris Brown being in it? I have no idea.

A California Christmas

I’ve hovered over the previews of this movie while browsing my Netflix homepage for a while, but I’ve been reluctant to watch given my lack of success with non snowy Netflix holiday films.

Newsflash: I’m still UNSUCCESSFUL!

I don’t know if it’s because I’ve been reading too much real world accounts of what life is like for farmers in the US taken advantage of by big agriculture companies, but this story just wasn’t it for me. On the one hand, they probably wanted to make it relatable, on the other hand, I… it just made me uncomfortable.

Plot issues aside, it’s not like the film had anything else to offer. The girl is too serious, burdened by the plot with everything from debt to an ailing mother. The guy is an unconvincing playboy, whose spoiled streak disappears after a badly done montage. How did he go from ‘oooh I’m too rich for this farm work shit’ to natural ranch hand so quickly? A little context would’ve helped add some credibility to this, but the film just doesn’t have that.

The end, given the beginning, is predictable. The real question is: how did this shitty movie get a sequel? WHO asked for more? I sure didn’t.

Camp Fest 2021: Quality… Actual Quality?!

Last year’s camp fest was a mopey start to 2021, and I think I might have jinxed this year by doing it that way. This year, I’m opting for an approach that will hopefully influence my 2022, and the rest of the years to come: doing things early, and doing things right.

So, here we go!

The Holiday (2006)

In the age before Airbnb, Cameron Diaz and Kate Winslet meet via their chunky laptops and decide to exchange homes over Christmas, each of them escaping their share of woes. What ensues are shenanigans that involve wholesome plot reveals and unlikely stories told in a movie that is by definition a Christmas film. The Holiday is by no means a masterwork of holiday film (whatever that may be), but it’s a step above a lot of what Netflix and other streaming services produce over December. Jude Law and Jack Black co-star as our ladies’ lovable male leads, each of them charming in their own way. If you’re looking for a quality watch that’s light enough for your brain over the holidays, this is a good choice.

Love Actually (2003)

Okay, this feels like cheating. It kind of is, or maybe not. But hey, this was on Netflix at some point! Even if I have seen it at least 3-4 times already. And it is, by definition, a Christmas movie. So, that’s that.

A lot of the tropes in Love Actually have not aged well. But dated morals aside, there is just something so charming and so genius about the way the characters’ stories unfold. Love Actually gives you love, actually, in multiple forms– manifested in multiple ways. A talented, all star cast of British heavyweights sure helps tell some great stories with the holiday season as a backdrop that allows for everything from big romantic moments to opportunities for characters to come together.

If you haven’t realized by now, this is a personal favorite. I enjoyed watching it again over Christmas yesterday, and I think I might start making that a tradition.

Last Christmas (2019)

“Nick Young and Daenerys? Well…” those were my first thoughts when I stumbled upon this movie on Netflix. My second thoughts when I heard Wham in the opening credits? “Oh, crap… this better not be one of those movies about exes.”

I don’t think I’ve ever been happier to be proven wrong. At first, Kate (Emilia’s character) was a bit annoying, but as the movie went on, I came to appreciate that the lead wasn’t some perfect, plucky, doe-eyed lonely young woman–instead, I could feel her jadedness, her tiredness. She felt relatable and not like some Mary Sue that only exists when the snowflakes start falling and the Netflix specials come out.

I like Henry Golding, but personally couldn’t see much difference in how he played this guy Tom Webster to how he played Nick Young in Crazy Rich Asians.

Speaking of Nick Young, and of our last movie on the list Love Actually, Michelle Yeoh and Emma Thompson play charming supporting roles as the older women in Kate’s life who are simply tired of her, and they are welcome additions to this sweet movie. Not Citizen Kane by any means, but a movie that just feels so real and relatable, and sometimes you just need that at Christmas.

A Castle For Christmas

What’s a camp fest Christmas movie list without a Netflix Christmas movie (or two)?

First on our list is A Castle for Christmas, which stars 80s doll Brooke Shields as a disgraced author who escapes to Scotland for some R&R. Chilling by the countryside isn’t the only thing on her agenda as she’s come to see Dun Dunbar, a Scottish castle where her family used to worked as groundskeepers before migrating to the States.

It’s love at first sight for Sophie (Brooke’s character), and she’s on her way to buy the castle. What’s stopping her, you may ask? The castle owner, a gruff ‘Duke’ character called Myles played by Cary Elwes (apparently also famous in the 80s? I wouldn’t know, I wasn’t born then). Tame shenanigans ensue, and so do the inevitable conclusions that you’re probably pretty familiar with if you watch enough romantic comedies.

Surprisingly, this wasn’t as bad as I expected. The story is a breath of fresh air (a rom com for people in their 50s? Why not!), the acting is decent, and things unfold in a good enough pace that it doesn’t feel too rushed. The cheeky Princess Switch cameo (missed by a number of reviews I read after watching the movie) was a fun little touch. Can’t say I’m a big fan of Cary Elwes’ Duke Myles, though…

Princess Switch 3: Anotha One

Yes, ladies and gentlemen, they made a third one. And, they had to bring back the worst people from the second movie. I could’ve survived on more of Kevin and Bad Accent Duchess. Instead, we get cheeky flirt Brit-ish Baby V and her cookie cutter posse. My only upside to this movie is an Asian male romantic lead (hello Remy Hii) and the second cheeky cameo on this list from the Christmas Prince’s cousin.

Want to save yourself the time of sitting through this movie the way I did? I suggest checking out Alex Meyers’ reaction to it on YouTube. That’ll be more worth your while.

Looking Back on ‘Get Back’: A Review

It’s amazing to think that there’s still something new to know about a group as iconic as the Beatles, and yet here we are. Get Back is Peter Jackson’s gift to Beatle fans everywhere–a manifestation of what it looks like when a musical treasure hunter unearths a special piece of rock history, and shares it to the world.

The three day event, which kicked off streaming on three consecutive days, contained three two-hour plus episodes of footage from the notorious Let It Be sessions, which occurred in January of 1969. The film ends with the Beatles’ iconic rooftop concert.

Initially set for a theatrical release, the film ended up becoming a three episode miniseries of sorts due to delays caused by the pandemic–a blessing in disguise for fans (like myself), hungry for more content.

I’ve seen the original Let It Be film, and man, was it a drawl. I remember it being a dark and foreboding picture, not at all helped by its age. Getting to the rooftop concert felt like such a cinematic relief after almost an hour or so of footage that can only be described as ‘meh’.

Get Back is no walk in the park, either. It takes a dedicated fan to sit and watch hours upon hours of what is essentially boy band boys being well… boys. A hour and a half into the second episode and you forget that this is the world’s biggest band, which can be a good or bad thing depending on how you look at it. The initial jarring feeling that comes with the disjointed audio and video does nothing to help the viewing experience.

It takes at least a second or third watch to appreciate the little things– from the virtuosity in which Paul brings to life some of his best Beatles work in ‘Get Back’ and ‘Let It Be’, to the incredible connection he shares with creative soulmate John, to the undeniable chemistry shared by four of rock’s most beloved icons.

But then, Get Back isn’t all about the Beatles. Members of their inner circle from the dashing George Martin to the kindly Mal Evans to old friend turned bandmate Billy Preston bring so much to the creative environment at Apple studios that at the end of it all, one begins to wonder how (or why) the narrative around Let It Be was so negative in the first place. This footage clearly proves otherwise (or does it?) We’ll never really know unless we see the entire 56 hour archive for ourselves.

As a longtime fan, Get Back was both a happy and sad viewing experience. Happy in the sense that it added positive vibes to a period historically known to be the Beatles at one of their bleakest points. The little moments shared between each member, and the banter shared on camera are more than enough proof that despite what was to come, this was a band of young men who loved each other deeply.

On the other hand, Get Back can be a sad watch as a John fan. Yes, we get the signature humor and the banter, but early 1969 wasn’t exactly John at his best, either mentally or creatively. I wish some context was provided with regard to that, just to give John some benefit of the doubt. But that’s just my bias talking.

However, John at his not-so best is eons better than most at their aegis. The Get Back sessions bring us “Across the Universe”, arguably John’s best Beatles lyrics, and “Don’t Let Me Down”, arguably John’s best latter era vocals in action. One song that doesn’t seem to be getting enough love post Get Back (in my opinion at least) is “I’ve Got A Feeling”, which is literally one of the last collaborative Lennon-McCartney songs, and a banger one at that.

Speaking of creative bests, Get Back made me gain a newfound appreciation for George and especially Paul at this period. I’ll be honest, for the longest time I was one of those fans who used dark vs light, whimsy vs cynical as my Lennon-McCartney differentiation method. Get Back changed that in seconds.

The guy is a literal virtuoso, and it is a godsend that footage of his mind at work exists (thanks Mike Lindsay-Hogg). I felt sorry for him having to take on the band leader role when John checked out, especially since you could clearly feel that he wasn’t exactly eager to do it at that point.

One can only empathize with poor George, whose dour mood was clearly written on his face during the early sessions at Twickenham. It was nice to see him express confidence in his songwriting and want to release his own album (which eventually became a hit), becoming the first to cement a legacy as a solo artist, especially after years of being overshadowed by Paul and John.

If there’s one thing I hope Get Back can achieve, it’s the chance for fans old and new to revisit and regain love for the Let It Be album (not the Phil Spector version, though)– I’m partial to the 2021 deluxe or the Naked release, depending on what you’re in the mood to hear.

P.S. I wish Peter Jackson included the full ‘Two of Us’ video in Get Back. That is literally my favorite song on the album! I know it’s about Linda, but there’s something about having two guys with such an intimate history with one another sing it that adds some depth or weight to the song which I love.