CHRISTMAS ADVERTS 2015 :

The results are in for the top christmas adverts of 2015

If my recent posts haven’t managed to give it away already, I am a huge fan of this time of year. Christmas is my favourite holiday – its the time when I get to come home, relax and spend time with my family. The build up to christmas day is an exciting time, and when the christmas adverts start to appear on TV I know it’s time to start getting excited. The big competition for this years crown as the king of the christmas adverts drew to a close yesterday, and a list was released with the top nine adverts based on Youtube views up until 12pm on the 21st of December.

The list features nine christmas adverts released in the UK this year, but before going into those I want to mention a personal favourite of mine that wasn’t on the list…

VODAFONE – TERRY THE TURKEY

Vodafone opted for a hilarious advert this year. A family rear a turkey for christmas dinner, only to become so attached to it that it joins them at the table on the day for a nut roast as Westlife’s Flying Without Wings transports your soul to uncharted heights. The idea is to “get closer to the ones you love this christmas” and presumably to also realise that turkeys can actually be quite cute (in a creepy kind of way). This advert has it all – cute(?) animals, drama, suspense and Westlife.

Moving onto the list, click on the links to see each brands christmas website…

9 – ASDA #BECAUSEITSCHRISTMAS

340,000 views

Verdict: There’s nothing wrong with Asda’s advert, but there also isn’t really anything that makes it stand out from the pack. It features a variety of christmassy scenarios, but the accompanying song – Sax by X Factor runner up Fleur East – ruins any attempt at a true festive feel created by the visuals. This is nothing against the song per se, but as upbeat as it may be it certainly detracts from the overall aim of the advert, and probably has a lot to do with why it ranked last despite being one of the first released, whole 54 days before christmas.

8 – LIDL: SCHOOL OF CHRISTMAS

520, 000 views

Verdict: I am a huge fan of Lidl’s advert and was surprised to see it come in eighth place (I would easily have it in the top five, at least). The advert features a ‘school of christmas’ which has a variety of classes teaching festive etiquette, from how to react to a sub-par gift to creating the perfect leftover sandwich. It’s a funny and slightly different take on christmas advertising, and it certainly fulfilled its function of being memorable – all in all a great effort from the German supermarket chain.

7 – ALDI #ALDIYOURFAVOURITETHINGS

600,000 views

Verdict: Just winning out ahead of its rival comes other German supermarket chain Aldi, who went for a festive take on the song My Favourite Things from The Sound of Music. It’s a nice idea that allows them to cram in a number of reasonably priced festive treats, but I personally found the song to be slightly grating and was prone to turning it off whenever it came on TV, probably the opposite of the desired effect.

6 – TESCO – 4 ADVERTS

660,000 views (average)

Verdict: Tesco went for a different approach this year, releasing a series of shorter seasonal adverts based around a family, played by Ruth Jones (Gavin & Stacey), Ben Miller and Will Close. All in all the segments didn’t prove to be overly popular, though I found some of them to be pretty amusing – particularly The Final Shop, the latest one to come out. Other efforts were more cringe than funny, but Ruth Jones is so likeable that it is hard to say anything too bad about these adverts, plus Tesco should be commended for daring to do something a little different.

5 – WAITROSE #MAKESYOURCHRISTMAS

660,000 views

Verdict: This one falls pretty much into the same category as the Asda one for me, though Waitrose admittedly has a much better version of the same idea. The advert features christmas scenarios and poses the question – what makes your christmas? It also features celebrity chef Heston Blumenthal, who has endorsed the supermarket chain since 2010. It apparently cost almost £1 million to make (read about it in this article for The Telegraph), and whilst it does have a very polished look about it, its hard to see where all that money could have gone. It’s a decent effort, just not a memorable one.

4 – ALDI SPOOF JOHN LEWIS

2 million views

Verdict: Talk about cheeky marketing! As if it wasn’t enough to deface a musical classic, Aldi then had the gall to take on John Lewis, the grandaddy of all christmas ads, by taking their price comparison format and applying it to a spoof of the Man on the Moon advert (more on that later). It is admittedly pretty funny, but at 2 million views to John Lewis’ 23 million, the joke might be one them.

3 – M&S #THEARTOFCHRISTMAS

2.5 million views

Verdict: This is probably the only advert that I really actively dislike on the list. Sure, the Aldi song one was irritating  but it was a nice concept that didn’t pan out upon execution. This offering from M&S however, is just plain awful. It’s a festive take on the chains recent line of #theartof ads, and it is certainly something different, but it just doesn’t sit right with me. It’s not christmassy enough – where are the cute animals and soppy stories? THAT’S what we want, not whatever this is. It just feels like overcompensation to me, and using what is potentially the most overplayed song of the century doesn’t help – Uptown Funk is not christmas soundtrack material.

2 – JOHN LEWIS: MAN ON THE MOON

23 million views

Verdict: Onto the big dogs now – John Lewis moved away from cute animals this year and went for another area that is sure to tug at the heartstrings with the elderly. Teaming up with Age UK, the department store giants urged us to “show someone they’re loved this christmas” after telling the story of the lonely man on the moon to Half the World Away as sung by Norwegian artist Aurora. The advert reportedly cost £1 million and was just one component in a £7 million campaign, with profits from a mug, gift tag and card on sale in stores going to Age UK. Coincidentally, christmas day will feature a full moon, which is a nice little touch to add to your enjoyment of this wonderful advert.

1 – SAINSBURY’S: MOG’S CHRISTMAS CALAMITY

26 million views

Verdict: As good as John Lewis’ effort was this year, there could be no other winner. Sainbsbury’s, in a stroke of complete genius, brought back Judith Kerr’s beloved Mog the cat in an adorable three minute advert narrated by none other than Emma Thompson. It is a true embodiment of everything one would want in a festive ad, and it was released to public acclaim on the 12th of November. A book – Mog’s Christmas Calamity, and a cuddly toy were also released, with proceeds going to Save the Children. A great idea and an even better cause, Sainsbury’s are the worthy winner of the 2015 battle of the christmas adverts.

What was your favourite christmas advert of 2015? Let me know in the comments section!

If you would like to find out more about Age UK or Save the Children, or if you would like to donate, click the links above to be taken to their respective websites.

5 THINGS YOU DIDN’T KNOW ABOUT IT’S A WONDERFUL LIFE:

Some facts you might not no about everyone’s favourite christmas flick.

It’s A Wonderful Life is a true christmas classic – I count myself among one of the thousands who watches the film and gets a little misty eyed every festive season. It can hardly be accused of being subtle, and there is no doubt that it can be a little sickly sweet for some, but I see the film as essential yuletide viewing. It’s been 59 years since Frank Capra’s film came out, and much of the story surrounding it is common knowledge – based on short story The Greatest Gift by Philip Van Doren Stern, it initially flopped at the box office before being revived due to the copyright expiring in the 1970s – but there are also some lesser known fun facts about It’s A Wonderful Life, five of which I have compiled here…

5 – IT INVENTED A NEW KIND OF ARTIFICIAL SNOW

Snow set under construction (Cornell Library) 

The film was nominated for five oscars back in 1946, but unfortunately didn’t win any. It was however awarded a Technical Achievement Award for its innovation in creating a new method for artificial snow. Before It’s A Wonderful Life, films featuring snow usually used cornflakes that had been painted white. This meant that any scenes featuring both snow and dialogue had to be redubbed due to the racket from walking over cornflakes. This situation wasn’t ideal for a film set in a town in the depths of a snowy winter, so RKO’s Head of Special Effects Russell Sherman worked together with Capra to come up with a quieter form of fake snow. This was achieved by mixing together famine – the material used in fire extinguishers – sugar, water and soap flakes, creating a sprayable and totally silent type of artificial snow. Chances are the makers of cornflakes weren’t too happy at this innovation – there must have been quite a drop in sales in the Hollywood area post 1946.

4 – IT’S AN EARLY EXAMPLE OF PRODUCT PLACEMENT

Business Insider

Product placement is something that is generally thought of as the bane of modern filming (yes we are all looking at you, Jurassic World), so it is surprising to see that it actually dates back decades, and even wholesome classics weren’t immune from its wily ways. Mr. Gower’s drugstore is a hotbed of product placement action – ever wondered why you always have a hankering for some Coca Cola when you watch that scene? (you probably don’t have such cravings, but roll with me here). Coke is only one of numerous products which are on display in the background of the store, which mostly features brands of cigarettes and cigars. Sweet Caporal cigarettes were the biggest benefactors however – George looks at their advertisement, which reads ‘Ask Dad. He knows”, as inspiration to go talk to his father. See what they did there – product placement done right. Take note, modern day Hollywood.

3 – BEULAH BOND WAS JIMMY STEWART’S MOTHER FOR THE FOURTH TIME

Pintrest

By the time Beulah Bondi came to play Mrs. Bailey she was no stranger to playing Mum to James Stewart – she had already done so three times. The actress, who made a career playing maternal roles, played Jimmy Stewart’s mother in Mr. Smith Goes to Washington, Of Human Hearts and Vivacious Lady. She went on to do it one last time on The Jimmy Stewart Show: Identity Crisis (1971). Despite her reputation for playing motherly roles, Bondi never married or had children, but she is warmly remembered for being a twice oscar nominated character actress who was particularly active through the ‘classic Hollywood’ era of the 1930s to 1950s.

2 – UNCLE BILLY WASN’T AS DRUNK AS YOU THOUGHT

The Guardian

Remember that scene where Uncle Billy drunkenly makes his way home, only for a big crash to sound out and him to yell “I’m all right, I’m a llllll right!”? Believe it or not, that little chunk or hilarity was not in the script. In reality, a crew member dropped a large piece of equipment and Thomas Mitchell, who played Uncle Billy, went along with it by coming out with the line. Jimmy Stewart followed suit with his reaction, and Capra enjoyed the segment so much that he kept it in the film, enhancing the crashing noise and giving the stagehand who dropped the equipment $10 for “improving the sound”. Whilst only a small moment in the film, it is a great example of the charm that has made it so enduring, and is made all the funnier by the fact that it was unintentional.

1 – IT WAS CAPRA’S FILM THROUGH AND THROUGH

AFI

Frank Capra generally both wrote and directed his films, but he took things a step further with It’s A Wonderful Life. Capra directed, produced, financed and co-wrote the film, making it a true passion project for the director. In his autobiography he stated that he believes it to be the best film he ever made (a sentiment now shared by the masses, it would seem), and it is clear that he believed in the project wholeheartedly. This makes it all the more tragic that the film did so poorly in it’s initial run. After the Second World War Capra’s films became less popular – his work was deemed to be overly idealistic and simple for the prosperous post war climate, and was seen as better suited to the Depression and pre-war era that he had found such success in. On the bright side, Capra lived to see the film gain the iconic status that it has since afforded itself, and much of his later work has been reassessed as being excellent, so it wasn’t a total Van Gogh situation.

What are your favourite facts about It’s A Wonderful Life? Let me know in the comments section!

 

 

2015 IN FILM

Looking back on an amazing year in cinema. 

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The end of the year is almost upon us – and what a year it has been for cinema. My Cineworld Unlimited card was put to good use over the past twelve months and I managed to cram in an impressive number of viewings. Whilst there have been a few disappointments along the way, there were also plenty of high points, and even a couple of masterpieces. I have compiled here my top five films of the year – no easy task – with a few honourable mentions for good measure. Let me know what your cinematic highlights were in the comments section!

TOP 5:

BROOKLYN

Director: John Crowley

Starring: Saoirse Ronan, Emory Cohen, Domnhall Gleeson

Chud

It feels like every year cinema is getting bigger and as the MCU and other superhero worlds dominate the box office the human element can be left behind. Richard Linklater reminded us of the extraordinary power of the ordinary with Boyhood last year, and John Crowley has followed suit with Brooklyn – based on the novel of the same name by Colm Toíbín – adding a period setting for good measure. Brooklyn is an understated masterpiece, blending gorgeous visuals with a simple and powerful story, alleviated to near perfect status by the incredibly apt casting  – Ronan has been scooping awards for her central role, and oscar glory is well within reach come February.

On a more personal level, Brooklyn resonated with me much more than I expected it to. The film is about a girl close to my age being torn between her desire to be home with her family and to forge a new life in America, a common struggle that transcends time. Brooklyn is a welcome reminder that a film doesn’t have to have superheroes or CGI to impress.

Read my review of Brooklyn here.

ME, EARL AND THE DYING GIRL

Director: Alfronso Gomez-Rejon

Starring: Thomas Mann, Olivia Cooke, RJ Cyler, Nick Offerman

Anticool

After the smash hit success of The Fault in our Stars last year, another John Green adaption was a safe bet, and sure enough Paper Towns came along this summer. The film was marketed on Cara Delevingne, who was mostly absent from the largely forgettable flick. However, the genre had some life breathed back into it by Alfronso Gomez-Rejon, who took a script from Jess Andrews (author of the book of the same name) and came up with Me, Earl and the Dying Girl, a film that avoided cliche whilst still packing an emotional punch.

I was not initially hopeful  – the marketing made the film look like a quirky Fault in our Stars rip-off – but it stood out due to its rarely static camera work and the incredibly funny script – it reminded me of 50/50 (2011) in that it manages to be a film about cancer that is funny without being crude. Add this to strong leads, a brilliant supporting turn from Nick Offerman and an incredible soundtrack (which I discussed here), and you have one of the most memorable films of the year.

LEGEND

Director: Brian Helgeland

Starring: Tom Hardy, Emily Browning, Taron Egerton, Christopher Eccleston

Trailer Addict

Based on The Profession of Violence by John Pearson, Brian Helgeland takes on the Krays in his biopic, which sees Tom Hardy in the dual role of Reggie and Ronnie. The gangster genre is overcrowded, so its hard to nail the genre in a way that stands out, but the Krays are hugely interesting source material and this film is worth seeing, if only for the technical wizardry of seeing Tom Hardy fight himself.

Legend is not without faults – Emily Browning’s character Frances is used as a narrative device to get to the story of the twins and is criminally underwritten as a result – but it still stands out as one of my favourite films of the year. Mixing the funny with the violent, Legend brings a distinct sense of Britishness to the gangster genre, and is all the better for it.

STEVE JOBS

Director: Danny Boyle

Starring: Michael Fassbender, Kate Winslet, Seth Rogen, Jeff Daniels

Hollywood Reporter

There is a good chance that audiences – particularly those in the US – are getting Steve Jobs fatigue. Since the Apple founder and CEO passed away in 2011 there has been a slew of material on the man, but it would be foolish to pass on this latest effort from Danny Boyle, with a script by Aaron Sorkin.

With a theatre-like three act structure, Steve Jobs is a far cry from the done -to-death biopic structure, and Sorkin’s razor sharp script blends perfectly with Boyle’s unique eye for visuals, and Fassbender manages to inhibit the character despite not physically resembling him. It’s Fassbender’s film through and through – as the title would suggest, he is the focal point of the entire film – but he is surrounded by a stellar supporting cast with Seth Rogen, Jeff Daniels and Kate Winslet all providing fantastic turns in their own right.

Read my review of Steve Jobs here.

KURT COBAIN: MONTAGE OF HECK 

Directed: Brett Morgen

Starring: Kurt Cobain

Collider 

Since his suicide in 1994 Kurt Cobain has been somewhat of an enigma, the voice of dissatisfied youth, and the wealth of unauthorised material produced on the man did little to dispel any of the myths that arose. However, Brett Morgen’s documentary – the first to be done with the agreement and co-operation of Cobain’s family – cuts through the cultural obsession to look at the man. Morgen stated in an interview that the film aimed to:

“….present an American icon – a revered American icon – in a completely naked and honest manner. Without tearing him down and without building him up, but where we can look him in the eye.”

Blending animated segments with interviews, Montage of Heck is a welcome departure from the typical over reliance on talking heads in documentaries, and is without a doubt the definitive account of who Cobain was. The only thing missing is an interview with Dave Grohl, as a member of Nirvana he seems like a crucial person to talk to about that period in Cobain’s life, and his presence is missed.

Whilst it is at times unsettling to see how deep-set his issues were, and knowing what happened to him makes it all the more upsetting,  Montage of Heck is essential viewing for Nirvana fans, and an enjoyable watch regardless.

RUNNER UPS:

DOPE 

Dope manages to be a crime caper, a comedy, a drama and a coming of age story all rolled into one excellent script. Rick Famuyiwa’s film tells the story of Malcom, Jib and Diggy, three geeks obsessed with 1990s culture who accidentally end up with a rucksack full of MDMA. The lead performances are fantastic and A$AP Rocky even shows up for a supporting role. The film is one that is designed to make you think about the role stereotypes continue to play in society, and it will stay with you long after the credits roll.

MISTRESS AMERICA

Director Noah Baumbach and star Greta Gerwig, who penned the script together, are at their best in Mistress America, a screwball comedy that allows Gerwig to shine. Their collaboration, which worked so well in Frances Ha (2012) has been honed to perfection here, and the film is full to  the brim with laughs, as well as raising some interesting questions about the self obsession in the age of technology.

SUFFRAGETTE 

Undoubtedly one of the most important films of the year, it’s hard to believe UK women’s  fight for the vote had not already been committed to the screen. Starring Carey Mulligan and Helena Bohem Carter, with an appearance from the ever-fantastic Meryl Streep, Suffragette is a fantastic period drama made all the more emotive by the fact that it is based on true events.

MOST PROGRESSIVE: 

SPY/MAD MAX:FURY ROAD

It would be madness not to include Mad Max: Fury Road in talks about progressive depictions in cinema, but I have not yet seen it, so alas my comments cannot extend much further than acknowledgement of what is by all accounts an incredible film.

However, I genuinely believe in years to come Paul Feig’s Spy could be looked back upon as a landmark in comedy. Spy is a sign of progress – perhaps the most notable since Bridesmaids (2011) – with women who are capable, independent and not used as the butt of jokes. The film turns everything that is so awful about James Bond on its head – here we have men that are inept, being helped along by badass women (not a damsel in distress in sight) – and it’s about time.

It seems real change is finally on the horizon, and as ridiculous as it is that it is only the case in 2015, that can only be a good thing. Misogynists need not worry too much – Spectre brought the already questionable James Bond back a few steps in the progressive stakes (read more on that here). You win some, you lose some I guess.

BIGGEST LETDOWN:

KILL YOUR FRIENDS 

Based on John Niven’s (who also penned the script) novel of the same name, Kill Your Friends had the potential to be the British American Psycho (2000), but turned out to be a hollow disappointment. Despite the best efforts of the cast, led by an appropriately stoney Nicholas Hoult, the script feels empty and you’ll be hard pressed to remember the film long after viewing.

Read my review of Kill Your Friends here.

BEST ANIMATION:

INSIDE OUT 

A true return to form for Pixar, Inside Out shows the studio do what they do best – blending beautiful animation with innovative storytelling that tackles big themes in a way that is accessible to all ages. The casting is incredibly well sourced – Phyllis Smith was born to voice sadness – and the timeless concept is one that has already solidified Inside Out as a modern animated classic.

WEIRDEST:

THE LOBSTER 

The english language debut of Greek director Yorgos Lanthinmos, The Lobster is without a doubt the most unique film of the year. A hilariously deadpan story about a hotel where single people go and if they fail to find a partner in 45 days, they a turned into an animal. The film satirises social constructs in a hilarious manner, and whilst there is no doubt that it won’t appeal to everyone, I found the film to be one of the funniest I saw all year.

OTHER HIGHLIGHTS:

• Paul Walker is given an emotionally fitting send of in Fast and Furious 7
• Johnny Depp in Black Mass
• Maggie Smith in The Lady in the Van
• Hugh Grant popping up in The Man from U.N.C.L.E
• Ben Foster in The Program 

Not forgetting Macbeth, Ant Man, Trainwreck, Ex Machina, The Martian, Man Up, Mr Holmes, Danny Collins, Jurassic World, Irrational Man and so many more…

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I’ve shared this video before, but it’s so good that I’m going to share it again. Ben Zuk created a 2015 Salute to Cinema on Vimeo, incorporating 164 movies into a wonderful montage that reminds us just how great movies can be. Enjoy!

 

<p><a href=”https://vimeo.com/147217969″>2015 Salute to Cinema</a> from <a href=”https://vimeo.com/benzuk”>Ben Zuk</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

What was your favourite film of 2015? Let me know in the comments section below!

FILM REVIEW: KRAMPUS

An anti-holiday flick that owes more to Gremlins than Black Christmas

Runtime: 1 hour, 38 minutes

Certificate: 15

Directed: Michael Dougherty

Starring: Adam Scott, Toni Colette, David Koechner

IMDb: 6.9/10

Rotten Tomatoes: 65% critics/62% audience

Horrorbuzz

It’s the most wonderful time of the ye- wait, what? Krampus is coming? Perhaps not then. Based on Austro-Bavarian folklore, Krampus is the so-called “shadow of Saint Nicholas” who is sure to punish you if you find yourself on his naughty list, which is exactly what happens to a suburban family in Michael Dougherty’s festive horror-comedy.

Paying heavy homage to Gremlins (1984), the film has a lot more in common with The Gingerdead Man (2005 – it’s a real film, which features Gary Busey and spawned two sequels) than yuletide slashers such as Black Christmas (1974) and Silent Night, Deadly Night (1984), meaning Krampus errs much more on the side of comedy, and is relatively gore free as a result.  This is not necessarily a criticism, as the film has various laugh out loud moments (perhaps not all intentional) and there is heaps of B movie appeal. However, horror fans may feel shortchanged after an ominous marketing campaign focused around what turns out to be sparse scares.

The comedy element should have perhaps been clear based upon the cast, featuring Parks and Recreation alumni Adam Scott and Anchorman (2004) joker David Koechner as part of a greater ensemble, with further star power injected by Toni Collette. Whilst the cast is strong, the characters are generally unlikeable which means that it never feels like the stakes are very high – nobody really cares what happens to them.

Metro

The script is (hilariously) deadpan and thus somewhat of an acquired taste, whilst Krampus himself is a bit of a letdown. The big bad isn’t remotely funny, and doesn’t have enough scare factor to counteract this. His little helpers on the other hand are the perfect blend of creepy and outright hilarious – a particular highlight are the evil gingerbread men, who are like the love children of Gizmo and the Gingerbread Man from Shrek (2002).

There are unexpected moments – such as the animated sequence – that keep the film from being a paint by numbers flick, but suspense is short in supply, and Chuck Wilson at the Village Voice argued in his review that Dougherty has been:

“….charged with delivering a wide appeal PG-13 film”

This point has a strong basis, as it feels like Krampus is holding back from being the sort of film it wants to be. Dougherty is known for 2007 cult hit Trick ‘r Treat, and it would perhaps be interesting to know what this film would have looked like without any input from Universal Pictures, who were obviously keen to cash in on the holiday season and appealing to as many people as possible.

Various quibbles keep the film from being the anti-christmas classic that it wants to establish itself as, but there is still plenty of fun to be had and a fair chance that Krampus will go on the Santa list of those people who find that annual viewings of It’s A Wonderful Life isn’t their bag.

Score: 3/5

What did you think of Krampus? Did it jingle your bells, or are you happy to stick with Santa? Let me know in the comments section below!

 

 

FRASIER CHRISTMAS EPISODES – RANKED:

Ranking beloved sitcom Frasier’s (1993-2004) Christmas offerings.

 

Daily Mail

Despite ending 11 years ago, Cheers spin-off Frasier is still held in high regard as one of the best sitcoms of all time, and certainly one of the greatest spin-offs ever created. Starring Kelsey Grammar in the titular role alongside David Hyde Pierce, John Mahoney, Jane Leevis and Peri Gilpin, the show is a hilarious classic that only gets better with repeat viewings. Over 11 seasons the show produced an impressive seven festive episodes which feature everything that made Frasier so great, combined with a dash of festive cheer, ranked here for your pleasure…

7 – THE FIGHT BEFORE CHRISTMAS (SEASON 7)

Fanpop

Frasier is at his haughty best here, having planned a traditional christmas party with only Roz (Peri Gilpin) allowed to attend from the KACL gang, only to find that rival Cam Winston is also holding a party and has poached his guests. This provides the festive setting to the episode, which revolves around the previous ones revelation to Daphne (Jane Leevis) of Niles’ (David Hyde Pierce) long standing feelings for her. I doubt I am alone in thinking that the Niles/Daphne dynamic was at its best when he was infatuated with her and she was hilariously unaware of it, so I was never a fan of them getting together, as much as Niles deserved them to. Whilst the episode does have some funny use of the crossed wires trope, it ranks last as it it signified the beginning of a period of decline for the show.

6 – WE TWO KINGS (SEASON 10)

TV Guide

This episode revisits one of the show’s most common occurrences  – Niles and Frasier arguing. This time they are bickering over how to spend christmas, which drives Martin (John Mahoney) to announce he is going to work on the day. This leads the brothers to attempt to mend fences by putting together a surprise for Martin which, low and behold, does not go to plan. Even in its darker days Frasier was bolstered by its phenomenal cast, and this is an example of that situation at work, with laughs throughout. The Frasier-Niles rivalry rarely disappoints, but this episode loses marks for giving Roz a lazy subplot volunteering as an elf at the mall, whilst Martin’s decision to work feeling like a rehash of season one, suggesting the show was running out of steam by its tenth year.

5 – MARY CHRISTMAS (SEASON 8)

Sarah TV

Frasier is realising a dream of his by hosting the Seattle Christmas Parade, but worries it won’t go to plan when his co-host comes down with food poisoning and is replaced with Mary (Kim Coles), who he had previously clashed with at KACL. As predicted, chaos ensues, with incidents including Frasier hitting Santa with a microphone. Season eight was a tough time for the series, with changes in dynamic and a decline in quality, and it shows in this episode. Whilst funny moments are scattered throughout, it’s nothing like the offerings from the shows hey-dey.

4 – FRASIER GRINCH (SEASON 3)

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The ‘Frasier learns an important lesson’ storyline wasn’t unique to christmas episodes, but plays well here. Frasier is determined that he only get Fredrick (Luke Tarsitano) high-end educational toys as gifts, even though Martin thinks he should just let Fredrick be himself. There is a great balance between the funny and touching here, with the end of the episode holding a sweet message. Eddie features – dressed to the nines in a santa suit and hat – and we get to see the Crane apartment in fully fledged Martin christmas mode, talking Santa and all. The only reason this episode doesn’t rate higher is because it lacks the laugh out loud hilarity of other episodes.

3 – MIRACLE ON THIRD OR FOURTH STREET (SEASON 1)

Lockerdome

This early episode was when the show was still finding its feet, and features Frasier facing christmas alone after Fredrick receives a chance to spend the festive in Austria and he and Martin argue. The first christmas episode of the series, it sets a trend of the Cranes arguing about decorations, which goes on to be a fun staple of the festive specials. Eddie is hilarious, drinking from Niles’ cup and hiding under a pillow when the argument occurs, whilst the latter half of the episode with Frasier’s depressing christmas callers becomes increasingly hysterical. The episode does lack the shows winning ensemble in the latter half, but it’s still great festive viewing.

2 – MERRY CHRISTMAS, MRS. MOSKOWITZ (SEASON 6)

Neogaf

The best episodes of Frasier tended to have a very simple premise – events would conspire, building up to a hilarious and absurd finale – a formula that served the series well for 11 years. This festive offering is a perfect example – Frasier is set up on a blind date with the daughter of a woman he meets in a department store. It transpires that Mrs. Moskowitz (Carole Shelley) believes Frasier to be Jewish, leading to a visit to his apartment where he and her daughter Faye (Amy Brenneman) attempt to cover up the fact that he’s not. This is complicated by the delivery of a christmas tree and Niles dressed up as Jesus, leading up to a truly hilarious final act.

1 – PERSPECTIVES ON CHRISTMAS (SEASON 5)

First Time Mom

This season five episode came out when the show had really hit its stride, utilising the winning formula . Various different plot lines intertwine and culminate in hilarious misunderstandings, providing laugh out loud moments aplenty. The story is told through flashbacks as Martin, Roz, Daphne and Niles get massages as a Christmas gift from Frasier and the episode plays out as a series of interlinking sketches where we get to see each character at their best – the winning sequence has to be when crossed wires leads Daphne to believe that Martin is dying when he is actually appearing as a shepherd in a christmas pageant. Brilliant stuff.

Which festive Frasier is your favourite? Let me know in the comments section below!

TOP 5 CHRISTMAS SONGS:

The countdown is on and it will soon be Christmas. One of the best things about this time of year are all the Christmas songs that dominate the airwaves. There are literally hundreds of brilliant tunes to get you into the festive mood, but I’ve ranked my five personal favourites here for your listening pleasure:

Honourable mention…

CHRISTMAS IS ALL AROUND – BILLY MACK

As my previous post made abundantly clear, I am a huge fan of Love Actually (2004), and it will therefore come as no surprise that I think the song my favourite character Billy Mack sings in the film is on the shortlist for my favourite christmas songs. A festive version of The Troggs’ Love is All Around, the song is best when accompanied by the undeniably hilarious video.

5- LONELY THIS CHRISTMAS – MUD

This Elvis-esque track actually has a very sad theme of being alone at christmas, but it still makes it way onto my list of favourites due to just being so damn catchy. Seriously, try listening to it getting lodged in your brain for at least 24 hours. It’s also a nice old school departure from some of the more poppy, cheesy christmas hits that we all know and love.

4 – DO THEY KNOW IT’S CHRISTMAS? – BAND AID 20

I was born in 1995, and I was therefore nine years old when Band Aid 20 released their single in 2004. It is for that reason that the song is a favourite of mine, a nostalgia trip which allows me to reminisce over all the artists who were big in 2004 – Dido, McFly, Busted, The Darkness, Bono was still there for some reason…

3 – WONDERFUL CHRISTMAS TIME – PAUL MCCARTNEY

This song is one of my favourites due to the fact that it features on the soundtrack of Rudolph the Red-Nosed Reindeer: The Movie (1998), an animated christmas film that I loved watching on VHS when I was younger. The song bass everything you look for in a christmas song – it’s retro, cheesy, upbeat and was written and recorded by a former Beatle – a surefire winning formula.

2 – ALL I WANT FOR CHRISTMAS IS YOU – MARIAH CAREY

The majority of christmas classics were produced from the 1950s to the 1980s, and there are actually surprisingly few additions since then that would be classed as a bonafide ‘classic’. Mariah Carey proved to be the exception to the rule in 1994 when she released the self penned All I Want For Christmas is You, a song that has become a staple of the holiday season. Interestingly, Carey released a children’s book based on the song – which has by now raised over $50 million in royalties – this year.

1 – FAIRYTALE OF NEW YORK – THE POGUES AND KIRSTY MCALL

I’m sure i’m not alone in holding this song dear as my favourite christmas song of all time – this irish folk-ballad actually holds the title as the UK’s most played christmas song in the 21st century. The song is sung from the point of view of an Irish immigrant in New York, who is in the ‘drunk tank’ (prison cell) and thinking about his girlfriend, who he has an apparently love/hate relationship with.

What are your favourite christmas songs? Let me know in the comments section! Meanwhile, enjoy the songs featured on this list right here:

PEEP SHOW – FINAL EPISODE

Who can believe it, it’s finally over. After 12 years and nine fantastic series, Peep Show finally drew to a close on Channel 4 last night, marking the end of an era as we bid goodbye to the El Dude Brothers, this time for good.

Series nine has been another excellent series, with quite a few episodes that are sure to acquire the label of ‘classic’ Peep Show in coming years. The clever writing has allowed us to return and say goodbye to an impressive amount of the characters that have played supporting roles in previous years, and whilst it was disappointing not to see Big Suze or Nancy make a return, it is equally heartening that the writing did not resort to a ‘greatest hits’ medley in its closing episodes.

In the finale Jeremy is turning 40 and struggling to keep up with younger boyfriend Joe, who is an advocate of the hard partying and drug taking that Jez has spent the majority of his life partaking in. The thing is, it’s a young man’s game, and no amount of eating cashews and drinking your own pee (yes, really) is going to take away from the fact that Jeremy is hitting middle age.

Mark on the other hand looks like he might be getting his life on track. Granted, he gets fired by Johnson and replaced by old rival Jeff, naturally all at the hands of Jeremy, but it also looks like he might actually ride off into the sunset with April. April was the one all along, and it seems like she might be able to overlook the fact that Mark tried to bury Sophie in a ballpit last week. But alas, this is Peep Show, and there was no way that anyone was going to end up happy. Sitcoms like Friends were all about wrapping things up nicely and allowing everyone their happy ending, but to do so with Mark and Jez would be to go against the grain of what the show was about all along.

So instead we end with things pretty much as they started – all they have is each other – Jez likes how things are, Mark wants him out. April left Mark after it emerged that he had gone along with Super Hans and Jeremy doing a little kidnapping of her husband, Joe left Jez for being unwilling to stay up for a week, and Molly left Super Hans for partaking in the aforementioned kidnapping. Matt King has been undoubtedly one of the best things about this series, and the show as a whole, and his exit was suitably hilarious. As for the El Dude Brothers, we can be sure that they will be continuing to make each other miserable as they embark on middle age.

Here are my five favourite quotes from an episode full of them…

“It’s complicated. We’ll probably never fully understand – like Stone Henge.”

– Jez explains the unexplainable

“Hello Dad, you’re living inside me now, are you?”

– Mark catches himself sounding like his father

“Do I smell corporate lube? Am I about to get organisationally fucked?”

– Mark senses trouble ahead just prior to getting fired

“When I was doing the invites it became clear that you’ve betrayed everyone you’ve ever been close to”

– Mark sheds some light on the revolving door of Jeremy’s friends and lovers

“Bollocks to it. I’m gonna van it to Macedonia, finally set up the moped rental”

– And with that we say goodbye to series favourite Super Hans

‘LOVE ACTUALLY’ STORIES: RANKED:

Richard Curtis’ ensemble romantic comedy Love Actually came out in 2004, a full 11 years ago, meaning it has now been out long enough to accrue the title ‘Christmas classic’. I indulge in multiple viewings of this film – which kickstarted a trend in the US where every holiday got itself an all-star ensemble (New Years Eve, Valentines Day etc) – and whilst it may have its critics, I am sure I am not alone in holding it as a festive favourite. The film has a total of nine storylines interweaved with one another, and I have taken it upon myself to rank them below…

Honourable mention…

RUFUS:

Rufus (Rowan Atkinson) is a department store employee who firsts shows up wrapping a necklace for Harry (Alan Rickman), with his over-enthusiasm for providing a premium service raising laughs. He then shows up later at the airport, providing a distraction which allows Sam (Thomas Sangster) to slip through security. His supporting role has not been included due to the fact that he is a lone character who does not have a storyline of his own, though he is still extremely important to the overarching plot.

Atkinson is excellent in this small role, with the Mr Bean actor propelling the intertwined plot along in an amusing way. The DVD commentary of the film reveals that the original script had Rufus being a Christmas Angel – a role he still fulfils in the final product, though it is never explicitly stated. His slow pace at wrapping up Harry’s gift could be taken as a stalling tactic, attempting to stop Harry from causing his indiscretion. He also shoots Daniel (Liam Neeson) a knowing glance when Sam runs past, suggesting he knew what he was doing by distracting the guard. The idea of Rufus as an angel makes the already adorable film all the more sweeter (who knew that was possible?)

9 – COLIN & AMERICAN GIRLS

The story: Colin (Kris Marshall) is a goofy English waiter who is having no luck in his endless attempts to win over various women. He tells his friend Tony (Abdul Salis) that he it is British woman that he is undesirable to, and that if he went to America he would have more success. Colin then announces that he is in fact going to the US, and when he lands in Milwaukee he almost immediately becomes acquainted with three women – Stacey (Ivana Millecevic), Jeannie (January Jones) and Carol Ann (Elisha Cuthbert). The girls invite him to stay with them and their room-mate Harriet (Shannon Elizabeth). In the epilogue Colin is seen returning via Heathrow with Harriet, who has brought her sister (Denise Richards) for the stunned Tony.

Rank explained: This relatively small segment is undoubtedly comic relief to balance out the more serious moments in other stories. Colin is a one-dimensional character who is obsessed with sex, and this is without a doubt the weakest storyline in the film. The American women are presented only as sex objects with literally no character development, and the fact that Colin must go to America to get sex also creates negative connotations about both British and US women. Thankfully it is a very small part of the film, meaning it does not have too much of a derivative impact on the story as a whole. There are also some amusing cringe-worthy moments near the start, such as when Colin tries to chat up the caterer at Juliet and Peter’s wedding. Still, I would expect more of a Richard Curtis film than to revert to basic one dimensional stereotypes and crude sex jokes. Not cool.

8 – SARAH, KARL & MICHAEL

The story: Sarah (Laura Linney) is an American woman working at a design company (run by Harry) who has been in love with co-worker Karl (Rodrigo Santoro) for years. Harry encourages her to make a move, and the pair finally kiss after dancing together at the office christmas party. They go home together, but are disturbed by Sarah’s phone ringing. It is her brother, Michael (Michael Fitzgerald), who stays in a mental health facility. Sarah is unwilling to put Karl before her brother, and goes to visit Michael. Karl and Sarah are work late on Christmas Eve, and it becomes clear that they won’t get together. Sarah is last seen celebrating Christmas with Michael.

Rank explained: This is where the ranking begins to get tricky – the whole Colin segment is the only part of the film that I actively dislike. In my eyes, the rest is excellent, and Sarah’s story is no different. Laura Linney is perfectly cast as Sarah – she inhabits the role so much and makes it totally believable. Her awkwardness is relatable, and her quick-cleaning of her room is one of the films comedic highlights. The core of Sarah’s story is how sometimes familial love comes before romantic love, and the way that she puts aside what she wants to care for her brother. It is very emotional at points, because she is the type of character that fully deserves happiness. The only reason this story ranks so low is because it makes me a little sad.

7 – DANIEL, SAM & JOANNA

The story: Daniel (Liam Neeson) is mourning the loss of his wife Joanna, as well as trying to be step-father to her son Sam (Thomas Sangster). Sam reveals that he is in love with an American classmate, also named Joanna, and learns to play the drums so that he can accompany her at the school concert. Daniel then helps him chase her to the airport (Joanna is going back to America), and he meets another parent Carol (Claudia Schiffer) in the process. The epilogue shows Carol and Daniel waiting with Sam to meet Joanna, who has returned from America.

Rank explained: Another great storyline that I feel bad for ranking low, this shows Liam Neeson before his action-man resurgence that began with Taken in 2009. Watching his character struggle to deal with the death of his wife becomes all the more poignant with the knowledge that his real life wife Natasha Richardson passed away in 2009 after a skiiing accident. In spite of this happening years after the film came out, it makes viewing in this context more emotional than it already was. Whilst the story shows Sam pursuing Joanna, it is really about the bond between Daniel and Sam, and the way that good things can come out of the worst of times. The pair have become extremely close by the end of the film, having bonded over coming up with a plan to win over Joanna. Again, this only ranks lower due to the fact that unlike many other stories in the film, this one does not have a big standout scene (though the airport chase is pretty wonderful).

6 – HARRY, KAREN & MIA

The story: Harry (Alan Rickman) and Karen (Emma Thompson) are a married couple who have two children. Harry manages a design company whilst Karen stays home with the children. Mia (Hieke Makatsch) is Harry’s new secretary, who makes it increasingly obvious that she is interested in Harry. He buys her an expensive necklace, which Karen finds and excitedly thinks is for her. She is upset when she instead receives a Joni Mitchell CD from Harry, and she finds it hard to to hide her upset. She later confronts Harry and tells him that he has made a fool of her and her life. The family are later seen greeting Harry at the airport in the epilogue, where things still seem slightly tense between him and Karen.

Rank explained: This is one of perhaps the most debatable parts of the film, with many different possible interpretations of the Harry/Karen/Mia saga. Some will argue that Harry is a total idiot for jeopardising his happy marriage (which he obviously is) to the excellent Karen, whilst others may argue that their marriage is more akin to a friendship than a romantic relationship. Whatever your take on it is, it’s an interesting one to think about – was Harry having a mid-life crisis? Is Mia the worst? (a no-brainer) Did their marriage survive the indiscretion? One thing is for sure however, and that is that Emma Thompson breaking down in the bedroom as the Joni Mitchell songs is the biggest emotional gut punch in the film and probably one of the main reasons that it continues to be so well loved to this day. I rank it at number six purely because I really don’t like Mia – seriously, what was her deal?

5 – JULIET, PETER & MARK

The story: Juliet (Kiera Knightly) and Peter (Chiwetel Ejiofor) get married, with best man Mark (Andrew Lincoln) organising a surprise choir and filming much of the day. It is later revealed that Mark generally avoids or acts coldly towards Juliet, who tries to break the ice when she goes over to get his footage of the wedding. Mark is reluctant to show her the footage, and when she watches it she sees that it is all focused on her. Mark hastily leaves, saying he acts the way he does due to “self-preservation”. On Christmas Eve Mark shows up at Juliet and Mark’s flat and shows Juliet via cue cards that he is in love with her, but does not want or expect anything from her. She gives him a friendly kiss, and he states “enough, enough now” to himself. The trio are then shown in the epilogue and things appear less awkward between Mark and Juliet.

Rank explained: Pre-Walking Dead Andrew Lincoln was all lovelorn and moody in Love Actually, revealing himself to be in love with his best friends new wife. Classy. Yet somehow, the film manages to make it all seem quite charming. I’ve never been a huge Kiera Knightly fan, but again I never took this story to really be about the love Mark has for Juliet, or even the love Juliet and Peter have for each other. I always took it as being about the love Mark has for Peter – even though he is ‘hopelessly’ in love with Juliet, Mark’s bond with Peter is so strong that he would never even consider betraying him. This is significant because we see betrayal in other parts of the film – Jamie’s brother and girlfriend have an affair for instance.  It’s the second best bromance in the film (more on that later), and it is absolutely adorable.

4 – JAMIE & AURÉLIA

The story: Jamie (Colin Firth) returns from Juliet and Peter’s wedding to discover that his girlfriend (Sienna Guillory) has been cheating on him with his brother. He departs to a French cottage to write and he meets housekeeper Aurélia, who is Portuguese and doesn’t speak any English. In spite of the language barrier, there is a spark between the pair and they begin to fall in love. Both are upset when it comes time for them to go back to their respective countries. Jamie then learns Portuguese and goes to find Aurélia on Christmas Eve, eventually proposing to her in front of the town. She says yes, revealing that she had been learning English. The epilogue shows them meeting Juliet, Peter and Mark at the airport.

Rank explained: Colin Firth is at his loveable best here. Whilst the story is itself a little far fetched, it is perfectly suited to a festive romantic comedy (they’re rarely lauded for their realism). Firth is hilariously British, with a particular highlight coming towards the end when he gives up a cab to a fellow traveller before jumping up and down in frustration. In spite of the less than realistic story Firth and Guillory pull it off due to having believable and tentative chemistry. This is one of the story lines that critics of the film will make a beeline towards, but I believe that it one that is at the heart of the magic.

3 – DAVID & NATALIE

The story: David (Hugh Grant) is the newly elected Prime Minister and when he moves into 10 Downing Street he meets one of his household staff, Natalie (Martine McCutcheon). There is an instant spark between them, but David chastises himself for liking her. The President of the US (Billy Bob Thornton) visits and David is led to believe that something untoward happened between the President and Natalie, leading him to make a defiant speech and also get Natalie moved from her position within the house. He later gets a christmas card from Natalie where she admits that it is him that she wanted all along, and he goes on a door to door search from her, eventually finding her and taking her to her brothers nativity play. The pair are then caught kissing backstage, and the epilogue shows Natalie greeting David at the airport as the press look on.

Rank explained: Like Firth, Hugh Grant is at his probably typecast best here as the new British Prime Minister (I have already conceded that this film isn’t one that is thinking about realism, alright?) . Grant’s speech where he stands up to the lecherous US President is perfectly executed, and one of the best moments in the film. The story, like all the best ones on this list, is actually a very simple one, making it accessible to everyone in spite of being about the Prime Minster. McCutcheon, who has flown somewhat of the radar in recent years, is also on excellent form as the slightly goofy Natalie, but Grant gets all the best scenes without a doubt – the dancing through 10 Downing Street is another highlight.

2 – JOHN & JUDY

The story: John (Martin Freeman) and Judy (Joanna Page) are professional body doubles who are filming sex scenes for a film where Tony is the production assistant. They are comfortable with the work but are otherwise very shy talking to each other, and John eventually asks her on a date very tentatively. They go on a date and Judy tells John “all I want for Christmas is you!” after kissing him. They are then shown in the epilogue having gotten married.

Rank explained: This is one of the smaller stories in the film but it makes the number two spot due to being SO CUTE. Joanna Page and Martin Freeman are an adorable match made in heaven, and they’re tentative beginning of a relationship in less than usual circumstances sums up the entire message of the film in a smart little subplot. Pretty much the best part of the film, other than the pair who took the number one spot…

1 – BILLY MACK & JOE

The story: Ageing rocker Billy Mack (Bill Nighy) is trying to stage a comeback with the help of his manager Joe (Gregor Fisher). He has released a festive cover of The Troggs’ Love is All Around entitled Christmas is All Around. After a string of controversial media appearances where Billy Mack is increasingly inappropriate, he becomes the surprise Christmas Number One and goes to celebrate with a party at Elton John’s house. He then leaves the party to spend time with Joe, who he admits is the (platonic) “love of my life”.

Rank explained: Was it going to be any other? Taking the crown for one of the best bromances ever is Billy Mack and Joe. It feels like Bill Nighy was born to play this highly inappropriate, past his sell by date rocker, and Gregor Fisher plays the straight man fantastically. The comedic heart of the film, the pairs high jinks throughout make for some of the biggest laugh out loud moments, and the scene where Billy admits that Joe is the “fucking love of my life” never fails to make me a little misty eyed (even though it contains the hilarious line: “There’s been a terrible mistake chubs” in the SAME SENTENCE). Behind all the laughs is the message that love between friends is just as important as any other kind, and it takes the number one spot because it embodies everything the whole film is about, and manages to do so in a hilarious fashion.

THE IT CROWD: WHERE ARE THEY NOW:

The IT Crowd was an excellent sitcom that aired for a total of four series on Channel 4 from 2006 to 2010, with a one of special bringing the show to an end in 2013. But what came of the people behind the show, which was based around The IT department at the fictional Reynholm Industries in London? After some investigating (trawling IMDb and the wider internet), I found out…

GRAHAM LINEHAN (CREATOR)

Linehan was already well known in the sitcom world due to his hugely successful shows Father Ted (1995-1998) and Black Books (2000-2004), and by his own admission he took the tried and tested formula he had established in these shows and applied them to the tech world with The IT Crowd. Since the final episode aired in 2013 he created The Walshes (2014), a mini series set in Dublin which aired for three episodes before being cancelled. Since 2013 he has written BBC sitcom Count Arthur Strong with Steve Delaney, who also stars in the show. It has run for 2 series and a total of 13 episodes, with a third commissioned for 2016.

On a more serious note, Linehan also made headlines earlier this year when he and his wife Helen spoke out to campaign for abortion in Ireland, after Helen had an abortion in the UK for medical reasons back in 2004.

CHRIS O’DOWD (ROY)

Chris O’Dowd, who played the loveable Roy (a character that Linehan said was based on himself, but was not originally intended to be Irish), has possibly been busy since his days on The IT Crowd, working consistently both in the UK and US. He has had supporting roles in a number of films including Thor: The Dark World (2013), St. Vincent (2014) and Cuban Fury (2014). He had a more significant supporting role in this years The Program, playing David Walsh – a journalist who believed in Lance Armstrong doping allegations for years before it became public knowledge.

In terms of television work, he co-wrote and co-starred in Moone Boy (2012-15), where he played the imaginary friend of a young boy in Ireland. The third series concluded earlier this year, and it is currently unknown if the show will continue. O’Dowd also narrated Irish children’s show Puffin Rock (2015-). One series has aired so far, with another commissioned for next year and currently in production.

Furthermore, the actor has a number of projects expected in 2016 – Loving Vincent and Miss Peregrin’s Home for Peculiars, the latter of which is based on the 2011 debut of American novelist Ransom Riggs. He has also written the upcoming Adventures of Super Frank, which is expected next year, though details are still decidedly scarce.

RICHARD AYOADE (MAURICE MOSS)

Richard Ayoade, who played the eccentric Maurice ‘Moss’ has also worked fairly consistently since the end of the series. He has written and directed two feature films – The Double (2013) and Submarine (2010). He took over presentation duties of factual show Gadget Man from previous host Stephen Fry in 2012, with the fourth series beginning in June this year. He has also appeared in 6 episodes of Noel Fielding’s Comedy Show (2012-2014) and voiced Mr. Pickles in The Boxtrolls (2014).

Much of his television work is with Channel 4, who he also hosts Travel Man: 48 Hours In… for. Furthermore he voiced Mr. Snowman on the revived series Danger Mouse in 2014 for two episodes.

Ayoade has also been fairly active as a writer and in 2014 released his first book, Ayoade on Ayoade: A Cinematic Odyssey through Faber and Faber and also assisted on the writing of The Mighty Book of Boosh with Noel Fielding.

KATHERINE PARKINSON (JEN BARBER)

Katherine Parkinson completed the central trio, playing the painfully tech illiterate head of IT and ‘relationship manager’ Jen Barber. She has worked consistently since 2005, generally in guest roles on television series as well as occasional supporting roles in films.

Film roles include How to Lose Friends and Alienate People (2008), St.Trinian’s 2: The Legend of Fritton’s Gold (2009) and The Boat that Rocked (2009). She has gained more traction in television, landing several series in the last couple of years including The Kennedys (2015) a BBC sitcom set in the 1970s which concluded its first series last month. She also starred in another BBC sitcom, In the Club, last year.

Parkinson has also branched out from her comedic roles, playing Rachel Stein in The Honourable Woman, a political thriller which aired on the BBC in 2014, as well as Channel 4 sci-fi series Humans this year.

MATT BERRY (DOUGLAS REYNHOLM)

Matt Berry portrayed the hilariously inappropriate Douglas Reynholm from series two to the final episode. The role of his father, Denholm (Chris Morris) was originally written for him, but Berry was unavailable when the first series was being shot. This allowed for the entry of his character in series two and arguably only made the show better – bringing in the comedic talents of Chris Morris too.

Berry has worked consistently since, mostly guest starring on a variety of comedy shows in the US and UK. He has played Steven Toast in the critically acclaimed Toast of London since 2012, with episodes currently airing on Channel 4. He also played Beef on House of Fools from 2014-15, appearing in 13 episodes. His one off appearances include It’s Kevin (2013), Portlandia (2013) and Svengali (2013). His film appearances include Snow White and the Huntsman (2012) and voicing Bubbles in The Spongebob Movie: Sponge out of Water (2015).

CHRIS MORRIS (DENHOLM REYNHOLM)

Chris Morris played Denholm Reynholm, the hilariously intense boss of Reynholm Industries for the first and part of the second series. He had a small role in The Double (2013) and wrote Four Lions (2010), narrating over the end credits. He is also credited with acting in one episode of Veep in 2012, as well as directing four episodes between 2012 and 2014 and producing three. Furthermore, he wrote an episode of Black Mirror in 2013.

NOEL FIELDING (RICHMOND)

Noel Fielding only played the goth Richmond in a total of seven episodes across the series, though he inhabited the role so well that he felt like an integral part of the cast in spite of his surprisingly brief number of appearances. Fielding has continued to perform stand up consistently since the end of the show. Fielding wrote The Mighty Boosh (2003 – 2007) as well as writing and starring in Noel Fielding’s Luxury Comedy from 2012-14. Other work includes being a team captain on Never Mind the Buzzcocks from 2009, founding member of alternative music project Loose Tapestries and a number of art exhibitions, making Fielding one of the former cast members with the most varied career path.

THE MISLEADING MARKETING OF MOVIES

Since the dawn of the internet we have been living in a world where information is more widely and easily available than ever before. This has made pretty much everything more competitive, especially in the entertainment industry. It is harder than ever before to get a film made, and even if a great film is backed by a studio it will still bomb if it isn’t marketed in a way that gets people interested.

Advertising is in itself a huge business, and there are people out there who have dedicated their entire lives to working out what it is that sells things to people. It turns out that we as the human race are not an overly imaginative bunch, and mainstream cinema audiences are more likely to react to marketing that they recognise – be that a notable actor/actress or a typical narrative, marketing experts will generally gear advertising material about a film to fit certain quotas.

This can often lead to misleading marketing material that more often than not doesn’t actually represent the product that is being sold to us. This can work both ways, either selling an indie film as more mainstream fare (Me, Earl and the Dying Girl earlier this year was very much marketed as a YA adaption in the vein of The Fault in Our Stars in spite of being a vastly different film, for example) or tricking audiences into seeing a generic flick.

The ways in which marketing material can be misleading varies in a number of ways, but most tactics generally centralise around the ‘bait and switch’ idea where material will lure audiences in before turning out to be something totally different – this is done with actor/actresses, notable directors and trailers, as well as posters and even titles of films.

The thing is, advertising works. As much as many of us would like to believe that we are not susceptible, but with advertising being a multi-billion dollar industry the odds are stacked against us, and a lot of what makes marketing material work is the fact that it can sometimes operate on a subconscious level.

This post will look at these tactics in more detail using various examples of real life marketing material that was essentially misleading in the representation it provided of the film in question.

POSTERS:

Posters are one of the main forms of marketing when it comes to movies – they generally set the tone and establish the stars of the film, as well as generally alluding to what the film is about. However, there are plenty of examples of times where distributors have provided movie posters which quite drastically misrepresent the film in some way.

A notable example from earlier this year was Legend, which made the headlines when it was revealed that it had strategically placed a two star review from The Guardian to look like it was a five star review. The review, from critic Benjamin Lee, was decidedly less than complementary about the Tom Hardy starring gangster biopic, yet the way the stars had been placed in the poster made it look like it was yet another excellent review of the film, leading to Lee himself writing an article about the dangers of misleading advertising. He pointed out that this was far from a one off, and the practice of taking critics quotes or ratings out of context and placing them in marketing material is a surprisingly common.

Other examples of posters which were essentially misleading include one of the US posters for The Aviator (2004) which tries to entice fans of Saving Private Ryan type films by taking an action still completely out of context, or the Spanish poster for The Godfather (1972), which was based on an early draft of the script which involved a spaghetti restaurant and just ends up coming across as promoting stereotypes.

Here are some of more examples of misleading movie posters…

• Kramer . Vs. Kramer (1979) – shows a happy family even though the film is the depiction of the breaking up of said family
• Drugstore Cowboy (1989) – selling a movie about drug addicts is always going to be hard, but the main characters on the poster are much chirpier than they appear in the film.
• My Sister’s Keeper (2009) – Much like Drugstore Cowboy, marketing a movie about cancer is difficult, but this poster contains a lot more smiling than we ever see in this tearjerker

TITLES:

It goes without saying that a movie title is one of the most important elements, as it tends to be a consumers first point of contact with the product. A poor or bland title is unlikely to entice audiences, and sometimes quirky or unusual trailers can be used for generic films, or vice versa. Titles differ from other marketing materials in that they are often taken from other mediums – for example, if a film is based on a book the title will often be retained.

However, there are examples of films based on books where the title was changed, presumably as part of the marketing strategy. This would include the likes of Slumdog Millionaire (2009), which was based on Q&A by Vikas Swarup. From a marketing perspective the name change is quite obvious – the idea of a slumgod millionaire is much more evocative than a Q&A session, and it immediately gives the consumer a bigger insight into what the film is about.

Love, Rosie (2014) is based on Irish author Cecilia Aherne’s second novel, entitled Where Rainbows End (2004) and is another example of a title change, with the movie title nodding more towards rom-com material.

Films such as Trainspotting (1994) retained their book titles, but no longer make sense in the context of the film. The book contains a line which alludes to the act of trainspotting and also acts as character development for the pyschotic Begbie, who was immortalised on screen by Robert Carlyle. However slight this alluding to the title was, it was still present, and no such instance occurs in the film, essentially making the title obsolete. This did nothing to impact the overall quality of the movie however, and it was going to be a hard task for the marketing strategists to come up with a title for a film about Edinburgh based heroin addicts and sociopaths.

Film titles can also change from country to country, the most famous recent example being the Avengers/Avengers Assemble instance in 2012. The culmination of the Marvel Cinematic Universe was markered in the US as The Avengers, whilst in the UK it was distributed as The Avengers Assemble. This was done due to the existence of a TV show titled in The Avengers in the UK, making it crystal clear to audiences that they were not the same thing.

Other examples of differences between the US/UK movie titles include…

• Harold and Kumar go to White Castle (US) became Harold and Kumar get the Munchies (UK) due to the lack of White Castle fast food chain in the UK.
• Harry Potter and the Philosopher’s Stone (UK) became Harry Potter and the Sorcerer’s Stone (US) – there is much debate as to why this was the case, but it is generally deemed to be because the idea of a sorcerer was one that implied ‘magical’ more than philosophers in to the US market.
• Dracula 2000 (US) was changed to Dracula 2001 internationally due to the fact that it was released the year after. Apparently audiences wouldn’t buy that a film about Dracula was set a year in the past.

Whilst these title changes are not misleading in themselves, it shows how important titles are as part of the overall marketing strategy, with distributors being willing to actually change a title if they feel it will sell a movie better.

More examples of titles that are misleading…

• The Squid and the Whale (2005) – It’s not about a squid, or a whale, though dioramas of both are seen in the film at the American Museum of Natural History. Does this count?
• Antichrist (2009) – Whilst it may sound like your run of the mill horror/possession/exorcism movie, its actually part of Lars Von Trier’s overly depressing depression trilogy.
• 12 Monkeys (1995) – It’s not about 12 monkeys, ok?

STARS:

The old bait and switch is one of the oldest tricks in the book – marketing a film with a well known star at the forefront of all the material, only for them to hardly appear in the film itself, which people will only find out once they have already paid to see it. It’s a concept thats still around because it works, and despite social media making it easier and easier for audiences to deduce what is going on before a film comes out, we are still being collectively duped more than you would think.

Just this year the marketing material for Suffragette (2015) had us all thinking that Meryl Streep was in the main cast as the notable real life campaigner Emmeline Pankhurst. She featured heavily in all the material including trailers and posters, but turned out to only be in the film for a grand total of about five minutes. There was no reason to believe that Streep had anything less than a leading role, but it turned out that Cary Mulligan was the lead, with Helena Bohem Carter appearing in a supporting capacity. Streep was really no more than a cameo, making her appearance in the marketing material extremely misleading. It’s clear why this was the strategy however – Streep is one of the most famous and successful actresses of all time, and whilst Bohem Carter and Mulligan are both respected they in no way carry the level of traction that Streep does. Featuring her heavily in the marketing was also a clever move in enaging with US audiences, who will recognise her much more than the British Mulligan and Bohem Carter.

One of the first notable uses of the bait and switch of a star was in Alfred Hitchcock’s Pyscho (1960), which was marketed with Janet Leigh as the lead. She is then killed off in the first half an hour of the film, a feat that was famously repeated by Wes Craven with Drew Barrymore in Scream (1996). Both films were hugely successful – arguably partly due to the marketing of famous actresses Leigh and Barrymore as respective leads.

Other examples of this in practice include…

• Leprechaun (1993) – The DVD release of this horror film capitalised on the fact that Jennifer Aniston, who has a relatively minor role in the movie, had struck gold as Rachel Green on Friends (1994-2004), and she is featured on the cover design.
• Fast Times at Ridgemont High (1982) – Sean Penn is implied as the lead but it actually just part of a larger ensemble cast.
• Halloween: Resurrection (2002) – Marketed almost wholly on the grand return of Jamie Lee Curtis, who is then killed off in the first half.
• The Place Beyond the Pines (2012) – Marketed on Ryan Gosling and Bradley Cooper’s names, completely leaving out the other half which focuses on their sons, played by the then lesser known Dane DeHaan and Emory Cohen respectively.

DIRECTORS:

This is a trend that is slightly less obvious, but is still prevalent across Hollywood marketing material. Once a director has made a name for themselves, sticking their name on a poster or in a trailer is a surefire way of convincing people that a movie is worth seeing. The thing is, advertising will tend to stick a directors name on it even if their involvement with the film was not in a very large capacity, as it is easier to sell a picture on their name than that of a newbie or a less established film-maker.

Guillermo del Toro is a director that has had his name attached to several films, to the point that he actually spoke about it in an interview, saying:

“I only do it when – (a) I am introducing a filmmaker to the world, but (b) I endorse and say I believe in this movie very, very strongly. For whatever reason, it’s a more risky proposition in one way, but it’s one that I believe needs to continue to support first-time filmmakers. . . . I only do it when I fully believe I was involved in the product in a way that is meaningful.” 

del Toro was attached to Don’t Be Afraid of the Dark (2013), which was directed by Troy Nixey and The Orphanage (2007), directed by J . A Bayona. Regardless of the reasons why a director may choose to allow their name to be attached to a film, there is no doubt that it is both an effective and misleading marketing tactic. Audiences are going to see something based on the fact that they know and like the work of the director appearing on the poster, which can sometimes lead to them seeing a rubbish movie bolstered by the name, or give an up and coming film-maker a chance by viewing it, albeit under false pretences.

Other examples include…

• Nightmare Before Christmas (1993) – Generally marketed as Tim Burton’s Nightmare Before Christmas. Whilst the king of kook is responsible for the concept and is credited as a producer, the film was actually directed by Henry Selik.
• Hostel (2005) – Splat pack director Eli Roth’s super violent torture horror film had Quentin Tarantino serve as an executive producer, and it was his name that the film was marketed on in spite of the fact Roth both wrote and directed the film.
• Sanctum (2011) – Advertised as coming from executive producer James Cameron ‘the creator of Avatar and Titanic’, the way it is written on the poster makes the words James Cameron, Titanic and Avatar the ones that stand out. Considering they are two of the most financially successful films of all time, it is little wonder that is the slant the marketing took, in spite of the film being directed by Alister Grierson, who has no such accolades on his CV.

TRAILERS:

Trailers are increasingly becoming the most important part of the marketing of a movie, providing without a doubt the biggest insight into what the film is going to be about. However, like everything else that has been explored in this post, they can be edited in a way that totally misrepresents the narrative and overall tone of a film.

The films of Nicolas Winding Refn are notable for being marketed in ways that do not fully represent the final product. Three examples are Valhalla Rising (2009), Drive (2011) and Only God Forgives (2013). Valhalla Rising’s entire marketing campaign piggy-backed on the success of Zack Snyder’s 300 (2006), right down to the DVD cover and posters. However, the film is actually a deep study of a norse warrior. Drive is a neo-noir crime thriller that was marketed as a Fast and Furious style caper, whereas the final product is something much darker and broodier. Only God Forgives was advertised as a marital arts flick, but again was a thriller where marital arts was only a component factor. The marketing of these films, along with the fact that the very bankable Ryan Gosling (who is also featured heavily in the advertising) starred in the latter two allows them to be accessible to mainstream audiences in a way that they may not have without these elements.

Some other examples of misleading trailers include…

• Iron Man 3 (2013) – the one that left comic book villains the world over bitter, the trailer advertised famous Iron Man foe The Mandarin as the big bad, only to pull a bait and switch and reveal Ben Kingsley’s character to be an drunken actor.
• Magic Mike (2012) – Steven Soderbergh’s film was a deep character study marketed as a flashy chick-flick based around male strippers.
• The Grey (2011) – capitalised on the Liam Neeson as an action lead phenomenon that began with 2009’s Taken, but The Grey was actually a study of the human relationship with death that is surprisingly light on the action.
• Cabin in the Woods (2011) – marketed as a run of the mill teen slasher flick, but Drew Goddard’s Cabin in the Woods takes the idea of meta-horror to a level that makes Scream (1996) look as though it lacks self-awareness.

Which films do you think had misleading marketing campaigns? Let me know in the comments section!