Written by: Cooper A
“Die Hard”
John McTiernan’s “Die Hard” stands as one of the most riveting Christmas-related action flicks as well as the first and most prominent indicator of Bruce Willis’ future stardom. Willis plays John McClane, a New York City police officer who combats the group of terrorists that attacks his estranged wife’s corporate Christmas party in Los Angeles. Suspense builds not only through McClane’s skirmishes with the enemy, but also through his tense and potently scripted negotiations with terrorist leader Hans Gruber (Alan Rickman). Due to its strong cultural status, “Die Hard” is one of the best-regarded actioners to come out of the 80’s era—as well as a heavily underrated Christmas diversion.
“Elf”
Jon Favreau’s “Elf” benefits from its refined script and superb performances from Will Ferrell and James Caan. The finished product is a fresh and endearing treat in an overcrowded genre. The plot concerns a human (Ferrell) who, having been adopted by elves as newborn child, must return to his biological father (James Caan), a children’s book firm executive who has long occupied a position on Santa’s naughty list. Standouts among the cast also include a pre-“Game of Thrones” Peter Dinklage, whose brief performance is too memorable to spoil in any way, shape or form. Ultimately, “Elf” is too hilarious and delightful to forget, affirming the optimism and good cheer of the Christmas spirit.
“Miracle on 34th Street”
George Seaton’s “Miracle on 34th Street” serves as a highly regarded and widely celebrated Christmas classic, that can charm even the most hardened and disillusioned teenager. The film’s plot concerns the self-proclaimed Kris Kringle (Edmund Gwynn), a man abruptly hired off the street to replace an intoxicated “Santa” set to participate in the Macy’s Thanksgiving Day Parade. After successfully performing the additional duties of a department store Santa for a prolonged period of time, he is unjustly confined to a mental hospital because he believes himself to be the real Santa. Despite its intrinsic and regrettable association with commercialism, “Miracle on 34th Street” counteracts any cynicism the viewer may have.