The Original Reviews of 10 Classic Christmas Movies

Paramount Home Entertainment
Paramount Home Entertainment

Whether you’re a fan of Buddy the Elf or prefer the retro allure of Bedford Falls, there are certain movies that just make the holidays complete—but not all of them were always so popular. Here’s what the critics originally thought of 10 classic Christmas movies.

1. IT'S A WONDERFUL LIFE (1946)

It seems that the Jimmy Stewart-Donna Reed classic was beloved from the start. Variety was positively ebullient when it reviewed the film on December 18, 1946, saying:

"It’s a Wonderful Life will enjoy just that at the b.o., and eminently deserves to do so. In the wake of the billowing ballyhoo which has preceded the first entry from Liberty Films, will come resurging word-o’-mouth to accelerate the whirring of theatres’ wickets. After a somewhat clammy cycle of psychological pix and a tortured trend of panting propaganda vehicles, the April-air wholesomeness and humanism of this natural bring back vividly the reminder that, essentially, the screen best offers unselfconscious, forthright entertainment."

In fact, Variety’s critic had kind words for everyone. Frank Capra “again proves he can fashion what ordinarily would be homilizing hokum into gleaming, engaging entertainment for all brows—high, low or beetle,” Jimmy Stewart “hasn’t lost a whit of his erstwhile boyish personality (when called to turn it on) and further shows a maturity and depth he seems recently to have acquired,” and Donna Reed “will reach full-fledged stardom with this effort.” He was even impressed with the film's state-of-the-art simulated snow technology.

2. MIRACLE ON 34TH STREET (1947)

It’s no miracle that this film has endured the decades: Like It’s a Wonderful Life, moviegoers and critics alike have loved the plight of Kris Kringle since its 1947 debut. It was even nominated for a Best Picture Oscar. Though it didn’t win that category, Edmund Gwenn won for Best Actor; Valentine Davies won for Best Writing, Original Story; and George Seaton won for Best Writing, Screenplay. It seems the only people who didn’t like the movie were those in the Catholic League of Decency, who downgraded the film to a “B” rating due to the “morally objectionable” fact that the mother was divorced.

3. WHITE CHRISTMAS (1954)

Since the smash song “White Christmas” came from Holiday Inn, a 1942 Bing Crosby movie scored by Irving Berlin, everyone had big hopes for White Christmas, a similarly-themed movie that came out 12 years later. Bing Crosby and Irving Berlin were both on board as before, but “Oddly enough,” The New York Times critic Bosley Crowther wrote, “the confection is not so tasty as one might suppose. The flavoring is largely in the line-up and not in the output of the cooks. Everyone works hard at the business of singing, dancing, and cracking jokes, but the stuff that they work with is minor. It doesn't have the old inspiration and spark.” He concedes that the film looks great, in part thanks to “VistaVision,” a then-new process of projecting onto a large screen. “It is too bad that it doesn't hit the eardrums and the funnybone with equal force,” Crowther concluded.

4. A CHARLIE BROWN CHRISTMAS (1965)

Snoopy and his pals overcame a lot of troubles to make it to the small screen in 1965. Executives didn’t like the slow pace of the show. They didn’t want Linus to recite Bible verses. They hated that there was no laugh track. And they thought having the children be voiced by real children instead of adult voice actors was the worst idea in broadcast history.

Turns out they were wrong about all of it. It’s been estimated that nearly 50 percent of households with televisions tuned in to watch A Charlie Brown Christmas that November, and they’ve been coming back ever since.

5. HOW THE GRINCH STOLE CHRISTMAS (1966) / (2000)

The original TV special got mixed (if apathetic) reviews. One critic shrugged that it was “probably as good as most of the other holiday cartoons. I can’t see why anybody would dislike it.” The Jim Carrey remake wishes the reviews were that kind.

From Entertainment Weekly’s Ty Burr:

The reason Dr. Seuss' original "How the Grinch Stole Christmas!" is a slender classic of antimaterialism comes down to one line: "'Maybe Christmas,' he thought, 'doesn't come from a store.'" The season, Ted Geisel was saying, is not about stuff. Ron Howard's "Dr. Seuss' How the Grinch Stole Christmas" is all about stuff. From the bric-a-brac Styrofoam sets to the ugly "Twilight Zone" faces of the Whos to Jim Carrey's hairy man-breasts, the movie substitutes audiovisual megakill for emotion. And that's just on screen; act now, and you can buy the "Grinch" video-and-plush-doll pack, or the Collector's Edition DVD with fold-out sets and Faith Hill video, or the Grinch Shower Radio! ... But listen, go ahead and let the kids watch it eight times a week. Just turn up the volume so you can't hear Ted spinning.

6. A CHRISTMAS STORY (1983)

Siskel and Ebert both loved everything about this Jean Shepherd adaptation. “It’s the kind of movie that everyone can identify with,” Ebert said, and judging by the annual 24-hour marathon, he was right.

7. SCROOGED (1988)

You know who’s immune to the charms of Bill Murray? Critics. The Los Angeles Times said the modern-day adaptation of A Christmas Carol was “as over-inflated as its own Ghost of Christmas Yet to Come and as funny as a mugging.” All of the fine actors in the movie, critic Sheila Benson mused, were “Wasted, all wasted, some of them under circumstances that make you squirm for them.” And she’s not alone in her opinion. Ebert called it “disquieting, unsettling” and “forced and depressing,” with scenes that are “desperate” and “embarrassing.”

8. NATIONAL LAMPOON'S CHRISTMAS VACATION (1989)

Suffice it to say that The New York Times movie critic Janet Maslin isn’t among the millions of us who gather around the TV every year to giggle at Clark Griswold and his 25,000 twinkle lights:

The screenplay for "National Lampoon's Christmas Vacation," by John Hughes, makes no pretense at being anything other than a disjointed collection of running gags; if it weren't for a calendar that marks the approach of Christmas Day, the film would have no forward momentum at all. The film also looks tacky, what with flimsy props and occasionally blurry cinematography, and the direction by Jeremiah S. Chechik displays comic timing that is uncertain at best.

She did see one bright spot in the film, though: “The best thing the new film does is to bring back Cousin Eddie, the wily, scene-stealing slob whose disgusting habits are a source of considerable amusement.”

9. HOME ALONE (1990)

Ebert was definitely not a fan of Home Alone—though he did like Macaulay Culkin. He wrote:

The plot is so implausible that it makes it hard for us to really care about the plight of the kid. What works in the other direction, however, and almost carries the day, is the gifted performance by young Macaulay Culkin, as Kevin. He's such a confident and gifted little actor that I'd like to see him in a story I could care more about.

"Home Alone" isn't that story. When the burglars invade Kevin's home, they find themselves running a gamut of booby traps so elaborate they could have been concocted by Rube Goldberg—or by the berserk father in "Last House on the Left." Because all plausibility is gone, we sit back, detached, to watch stunt men and special effects guys take over a movie that promised to be the kind of story audiences could identify with.

10. ELF (2003)

Unexpectedly, Ebert really enjoyed Elf—and no one was more surprised by that turn of events than Ebert himself:

If I were to tell you "Elf" stars Will Ferrell as a human named Buddy who thinks he is an elf and Ed Asner as Santa Claus, would you feel an urgent desire to see this film? Neither did I. I thought it would be clunky, stupid and obvious, like "The Santa Clause 2" or "How the Grinch Stole Christmas." It would have grotesque special effects and lumber about in the wreckage of holiday cheer, foisting upon us a chaste romance involving the only girl in America who doesn't know that a man who thinks he is an elf is by definition a pervert.

That's what I thought it would be. It took me about 10 seconds of seeing Will Ferrell in the elf costume to realize how very wrong I was. This is one of those rare Christmas comedies that has a heart, a brain and a wicked sense of humor, and it charms the socks right off the mantelpiece.

He ends the review with, “... Let's hope Buddy persuades enough people to believe. It should be easy. He convinced me that this was a good movie, and that's a miracle on 34th street right there.”

This post originally appeared in 2014.

6 Times There Were Ties at the Oscars

getty images (March and Beery)/ istock (oscar)
getty images (March and Beery)/ istock (oscar)

Only six ties have ever occurred during the Academy Awards's more than 90-year history. The Academy of Motion Picture Arts and Sciences (AMPAS) members vote for nominees in their corresponding categories; here are the six times they have come to a split decision.

1. Best Actor // 1932

Back in 1932, at the fifth annual Oscars ceremony, the voting rules were different than they are today. If a nominee received an achievement that came within three votes of the winner, then that achievement (or person) would also receive an award. Actor Fredric March had one more vote than competitor Wallace Beery, but because the votes were so close, the Academy honored both of them. (They beat the category’s only other nominee, Alfred Lunt.) March won for his performance in horror film Dr. Jekyll and Mr. Hyde, and Beery won for The Champ (writer Frances Marion won Best Screenplay for the film), which was remade in 1979 with Ricky Schroder and Jon Voight. Both Beery and March were previous nominees: Beery was nominated for The Big House and March for The Royal Family of Broadway. March won another Oscar in 1947 for The Best Years of Our Lives, also a Best Picture winner. Fun fact: March was the first actor to win an Oscar for a horror film.

2. Best Documentary Short Subject // 1950

By 1950, the above rule had been changed, but there was still a tie at that year's Oscars. A Chance to Live, an 18-minute movie directed by James L. Shute, tied with animated film So Much for So Little. Shute’s film was a part of Time Inc.’s "The March of Time" newsreel series and chronicles Monsignor John Patrick Carroll-Abbing putting together a Boys’ Home in Italy. Directed by Bugs Bunny’s Chuck Jones, So Much for So Little was a 10-minute animated film about America’s troubling healthcare situation. The films were up against two other movies: a French film named 1848—about the French Revolution of 1848—and a Canadian film entitled The Rising Tide.

3. Best Actress // 1969

Probably the best-known Oscars tie, this was the second and last time an acting award was split. When presenter Ingrid Bergman opened up the envelope, she discovered a tie between newcomer Barbra Streisand and two-time Oscar winner Katharine Hepburn—both received 3030 votes. Streisand, who was 26 years old, tied with the 61-year-old The Lion in Winter star, who had already been nominated 10 times in her lengthy career, and won the Best Actress Oscar the previous year for Guess Who’s Coming to Dinner. Hepburn was not in attendance, so all eyes fell on Funny Girl winner Streisand, who wore a revealing, sequined bell-bottomed-pantsuit and gave an inspired speech. “Hello, gorgeous,” she famously said to the statuette, echoing her first line in Funny Girl.

A few years earlier, Babs had received a Tony nomination for her portrayal of Fanny Brice in the Broadway musical Funny Girl, but didn’t win. At this point in her career, she was a Grammy-winning singer, but Funny Girl was her movie debut (and what a debut it was). In 1974, Streisand was nominated again for The Way We Were, and won again in 1977 for her and Paul Williams’s song “Evergreen,” from A Star is Born. Four-time Oscar winner Hepburn won her final Oscar in 1982 for On Golden Pond.

4. Best Documentary Feature // 1987

The March 30, 1987 telecast made history with yet another documentary tie, this time for Documentary Feature. Oprah presented the awards to Brigitte Berman’s film about clarinetist Artie Shaw, Artie Shaw: Time is All You’ve Got, and to Down and Out in America, a film about widespread American poverty in the ‘80s. Former Oscar winner Lee Grant (who won the Best Supporting Actress Oscar in 1976 for Shampoo) directed Down and Out and won the award for producers Joseph Feury and Milton Justice. “This is for the people who are still down and out in America,” Grant said in her acceptance speech.

5. Best Short Film (Live Action) // 1995

More than 20 years ago—the same year Tom Hanks won for Forrest Gump—the Short Film (Live Action) category saw a tie between two disparate films: the 23-minute British comedy Franz Kafka’s It’s a Wonderful Life, and the LGBTQ youth film Trevor. Doctor Who star Peter Capaldi wrote and directed the former, which stars current Oscar nominee Richard E. Grant as Kafka. The BBC Scotland film envisions Kafka stumbling through writing The Metamorphosis.

Trevor is a dramatic film about a gay 13-year-old boy who attempts suicide. Written by James Lecesne and directed by Peggy Rajski, the film inspired the creation of The Trevor Project to help gay youths in crisis. “We made our film for anyone who’s ever felt like an outsider,” Rajski said in her acceptance speech, which came after Capaldi's. “It celebrates all those who make it through difficult times and mourns those who didn’t.” It was yet another short film ahead of its time.

6. Best Sound Editing // 2013

The latest Oscar tie happened in 2013, when Zero Dark Thirty and Skyfall beat Argo, Django Unchained, and Life of Pi in sound editing. Mark Wahlberg and his animated co-star Ted presented the award to Zero Dark Thirty’s Paul N.J. Ottosson and Skyfall’s Per Hallberg and Karen Baker Landers. “No B.S., we have a tie,” Wahlberg told the crowd, assuring them he wasn’t kidding. Ottosson was announced first and gave his speech before Hallberg and Baker Landers found out that they were the other victors.

It wasn’t any of the winners' first trip to the rodeo: Ottosson won two in 2010 for his previous collaboration with Kathryn Bigelow, The Hurt Locker (Best Achievement in Sound Editing and Sound Mixing); Hallberg previously won an Oscar for Best Sound Effects Editing for Braveheart in 1996, and in 2008 both Hallberg and Baker Landers won Best Achievement in Sound Editing for The Bourne Ultimatum.

Ottosson told The Hollywood Reporter he possibly predicted his win: “Just before our category came up another fellow nominee sat next to me and I said, ‘What if there’s a tie, what would they do?’ and then we got a tie,” Ottosson said. Hallberg also commented to the Reporter on his win. “Any time that you get involved in some kind of history making, that would be good.”

10 Game of Thrones Fan Theories About How the Series Will End

HBO
HBO

Our faces are longer than Jon Snow’s right now. It's been more than a year since the last season of Game of Thrones ended, but season 8—the series's final one—is coming back on April 14, 2019. To tide you over until then, we’ve collected some of the most plausible as well as the most bonkers fan theories about what could go down in the final episodes. They predict everything from a new contender for the Iron Throne to a new species classification for a major character. On the bright side, we'll all have plenty of time to debate these before the first episode airs.

1. Jon Snow will kill Daenerys.

Almost since the series began, fans have been predicting that Jon Snow is the Prince Who Was Promised—a reincarnation of the legendary hero Azor Ahai. But most predictions have overlooked a central piece of the Azor Ahai legend, which may spell doom for Daenerys: Azor Ahai, a lousy metallurgist, had a tough time forging his fabled flaming sword Lightbringer. Then he realized he needed to temper the blade by plunging it into the heart of his wife, Nissa Nissa, to imbue it with her power. (Because in the logic of this legend, killing a powerful woman turns a mediocre man into a hero.) If Jon Snow is Azor Ahai, the theory goes, then Daenerys will be his Nissa Nissa—the one true love he must kill in order to save the realm.

2. The Lannisters' repaid debt will be their downfall.

Lena Headey in 'Game of Thrones'
HBO

You know the family creed: A Lannister always pays his debts. In season 7, Cersei stayed true to her family name when she paid off a large debt to the Iron Bank. Most viewers read this as a play to buy the loyalty of the bank and its mercenary soldiers, but one Machiavellian Redditor has predicted that paying off the debt will have the opposite effect. "While the Lannisters were in debt to the Bank, the Bank had a vested interest in their success," one Redditor wrote. Now that the debt is paid, the Iron Bank will invest in the side that seems to have the best chance of winning—and right now, that doesn't look like Cersei's.

3. Euron Greyjoy is the father of Cersei's child.

Somehow this seems more disturbing than Jaime being the baby's incestuous father. PopSugar rolled out this hot take based on some circumstantial evidence. First, Euron and Cersei cooked up a plan to betray Jon and Daenerys without telling Jaime, which "raises the question about what else Cersei was doing with Euron behind Jaime's back." Then there's the fact that Cersei just let Jaime ride north to fight the White Walkers, which doesn't seem like a risk you'd want your unborn child's father to take. She has no idea when or if he'll be back. But on the other hand, she knows exactly where Euron will be. Perhaps she's keeping an eye on her baby's true father.

4. Daenerys will die beyond the wall.

Redditor Try_Another_NO reached all the way back to season 2 to substantiate this theory about Daenerys's demise. While Daenerys is in the House of the Undying, she has a series of possibly prophetic visions. She walks through the throne room in Kings Landing, which is damaged and filled with snow. Before she can touch the Iron Throne, she's called away by a sound and suddenly finds herself walking beyond the wall. There she meets Khal Drogo who says he has resisted death to wait for her. According to the theory, these were clues about the series's end: The White Walkers will threaten Kings Landing. Daenerys will turn away from the throne to fight the White Walkers. Death awaits her beyond the wall.

5. Cleganebowl will finally happen.

For years fans have eagerly awaited a fight between Sandor and Gregor Clegane, which has been affectionately dubbed "Cleganebowl." In the season 7 finale, the Hound hinted that the much-hyped fight is coming when he told his brother, "You know who's coming for you." The cryptic message also spawned a fan theory about the real origin of the Clegane brothers' beef. Our only version of the tale comes from noted liar/sleazebag Littlefinger, who claimed Ser Gregor burned his brother's face over a stolen toy. But Redditor 440k11 thinks the Hound has always had a talent for reading the future in the flames. In fact, the theory goes, the Hound saw his brother's death foretold in a fire and told him about it. Enraged, young Gregor pushed his brother's face into the fire he was reading, burning Sandor and cementing their lifelong enmity.

6. Varys is actually a merman.

The case for this one is watertight. The books make several mentions of merlings living alongside dragons, giants, and White Walkers—mythical creatures we know exist in Essos. Varys, meanwhile, constantly covers his lower body in long robes. What is he hiding? According to Redditor nightflyer, it's his freaky fish body. In the books, it would explain his cryptic response when Tyrion threatened to have him thrown off a ship: "You might be disappointed by the result." In the show, it might explain how Varys traveled from Dorne to Daenerys's ship in Mereen seemingly overnight in the middle of season 7. (It wasn't lazy writing—he swam there!) In general, it might explain why he's such a slimy weirdo.

7. The maesters are colluding with Cersei to beat Daenerys.

Finally, a fan theory fit for our political age! According to this theory, the maesters are natural enemies of magic. The strange forces that bring the dead back to life, reveal the future in fire, and allow Arya to wear many faces are beyond the maesters' powers of rational explanation. But if magic were eliminated, the maesters' monopoly on knowledge would continue unchallenged. It follows, then, that the maesters would feel comfortable with Cersei's cruel reign but threatened by Daenerys's magical dragons. Maybe that explains why a former maester built Cersei a weapon meant to kill dragons. And maybe the maesters will intervene in the conflict more directly in the next season.

8. Arya will kill Cersei ... wearing Jaime's face.

Maisie Williams in 'Game of Thrones'
HBO

Predicting that Jaime will kill Cersei is so mainstream. Seeing Jaime kill Cersei for the good of the realm would reprise his role as the Kingslayer (or Queenslayer). It would neatly fulfill the Volanqar prophecy—the prediction a witch made to a young Cersei, that she would be killed by a volanqar (which translates to "younger sibling" in High Valyrian). And it would be so easy. Reasoning that George R.R. Martin would never do something so obvious, and that Arya's assassin character arc has to led to a more consequential target than Walder Frey, Redditor greypiano predicts that Arya will be Cersei's killer. If she first kills Jaime and uses his face to catch Cersei unaware, then the volanqar prophecy will be confirmed (even if it's on a technicality).

9. Viserion will come back to life.

Here's a fan theory for moms, from a mom. Redditor Cornholio_the_white wrote that after the season 7 finale, their mom called to say she was sad about Viserion's death. But she had a prediction: "I think it's going to remember its mother." She explained that Daenerys's love would free Viserion from the Night King's spell. Cornholio_the_white scoffed. That wasn't possible. The dragon was dead. But then Mom dropped a compelling counterargument: "Not if the Red Woman brings it back. They're keeping her around for something."

10. Gendry is the legitimate child of Cersei and Robert Baratheon.

This theory throws another contender for the Iron Throne into the mix. It maintains that Gendry was not Robert Barathean's bastard son—in fact, he was the only legitimate child of the king. We know that Cersei and Robert had a child—a "black-haired beauty"—who supposedly died shortly after birth. Curiously, Cersei says she never visited her firstborn child in the crypt, even though we know she is a fiercely devoted mother. Perhaps that's because she knew her son was actually in Fleabottom as a blacksmith's apprentice. And perhaps it was Cersei all along who was looking out for Gendry, securing his apprenticeship and protecting him from Joffrey's purge of Robert’s bastards. Gendry, for his part, remembers only that his mother had yellow hair. If that yellow-haired woman was Cersei, Gendry would have the most legitimate claim to the Iron Throne of anyone in Westeros.

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