Thanksgiving (2023)
Director: Eli Roth
Screenwriters: Jeff Rendel
Starring: Patrick Dempsey, Nell Verlaque, Addison Rae, Rick Hoffman, Milo Manheim, Jalen Thomas Brooks, Gina Gershon

There were quite a few issues with the Quentin Tarantino/Robert Rodriguez exploitation double feature ‘Grindhouse’ from 2007, with Rodriguez’s film Planet Terror admittedly being the superior film to Tarantino’s Death Proof, which whilst not awful, is certainly his worst film so far. What was possibly the best part of both films were the opening few minutes, which contained mock trailers for exploitation horror films before the main feature. Out of these came Rodriguez’s Machete in 2010, which somehow has become Danny Trejo’s modern day calling card, and Hobo with a Shotgun starring Rutger Hauer in 2011. Now, twelve years after the last feature-length version, and sixteen years after the fake trailer short film first aired in the double bill, Eli Roth brings us Thanksgiving, a pure exploitation slasher flick of the greatest kind.

Following a massacre at a Black Friday sale at RightMart, the next year’s thanksgiving is rightly looked to with apprehension. Demonstrations to close down the store, comments towards the store owner’s daughter, Jessica (played by Nell Verlaque), and the return to town of her old boyfriend, Bobby (played by Thomas Brooks) are just small parts of it. The more pressing issue is that someone has stolen an axe from a mock-up of John Carver’s ancestral home, and there are a load of masks of his face being handed around for the upcoming parade. Someone is back for revenge, and this time there will be no leftovers. So says the tagline.

The poster designs for Thanksgiving have shown clearly where the film’s interests lie, as four are variations of old slasher posters, from The Texas Chain Saw Massacre (1974) to Halloween (1978). The original Grindhouse short was very much a love letter to these films of the seventies and eighties. However, it would be remiss to say that Thanksgiving is simply an 80s tribute, because whilst there are moments (even referencing slightly lesser known entries like Prom Night and even Happy Birthday To Me), there’s as much praise given to the neo-slashers of the modern era. The slick stylings of Kevin Williamson-penned slashers like Scream and I Know What You Did Last Summer are front and centre, and Roth’s swift direction and Rendel’s dialogue make it clear that this is a modern film which isn’t interested in replicating the crackly quality of the 80s, as the film Abrakadabra (2018) did to stylistically replicate the 70s giallo. There’s as much tribute paid to old schlock like My Bloody Valentine and New Year’s Evil (80s slashers, after Halloween, took any national holiday they could to make a film around) as there is to Happy Death Day. Thanksgiving is traditional in sentiment and tropes, but modern in its slick execution.

It is precisely this balance that makes Thanksgiving so fun to watch. Yes, it’s violent to the extreme, with gnarly gore and twisted deaths, and if that’s not your cup of tea then the film won’t be for you, but this amount of red meat is to be expected of Roth, who has never shied away from ripping off body parts for the past twenty years. Yes, the formula is baked into the film’s very existence, and Roth never tries for a single second to step away from it. It is cliched to the hilt, shining its axe blade to a finely honed edge of horror formula. Yes, it never for a second tries to do a single thing which might be considered new or innovative or interesting from a standpoint of pushing things forward.

Yet that is the exact point of the film. This is a love letter to all of the teen slasher’s history, from Blood and Black Lace’s giallo beginnings to the most recent Scream films. The characters are stock but well acted, music by Brandon Roberts in the now-traditional orchestral stylings that Marco Beltrami used to great effect in Scream doing its job, and everything slots together nicely in the final product.

There’s a strong anti-capitalist message which comes and goes in varying strength depending on when the plot calls for it, and the clunkiness of its execution in this department isn’t going to score it any points, but there is, at least, something in there. It doesn’t simply use teen technology as a joke, although it also doesn’t put its full weight behind using it to give the message of the viral nature of crime and the desensitisation to violence as it seems to think it is doing. Perhaps this would be explored in a sequel, as the film certainly leaves enough scope and enough lingering doubts as to warrant it. There are no loose ends, but there’s a feeling that things aren’t all said and done.

For the most part, however, Thanksgiving does exactly what it says it’s going to. It gives a good, bloody slasher flick with confident writing and directing, and whilst it never achieves anything distinctly new, it is as monolithic a tribute to the slasher film as there ever has been, without going postmodern and meta to name-and-shame every film it stole a shot from. It feels very much like a film which heralds the end of an era for the slasher film, as the reboots of Halloween and Scream have seemed to begin to usher in a new wave of the formula. The film holds its axe high to the world and confidently, without shame, declares, ‘I am a slasher film, and I love it.’

Score: 18/24

Film Baldwin vs TV Baldwin

Once upon a time, if ever a well-known movie star popped up on TV – which was renowned for paying less, carrying less kudos, and being less accessible – the sound of their career circling the tubes accompanied it. The concept was even lampooned by Alec Baldwin in ’30 Rock’ – Alec himself had been an Oscar-nominated actor (best supporting actor for 2003’s The Cooler) and resorted to television in 2006, an era in which a move over to TV from film was a nail in the coffin of a serious acting career. But, ten years on, series are peppered with A-list actors doing meaningful work; reaching a larger viewership and critical acclaim. But, why the shift in opinion?

When Bill Paxton debuted in ‘Big Love’ in 2006 (HBO) as a Mormon husband, and Patrick Dempsey donned the scrubs to be “McDreamy” in ‘Grey’s Anatomy’ in 2005, they attracted a great deal of attention because many considered these to be moves that signalled an end to their chances of being the leading man. Movements the other way seemed to prove this thought, with people like George Clooney being the largest pieces of evidence. Clooney started in ‘ER’ and skyrocketed to fame and fortune by jumping out of the tiny TV ship and onto the film galleon.

That jump – from TV to film – is still considered to be a great acting move. Bryan Cranston and Chris Pratt both flourished moving from ‘Breaking Bad’ and ‘Parks and Recreation’ respectively, to seemingly meatier roles. Throwing it back some years, Jennifer Garner (‘Alias’) and Jessica Alba (‘Dark Angel’) moved from cult TV to mainstream film. Some succeed. Some don’t. Eva Longoria’s film career [remember the film where she played a dead woman who haunted her ex’s new girlfriend?] didn’t do nearly as much for her as her time on Wisteria Lane in ‘Desperate Housewives’, and Ginnifer Goodwin moved back to TV following her forgettable gig in He’s Just Not That Into You (2009). Then there are some, like Alyson Hannigan, whom straddle the line of film actor and TV actor – she was Willow in ‘Buffy’, yet she was also Michelle in American Pie at roughly the same time.

Historically, it has always been the case that some films opt for TV actors to secure financing. Choosing a well-known face from ‘How I Met Your Mother’, let’s say, may have given Forgetting Sarah Marshall a bit of a box office boost, or pairing SNL stalwarts Tina Fey and Amy Poehler together in Baby Mama may have given the film the life it needed (the concept alone, probably not so much). Partly, this could be down to the fact that TV and film are made differently. The pressures on the actors are different and the schedules vary. TV is considered to be the ‘boob tube’ to pass a few hours, while the cinema remains an outing, even in the day and age of streaming services and ever-decreasing times between theatrical presentations and home video releases.

The TV show ‘Damages’ is an interesting example. Glenn Close heads up the cast as ruthless lawyer Patty Hewes and with support from the likes of Ryan Phillipe, Ted Danson, John Goodman, and Lily Tomlin, each of whom is primarily known for being an actor on film. The show drew acclaim and appeal on the fact it had cast film actors for a more “cinematic” TV show.

But the TV renaissance hasn’t stopped at film actors. Rihanna was on Bates Motel; Lady Gaga and Stevie Nicks on American Horror Story. The kudos of TV has been renewed. So, why is this?

The answer probably boils down to Netflix. Or, at least the way we have evolved our watching habits.

Instead of tuning in weekly, we can binge-watch television in one go. The TV show is more like a TV Event, consumed at our will and much less likely to be forgotten about as time goes by. ‘Game of Thrones’ is a great example of event television for many reasons, not least visually, offering a product that can be binged but also enjoyed in the more traditional weekly format due to an embrace of spoiler culture that ensures avid watchers will tune in at the time of airing. As far as actors are concerned, the show debuted with a cast of unknowns and a few notable names who hadn’t had a great deal of success in film (Lena Heady, for example) or were lacking the star power to be the front-person (Sean Bean), yet the amount of power the show has gathered, the likelihood that their screen time is greater and the fact that the actors are in the public’s conscience for up to eight years, makes TV an attractive offer for actors in particular. ‘Game of Thrones’ is probably better known the world over than any of 2014’s summer blockbusters. Emilia Clarke’s ‘Game of Thrones’ TV success was used as a sell-in for Terminator: Genisys and Me Before You.

From Matthew McConaughey’s star turn in ‘True Detective’ to Kirsten Dunst in ‘Fargo’, Reese Witherspoon in ‘Big Little Lies’, and Drew Barrymore in ‘Santa Clarita Diet’, big A-list Hollywood actors have made the steady exodus over to television. TV is different now and the fact that film actors are opting for TV roles shows that the power of TV has returned and, more importantly in regards to the purpose of this article, that actors are able to embrace it as a potential boost to their career. While it’s difficult to imagine a Matt Damon or Brad Pitt heading up a TV cast just yet, the lines between film actor and TV actor have certainly been blurred and the glass ceiling for TV actors seems to no longer exist.

Written by James Cullen

Number 10: The Princess Diaries (2001)

This 2001 film is based on the teen book series of the same name written by Meg Cabot; and who better to bring a modern day Princess story to life than Disney? The Princess Diaries was the debut performance of Anne Hathaway and, together with veteran Julie Andrews, this made for a very strong cast. Now, there is nothing particularly complex of even original from this film, but what it is, is simply enjoyable and fun – it keeps the innocence of any Disney Princess film from the past but brings it into the 21st century. Primarily it is a film for young girls, the typical story of the awkward ugly duckling becoming a swan, but it is also a film about growing up and knowing who you are, and it can therefore be enjoyed by everyone.

Number 9: 101 Dalmatians (1996)

The 1996 version of 101 Dalmatians is a live action remake of the 1961 animated classic. It is a story that everyone knows and loves and with a screenplay by John Hughes, and an incredible cast, not to mention some very adorable dogs. It more than lives up to the original. 101 Dalmatians was one of the first live action remakes from Disney, an idea that has spiraled recently. What really stands out in this film is the incredible performance by Glenn Close as the ultimate Disney villain Cruella De Vil – she plays the part to perfection. The dogs are the main feature of this film however, and the integration between live action and computer animation to give them human like personalities, is almost seamless – a great triumph as this was still new territory in the effects world. The film is clean and fun, and clearly for children, but those who know the story or anyone who grew up with the original will love it too.

Number 8: Saving Mr Banks (2013)

Saving Mr Banks is the emotional story behind the creation of one of Disney’s greatest masterpieces, Mary Poppins. The film centers around the struggle to get the approval from Mrs Travers, the author of Mary Poppins, to bring her book to life. She is reluctant to give up her beloved Mary Poppins because of her personal connection to the story, something we discover throughout the film. The performance from Emma Thomson is incredible and the likeness Tom Hanks has to Walt Disney is uncanny. Let’s face it Walt was going to be a challenge for anyone to play, but Hanks gave it everything he had and completely pulled it off.. However, it’s a surprising performance from Colin Farrell as Travers’ father that steals the show; he is a man who loves his family but can not overcome his personal demons. Saving Mr Banks is beautiful, hilarious and heartbreaking all at once; an amazing film.

Number 7: Hocus Pocus (1993)

Hocus Pocus is a film I remember being terrified of as a child but has become something I will go back and watch every Halloween without fail. It is a traditional Halloween scary story that has witches, zombies and black cats; everything you could possibly want. It is a magical fairy tale that is comical, charming, funny and creepy, without losing its appeal to children. The three witches are cast perfectly and the two musical numbers, ‘I’ll Put A Spell On You‘ from Bette Midler and ‘Come Little Children‘ from Sarah Jessica Parker are brilliant and haunting. It seems to be one those Disney films that is timeless and will be watched for many years to come.

Number 6: Tron:Legacy (2010)

When I first watched Tron:Legacy I was truly blown away. As well as paying homage to the original, it offers something new and fresh from Disney. This film is a spectacle for the eyes, a visual experience that deserves to be marveled at, not to mention that the soundtrack created by Daft Punk is phenomenal. The action sequences throughout the film are outstanding, in particular the bar scene, and the overall look is simply stunning. The story is kept simple so that it still appeals to young kids but it is still strong enough to keep the attention of an older audience. Tron: Legacy was Disney taking a risk by rebooting a cult favourite from the 80’s, but it was a risk that completely paid off; they managed to create something spectacular. Bring on Tron 3.

Number 5: The Muppets (2011)

The Muppets is the ultimate feel-good film, and is as much for adults as it is for kids. The jokes are genuinely hilarious, the songs are amazing, and the plot is as fun as it could possibly be. To put it plainly, it is a truly happy film experience. I don’t say this about films very often but The Muppets is pretty much flawless – I can not think of one thing that I dislike about the film. It is filled with nostalgia and has all of the original characters we know and love such as Kermit and Miss Piggy back, as well as being brilliant enough to bring in a whole new generation of fans. The writing from Jason Segal is full of affection and passion for these beloved characters – it is smart, witty and completely heartfelt. Every time I watch this I am unable to stop smiling.

Number 4: Enchanted (2007)

Enchanted is a new and interesting take on the traditional Disney Princess film, merging the world of animation and live action like never before. It as a traditional fairy tale in the modern world. When Giselle is thrust into the world of modern day New York city, it is clear that she will have to make some big adjustments. She is filled with the innocent notions of love at first sight and good always being triumphant over evil, but when she meets Robert she discovers that these notions do not seem to exist in this world. It is not only Giselle that has to adjust to this, but Prince Edward t00, for when he comes looking for her he is confronted with new and strange sights, and it is simply hilarious when this happens. Enchanted is charming, sweet and magical, it will go down as a true Disney classic; a film I will never get tired of watching.

Number 3: Maleficent (2014)

This is a whole different side to the story we thought we knew. Angelina Jolie’s casting as Maleficent was a moment of inspiration, and the supporting cast only strengthen her performance. After seeing this you will never look at Sleeping Beauty in the same way again; it is no longer a black and white good vs evil story, Maleficent gives dimension to a character that was never really explained in the original animated classic. The film was a lot darker than I expected, and the origin of Maleficent’s evil doings is one I did not expect to be explored in a Disney film. It is a story of emotional and physical betrayal, and how someone overcomes that. It is not a simple revenge story, it is far more complicated, it is about rebuilding yourself emotionally and not slipping into darkness. It is about learning to love and trust again, and not in the typical romantic sense. The story is sophisticated and the visuals are stunning, it is not a simple retelling and is potentially a sign of great things to come from Disney.

Number 2: Pirates of the Caribbean: The Curse of the Black Pearl (2003) 

Much like 2015’s Tomorrowland is based on a section of the Disneyland Park, Pirates of the Caribbean is based on a famous Disneyland ride. I have seen this film more times in the cinema than any other. It is a film that is thoroughly enjoyable – it is full of sword fighting, shouting, and utter mayhem – just what you would expect from a Pirate film with a killer score. Pirates of the Caribbean creates one of Disney’s most memorable and lovable characters, Captain Jack Sparrow, played by Johnny Depp who gives one of the performance of his life. The Sparrow character makes this film what it is; he is hilarious and fun and breathes new life into the notion of being a ‘Pirate’. The rest of the cast stand up well too; the characters are interesting and they all gel together effectively. The magic of Disney brought the beloved ride to life, and now Pirates of the Caribbean: The Curse of the Black Pearl will go down as one of the greatest live-action films in Disney history.

Number 1: Mary Poppins (1964)

Mary Poppins is a true Disney classic. It is the perfect combination of live action and animation and in its time was something completely new and innovative from Disney. Julie Andrews is the perfect Mary Poppins and truly deserving of her Academy Award. Even though the special effects may now be seen as outdated, the film stands the test of time and is still loved more than 50 years later. It is silly, spectacular and heartwarming, with musical numbers that are simply exquisite, not to mention some of the most memorable in movie musical history. Mary Poppins is magical, charming and has a good message for children and adults, (as explained in Saving Mr Banks) Mary is not there for the children she is there for the father, to bring the family back together and to make him realise that his family is more important than his job or money. It is a beautiful story and a beautiful film that will continue to delight for generations to come.