montgomerysue's reviews

It's hard to believe that two people could spend so much time together and even fall in love and not know their home addresses or phone numbers !!

And so, when they both get home from the trip where they met, the search is on to find each other again.

The premise is ridiculous, the situations are very contrived, and the dialogue is sometimes so corny that it's unintentionally funny.

It's all talky and boring which is too bad because it wastes the talents of two really fine performers, Autumn Reeser and Niall Matter, who do give it their best efforts to make this work - but ultimately it's just not believable.

There is a lot to say about this movie. The main theme is "Mom is selling the family house so let's have the best last Christmas ever," but there are many subplots here that are all very interesting, entertaining, and concisely written by Paul Campbell, Kimberley Sustad, and Russell Hainlain once again. Campbell, Hynes, and Walker are three of Hallmark's most accomplished actors, but here you really feel like you are just watching the Brenner boys. That is quite an accomplishment for those three - to create characters who are so vivid and unique that the viewer gets totally engaged in them. The women are all back and give very endearing performances. The writers wisely gave Margaret Colin, as the mother, more to do here and, as in the first two movies, she is outstanding. The best Hallmark mother ever. As the grandson Tommy, Miles Marthhaller is one of Hallmark's best child actors - very natural and engaging. Many of the supporting characters from the first two movies show up in surprising ways - thanks to the excellent writing and they are all very good, particularly Matt Hamilton as neighbor Mark and Ali Liebert as Fiona. And Sustad does her funny cameo as the doctor. The new character is Bob - the possible ornery father-in-law - and he is really quite good.

This movie works because of the funny and sentimental writing, the nice production values and sets, the spirited direction by Terry Ingram, and a talented cast of major and minor players who are all wonderful. It's one of Hallmark's best Christmas gifts - hopefully, the gift that keeps on giving.

This update of "A Christmas Carol" starts off hilariously and then features all of the charm, sentiment, and life lessons of the original.

Erin Krakow is Ella Neezer and this is a refreshing change of pace for this accomplished Hallmark actress. She is really excellent here, as is Tyler Hynes as the love she left behind. These two really nail it with sincere and moving performances that are also very witty at times. The supporting cast works well, too, particularly Erik Gow as Pip the plane steward and Faith Wright as Christmas Past. This is cleverly written and keeps you interested in seeing how it manages to convey all of a classic's messages in a modern setting. The direction by Peter Benson is very spirited and the production values are nicely done. This a worthwhile adaption of a Christmas classic that works thanks to Krakow and Hynes and some fine writing and directing.

Yes, this is another time traveling Christmas movie, and it's pretty good mostly because there's enough Christmas theme, good cinematography and expensive looking sets, and nice performances by the leads to keep you interested. Ginna Claire Mason as Ella, the time traveller from 1905, is good once she gets over her hysteria, and Wes Brown as her savior is wonderful throughout. This is very different from the role he has in the "Haul Out" movies and you can see what a fine actor he is. The rest of the cast is quite good, particularly Talia Robinson and Evan Alexander Smith as the other couple who finds romance in this story.

However, this is not as good as the ultimate time traveling Christmas movie, "A Biltmore Christmas" which was perfection. And "A Timeless Christmas" had more charm, but this is still worth the watch because the plot is rather interesting and the cast works well together. If you want some holiday romance in the "Titanic" vein, this is the one for you.

Robert Buckley co-wrote and co-produced this movie about an accident prone weather reporter, Ted, who always finds the goodness in any person or circumstance. When he returns to his hometown to do "live" reports over Christmas, he encounters his old high school flame, Hope, at the hospital after one of his unfortunate accidents. The movie then deals with how these two characters come to discover things about themselves and each other. In the process, there is a lot of well-played humor, endearing charm, and Christmas spirit. Buckley is terrific as Ted - you can't help but like this guy. Since Buckley was involved with making this movie, he must have had some input in who would play Hope - and he made the perfect choice in Kimberley Sustad. She is terrific, too. And Sustad is the type of actress who always brings out the best her in her co-stars. She is an expert at performing in a manner that provides her fellow actors with enough "input' to let them shine, too. This is a really well-acted, funny, and delightful holiday production that is expensive looking and nicely directed by Jason Bourque. The supporting cast works hard, too, to keep things interesting, particularly Brendan Penny, in a hilarious turn as Ted's anchorman, Barbara Pollard, as Ruth, and Meghan Heffern, as Ted's frustrated sister, who doesn't know whether to hug him or slap some sense into him. It's all enjoyable, heartfelt fun.

If this is Hallmark's attempt at being avant garde, it fails miserably. Talky, boring, and repetitive. Too bad because Ory and Ayres are such good, likable performers. Some of the scenes are so bad they are laughable. But, it's not that funny enough for you to bother with watching it. The new Christmas season kicks off with a resounding thud.

We really don't understand all the negative reviews here, except that maybe the younger reviewers can't identify with the storyline. This is really a very entertaining way to spend an hour and a half. Yes, time traveling and identity change have been played out a lot, but there are a couple of unexpected surprises in the latter half of the movie that keep it interesting.

Diane Keaton is good, but she is playing that frenzied, kind of nervous nellie character that she has mastered. It is Lulu and Patricia Hodge who really shine here, giving natural and endearing performances of characters they really seem to understand. Lulu, in particular, is a revelation inasmuch as in real life UK's ultimate pop singer is still very active and makes no bones about keep her youthful attitude and appearance. Seeing her play a senior, and doing it so well, is just delightful, fulfilling the acting talent she initiated in her debut, "To Sir, With Love".

This movie is talky, trite, and boring. None of the characters are likable but they are annoying, particularly Witherspoon, with the possible exception of Paul Rudd's George. You keep wondering how and why this got made. Apparently, it was one of the biggest box office bombs ever, and you can see why. An embarrassment for all involved. Sad, because Brooks has a great track record of making some really fine movies and TV shows. Nicholson's last movie - did he retire in shame ? Talk about going out on a sour note.

This movie is impressive on several fronts.

First, it is nice to see a 65 year old actress given the opportunity to headline a movie, and Jamie Lee Curtis nails it. She is hilarious and brings a lot of energy and spirit to her part.

After playing Tess twice now, she has made that character truly memorable. Her scenes involving her lips and in the record store are particularly funny, but Curtis shines throughout this film. Second, after three mediocre Netflix movies, Linsay Lohan is finally given a part deserving of her talents and she is back in a big way, giving an endearing and funny performance as Anna. Her chemistry with Curtis is wonderful. Third, the supporting cast is terrific throughout, particularly Julia Butters as Anna's daughter, Chad Michael Murray returning as Jake, and Vanessa Bayer as a fortune teller wannabe. Lastly, Disney has finally made a movie without an agenda.

There are no political or social commentaries made here - it's like the films that Disney used to make. Just some good old fashioned fun, with plenty of laughs and some really heartfelt moments that make you leave the theater feeling really good. Congratulations to all involved, particularly the writers, director, Curtis (the driving force behind getting this film made) and Lohan.

What makes this work is the chemistry between Dom DeLuise, Suzanne Pleshette, and Jerry Reed. They seem like they got along really well and enjoyed making this film in Miami. It's a screwball story with a lot of familiar faces from TV stopping by as customers at a pawn shop that is a front for the cops (played by Dom, Suzanne, and Jerry, along with a funny Luis Avalos as Ramon). Those TV faces are hilarious, particularly Bill McCutcheon as Paully, Sydney Lassick as Hymie, Pat McCormick as the man with the cigars, and a great schtick by Peppy Fields who comes in to buy an anniversary gift.

It's all good fun and is supposedly based on a true story.

Dom, also the director, works his tail off and his fans will be pleased. Suzanne, at the height of her beauty, is stunning, but, being the excellent actress she always was in any role, you totally believe her as a lady cop who keeps the guys in line. And Jerry, as always, brings some rowdy fun. Surprisingly, there is some very nice chemistry between Suzanne and Jerry, performers who came from very different backgrounds in real life. But, being the talented actors that they were, they carry it off.

Having seen this when it came out in 1979 and then watching it again the other day, I realize that, unlike some other comedies, it really does stand the test of time. Still fun - but kind of sad, too, because it makes you realize how much you miss Dom, Jerry, and particularly Suzanne, with those lovely dark looks and the best sultry female voice that Hollywood ever produced. May they rest in peace.

For her film debut in "Lady Sings The Blues," Diana Ross was nominated for an Oscar, deservedly so. And then Berry Gordy had the idea of creating this vanity piece for her in order to exploit her beauty and talent ? For designing clothes. The result is a complete and utter mess of a movie. What were Gordy and Ross thinking ? The supporting characters played by Anthony Perkins and Jean-Pierre Aumont are embarrassingly bad. Ross' co-star from her first movie, Billy Dee Williams, is on hand but, as much as he tries to elevate the material, it's hopeless. There are so many unintentionally laughable scenes that you are amazed that this was even brought to the screen, particularly when Ross' character drips hot candle wax on herself. Really !!

With an anticlimactic and goofy ending, you are just happy that the whole stupefying thing is over. This movie and 1978's disastrous "The Wiz" put the nails in the coffin of Ross' once promising acting career. A shame really.

This is probably one of the most disappointing sequels ever made. The main problem is the script. It just isn't that interesting or funny.

And the direction has no flair.

Other problems are the acting. George Burns has very little chemistry with Louanne, the girl playing the youngster who is questioning God.

She plays her part fine, but Burns just seems like he is going through the motions and picking up his big pay check.

Another major flaw is the underutilization of their co-star, Suzanne Pleshette. Always an asset in any feature film she appeared in, here, Pleshette is at the height of her beauty and looks stunning, but she is not given anything to do that matches her exceptional acting talents.

Sadly, this would be her last live action feature film, although she would go on to make some excellent, popular television movies that were deserving of her talents. David Birney, a likable actor, is wasted here, too.

All in all, you walk away thinking, why did I sit through that ? You are better off spending your time watching the original "Oh God" movie or any of Suzanne Pleshette's feature or tv movies.

I would have given this movie 5 stars because it is predictable and, at times, very slow. However, the good performances by Bullock and Connick and the really nice direction by Forest Whitaker raises it to a 6. But then, it jumps to an 8 due to the oustanding performances by the always great Gena Rowlands as the grandmother and Mae Whitman (then aged 10) and Cameron Finley (then aged 11) as her grandchildren. When the dull parts arrive, one can't help but hope any of the three of them will show back up in order to get things going again. There's not a lot of down time, but the slow parts are extremely so.

All in all, there is enough humor, sadness, and melodrama to keep you interested, but it is really the acting, particularly by Rowlands and Whitman (they have a wonderful scene at the granddaughter's bedtime), that elevates the material and makes this film a good experience. Plus, the happy, though very predictable, ending is very satisfying.

I did not start watching this series until its second season and I was a fan for the remainder of its years on the air.

During that time, I found the character of Laura to always be intriguing and I could never understand her motivations. Why exactly did she say or do some of the things that she said or did ? This episode explains it all and now I understand just why Laura was the person that she was, and I realize just how wonderful Constance McCashin was during her time on the show. She left in 1987 after her 200th episode, but you must see this episode to completely understand the Laura character and how excellent McCashin was - definitely an underrated asset to the series.

The plot involves rape, which is NEVER, EVER excusable, but, to me, the purpose of the episode is to also show how a woman's unfortunate choices can have catastrophic results. And will she learn from them ?

McCashin is excellent, as is Joan Van Ark as Laura's neighbor, Valene, and John Pleshette as Laura's husband, Richard. There is a terrific scene between Laura and Valene performed superbly by McCashin and Van Ark on the stairs in Laura's house that explains so much about Laura.

And this has one of the best final scenes of any episode of Knot's Landing. It takes place in a restaurant. It's almost haunting and leaves you feeling disjointed. Did Laura learn anything from her horrible experience ? No words are spoken but the looks on the faces of Laura and, particularly Valene, says it all.

This episode is the one of the very best of Knot's Landing, its writers, and McCashin.

Take That is an internationally known and hugely successful British singing group - but, for some reason, their recordings were not promoted or, sometimes, even released, in the US, other than a top 10 single "Back For Good" in 1995. That record made my son a devoted US fan of Take That and, subsequently, of Robbie Williams when he was kicked out of the group and went solo, ultimately having his own hugely successful international career (but, again, not in the US). A few years ago, Williams did a short run in Vegas with a show that was mostly American standards. Every show was sold out. For American fans who saw that show and wondered why American standards ? This movie is the back story as to why that happened. Much has been said about Williams' use of a computer generated monkey to portray him, but is is quite a remarkable accomplishment. The viewer becomes totally enraptured by his character and you really accept him as being like a human. It's just seamless. Why did Williams do it this way? Definitely because the music industry made a monkey out of him and the other Take That singers, but maybe also because Williams is still alive and successful.

If his bio featured a human actor playing him, wouldn't critics be obsessed with comparing the actor to the real Williams, thereby detracting from the goodness of the film itself. And it is very good. The Take That musical numbers are exhilarating and way fun. And the message of the movie is very satisfying : the love and respect of family and friends can get you through personal crisis.

At the very end of the movie, Williams makes it clear that he did this movie HIS way. Well, so be it. It works.

The British supporting cast is very good, particularly those who play Williams' father, mother, grandmother, and the founder of Take That, Gary Barlow. Ultimately, the film is visually stunning with some fine comic relief to get you through the depiction of some very serious demons that possessed Williams for much of his young life.

It may cause my fellow Americans to look into the music of Take That and Williams' terrific solo work. With Take That, I would start with their 1993 huge worldwide hit "Relight My Fire," which features another British superstar and legend, Lulu (of "To Sir With Love" fame), who comes in on the second half of the record with searing vocals that compliment the boys perfectly.

The problem with this movie is that the script is just so underwhelming and the story has no pizazz to it. The attempt to add some humor to a plot that is addressing a marriage that has sadly fallen apart fails miserably. It just doesn't work here. That said, what saves the film are the performances of Alison Sweeney, Niall Matter, and Laura Soltis. These very professional actors are always very good and they elevate the lackluster material and make it watchable. So, if you are into fine acting, you will find this worth the two hours spent watching it. Hopefully, these three stars will have better projects next Christmas. They deserve to.

This is a good example of a Hallmark Christmas movie that is so off-the-wall and contrived that you wonder just why it was even made. The premise and the script are so ridiculous that there was no way that the movie could be salvaged.

Plus, there is very little having to do with Christmas here. Most of the characters are irritating, particularly the Queen (I guess she has no other name besides Mother) as played by an almost unrecognizable Erica Durance, who usually is wonderful in her movies - check her out in "Ms. Christmas Comes To Town." Why she took on this thankless role is beyond me.

The only saving grace is Tanja Dixon-Warren as Squibby.

She lets her hair down and adds some spark to the otherwise lackluster proceedings in this turkey.

I can understand why military-related viewers are very negative in their reviews of this film - but, really, you guys, what did you expect in a movie about a 10 day boot camp to toughen up a next-in-line Queen ?

Don't take that plot line seriously under any circumstances !

Many people speak disparagingly about Hallmark Christmas movies, but Hallmark has many holiday films that are quite excellent and are way better than this production.

Netflix does not steer clear of comedy involving drug and inappropriate alcohol use in its movies, while Hallmark does, so that may be the drawing card here.

However, the plot line is not really that engaging and you kind of feel like Who Cares ? With this film. The real saving grace, though, is Lindsay Lohan. She looks great and manages to rise above the material, giving a very good performance that keeps your interest going so that you are willing to stick with this to the end.

So, for Lohan fans, this is a must, but for everyone else, it's an easy way to pass a couple of hours when you want to just sit back and relax for awhile and watch something that doesn't tax your mind - yes, that's what it is - mindless fun that is not very remarkable or memorable.

This is by far one of Elizabeth Taylor's best performances in a career that is full of excellent portrayals by her.

Her acting as the mentally unstable Lis is fascinating and full of nuances and gestures that keep you intrigued throughout. Just what is this woman up to ?

It is outstanding work by Taylor who vividly brings to life the character who was so bizarre in the Muriel Spark novel.

When this was filmed in 1975, the Lis character was supposed to intentionally dress and make up her hair and face in an extremely garish manner so that she would attract attention to her bizarre behavior, which Taylor does here, but no amount of odd garnishment can hide the beauty of Taylor - at 42, she was still stunning when she made this movie. And by today's standards (2025), her attire and make up might seem quite chic.

Lis' story is told in a very effectively mysterious manner that holds your interest as you wonder : what does this mean? But it all becomes clear in the end, making you want to watch the movie again - now that you understand what exactly was going on with her.

The only problem - and it's a big one - is how the movie was filmed. The director sought to be very avant garde and artsy and it just comes across as too pretentious and it slows things down.

If this was filmed in a more straightforward manner, Taylor might have won her third Oscar.

So, viewers, be patient with this one - in the end, Taylor makes it all worthwhile.

The original To Sir With Love ranks as one of the best movies I have ever seen. I originally saw it on the big screen in a theater when I was 12 years old and I have watched it many times since then on disc and on TV.

It's like an old friend - Poitier was wonderful and so were the teens - Lulu, Judy Geeson, Christian Roberts, etc.

I was really looking forward to this sequel when it first aired on TV, but I was extremely disappointed. Poitier was very good as usual, but the script was just boring.

Lulu and Judy Geeson from the original appear briefly - all before the opening credits - and then they are gone. What a waste.

The plot line of this sequel just meanders on and you come away from the film feeling nothing really. The original was rewarding for the viewer because there was so much emotion and feeling in the tale of this black teacher and his rowdy students who came to respect him and, ultimately, were "tamed" by him into adulthood. You really cared about Mr. Thackery and his students.

Here, the students are not sympathetic and are rather uninteresting.

Shockingly, this sequel was directed by Peter Bogdanovich who had a fine reputation as a result of some excellent feature films that he directed, but this just seemed like a half-hearted attempt at telling what could have been an interesting look at what happened to Mr. Thackery.

Bottom line : a sadly missed opportunity for the fans of the original "To Sir With Love," Sidney Poitier, and Lulu.

This is an interesting film and very well acted. It involves an actress coping with getting vilified by social media during the Christmas season - a unique premise. For the first time, we enjoyed Brooke D'Orsay's acting. We usually find her movies to be mediocre and her acting sort of robotic, probably because the scripts are so routine. But, here, she is given a good story and the opportunity to act with nice subtlety and expression. At times, she says nothing, but it is her face and movements that convey her feelings and emotions. Very nicely done. And John Brotherton is excellent - just as good as he was with Kimberley Sustad in "Lights! Camera! Christmas!".

His character is sort of a Nervous Nellie and it is endearing how he has feelings for D'Orsay's character.

Brotherton is a very multi-faceted actor - you can check him out in two episodes of the "911" series that aired earlier this year - in a performance that is stunningly evil.

But, here, he demonstrates just how diverse he is because this character is caring and sweet natured.

D'Orsay and Brotherton work well together and they make this movie fine and watchable holiday entertainment.

Well, in 2024, Erin Krakow got a hair cut and the new "do" works wonders for her here. Always good in any part she plays, she is really exceptional here. I don't think she has ever played such a high energy and smartly witty character before - and she really carries it off. Her character is fun and interesting - even though she finds herself in some very frustrating circumstances.

There's some of that old fashioned Christmas "magic" here where you have to sort of suspend belief, but it all works pretty well in the story and it is not overly fantastical.

Krakow's male co-stars are all very good, particularly Daniel Lissing as her co-worker, and the other three regular Hallmark actors, who play the three Nick's, have a chance to play roles that are very different from their standard fare and they really pull it off well. The scene where they meet each other for the first time is, to their credit, hilarious.

But, this is Krakow's movie - she's in almost every scene - and she carries it off with lots of talent and spirit - and a very attractive new "do." You can't imagine this character wearing her hair any differently - it fits her personality perfectly.

Every now and then Hallmark comes up with a really unique idea for their Christmas movies and here is an excellent one. Kimberley Sustad and Benjamin Ayres play Kate and Don, who have been antagonistic with each other for years after a failed "date," but join forces to save Kate's family Santa school. The first half hour of this movie is hilarious. Sustad's wonderful talents for sharp and witty comedy are on full display and who knew Ayres could be so funny - he's always good, but here he is exceptional. In the second half hour, you meet the ragtag Santa school students, and what a bunch they are. All funny, with their idiosyncrasies, including the real Santa who has lost his memory (played expertly and endearingly by Trevor Lerner), an old Grandpa (played nicely by Tom Pickett), a woman-Santa-wannabe (the always good Carmel Amit, willing to forego her attractiveness in this part), and a man who expresses himself through a hand puppet ! No kidding- but it's hilarious. And then the surprise - there's a very talented Hallmark regular playing himself in a very tongue-in-cheek performance as he goes to the school to research how to play Santa. We are sure he's not this self-absorbed in real life, but you can't tell that from some of the looks he gets from Sustad, his frequent co-star and co-writer in other Hallmark films. All of the other students are well played and funny. Plus, Allesandro Miro shows up with a funny performance as Blaise, the school's major competitor. This is all extremely well written and nicely directed by Lucie Guest with expensive looking sets.

But, many kudos have to go out to the casting director who engaged these marvelous performers for this movie. They all look like they really enjoyed playing these parts and, together, led by the terrific Sustad and Ayres, they carry it off to perfection. As an added bonus, the scenes between Kate and the real Santa during the last 30 minutes are touching and wonderfully played by Sustad and Lerner, with a gift given at the end of the film that is very special. A little Christmas "magic", lots of Santas, lots of fun, and lots of sentiment. The best of Hallmark's 2024 new season.

This was fun to watch because it has an unusual plot line for a Hallmark Christmas movie and it is filmed at actual locations, particularly at the football stadium and in the shops and streets of Independence, Missouri. Also, Hunter King and Tyler Hynes play very endearing characters and you really are interested in seeing their relationship evolve.

There is also a lot of nice family dynamics here and Ed Begley, Jr. Is particularly touching as the grandfather. He is very good, but really ? Is this how Ed Begley, Jr. Is in real life today?

To be brutally honest, if it is, he is almost totally unrecognizable from his days on St. Elsewhere. And his voice is completely different. So, that was kind of a shock. It's also nice to see Diedrich Beider back who was so good in American Housewife. He is swell here, too. So, all in all, this was an enjoyable two hours that is worth your time.

It was particularly fun to see a family enjoy Holiday cocktails in a delightful scene involving spiked egg nog. Families really do this kind of thing at Christmas - at least ours does !

This is an example of a Hallmark movie that seems to be made with a low budget so it is just a series of endless scenes where the characters just talk on and on and nothing really happens. Plus, the scenes are very repetitive with the lead character, Emily, constantly agonizing over the loss of her mother. At times, Heather Hemmins, as Emily, even seems bored with the script herself. Usually, a very good actress, Hemmins just appears to get lost in all the word salad. Marco Grazinni, as Emily's love interest, Luke, tries valiantly to breathe some life into the story - but there's little he can salvage from this weak script. Sharon Taylor plays Emily's mother in flashback and she is the most interesting of all of the characters - she manages to add some spark to what is, ultimately, one of the biggest disappointments of this 2024 Christmas season at Hallmark.