Streaming Guide: Best Gambling Movies on Netflix and Amazon Prime

From the early Hollywood era right up to the present day, movies about gambling have continually been enjoyed by audiences the world over. With instant access to films on Netflix and Amazon Prime, it’s never been easier to access great movies instantly. Here is a look at some of the very best that you can stream today.

Casino

Inspired by a true story, this 1995 crime movie follows a Jewish gambling handicapper called Sam “Ace” Rothstein who is asked by the mob to oversee the operations of Las Vegas’ Tangiers Casino. The film is a stunning exploration of the types of high-rollers who frequent one of the US’s most prominent casinos. You’ll get swept along with the movie’s portraits of human emotion, and the visual extravagance is a feast for the eyes. At almost three hours long, Casino is a true epic. You can watch the critically and commercially successful motion picture online on Netflix. Once the credits have rolled, you’ll undoubtedly want to play table or slot games yourself by visiting a real-life gambling establishment or a casino online.

Mississippi Grind

Mississippi Grind is a road movie as much as it’s a gambling film, but it also manages to transcend those two genres. This 2015 film is in a class of its own. After the protagonist Gerry is threatened by his loan shark to repay the money he owes, he runs into the charismatic poker player Curtis. Gerry then steals petty cash from the office where he works, and the two begin a road trip down the Mississippi River to New Orleans, with visions of winning big money at casinos along the way. If you enjoy hard-edged gambling movies, Mississippi Grind is one you won’t want to miss. It’s available on Amazon Prime.

Image source: https://pixabay.com/photos/las-vegas-night-time-neon-lights-599840/

21

This 2008 film is one of the best gambling movies of the decade. Based on the true story of an MIT blackjack team, the plot involves a mathematics professor recruiting five of his brilliant students to use their card-counting skills to win millions of dollars in Las Vegas. Everything goes perfectly at the start. But after spending semesters flying back and forth to Vegas to work their system, things start to fall apart. The more money they win, the more greed they have. And that is their downfall. With some heavily dramatic scenes and lots of action, 21 is a movie any film fan is sure to enjoy. You can stream it on Netflix.

Eight Men Out

Eight Men Out isn’t your typical gambling movie. Indeed, there are no scenes of playing cards or visiting glitzy casinos. But the story does centre around betting. It’s a dramatisation of the real story about eight players of the Chicago White Sox conspiring with gamblers to throw the game and lose the 1919 baseball World Series. Eight Men Out perfectly depicts the cultural significance of the scandal. With stellar acting performances and an excellently-written script, this is one movie you are sure to become absorbed in. You can stream Eight Men Out on Amazon Prime.

Ocean’s Eleven

If you haven’t yet seen Ocean’s Eleven, which is one of the greatest gambling movies of the 21st century, you don’t know what you’re missing. Based on the 1960 Rat Pack film of the same name, 2001’s Ocean’s Eleven sees gangster Danny Ocean assembling a group of misfits to steal $150 million from three of Las Vegas’ largest casinos; owned by Ocean’s rival Terry Benedict. Ocean’s Eleven was the fifth-highest grossing movie of 2001. You can watch it on Netflix.

 

Are Trips To The Cinema Still Worth It?

When was the last time that you went to the cinema? Find out whether we think that cinema trips are still worth it or not here in this article.

In the past, when a new movie would come out, we would all head to the cinema to check it out. Over time, the number of people heading to the cinema has dwindled and more people are waiting until a new movie is available to rent at home before they actually get around to watching it.

In this article, we are going to look at whether a trip to the cinema is still worth it or not. Keep reading to hear our final verdict.

Why Go To The Cinema?

There are many reasons to actually go to the cinema to catch a new release including the fact that you can see it as soon as it is out. Many people enjoy planning a trip with their friends, family or partner to the cinema as they have usually been waiting in anticipation to see the latest movie.

Another reason to go to the cinema is that it can help you to enjoy the movie even more. Some of the biggest blockbusters are made to be watched on a large screen with very loud speakers. This is not something which you can always achieve when you watch a film at home on your TV. This is why it can be worth it to go to the cinema and see the latest movie.

Other Ways To Enjoy Movies

One of the reasons why people think that cinema trips are not worth it is that they can be so expensive and if you just wait a few months, you can enjoy the film for a fraction of the price. Streaming services like Netflix or Amazon Prime are always adding new movies to their selection and this is something why many people enjoy.

When it comes to enjoying new movies, there are plenty of other ways that this can be done. There are movie conventions for some of the big budget movies and this casino even has some movie-themed games that you can play. No matter how you want to enjoy your movies, there will be something for you to enjoy without having to go to the cinema.

What Do The Stats Say?

Interestingly, movie theatre attendance has hit a low in recent years and there are some statistics to support this. According to Bloomberg, movie theatre attendances have hit a low since at least 1992. This indicates that fewer people are attending the cinema and this is something which is expected to continue unless something changes.

Final Verdict

Going to the cinema can be a very fun experience and we expect there to be many cinemas open for years to come. Of course, as online streaming services become more advanced, we also expect others to stay away from the cinema. Overall, we believe that cinema trips are still worth it but there are plenty of other ways that you can experience the latest blockbuster movies without having to leave your home.

 

Six Obscure Movies to Stream Now

stream obscure

With the abundance of streaming sites out there, it’s easy to get bogged down in surfing for something to watch. The algorithms of the services often won’t show you some of the hidden gems that can be found. So here are a few of our choice selections that are certainly not in the mainstream.

He Never Died (2015)

Where to watch: Netflix

Rocker and raconteur Henry Rollins plays a loner who keeps his lifestyle simple, avoiding as much human contact as possible. Mainly because he has an unquenchable taste for blood and human flesh. Rollins is captivating, and the film never fails to surprise – read our review for more.

Blood of the Tribades (2016)

Where to watch: Amazon Prime

A glorious low budget indie homage to the films of Jess Franco and Jean Rollin. Like those Euro horror masters, this American-made film won’t be for everyone’s taste but if you can stomach the full frontal male nudity and magnificent gender politics, this is for you! Check out our full review.

The Eyes of My Mother (2016)

Where to watch: Netflix US

A hugely underrated modern classic. Shot in atmospheric black and white, Nicolas Pesce (director of the new version of The Grudge) made his debut with this tale of a woman overtaken by dark and nightmarish desires after she experiences a tragedy. Those outside of the US Netflix reach might want to look here, and read our review.

Octaman (1972)

Where to watch: Amazon Prime

Looking for something a little older? How about this schlock classic. A terrifying creature stalks an expedition in deepest Mexico. Look, it’s got Kerwin Matthews (The 7th Voyage of Sinbad) and a creature created by the legendary Rick Baker, what else is there to recommend?

Audrey Rose (1977)

Where to watch: Netflix

Anthony Hopkins adds some gravitas to this creepy tale as a stranger convinced a young girl is his own daughter reincarnated. It’s directed by the legendary Robert Wise (The Haunting, The Sound of Music), so you know you can’t go wrong.

Humanoids from the Deep (1980)

Where to watch: Netflix

Doug McClure (you may remember him from such films as Warlords of Atlantis) battles against a different type of beast in this surprisingly gory shocker. A bunch of half-man, half-fish creatures descend on a small fishing village. This one’s certainly not for the kids!

Found some other gems hidden away on the streaming sites? Let us know!

Makoto Shinkai | WEATHERING WITH YOU

Following the worldwide success of YOUR NAME in 2016, legendary Japanese filmmaker MAKOTO SHINKAI brings the world his newest masterpiece WEATHERING WITH YOU. We received the highest of honours to spend time talking to the man himself about his new film, the inspirations behind the story and the importance of human relationships.

Below is an extract of the interview – the full interview will be available to read in STARBURST Issue #469

STARBURST: Congratulations on the film. It’s an absolute masterpiece. How has the reaction from the fans been for you?

MAKOTO SHINKAI: Simply amazing. It’s the number one Japanese film at the box office in 2019. I didn’t expect that and I’m really happy that it has reached that height. We’ve had a lot of young support too which is great to see.

As with Your Name (and your other films), you also wrote the screenplay as well as directing. Where did your inspiration for the story come from?

There are a few inspirations – the biggest is the fact that climate change is becoming a reality and every year in Japan we are getting these really heavy rains that are causing flooding and they are becoming more frequent along with other natural disasters so I thought it was a good time to make a film on the theme of weather.

Music in film is such a huge aspect and one of our favourite parts of the film is the music. Just like with Your Name you’ve worked with RADWIMPS again on Weathering with You. How important was the music to you and what was it like working with RADWIMPS again?

I think music can move and audience more than the visuals. I wanted to work with artists who understand that role that music can play and RADWIMPS get that and understand what they can do – understand the power that music has, and I think that brings something truly special to the film.

Hodaka and Hina are both wonderful and interesting characters – both from completely different backgrounds. Who was your favourite to write and develop and did you draw any inspiration from yourself or people that you know for those characters?

Well, Hodaka as the narrator is maybe closer to me – he’s the one moving the story along but Hina, she’s the unknown. She is something that Hodaka is trying to figure out but can’t because she is the sunshine girl and she has these powers that normal people don’t have, and it was fun to write that sense of the unknown. I wanted her to be a character that the audience couldn’t predict. One minute she’d be crying, the next she’d be laughing, and it was fun to write that character. She wasn’t really inspired by anyone that I know, it was more like I was imagining someone that I’d like to meet.

The animation in your films is easily some of the best in anime today – arguably THE best. Every single one of your worlds feel full and alive and feels like a character itself – is that something you always try to achieve whenever you make a new film?

With Weathering with You, I feel like Tokyo itself is a character – Hodaka goes Tokyo, meets Hina and gets to know her and at the same time he’s getting to know Tokyo, so it is as important as the characters and I wanted to draw it in as much detail as possible.

WEATHERING WITH YOU is released in UK cinemas on Friday 17th January 2020.

Our full review of the film can be found here and to find the nearest cinema to you that is showing the film and to book tickets, please visit https://weatheringwithyoufilm.co.uk/

REELING IN THE YEARS – Stranger Fears

Shows such as Stranger Things have had us longing for the time of Day-Glo legwarmers, big bad hair, and no Internet. This trend has extended to movies, with plenty of titles being influenced from the decade of the video nasties and social unrest. We’re going to focus on four such films that you may have overlooked on their original release.

The Void (2016)

Directed by Jeremy Gillespie and Steven Kostanski, who are best known as members of the cult Canadian collective Astron-6. The pair co-directed such exploitation fare as Father’s Day (2011) and Kostanski was a member of the team when they made Manborg (2011). The Void is massively different to the work of the collective, lacking the gaudy fun element and playing it as straight as a die. The film is clearly influenced by the lore of H.P. Lovecraft and the visceral imagery of John Carpenter, particularly his terrifying eighties movies such as The Thing and Prince of Darkness. Fans of Clive Barker’s Hellraiser will also get a massive kick out of the blood-soaked finale.

Things are creepy from the very start as a state trooper comes across a young man, bloodied and dishevelled running from the woods. He takes him to the nearest hospital, which just happens to be closing down following a recent fire. His estranged wife is also the head nurse, which adds some more tension. It’s the least of his worries, though, as they soon become under siege from a group of robe-wearing strangers who have a black triangle on their hoods. Things get really bad when ghastly creatures appear to be taking over the bodies of the recently deceased.

Packed full of amazing physical special effects that were part-financed through an Indiegogo campaign, it’s a very satisfying film that flew under the radar of the mainstream when it was released, but is certainly worth checking out. Fans of Lucio Fulci will get a kick out of it as the story brings the characters into a basement that looks as though it’s come through from one of the seven gates of Hell. Cult favourite Art Hindle – best known for the original Black Christmas (1973) and David Cronenberg’s The Brood (1979), another film that The Void shares themes with – makes an all-too brief appearance, but the rest of the cast, particularly Aaron Poole (soon to be seen as legendary guitarist Mick Ronson in the David Bowie biopic Stardust), who plays the deputy who stumbles upon the nightmare situation.

Beyond the Gates (2016)

Following their father’s disappearance, two brothers attempt to clear out his shop. Amazingly, it’s a video shop filled with enough bounty to send VHS collectors into a frenzy. Amongst the stock they find in the locked office is a VCR game that they think might have been the last thing their father may have played on his machine. When they start to view it, an ominous host (played by everyone’s favourite Barbara Crampton) warns of what’s to come before the pair are bombarded by a seizure-inducing white noise. Settling down to play it opens up even more questions as the host says they must collect four keys to save their father’s soul. Obviously this surprises them but they continue to explore the game more.

The success of role playing games such as Dungeons & Dragons (played in movies such as E.T. the Extra-terrestrial and latterly in Stranger Things) and the success of the home video market meant that ‘interactive’ video games that incorporated both visuals and a regular board became more commonplace. The use of the device in Beyond the Gates give the film an atmosphere of days gone by. Hold tight, though, because despite the demure, almost family-friendly (apart from the bad language), first half, when the brothers begin to get into the game, things get very gruesome.

Genre regulars Graham Skipper (Bad Apples) and Chase Williamson (John Dies at the End) play the brothers – surname Hardesty, in a nod to Tobe Hooper’s unfortunate heroine in The Texas Chain Saw Massacre, and director Jackson Stewart interned with Stuart Gordon (Re-Animator), and his influence is seen in some of the later scenes. The interior of the video store the brothers are attempting to clear out is actually Eddie Brandt’s Saturday Matinee, a famous real-life store in North Hollywood that is still running to this day, which as well as selling and renting films is host to two tons worth of old movie production stills. These alone are worth their weight in gold and a reason for checking this place out should you find yourself in the area.

The Final Girls (2015)

The clichés of the summer camp slasher film are both lampooned and celebrated in Todd Strauss-Schulson’s clever and highly entertaining movie. Imagine Friday the 13th and The Burning mashed together with Stay Tuned and The Purple Rose of Cairo and you might begin to get the gist of how messed up in the best possible way this is. American Horror Story’s Taissa Farmiga is still mourning her actor mother (Malin Akerman), whose one big claim to fame was as a scream queen in eighties shocker Camp Bloodbath, when she’s invited to a retrospective screening. A fire breaks out while they’re watching the film, and a group of them escape the inferno through the screen… literally putting them into the heart of Camp Bloodbath.

All the slasher tropes are here: the slutty but bubbly floozy, the over-confident sex addicted but obnoxious jock, the innocent but soon-to-be deflowered (and slaughtered) virgin, and the token black character who won’t make it past the first reel. However, with the modern-day group entering proceedings, all bets are off when it comes to how this massacre will go down.

As well as a healthy (well – that’s what we’re here for!) body count, the film has a lot of heart. The relationship between the mother and daughter is wonderful from the outset, with both actors excelling in their roles. It also touches on the friendship of the others in the group and despite the horror being front and centre, home truths and buried frustrations are brought to a head and cleared up in a beautifully natural way. In true eighties style, the film ends with some outtakes played over the end credits, just to cement the comedy edge. But rest assured, the humour isn’t to the detriment of the gore and terror.

While Scream birthed a franchise, it’s rewarding to know that The Final Girls, arguably the worthy successor to Wes Craven’s property’s crown, has remained a one-and-gone wonder. The fact that it’s not as widely celebrated is a crime, however. The campaign to make this a more recognised cult classic begins here.

WolfCop (2014)

Lowell Dean’s ode to the lycanthrope is a joyous, if schlocky, romp that delighted audiences open minded enough to check it out and spawned a sequel in 2017 (the imaginatively titled Another WolfCop). Leo Farfard is the booze hound cop Lou Garou (French for… well, we’re sure you can guess), who is knocked out while investigating something in the woods and wakes to find he has acute hearing and smell and has a pentagram carved into his stomach and a tendency to become very hairy when the moon is full.

While everybody quite rightly cites the transformation in An American Werewolf in London as the pinnacle of perfection, the moment Lou first changes into his hirsute alter ego takes place in the toilet, and the first part to grow is… well, use your imagination. Like Landis’ masterpiece, this leaves nothing to the imagination and appears as painful as it should be. Unlike every other metamorphosis, the wolf inside literally tears through Lou’s flesh, leaving a snake-like skin behind. WolfCop does out-do American Werewolf in one stake – the love scene takes place with a fully-transformed Lou rather than pre-moon dance form.

Packed with fantastically riotous moments, WolfCop is everything you expect it to be and much more. Occult ceremonies, political conspiracy, ocular trauma, face ripping, shape-shifters, and a donut-eating hairy cop – the film has it all. And all the effects are done practically, which adds so much more charm to the proceedings. And if you’re worried about product placement, pay close attention to the Tennessee whiskey bottles, you’ll find it’s actually Jim Dandie’s Old no. 2 Kentucky Whiskey. You’ll be howling mad if you pass up this any longer.

You can catch this quartet of movies during the STRANGER FEARS season on Horror Channel throughout January. Tune in on Sky 317, Virgin 149, Freeview 70, Freesat 138.

Six Anime Characters Who Love to Gamble

There have been a host of gambling-themed anime over the years with the tiled based game Mahjong and other forms of wagers central to many of the most memorable narratives and stories. The running theme of gambling is also brought to life by colourful characters. You can read up on it here and find the few who were willing to risk it all for that satisfying feeling of winning a bet.

Tsunade from Naruto

Tsunade is one of the most loved protagonists in anime and it’s no surprise that she backs up her badass persona and ability to heal wounds even when faced with death with a penchant for hard gambling. Tsunade’s love of gambling was passed down through the family, learning from her grandfather that it can be incredibly fun and relaxing even if you are not winning all the time.

Tsunade possesses a true gambling spirit in the series and even though many of her plays end up failing, she continues to be positive and hope for the best. Tsunade is known for medical jutsu and a signature move called Creation Rebirth. It may be this invincibility that makes her believe she can gamble without any consequences.

Naruto ran for 220 episodes for five years between 2002 and 2007 and during that time, Tsunade had such bad luck at gambling that she picked up ‘The Legendary Sucker’ moniker. Success doesn’t matter though – a true gambler has the spirit to get knocked down and to continue rolling the dice thereafter.

Light Yagami from Death Note

The main protagonist in beloved manga and anime series Death Note may not be a conventional gambler but he regularly partakes in high-stakes games and decisions during the series. The story is focused on a boy genius who is unhappy with his lot and seeks to change and mould the world to his way of thinking. After a notebook called ‘Death Note’ arrives one day, Light Yagami battles against the dark spirit Jabami Yumeko and decides to rid the world of all criminals. Light Yagami’s fortitude would surely have made him an expert at the craps table.

Akagi from Akagi: Yami ni Oritatta Tensai

Another handsome protagonist makes the list of heavy gamblers by taking on all yakuza gamblers and defeating them single handedly. Akagi from the manga Akagi: Yamo ni Orittat Tensai is just 13-years-old at the start of the story but he has no problem dispatching his older and more experienced opponents at mahjong and develops a legendary reputation as a result.

One particular plot point sees Akagi use his gambling prowess to help small-timer, Nangou, who has got in too far with the yakuza and is set to lose everything. Akagi saves the day by defeating them all and winning a huge amount of money. Akagi is the quintessential gambling hero and in the manga, he returns after a six-year hiatus with a mythical status and continues to blow away his opponents.

Faye Valentine from Cowboy Bepop

Anime classic Cowboy Bepop which ran for just a single memorable season across 26 episodes in the late 90s also had one of the most unforgettable gambling characters. In addition to being a fan of smoking, drinking and other forms of recreational drug use, Faye Valentine was a pathological gambler which enhanced her image as a femme fatale and ruthless bounty hunter.

Tetsuya from Legendary Gambler Tetsuya

To complement the list of characters, let’s also have a look at an anime specifically about gambling. The appropriately titled Legendary Gambler Tetsuya debuted in 1997 as a manga series centred around gambling. Writer Fumei Sai and illustrator Yashshi Hoshino crafted an enticing premise around the main protagonist, Tetsua, who is a master gambler and defeats anyone he goes up against and takes all the winnings.

Set against the backdrop of World War Two, Tetsuya continues his winning streak until one day he loses out to notorious gambler Boushu-san. Tetsuya takes the defeat as a sign to learn more about the world of mahjong and he then dedicates all of his time to training with a view to getting back into the game.

Legendary Gambler Tetsuya debuted as an anime series in October 2000 and ran for a single season over 20 episodes. The last episode aired in March 2001.

Kaiji Itou from Gyakkyou Burai Kaiji: Ultimate Survivor

Kaiji is one of the ultimate rags to riches stories in anime and his transformation from complete loser with huge debts to mature is propelled by his natural talent for gambling. Kaiji goes through several hardships but a sophisticated approach to gambling sets him on the right path. A few other notable anime gamblers include Daniel J. D’Arby from JoJo no Kimyou na Bouken: Stardust Crusaders, Leroute from Hunter x Hunter and Shigeru Akagi from Touhai Densetsu Akagi: Yami ni Maiorita Tensai.

Out Now – Issue 468

468 ns

In the new issue of STARBURST we look forward to the upcoming year as we present The Must-See 53. Every film and TV show that we think you won’t want to miss.

We also look back over the previous year with the Top 40 Movies of the Year and the Top 20 TV Shows, as voted by the STARBURST writers. Where will your favourite be? Will you find some nugget that’s worth checking out?

We also have a preview of the upcoming new Star Trek series, Picard and everything you ever needed to know about Jean-Luc too.

If that’s not enough, we celebrate Galaxy Quest becoming 20 years old, Horror Obscura looks at a quartet of ‘80s-influenced films, plus much more…

Plus all your favourite COLUMNS, NEWS, REVIEWS and much MORE from the worlds of SCI-FI, HORROR and FANTASY!

Head Office – A Short Story by Kate Shenton

head office

 

Santa Claus is a shit.

We all think it. Just a blundering buffoon who consumes one mince pie after another because he’s too egotistical to believe he’ll ever have a heart attack.

Two hundred and twenty-six years I’ve worked on that damn factory floor, wearing this stupid ‘elf’ uniform, laughing at his terrible turkey jokes, which are both offensive and borderlining on bestiality.

Two hundred and twenty-six years I’ve sat at that damn conveyor belt, adding the ribbons to each present, as they play that god-awful Christmas music in the background. If I ever meet Rudolf the red-nose fucking reindeer, I’ll skin him alive and turn his coat into a pair of moccasins.

But those two hundred and twenty-six years of shit are about to pay off.

I’m being promoted to head office.

Currently I’m sitting in reception, next to the old bastard’s office, waiting for my induction.

I’ve heard good things about head office. Nine-to-five hours, six weeks’ holiday, and no fucking Christmas music. Apparently everyone is given a kneeling posture chair, because when you’re important, the company cares about your posture.

“Mr Claus will see you now,” says the receptionist, in her monotone ‘god I hate my job’ voice.

His office is like everything else about him – grandiose, extravagant, and vulgar. Hundreds of Santa statues surround his oak desk, all of them there to inflate his ego, probably compensating for a tiny dick.

“Elfie, you old cock!” beams Santa, scoffing his five o’clock Christmas dinner, gravy dribbling down his beard. “Good to see ya! Sit down, sit down!”

My name’s not Elfie. Santa calls all his employees this, so he doesn’t have to bother learning our names. It’s not like we play an important part in his trillion-dollar empire!

I sit down.

“So, Elfie… Before you make the leap, I need to know… do you love Christmas?”

“Yes, of course I love Christmas!”

“Would you do anything to keep Christmas great?”

Right now, I’d do anything to get out of this stupid fucking uniform.

“Yes, Mr Claus,’ I lie, ‘I’d do anything.” He smiles, blue eyes twinkling.

“Good. Because we’ve built up one hell of an empire here! I’ve gone from being a simple saint to a global icon. There are more look-a-likes of me than the fucking Queen! The kids love me. The parents love me. They all love the brand and we need to protect it, no matter what.”

Santa Claus heaves himself from his chair and walks over to the smallest, oldest statue of himself, which is stationed on the fireplace.

He twists the statue’s porcelain head.

The floor behind me slides back, revealing a small staircase, leading into the darkness.

“So … what’s down there?”

“Head office!”

Shit! No one told me it was a basement office. I wonder if I can claim for vitamin D pills. Still, it’s got to be better than working in the factory…

The further down we go, the narrower and more crooked the steps become. Torches on the walls light our way. When we reach the bottom, we are confronted by a simple iron door.

“Here we go!” says Santa as he slides a key into the lock, pulling the door open.

He gestures for me to enter. I obey.

“Now what you need to understand is, during my sainthood, Christmas was a very different business. Cakes and nuts for the good girls and boys, a whipping or a kidnapping for the bad…”

The room was dark, so dark I can barely see anything, but I can hear something rustling in the shadows…

“However, I saw the potential… with the right marketing and a bit of clever branding, Christmas could be more than just a stocking full of dried fruit. But, to do that, I needed him to stand down and let me take the reins.”

I hear the rustling turn to grunting. Then, the sound of hooves striking the stone floor. Terrified, I turn to the door, but Santa has already locked it. His dead, black eyes meet mine through the peep hole.

“The thing is, he really liked eating the children and as they’re my best customers, we had to make a compromise… A sort of severance package.”

I hear a roar.

Out of the shadows Krampus emerges, licking his sharp teeth, dried blood glistening on his horns. He scrapes his hooves against the floor, excited to see me.

Santa smiles.

“You did say you’d do anything for Christmas!”

Where Have All the Great Christmas Films Gone?

Festive flicks like Last Christmas have been hugely successful at the box office, but the biggest movies aren’t always the best. Christmas films are in higher demand than ever before. There’s one problem, though: the recent ones just aren’t very good.

 

Take Last Christmas, the Paul Feig-directed romantic comedy starring Emilia Clarke and Henry Golding, which was released in November. Despite being panned by some critics (we loved it, though – check out our review here), the George Michael-inspired flick has been a huge success at the box office, grossing $69.7m worldwide in less than a month.

The same goes for The Grinch, the 2018 reboot of the Dr Seuss Christmas classic. The animation starring Benedict Cumberbatch received mixed reviews – it has a score of 59% on Rotten Tomatoes – but took over $500m at the box office, making it the second-most successful Christmas film ever behind Home Alone.

While festive films still perform very well at the box office, it’s telling that none of the 10 highest-rated Christmas movies on IMDB were released after 2005. Check out this handy graphic created by Betway, which demonstrates it perfectly. (Click to enlarge)

Film critic Nicholas Barber – who wrote a scathing review of Last Christmas for the BBC – says the dearth of modern festive classics is the result of a change in the wider film industry. “It’s about budget. Hollywood just isn’t investing in this kind of film anymore,” Barber says. “There aren’t that many low- or mid-budget British films these days. Everyone’s making Star Wars and superhero blockbusters. Then at the other extreme you’ve got tiny little indie films, experimental arthouse films. There aren’t many films in the middle, and that’s where most Christmas films would have been.“

A change may be coming, though. The success of Last Christmas proves that low- to mid-budget romantic comedies, which have been on the decline since the 1990s, can still be a major success at the box office.

That’s particularly true in the holidays, when audiences are looking for a pleasant way to spend two hours indoors at the weekend. “It’s almost surprising there aren’t more Christmas films,” Barber says. “I thought Last Christmas was painful to watch but the poster’s pretty good, it’s got a good title, it’s got these good-looking young people who are laughing and have nice Christmassy clothes on with snow and twinkly lights. So I can imagine wanting to go and see it. These obviously do work, this is still a genre where you can spend not that much and do well. Love, Actually cemented the idea that you could put a romantic comedy out at Christmas and absolutely make a mint. If I was a British film producer I’d definitely be making them.“

That change is already happening on streaming platforms. Netflix released seven Christmas films in November and December this year, five of which were rom-coms. These cheesy flicks, like The Knight Before Christmas and A Christmas Prince: The Royal Baby, wouldn’t necessarily make the cut in the cinema, but they’re cheap to produce, they’re appealing to audiences looking for a feel-good film during the holidays, and they’re easy to binge, making them perfect for Netflix’s platform.

Barber says those films are an example of a wider strategy for streaming services. “What Netflix does is pump it out,” Barber says. “They’re behind some really great films, but essentially they’re about quantity over quality. That’s not just about Christmas films, that’s everything. They put out this massive number of films, which has never been done before. They’ve got so much money and it’s all about just getting tons and tons of content out there.”

It’s easy to criticise the cheap-and-cheerful streaming movies that have effectively replaced straight-to-video releases. Netflix knows these films aren’t going to win any awards. Their fourth-most popular tweet ever made fun of 53 users who had watched A Christmas Prince on 18 consecutive days. They are, however, money spinners that allow Netflix to fund more ambitious, artistic projects.

“There’s a lot of dross being produced, and yet Amazon or Netflix will fund Roma, or The Irishman – films that get great reviews and are going to win lots of awards,” Barber says. “Some people would argue that if you’re an arthouse director or auteur, you can get funding for a risky project that you just wouldn’t get otherwise, and actually it’s a good thing that these people are willing to stump up the money. In The Irishman, you’ve got Martin Scorsese, Robert De Niro and Al Pacino. They made the film with Netflix because no one in Hollywood would pay for it. Even though they’re pumping out loads and loads of terrible films, maybe it is increasing the quality overall.“

The Irishman has been an unmitigated success for Netflix. It has a 96% rating on Rotten Tomatoes, and is the favourite to win Best Picture at the Oscars. So when Scorsese receives the green light on his next masterpiece, perhaps he’ll have The Knight Before Christmas to thank.

CAL DODD [Wales Comic Con 2019]

There’s no denying that the cultural impact of X-MEN: THE ANIMATED SERIES, a show which has gone on to become something truly special since its debut in 1992. With that in mind, it was a pleasure to speak with voice actor CAL DODD, who tells us what it was like to be a part of this cult classic cartoon with his influential take on Wolverine, and how that experience changed his life…

STARBURST: How and when did you first get into voice acting?

Cal Dodd: I was a singer for years in Toronto, doing commercials. I was a session singer, doing jingles etc, that’s what I did — about 2-3 a day for around twenty years. I was quite busy. I did a commercial for Chrysler, we were the background singers, and I was the voice of the sergeant. A year after I did that commercial, a woman called Karen Goora, who was a casting director asked me if I’d be interested in using my voice for a future cartoon called ‘Project X’. I said, “I don’t know. I’ve never done one!” This was 1992, and I had been in Toronto for about twenty years at that point. She said that she’d heard what I’d done before, and thought that I might be interested. I went to the audition, they showed me pictures of this guy, and I said: “Who’s this guy?” They explained it to me, and I loved the way that he looked. They explained what his character was, how they figured that he should sound. I said OK. To be honest, before going into this, I had studied a little bit for it. My girlfriend at the time got me some Wolverine comics. I knew what I wanted him to sound like. I grew up in a small town, and there were guys like Logan around, it was a tough little town. I read the script, and the first line was “You like picking on people smaller than you? Well, I’m smaller than you so pick on me!” The guys behind the studio glass just freaked out, and got me some more lines. I finished, and said “Thank you!” then, they called me the next day…they said, “You are our Wolverine.” That’s literally how it started. After this I got major cartoon roles, all my life I had been doing impersonations of people and animals, etc. So it was just a natural thing for me. I had five years of unbelievable joy with Wolverine, he’s just a great dude. 

What actors influenced you the most growing up, and why? 

I was mainly into music. I toured with Joe Cocker, we went to New York and recorded our first album there. Being a singer, I just loved going to Elvis Presley movies and watching him sing. I love Steve McQueen, who I sort of brought into Wolverine’s character. He is very into himself; he is strong but quiet. Of course, John Wayne, everyone loves him. Growing up, I liked Chuck Connors from The Rifleman series back in the early 60s. 

How much freedom did you get when you got to play Wolverine in X-Men: The Animated Series? 

They worked for about two hours with each one of us before we did the first episode. To nitpick, like “What’s Wolverine going to sound like when he’s not screaming, yelling, arguing etc” So, we had to come up with that voice. There wasn’t a lot of that, but we arrived at a solution. I had total freedom, because he was the only Canadian. I would add little things here and there, and they’d ask me for feedback. They’d say, “Perfect, do it!”. It was a riot to do him, and he became like my right arm. He became another part of myself. Very much like me – according to my wife!

Cal Dodd

Can you tell us a little bit about what the cast was like to work with?

I was brand new. I would see them every once in a while, but not that often. Although I had been doing voice work for about twenty years, I was actually still the new kid on the block. They were wonderful to work with, we had a great rapport, almost immediately. For the first 4-5 episodes, we worked in a circle in the studio, but the engineer wouldn’t let us carry on doing it. He said that there was spillage (leakage into the microphone) from my microphone to the one across from me, into Gambit’ s/Rogue’s mic for example. As a result of that, they stopped that altogether, and we would just go in one at a time. I would get a call, and they’d say from 2 pm we are doing Wolverine’s voice, until 3:30 pm. Then I’d be done; I wouldn’t see anyone else. The director, Dan Hennessey (who is very good) would explain everything that was going on, so it was still wonderful. It was great to create this character, and have them really like what I was doing. The writing was so superb; it was hard not to succeed with this. It was also very funny. Wolverine had all of the funny and stupid lines! They were all very professional. I was welcomed aboard. 

The reason this cartoon went on to be so huge is that it had serious themes within it. So, when did you first realise just how good the writing was for the show?

When I first saw him, in the first episode on Halloween night 1992, I freaked out because I finally got to see the guy that I had been doing the voice of. To see what he was like, how he moved, and what he looked like. The animated drawings, etc. I said, “Oh dear, this is going to be good!” We all thought that. For the first nine months, we didn’t know if we were going to go another year, there was no feedback. Then all of a sudden when the FOX network took off, someone within the company said to the president of the company that they can’t do the series with the way that they’re writing it. She put her job on the line and said: “We are doing it this way” she went out on a limb, and then FOX was the top Network after six months, because of the Saturday morning X-Men series. After that, we all knew that this was unbelievably a lot of fun. It was just great to watch it. 

The show was obviously highly praised, and adored by fans, but for you, personally when you look back on it why else do you think that the show went on to have such a huge cultural impact?

It’s made a huge impact. I started doing comic cons about a year ago. They finally talked me into doing it. I just wish that I had done it earlier. It was the 25th anniversary of the X-Men series, so I said “OK”! I went by myself, and I couldn’t believe it. I couldn’t believe the knowledge and the love that these fans have. It astounds me every time I go out. Half of them are in tears when they come up, it breaks my heart. They tell me that I’m an iconic character, I’m the same with Wolverine as Kevin Conroy is to Batman. I say “Thank you so much!” I just can’t believe it, and I don’t know what to say to them, they come up to me and say that I’ve made their childhood. Then, of course, some of them have their own children with them, who they’re just starting to show this series to, and they just love Wolverine. One little boy, who was about 4 or 5, had a picture with his family and me, and the kid’s name was Logan! So many people come up telling me that they’d named their child after Wolverine. So yeah, the cultural impact is amazing, and it blows me away. 

You got to play Wolverine in numerous video games over the years including Marvel Vs. Capcom, what was that like for you, compared to what you did on the TV show?

No comparison. They were just very strange. There was no real dialogue for Wolverine or any of us. It was just these ridiculous sounds or noises. Yelling weird things! Fans do come up to me at comic cons and ask me to do those parts! It was just different. You’d be done in 2-3 hours, something like that. I wasn’t that into it.  

How did you end up meeting Hugh Jackman, and also, have you seen any of the X-Men movies? 

In 2000 he was in Toronto to shoot X-Men. I was invited to this function where we were to meet. The only reference for Wolverine’s voice for five years was my voice from the series. So Hugh had to study my voice, to get it as close as he could to the way that I did it, because when people read comic books they hear my voice in their head (they tell me this at comic cons). When we met, I said “It’s a pleasure to meet you Hugh”, and he said, “G’ day Cal, it’s good to meet you, but I’m sick and tired of listening to your voice mate!” I said “Oh, OK then!” he said that he meant it in a good way! It was just that he was tired of listening to it. He had to listen to it months. I said “You be good to him!” and he said “OK, I’ll do my best”, “I’m sure you will”. I watched about ten minutes of the first movie after he first came on, I just couldn’t do it, because the character was still so close to my heart. It wasn’t me. So, I haven’t seen any of the movies. As it went on, no one else could do it any more after what he’d done with it. He has just been superb. Myself, I couldn’t watch it. 

How excited are you for your upcoming appearance at Wales Comic Con, and what can attending fans expect?

I can hardly wait to get there. Donna, my wife, goes with me (the agent/manager). Hopefully, a lot of my friends will be coming to Telford to see it. We are so excited for getting there because it’s the first time that we’ve (cast members) ever gone across the ocean together. George Buza (Beast) is beside himself, he just loves the idea, and he can hardly wait. I had to talk him into doing this about six months ago. Beast had never even seen the show; he hadn’t seen one episode of the five years that the show was on the TV. He was busy doing other work. I lent him some of my X-Men DVDs and said: “George, watch this!” For Beast it was just his natural speaking voice. Very rhetorical, and sharp-minded. He said “Oh, this is wonderful!” and I said, “Yes, it is!” He loves every second of it, and it’s great to see the excitement from the fans. Of course, at comic cons I like to talk about Slappy as well! It actually confuses people, because they see the picture of the dummy, and they say, “Wait, what? You did that voice as well!” they go “Oh My God!” 

What else can we expect to see from you in 2020? 

I’m working on 2-3 animated series. I just finished a Paw Patrol movie, then other cartoons, like Corn & Peg. Then the other voice over work that is here and there.   

For more information on CAL DODD and his work, visit his official website www.caldodd.com. To meet him in person, head to the next WALES COMIC CON on December 7th – 8th.