Watched on Saturday July 20, 2024.

source https://letterboxd.com/tytdreviews/film/sleepaway-camp/3/

Watched this tonight as part of a late night double feature commemorating 40 years since the royal ascent of the ‘Video Recordings act’ of 1984…Essentially, the bill that gave birth to the ‘Video Nasties’ as a phenomenon.

I really love the first edition of this, I felt the pacing was razor, the storytelling was equally sharp and the use of archive footage and talking heads recounting the events as they happened impactful.

This edition pretty much picks up where the last one left off and covers everything from 1984 to 2000…and…it’s pretty much more of the same. Super sharp film making, great attention to detail, some really decent archive pulls and unique discussion points.

If I was being really REALLY picky. I’d say that I feel like this one *just* overstays its welcome by about 10 minutes or so. Theres a bit towards the end where the narrative shifts from telling the story of the nasties from the people who lived through it, to a bit more of an anecdotal intermission dealing with bootleggers, convention traders and film makers living under the nasties.

While I feel that segment DID add value, it also slowed things down quite a bit, and I think it maybe could have been a tiny bit tighter.

It also does feel in places a bit less like a new documentary and more a ‘We scraped this off the cutting room floor’ type affair.

These are however small quibbles, that ultimately didnt stop me really enjoying this one. I recommend both this AND volume 1 if you have ANY interest in the ‘Video Nasties’ as a period of film history. Its probably the most accessable and comprehensive pair of works on the subject that i’ve seen released to date.

source https://letterboxd.com/tytdreviews/film/video-nasties-draconian-days/1/

A DAMN fine overview of the history of the ‘Video Nasties’ charting their early creation in the mid 70s through to the legislation of the ‘Video recordings act of 1984’

Insightful, shocking and INCREDIBLY well made. Volume one of this two volume set, for me? is frankly must see documentary cinema.

If you havent seen this. do it. if you already have? what are you reading this for? go watch it again.

Jake West here has assembled a tremendous story using deep cuts from the vault and interviews with the people who created it, and the people who lived it. This one is a personal favourite of mine.

*Watched to mark the 40th anniversairy of the passing of the Video Recordings act 1984

source https://letterboxd.com/tytdreviews/film/video-nasties-moral-panic-censorship-videotape/1/

It seems that lessons were clearly learnt during the production of 1975’s ‘Criminally Insane’ as 12 months later Nick Millard would return to work once again with ‘Satans Black Wedding’ a satanic vampiric romp that in some ways VASTLY out flanks his previous work…While in others really manages to come up short.

The plot follows ‘Mark’ a gent who’s been away from his family for a while who, on returning to attend his sisters funeral, finds her bedroom covered in blood and suicide note left offering little answer to what exactly transpired. Mark links in with a detective who says that the case is being examined. But it’s the housekeeper who seems to have the best measure on exactly what is going on. An evil presence is stalking the grounds of the house, and she desperately wants to cut her losses and leave while she still has her life.

Mark tries to piece together exactly what happened alongside his childhood friend Jean, which leads them on a journey of black mass rituals, satanic beings and an encounter with a mysterious rider of the devil himself. leading to a rather unsettling conclusion.

And, the first thing that jumped out at me with this feature is, when compared to Millards previous work, the technical ability seems to have massively improved across the board. Direction seems more considered, thoughtful and there seems to be more emphisis on showing rather than telling which is great. there seems to be a much more coherent vision present here.

Shots are stronger, better composed, utilise depth of field well and, for the most part it feels like scenes were actually structured rather than it feeling like they just got to the location, shot whatever they wanted, however they wanted and assumed it would just work in post.

B-roll gets a nice increase which helps the scenes breath a lot better. theres much more creatively inspired and solidly constructed lighting setups, which really help give the production much more professional flair! Colour use is much more cohesive here and results in a much more styalized production!

The edit is coherent, tightly cut with decent match cuts, much less repetative footage, and effects are utilized in a much more meaningful way offering a very solid base that the films works to. In fact, barring only a couple of instances of mixed to poor composition and occasions where scene building ‘crossed the line’ I thought this, considering what came before it, was pretty well put together by comparison.

That is also unfortunately where the vast majority of my rating for this film goes. As it seems that, in exchange for a much sturdier and solid technical production. The script has been allowed to wilt somewhat.

Make no mistake, this is an (at times) rather atmospheric little horror thriller. But the issues with the script here are plentiful. From revealing who the ‘baddies’ are pretty much immediately (thus spoiling the ‘mystery/surprise reveal’ element of this thriller) to ropey, dry and uninteresting dialogue. To really rather poor act structuring where we once again find ourselves with a solid first act, a decent 10 minute closer and about 30-40 minutes that AT BEST could be described as a ‘runaround’ with the occasional half decent atmospheric moment in it. This is a script that absolutely had potential, but has been ill thought out in its translation to the screen.

The biggest issue? is a mixture of pacing problems and an unengaging cast. The film starts strong enough out the gate with some genuinely interesting mystery fodder. But quickly devolves into a repeatative form of our core characters visiting a location, wandering around for a bit, learning a little bit of info (that we as an audience were clued into 20 minutes prior) before moving onto the next scene.

The tone is much more serious than Millards past works, which I think works wonderfully in the more atmospheric scenes where our characters are fleeing from vampiric satanists…But that seriousness becomes a millstone when we get to the ‘wandering around’ segments. with the lack of charismatic, interesting or engaging characters, this piece does become rather dry, rather quickly.

The dialogue is very heavy on explanation and plot detail, this is the kind of movie where knowing less about the mysterious force our characters are up against would have really worked in the films favour..No such luck though sadly, as we’re instead given explicit detail of their plans and how its going to be executed multiple times across the runtime.

Its also just…kind of boring. Its idle chatter dialogue…only it runs for 60 minutes when it really should have been used to help give the characters a bit more depth and complexity. Idle chatter can be essential to character growth when used SPARINGLY. And here, it very much isnt. relegating the actual INTERESTING plot points to a few mintues here and there in dribs and drabs.

The performances across the board are largely quite dry and uninteresting. a few good horror moments here and there really isnt enough to save this thing.

I feel kind of bad ripping into this one because the bones of a really solid idea ARE present here, and it DOES have some good solid moments. But it feels like a lot more effort was put into making this film look better than it sounded…and thats kind of a make or break for me.

I’d still say maybe check this one out if you can find it. Its really not bad. But just…temper your expectations on this one. I think this would play brilliantly with Bob Clarks ‘Deathdream’ as a B-feature. But is this ‘must see?’…well, its a no from me.

source https://letterboxd.com/tytdreviews/film/satans-black-wedding/

I had heard about ‘Criminally Insane’ (Though, to me…it’ll always be known by its alternate title ‘Crazy Fat Ethel’) for years amongst the B-movie and cult enthusiast circles as a HELL of an oddity of a picture. So when Vinegar Syndrome recently announced a ground up HD remaster of the thing, OF COURSE I pounced on it to see what all the Hubbub was about…Frankly, I wasnt dissapointed.

The plots pretty much as simple and bizarre as it can be. The film follows ‘Ethel’ a morbidly obese woman who’s spent a number of years in a mental facility due to her psychotic episodes. After managing to subdue her with a combination of drugs and electro shock therapy. The doctors decide to release Ethel back into the custody of her grandmother. The doctors give careful instruction on how to take care of Ethel, alongside the suggestion that she start to seriously consider losing some weight, due to the strain it puts on her heart…

This will prove to be the catalyst for which the rest of the film unfolds. As, on returning home, Ethel almost immediatley goes into a feeding frenzy happily consuming entire ice cream cakes, and whole large packs of bacon with boxes of eggs. Her grandmother decides enough is enough and locks the food in a cupboard. Informing Ethel that she wont be allowed to snack between meals anymore AND that she’ll live on ‘modest portion sizes’ till her weight starts to come down.

Ethels response to this is to accuse her grandmother of attmepting to ‘Starve her to death’ before she picks up a kitchen knife and murders the poor lady, stealing back the key to the cupboard and eating the entire pantry in one sitting.

And…what follows from that is essentially Ethel trying to cover up her initial murder by murdering even more people in a hunger induced rage. While her sister Rosalie (who has returned to the house to lay low after escaping an abusive relationship) decides to use the place to work her ‘trade’.

And…thats basically the movie. Theres not much in the way of complexity, next to no nuance. Its essentially a bit of a proto slasher, with a one note fat joke embedded in it, running on dialogue that would make John Waters rise for applause.

The scripts ultra basic, the act structuring is pretty uneven. the opening act is fine enough, but, for me? This films biggest problem is that it gets into the second act (around the time Rosalie turns up and starts turning tricks) and the film just…locks into a pace and energy and never breaks out above or below that pace. It quickly becomes padded monotonous and repetative.

It has its moments here and there, but it feels very much like its stalling for time right up until the 3rd act…Which is basically the last 10 minutes or so of the film where they remember that this is a movie where they’re ALLOWED to have fun, and they just about stick the landing. With an abrupt cut to credits that made me audibly roar with laughter.

Idling for 30 minutes is a real shame here. But mercifully, everything else is pretty much how I wanted this to play out. its got a comedic, macarbre tone. the dialogue is SO rough and pacey, it reminds me of films like ‘The Baby’ or ‘Female Trouble’ for its ability to just throw out the most BIZARRE lines, scattergun style…it really does become a case of ‘Where do I even begin?!’

The characters are a little flat and one note, but mercifully that one note is campy and mesmorisingly strange. Seriously, this one doesnt let up. constantly pushing the characters into bizarre happenings and with both lines and line deliveries that frankly have to be seen to be believed. The second act may feel slow and repetative, but the quality of the characters on hand more than helped pull me back on track.

Due to the lopsided act structuring the pacing is a bit hit and miss, when its on a role, its superb. But when the film crawls, the pacing matches its speed and my mind quickly wandered to my emails quite frankly…Not that you’re going to miss anything here. Its a plus size woman mudering people in a psychotic blind rage whenever she gets hungry…it’s hardly Chaucer.

Technically? this things a bust. and EASILY the worst aspect of this produciton. Based on the ‘Apology’ note at the opening of Vinegar syndromes release for this one, it feels less like this film was ‘lovingly remastered’ and more like it was ‘recovered from oblivion’ Which does make it hard to gauge how much of whats here is poor direction/post work and how much of it is ‘This film was literally found unspooled in trash liners, where they’d sat for 30+ years…its a wonder they survive.’

Frankly speaking, the direction feels like someones first ever attempt at making a movie…which, given Nick Millard up to this point had basically almost exclusively worked in the adult film industry…I could believe this may have ACTUALLY been his first attempt at trying to string together a coherent narrative using his own creative vision.

scene construction here is an after thought. It feels like they planned a scene out on the day with no paperwork or thought as to whether it would cut together in post, they shot what felt right rather than what would work and then shoved it together as best they could.

As a result, nothing really feels quite cohesive, shots just kind of…happen. it feels mindlessly composed, with only a handful of shots seemingly consisdered…and thats less because Millard had something to say, and more because it couldnt ‘technically’ be shot in any other way.

As a result theres a lot of slow motion shots, repeating shots over and over again, weird effects like inverting the film, and instances of cuts overlapping poorly (though…how intentional that was is probably up for debate). Its bad. It doesnt really show creative story telling through the visuals…But. I need remind you that this film is called ‘Crazy Fat Ethel.’ I think you get the picture.

On the cine? its pretty poor, due to the lack of thought that went into the direction, shots are poorly composed, dont seem to have dominant subjects for a decent chunk of the runtime, and B-roll is almost exclusively saved for ‘kill scenes’ and thats it. NO time was taken to block sequences or work with ‘the line’. While it DOES have its moments here and there shot wise. im not 100% convinced Millard INTENTIONALLY planned any meaning behind this setup. with the one or two good shots being more ‘happy accidents’ than anything else.

As an editor…the edit made me wince. NO timed cuts, NO consideration for B-roll, NON of the match cuts ACTUALLY match. Everything cuts way too early. theres an EYEWATERING sequence near the beginning where Ethels Grandma goes to visit the doctor to get an update on her that could quite easily cause whiplash and a nosebleed given how fast the cuts between shots are. It feels like someone who’s never edited before in their life just decided to ‘have a go’. And given the chronic state of the direction, cine and lack of B-roll…I feel even a veteran would have REALLY struggled to make this thing hold together well…So to see someone just ‘attempt’ to put this thing together is frankly painful to me.

Pricilla Alden is ESSENTIAL to why you need to see this film. She has a wonderful grit and earthy ‘thud’ to her line deliveries which are entirely charasmatic and interesting…Honestly, I fell in love with her performance here, its a character piece and she nails the brief PERFECTLY. shes also surprisingly spry clearing a staircase multiple times without so much as a wheeze which, given I too am a ‘big boy’ I found VERY impressive.

The rest of the cast all basically feel like they were B-characters that fell off the truck of a Grindhouse flick. Not exactly ‘unremarkable’, but when you have such a strong performance in the form of Pricilla, its always going to take a bit of the shine away.

The soundtrack is a bleepy bloopy mess. and, for some reason, much like the edit. the sound edit on this thing is atrocious. theres a full 30 second segment at the beginning of this film where the audio is entirely missing…Noone knows where it went, and Vinegar Syndrome traced it back to the print used to make the copies that were distributed…So this was very likely an issue on the original print too…the adr works terrible, the sound effect work is poor…its frankly quite hilarious.

‘Criminally Insane’ is an incompitent production. Im quite confident of that. But the utter charm it has in its characters, scenarios and simplicity made it a feature I really, honestly quite enjoyed. a PRIME film to watch with friends and beers, I think this would pair up well with a John Waters movie or maybe something like ‘The Baby’ I think this one will grow on me even more over time. Its a TERRIBLE production on a technical level. but utterly watchable on a story and performance level. Definitely recommended.

source https://letterboxd.com/tytdreviews/film/criminally-insane/

Watched on Sunday July 7, 2024.

source https://letterboxd.com/tytdreviews/film/bat-pussy/2/

Watched on Saturday July 6, 2024.

source https://letterboxd.com/tytdreviews/film/night-of-the-demon-1980/3/

A personal favourite of mine, theres very little that I really dislike about ‘National Lampoons European Vacation’. Its a film that absolutely feels like it learnt and grew from the initial success of ‘Vacation’. While this film doesnt *quite* hit the gut busting highs of the first film. I personally find its hit rate and tone much more evenly distributed.

The plot, as you can imagine finds us once again in the company of the Griswolds, who this time have managed to win an all expenses paid trip around Europe stopping in England, France, Germany and Rome courtesy of the popular gameshow ‘Pig in a Poke’. Much like the first film Hi-jynx ensue as Clarke and the family rain chaos down on pretty much everyone and anything they happen to come into contact with.

and I find that, across the board, it feels like this entry has a much more comfortable and ‘settled in’ feeling about it. The script is a pacy 94 minutes or so long, and it feels like the decision was made to ‘cartoon-ize’ the Griswolds a little more in this one, which I feel was definitely a step in the right direction as, while we do ultimately lose a more ‘human’ element in this entry that was present in ‘Vacation’ I equally thought at times that ‘Vacation’ got a little too bleak in places and that pulled me out of the comedy.

European Vacation feels much more comfortable with its pratfalls, funny face reactions, dream sequences and stunts. As a European myself, I found the humour to be much more accessable over ‘Vacation’ which was a little too US-centric in places for me to really properly appreciate it. Our characters do get a little sanded down here, with Ellen Griswold basically being sanitized down to a long suffering housewife with not much pushback on show, and Clarke having his ‘manic break’ personality aspects toned way back. He still has some outbursts here, but they’re played less like a man in crisis and more ‘Tex Avery’ for lack of a better comparison.

Humour is of course subjective, and for me? I feel they’ve gone for broader comedy here, which means more jokes that are consistently funny, but a tone that doesnt quite hit as hard as the one or two jokes that REALLY packed a punch in ‘Vacation’…In some ways I actually prefer that though…as id rather consistently laugh for 90+ minutes and have a really good time, than have a mixed comedy experience of highs and lows where a full on laughed maybe a couple of times.

One thing I am a little iffy about is the tone of this entry. While im all in here on the goofy over the top cartoon craziness, this is a distinctly ‘hormonally charged’ film (read here: a LOT of partial nudity and sexually charged dialogue) With recurring rape and pedophile jokes…Im not against ‘Horny’ humour…but it needs to be used sparingly, and here it does get well and truely worn out by the 3rd act.

I also think the second act does seem to slow down a little bit pace wise…Around the time they get to Germany thing take a bit of a dip when the family visit relatives they’ve never seen before…But It makes sense why the film chooses to do that given the scene before and the scene immediately after are a little intense on the comedy front…but it could have just as easily been cut as similar ‘FOREIGNERS DONT SPEAK ENGLISH! HA HA!’ gags are repeated multiple times across the movies runtime.

But, on the whole. I like this script. I think it has a solid hitrate, I feel the characters better fit this scenario, he tone, while maybe a smidge problematic at times is ultimately rock solid for this kind of piece and it feels like the cast really threw themselves into this role.

The direction and cine are superb here with gorgeous shots of European locations circa the mid 80s. there are maybe a couple of scenes that dont quite seem to have come together in the final edit, but its undenyable that a clear vision was had here in realising this picture. it looks great, it largely hangs together great. the cine has a good range of rich and deep shots that are colourful and (mostly) really decently styalized and lit. Sequences hang together solidly and the edit (again for the most part) is pretty rock solid. With only a couple of scenes faltering a little, that I feel is less down to an inexperienced editor, and more down to a vision in planning that just couldnt be executed as intended.

Performances here are superb. Outside of ‘Christmas Vacation’ I think this is probably Chevy Chase and Beverly D’Angelo at their finest. they have remarkable comedic timing, they’re on the top of there respective games here. they bounce of each other wonderfully. they’re frankly superb. Jason Lively is a tad overdoing it here as this films incarnation of ‘Rusty’ as is Dana Hill as ‘Audrey’ they’re VERY overanimate and are trying to play it cringe inducingly cool at times…But…I can kind of give them a free pass as the script is basically asking for a couple of slightly obnoxious teens who dont want to be on holiday, getting dragged on holiday. In that regard they absolutely nailed the brief…But I could understand how some viewers may find them a bit too much.

The supporting cast here though is where this film shines, with cameos from Mel Smith, Eric Idle, Maureen Lipman, Robbie Coltraine, Paul Bartel and Ballard Berkeley. and each and every one of them is just an absolute delight to see on screen, most of the above were still in there ‘golden’ age of acting. and even though most are only brief cameos, they really help raise the bar that this films working with.

Throw in a frankly AWESOME soundtrack with the iconic ‘Holiday Road’ getting a play or two alongside tracks from Dr. John and Network, accompanied by some fantastic orchestral thematic pieces that really help tie the film together and you have frankly a rock solid package that I feel most people will enjoy on at least some level.

Outside of ‘Christmas Vacation’, ‘European Vacation’ is probably my most rewatched of all the ‘Vacation’ films. I have a real soft spot for it. Its a comfort watch, and one I can absolute recommend to anyone unfamiliar with the ‘Vacation’ series, or anyone just looking for a good gut laugh or two. A screwball comedy at its finest. if you havent seen this one, you really gotta fix that as soon as possible.

source https://letterboxd.com/tytdreviews/film/national-lampoons-european-vacation/

Painfully dull, just 90 minutes of poor quality, samey sounding songs. Poor performances, weird camera angles. The sets designs are nice. But thats about as good as it gets.

source https://letterboxd.com/tytdreviews/film/dr-seuss-the-grinch-musical/

Watched as part of a session brushing up on ‘Grinch’ related media ahead of a podcast. i’d always been kind of dismissive of 2018’s ‘The Grinch’. After being quite let down by the Jim Carey reimagining, I honestly couldnt think of a more unholy union than ‘Illumination’ taking elements of the 60’s original and the Carey version and slamming them together. it felt obscene.

But! tonight I actually sat down and watched the film for the first time, and y’know what? Its pretty alright…it has its problems, but for the most part, whats presented here is just a relatively solid modernisation of the original ‘Grinch’ story, with maybe a few extra bells and whistles thrown into the mix and some of the deeper messages softened a bit to make it more accessable to contemporary audiences.

The plot this time is split down the middle, with half the film following the traditional ‘Grinch who stole christmas’ plot of the curmudgenly green fellow getting riled up at the ‘Whos’ down in ‘Whoville’ for their capitalist gorging on gifts and roast beast. And deciding to take matters into his own hands to rid the town of christmas once and for all (Complete with a new backstory which basically explains he was ‘forgotten’ as a child at christmas while everyone else celebrated, leading to resentment)

While the B-plot more fully centers around Cindy Lou-Who, who in this film is a fully animated rambunctious little tyke who’s on a mission to make her mother happy in time for christmas, and when traditional letter writing fails, she resorts to setting in motion a plan to trap santa on christmas eve in order to ensure her request is heard.

Realistically? I have very little to complain about with this feature. The script has a very strong opening and closing act in terms of pacing and tone. it does sag a little in the 2nd act with some scenes introducing and then dropping elements or repeating the same gag with slight variation a few times. It’s got plenty of padding, particularly in the Cindy-Lou B-plot which I felt REALLY outstayed its welcome during the 2nd act. I think it pulled things back on track by the finale, but Cindy-Lou as a character was never really meant to be expanded on that much…by and large shes supposed to be an alagory for the wonderment and uncynical joy of the humanist condition. she’s supposed to be the analogue opposite of the Grinch realistically, and the oddity that causes the Grinch to re-evaluate its life goals.

Here? Cindy is pretty well rounded as a character, but elongated sequences of her planning her santa traps, riding around town and having idle chatter with her mum just, really didnt do much for me. The same can also be said for the Grinch in some of its scenes, such as when they go reindeer hunting or when the grinch is padding about his cave looking for something to kill time…they make the idea of the grinch killing time to get to chrismtas LITERALLY a way for the movie to kill time.

These are of course some minor quibbles however, the plot itself is pretty solid, the elements they take from the original are largely the better elements, the Jim Cary portions are equally some of the better parts of that movie, and a few portions from the Cary version have even been tweaked/reframed/retrofitted to work much MUCH better than they did originally.

I also greatly appreciated that they expanded on the moment the Grinches heart grew over any other version of this story, making it feel like much more of a reward than other films which seem to almost downplay the Grinch turning good for some reason…

On that note, probably my biggest gripe about this incarnation of ‘The Grinch’ is that he really just…isnt mean,smelly and nasty enough. he gets to do some *kind of* mean stuff in the opening of the film, but for the most part he just comes across as a bit grumpy and passive aggressive with a dash of snark. Its a shame really because it means that the journey this character goes on doesnt quite feel as dramatic a change as the older versions. It didnt quite hit the same as the others ‘redemption’ arc pieces which really showed a drastic transformation.

Here? our slightly grumpy character just transforms into…a slightly awkward and less grumpy character…and, thats about it. I feel had they leaned a bit harder into the mean-ness, made him look a little less fluffy and approachable and maybe played up more physical traits. it would have had a more powerful resolution than what we got.

As for the comedy? I think it hits more than misses…but there are clearly a LOT of gags in here that have been recycled from other ‘Illumination’ features. Topical gags that are already starting to show their age a bit and some stuff here is a little ‘lowest common denominator’ in terms of tone. Like I say, I laughed out loud a few times across the runtime on this one…But its inescapable to me that ‘Illumination’ do kind of a have a ‘one size fits all’ approach to these kinds of animated movies.

That being said, the dialogue was relatively strong throughout, I felt the finale explaining that ‘Christmas is more than just stuff’ was poigniant and handled in a way that modern audiences would likely better absorb. I had no major issues here truthfully.

Outside of that, theres very little else I can say. The direction and animation art style suits the works of Dr. Seuss down to the ground, and other than the aforementioned issue of making the Grinch look a little less presentable and cute and more rough around the edges and intimidating, I really dont have a lot to say about it, they reallly nailed the bried. it looks fabulous.

the performances are all pretty solid as well, with Pharell Williams excellently delivering as the narrator, and Benedict Cumberbatch bringing an animated and lively delivery to proceedings. All the cast members really bring their A-game to this film, with barely a weak link in the chain. if there ever was a fault with the cast here, it was more likely a dodgey joke or ropey line, rather thant he delivery itself.

The scoring is a bit strange, on the whole I liked it. But I have the sneaking suspicion that its going to age like milk in terms of the original pieces being VERY bedded into mid 2010’s style music and culture. it already sounds dated as of 2024. LORD knows how it’ll hold up 20 years from now…I liked it…but for how long? Who can say?

On the whole? While I think i’ll probably stick to the original, this is a rock solid attempt that…while imperfect, is still just a really fun modernising and refreshing take on the much loved childrens classic. Definitely recommended for kids of (most) ages and the rest of the family. This take could have VERY easily gone VERY wrong…but instead it delivers a heartfelt picture that tries and *mostly* succeeds in bringing the true spirit of christmas to the season. Its hearts very much in the right place and I highly recommend it!

source https://letterboxd.com/tytdreviews/film/the-grinch/