preynolds-50428

I had my doubts about The Alton Knights, and so watched this latest mainstream mobster flick with some cynicism. And yes, I didn't have to wait but 15 seconds, and there was De Niro's voice-over narration...suddenly, I was watching Casino - no, Goodfellas - well, you get the idea.

"You're embarrassing yourself!", I muttered at my screen. After the glut of gangster films from Nicholas Pileggi's keyboard I've turned to Guy Richie's superb crime dramas when I'm feeling, well - criminal.

I won't comment on this failed cinematic tragedy except to praise the two women who play the mobsters' better halves. Debra Messing deserves an Oscar nomination for her first-rate performance as Debbie Costello. Her measured, steely turn as Frank's wife complemented the fiery histrionics of Katherine Narducci, as Anna Genovese.

So to semi-quote the Godfather, "Come for the vinyl-wrapped vintage cars, but stay for the wives."

Dear Santa is a mini masterclass in going back to film making basics, while at the same time a sly commentary on Hallmark, Inc.'s revolving door of character clones.

Little Liam's spelling mistake conjures up a delightful demon whose soul-stealing plans are frustrated at every turn, as this child is incapable of being bum-rushed into life in the bad lane.

High marks for taking the time to actually build a story without the warp-speed pacing so common to most productions today. Jack Black's entrance is delayed so the audience has time to fully appreciate Liam's narrative, and watch his parents, who act like Hallmark autobots for a good deal of the movie - until their backstory reveals a painful secret. This plot point shifts Mom and Dad into the frame in a way that allows us to finally connect with them.

Jack Black and Robert Timothy Smith turn on the charm offensive to capture our holiday hearts - well, mission accomplished!

Acorn TV's latest detective show doubles down on the "angry black woman boss" trope; but three-time Olivier award winner Sharon D. Clarke lets her face take center stage, revealing meaningful moments as the insular Inspector fighting the clock, a hostile colleague, and laissez-faire racism.

It's the small gestures that let us know DCI Ellis is all too human, whether she's struggling with her wonky mobile phone or painfully upset at missing contact with a significant person in her life. And it's refreshing to see a strong black woman ruffling the feathers of white male entitlement! I'm looking forward to the rest of the season, and hope they'll be a second one.🌟