From here on out, every time we turn on the radio we will be bombarded with holiday cheer. For the next two months, we'll be forced to listen to every holiday song out. It seems that for every classic we just can't get enough of — like Eartha Kitt's "Santa Baby," or Adam Sandler's "Hanukkah Song" — there is a truly terrible tune (oh hey, "Dominic the Donkey"). But what about that third category, the songs that we are obsessed with but refuse to admit that we play each and every year?
The Hollywood.com team rallied together to reveal our deepest, darkest holiday carol secrets. And, together we came up with our own version of a horrible/wonderful holiday mix tape that we will be playing for the rest of the year. We present to you:
11 Holiday Songs We Hate to Admit We Like
Lindsey DiMattina: Mariah Carey's "All I Want for Christmas"
"This is the one song I play on repeat at the holidays. Even when it starts to bother my boyfriend and my parents, they just have to deal with it. 'All I Want for Christmas' is to hear this song over and over again."
Kelsea Stahler: RUN-D.M.C.'s “Christmas in Hollis”
"I mostly like this song for the revelatory fact that Santa apparently carries 'cold hundreds of Gs' in his wallet. It’s not a typical Christmas tune, and I’m not a huge RUN-D.M.C. fan (plus my dad hates them), but that never stopped me from dancing around to the song in my living room while wearing my Mrs. Claus night gown. This may or may not still happen in my adult life."
Christian Blauvelt: Band Aid's "Do They Know It's Christmas?"
"Bob Geldof himself has said the 1984 song he co-wrote with Midge Ure to raise money for Ethiopian famine relief is dreadful. I mean, this is an arena-rock carol with lyrics like 'And there won't be snow in Africa this Christmastime / The greatest gift they'll get this year is life.' But I challenge any of you who listens to this Yuletide bit of splendor to get it out of your head once you've heard it. Beware, I may be humming it right now."
Abbey Stone: José Feliciano's "Feliz Navidad"
"I unabashedly, unapologetically love this festive, foreign language holiday jingle. But, seeing as only the strong of heart can listen to this song on repeat, I must celebrate my obsession solo."
Sydney Bucksbaum: South Park's “A Lonely Jew on Christmas”
"Holiday songs are not really my cup of tea, especially being Jewish. There aren’t really that many good Chanukah songs out there. South Park’s take on a Jewish holiday song is both funny and extremely true… and on repeat during December for this girl."
Kate Ward: 98 Degrees' "The Christmas Song"
"Mostly for Justin's bass-led bridge, which is as hilarious as it is humiliating."
Shaunna Murphy: NewSong's "The Christmas Shoes"
"Only I don't hate to admit that I like it. It's a true testament to the power of song, as every time I listen to it, I want to give a street urchin a quarter so he can buy his mom stilettos in case she dies on Christmas. I like that Jesus personally gave the kid's mom cancer so that the grumpy dude in the song could learn about Christmas spirit. Seriously, listen to the lyrics. IT'S SO GOOD."
Anna Brand: Billy Mack (Bill Nighy)'s "Christmas Is All Around"
"'I feel it in my fingers, I feel it in my toes…' Anyone who says this isn't the catchiest Christmas song around is lying. Even if it is demented."
Amanda Villarosa: 'N SYNC's "Merry Christmas, Happy Holidays"
"I will never stop loving this song, even if my entire family hates me for it."
Michael Arbeiter: The Waitresses' “Christmas Wrapping”
"It’s catchy, it’s different, and it embodies humanity’s gravest fear: loneliness. Everyone else I know might cast the song out as tacky, but when Patty Donahue chirps rhythmically about spending Christmas by herself, my heartstrings are plucked by a sentiment all too familiar. Embarrassing as it may be, the theme rings true. Nobody wants to be alone, but knowing that we’re not alone in feeling alone… that makes things just a little less lonely."
Aly Semigran: Josh Groban's "O Holy Night"
"Don't get me wrong, this is not a bad song, nor is this even close to a terrible rendition (it may actually be one of the best), it's just that Josh Groban, especially a Christmas song or album, is something you buy for your aunt out in the Midwest. But as soon as this thing comes on, so do the goosebumps. Damn you, Groban. Sorry... darn you, Groban!"
'Tis the season to be jolly!
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Mark Ashman/Disney via Getty Images]
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A decade-long gap between sequels could leave a franchise stale but in the case of Men in Black 3 it's the launch pad for an unexpectedly great blockbuster. The kooky antics of Agent J (Will Smith) and Agent K (Tommy Lee Jones) don't stray far from their 1997 and 2002 adventures but without a bombardment of follow-ups to keep the series in mind the wonderfully weird sensibilities of Men in Black feel fresh Smith's natural charisma once again on full display. Barry Sonnenfeld returns for the threequel another space alien romp with a time travel twist — which turns out to be Pandora's Box for the director's deranged imagination.
As time passed in the real world so did it for the timeline in the world of Men in Black. Picking up ten years after MIB 2 J and K are continuing to protect the Earth from alien threats and enforce the law on those who live incognito. While dealing with their own personal issues — K is at his all-time crabbiest for seemingly no reason — the suited duo encounter an old enemy Boris the Animal (Jemaine Clement) a prickly assassin seeking revenge on K who blew his arm off back in the '60s. Their street fight is more of a warning; Boris' real plan is to head back in time to save his arm and kill off K. He's successful prompting J to take his own leap through the time-space continuum — and team up with a younger K (Josh Brolin) to put an end to Boris plans for world domination.
Men in Black 3 is the Will Smith show. Splitting his time between the brick personalities of Jones and Brolin's K Smith struts his stuff with all the fast-talking comedic style that made him a star in yesteryears. In present day he's still the laid back normal guy in a world of oddities — J raises an eyebrow as new head honcho O (Emma Thompson) delivers a eulogy in a screeching alien tongue but coming up with real world explanations for flying saucer crashes comes a little easier. But back in 1969 he's an even bigger fish out water. Surprisingly director Barry Sonnenfeld and writer Etan Cohen dabble in the inherent issues that would spring up if a black gentlemen decked out in a slick suit paraded around New York in the late '60s. A star of Smith's caliber may stray away from that type of racy humor but the hook of Men in Black 3 is the actor's readiness for anything. He turns J's jokey anachronisms into genuine laughs and doesn't mind letting the special effect artists stretch him into an unrecognizable Twizzler for the movie's epic time jump sequence.
Unlike other summer blockbusters Men in Black 3 is light on the action Sonnenfeld utilizing his effects budget and dazzling creature work (by the legendary Rick Baker) to push the comedy forward. J's fight with an oversized extraterrestrial fish won't keep you on the edge of your seat but his slapstick escape and the marine animal's eventual demise are genuinely amusing. Sonnenfeld carries over the twisted sensibilities he displayed in small screen work like Pushing Daisies favoring bizarre banter and elaborating on the kookiness of the alien underworld than battle scenes. MIB3's chase scene is passable but the movie in its prime when Smith is sparring with Brolin and newcomer Michael Stuhlbarg who steals the show as a being capable of seeing the future. His twitchy character keeps Smith and the audience on their toes.
Men in Black 3 digs up nostalgia I wasn't aware I had. Smith's the golden boy of summer and even with modern ingenuity keeping it fresh — Sonnenfeld uses the mandatory 3D to full and fun effect — there's an element to the film that feels plucked from another era. The movie is economical and slight with plenty of lapses in logic that will provoke head scratching on the walk out of the theater but it's also perfectly executed. After ten years of cinematic neutralizing the folks behind Men in Black haven't forgotten what made the first movie work so well. After al these years Smith continues to make the goofy plot wild spectacle and crazed alien antics look good.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.
New Line Cinema's The Lord of the Rings: The Return of the King, the third and final installment in director Peter Jackson's fantasy epic, continued its reign at the box office with a cork-popping take of $51.2 million* over the holiday weekend. What's more, The Return of the King posted the best Christmas day gross ever, taking in $14.5 million on Dec. 25 alone. The film also crossed the $200 million mark after only 11 days, beating The Lord of the Rings: The Two Towers, which took 12 days. That's definitely good news for New Line, whose Rings trilogy was a $300 million-plus make-or-break investment for the studio. Combined with the spirited take of four new wide releases, The Return of the King's strong legs also helped make this weekend the biggest Christmas weekend in box office history.The comedy Cheaper by the Dozen triumphed over rival newcomers hitting theaters this weekend, opening in second place with a generous three-day take of $28.2 million. The family comedy was followed by Cold Mountain, which debuted in the No. 3 position with nippy $14.5 million. Aided by its eight Golden Globe nominations and inclusion on many critics' Top 10 lists, the American Civil War drama is on a likely track for key Oscar nominations. Something's Gotta Give, now in its third week of release, placed fourth with $14.2 million, while the new Ben Affleck sci-fi thriller Paycheck, rounded out the Top Five with a foreseeable opening take of $13.9 million. The family pic Peter Pan, the last of this week's wide releases, kicked off in seventh place with a not-so-magical take of $11.4 million.Although this week's four new releases produced a combined first-day box office tally of almost $22 million, Paul Dergarabedian, president of the box office tracking service Exhibitor Relations, told The Associated Press Sunday the industry's total yearend box office revenues would likely fall short of last year's $9.3 billion record, marking the first year-to-year decline since 1991."The end of the year is looking pretty good," Dergarabedian said. "But not enough to jump ahead of last year's revenues ... because 2002 was so amazing."Last year, Hollywood benefited from an abundance of blockbusters, such as Spider-Man, Star Wars: Episode II--Attack of the Clones, Harry Potter and the Chamber of Secrets, The Lord of the Rings: The Two Towers and the sleeper hit, My Big Fat Greek Wedding.The Top 12 films this weekend grossed an ESTIMATED $168.6 million, up 26.39 percent from last weekend's $133.4 million take and up 8.18 percent from last year's $155.8 million.THE TOP TENNew Line Cinema's PG-13 rated fantasy epic The Lord of the Rings: The Return of the King kept its No. 1 stronghold in its second week of release with an ESTIMATED $51.2 million (-29%) at 3,703 theaters (unchanged; $13,833 per theater). Its cume is approximately $223.6 million. Directed by Peter Jackson, it stars Elijah Wood, Viggo Mortensen, Orlando Bloom, Ian McKellen, Sean Astin, Liv Tyler, Miranda Otto, Billy Boyd and Dominic Monaghan.Twentieth Century Fox's PG rated comedy Cheaper by the Dozen debuted in second place with $28.2 million in 3,298 theaters, with an $8,558 per theater average. In the film, a contemporary remake of the 1950 Walter Lang comedy based on the novel by Ernestine Gilbreth Carey and Frank B. Gilbreth, mayhem ensues as a couple moves their large family of 12 children from a small town to an affluent Chicago suburb.Directed by Shawn Levy, it stars Steve Martin, Bonnie Hunt, Hilary Duff and Tom Welling. Miramax Films' R rated Civil War drama Cold Mountain opened in third place with $14.5 million in 2,167 theaters with a $6,691 per theater average. In the film, a Confederate soldier makes the arduous journey from the front lines of the Civil War to his home in Cold Mountain, N.C., where his ladylove has been fighting battles of her own.Directed by Anthony Minghella, it stars Jude Law, Nicole Kidman and Renee Zellweger. Sony Pictures' PG-13 rated romantic comedy Something's Gotta Give dropped one spot to fourth in its third week with an ESTIMATED $11.4 million (+24%) at 2,709 theaters (+32 theaters; $5,242 per theater). Its cume is approximately $56.3 million. Directed by Nancy Meyers, it stars Jack Nicholson, Diane Keaton, Keanu Reeves, Amanda Peet and Frances McDormand.Paramount Pictures' PG-13 rated sci-fi thriller Paycheck kicked off in the No. 5 position with $13.9 million in 2,762 theaters with a $5,033 per theater average. In the film, a "reverse-engineer" who has had three years of his memory erased by a multimillion-dollar corporation, tries to piece together his past using a collection of random objects.Directed by John Woo, it stars Ben Affleck and Uma Thurman.*Box office estimates provided by Exhibitor Relations, Inc.Sony Pictures' PG-13 rated drama Mona Lisa Smile fell from its runner-up position last week to sixth place in its second week with an ESTIMATED $11.5 million (unchanged) in 2,677 theaters (unchanged; $4,296 per theater). Its cume is approximately $31.4 million.Directed by Mike Newell, it stars Julia Roberts, Maggie Gyllenhaal, Kirsten Dunst and Julia Stiles.Universal Pictures' PG rated family pic Peter Pan opened in seventh place with $11.4 million at 2,813 theaters with a $4,053 per theater average. In the film, based on the classic J.M. Barrie novel, the Darling family children receive a visit from Peter Pan, who takes them to Neverland where an ongoing war with the evil pirate Captain Hook is taking place.Directed by P.J. Hogan, it stars Jeremy Sumpter, Jason Isaacs and Ludivine Sagnier. Warner Bros.' R rated period actioner The Last Samurai, fell four spots to eighth place in its fourth week with an ESTIMATED $8.3 million (+8%) in 2,557 theaters (-381; $3,273 per theater). Its cume is approximately $74.3 million.Directed by Edward Zwick, it stars Tom Cruise, Ken Watanabe, Tony Goldwyn and Timothy Spall.Miramax Films' R rated dark comedy Bad Santa dropped two rungs to ninth place in its fifth week with an ESTIMATED $4.5 million (-11%) at 1,710 theaters (-515 theaters; $2,644 per theater). Its cume is approximately $50.9 million. Directed by Terry Zwigoff, it stars Billy Bob Thornton, Bernie Mac, Tony Cox and John Ritter.New Line Cinema's PG rated holiday comedy Elf fell five places in its eighth week to round out the Top 10 with an ESTIMATED $4.2 million (-22%) at 2,015 theaters (-436 theaters; $2,122 per theater). Its cume is approximately $164.8 million. Directed by Jon Favreau, it stars Will Ferrell, James Caan, Bob Newhart, Ed Asner, Zooey Deschanel and Mary Steenburgen.OTHERSSony Picture Classics' PG-13 rated dance drama The Company debuted in 11 theaters with $96,939, with a $8,813 per theater average.The film centers on a Chicago ballet company--the difficult daily work, the intense pressures of performance and the richly textured behaviors of the dancers, whose professional and personal lives grow impossibly close.Directed by Robert Altman, it stars Neve Campbell, James Franco and Malcolm McDowell.New Market's R rated biopic Monster opened in four theaters with $84,156 with an impressive $21,039 per theater average. The dark tale is based on the true story of Aileen Wuornos, one of America's first female serial killers.Directed by Patty Jenkins, it stars Charlize Theron and Christina Ricci.WEEKEND COMPARISON Last year, New Line's PG-13 rated The Lord of the Rings: The Two Towers came in at No. 1 in its second week with $48.8 million in 3,622 theaters (unchanged; $13,494 per theater); DreamWorks' biopic Catch Me If You Can opened in second place with $30 million 3,156 theaters ($9,523 per theater); Warner Brothers' PG-13 rated romantic comedy Two Weeks Notice followed in third place in its second week of release with $15.5 million in 2,755 theaters (unchanged; $5,633 per theater).
Go to our Box Office section for recent weekend movie analysis.