Despite suffering through the nightmarishly bad Belle’s Magical World the previous day, my daughters were up for still more Beauty and the Beast content last night, so we streamed The Enchanted Christmas.

Despite suffering through the nightmarishly bad Belle’s Magical World the previous day, my daughters were up for still more Beauty and the Beast content last night, so we streamed The Enchanted Christmas.
My girls wanted to see more Beauty and the Beast after we enjoyed the animated classic last week. So I pulled this up on Disney+ (not realizing the Christmas one is the first proper midquel).
This was my first time watching this all the way through since I became a dad, and BOY does it hit different.
I am a man of intense intestinal fortitude when it comes to stomaching cutesy teen dialogue.
I’ve always been extremely fond of this one (moreso than Hot Fuzz; never seen World’s End).
I know a lot of the value of this movie is the influence it brought on indie films:
Midsommar features an extremely striking use of light and color. It’s the first horror movie I’ve seen where the absence of darkness is part of the terror.
In 2009, when I was a 20-year-old junior in college, two of my buddies and I had a few drinks and stumbled over to the student theater.
A micro-budget, DTV fantasy movie riding in the wake of Harry Potter and Lord of the Rings, yet not really inspired by either.
I’ve heard it said that the only James Bond film that matters is the one released when you’re in high school. Certainly that’s true for me.