One Hell of a Christmas

One Hell of a Christmas

"One Hell of a Christmas" is a dark and action packed comedy that takes place in a modern city as well as in a fearful underworld. When Carlitos is released after doing 2 years of "hard time", he attempts to redeem himself and sets an example for his 5 year-old son. However, when a friend confronts him with a very dark and horrifying scam for some quick dough and good times, he declines, but never the less he soon finds himself entangled in a web of sex, drugs and Christmas carols.

"One Hell of a Christmas" is a dark and action packed comedy that takes place in a modern city as well as in a fearful underworld. When Carlitos is released after doing 2 years of "hard ... . You can read more in Google, Youtube, Wiki

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Ronnie S (mx) wrote: Hm .. en dragefilm, hvor dragen er M?GELENDIGT lavet. S elendigt det mtte skrives med stort. Og det faktum gjorde at jeg hurtigt mistede interessen i filmen. Slutningen var dog meget fed, men ellers s undg den

John M (jp) wrote: Strongly Argento-influenced, with a modern storytelling sensibility. Scary and disturbing visuals, and a plot that in the end even makes a horrifying sort of sense.

Kip H (ag) wrote: Ryan Adams requests, in the appropriately-titled "Tennessee Sucks," for "something blue to put us out of our way/'Cause Tennessee sucks in the summer." Roll credits on "That Evening Sun," an adaptation of a William Gay short story directed by Scott Teems and starring Hal Holbrook. The film insists upon a slow, deliberate pace throughout, highlighted by an understated score teeming with the sounds of Tennessee in the summer (13-year cicadas notwithstanding). This is a Southern movie-it's hard not to read into the land ownership conflict between Abner Meecham (Holbrook) and Lonzo Choat (Ray McKinnon). But there's something more to this story. It isn't a pure generational-conflict film, like say a "Gran Torino," but that element is certainly present. It's also not a story of redemption, or of good triumphing over evil. Because there is really no good or evil here. Audiences swaying their allegiance to Meecham immediately for being displaced by a boozing, wife-beating deadbeat who even "walks like white trash" (in the words of Meecham) will be discouraged by some of the revelations of the second half of the film.This is really where Holbrook shines. He can at once make the audience believe that his claim to his family's farm is legitimate, and that his intentions for sticking around in the tenant cabin are just. At the same time, we can't completely dismiss his lawyer son's (played more-than-competently by Walter Goggins of "Justified" and "The Shield" fame) admission that his father was mean and ill-tempered with him, and with his wife. Whether as a consequence of the source material (I admit, I haven't read the short-story yet) or of Teems' directorial decision, some sympathy is introduced back into Meecham's character in the final act of the film, but this sympathy is immediately undermined by what amounts to be an apparent plot to win his farm back through drastic measures. Throughout all of these developments, Holbrook never allows us to believe that Meecham isn't simply human, reacting to a world that he cannot completely control anymore, no matter how much he'd like to. Meecham's stubbornness, like the Romantic vision of the Confederate soldier fighting for "state's rights" rather than to preserve the pernicious continuation of slavery, becomes his most endearing quality, and Holbrook comes through in spades portraying this flawed protagonist on-screen.The subsequent performances are nothing to really write home about. Barry Corbin does an amusing turn as neighbor Thurl Chessor, similar in age and temperament to Meecham and thus providing another mouthpiece against the coming tide of modernism in the rural South. When Thurl admonishes to Abner that he should be proud of his son getting out of town and making something of himself, Abner tells us, "I am proud of him. There's a difference between leaving home and forgetting the place exists, though." Teems never lets the audience forget the beauty and majesty of the place Meecham seems to be protecting. The soundtrack and visuals all play into a Romanticized version of the rural South that persists even as the credits roll. You don't have to be from the South or have lived there for a time to appreciate the film, but it sure doesn't hurt.For all that it does well, "That Evening Sun" ends without resolution. I'm sure that's part of Teems' point, and certainly is a component of the post-modern short story Gay wrote ten years ago, but it doesn't allow the film to really come to any sort of cogent conclusion. The audience is left with several characters we're not sure what to do with, and the dramatic action of the final thirty minutes of the film remains somehow detached from the rest of the film. Its implications are never fully explored. This may work in the shorts Teems directed before this feature-length debut, but it leaves this reviewer with the conclusion that Teems and Holbrook tell a very interesting story, but don't really take it anywhere.

Aman H (us) wrote: skrp, aldrig intressant eller ngot:/

Henrik B (es) wrote: Asians has always been able to make spooky and scary movies, and this is no exception, far from! There is no wonder why they keep making horror films, occasionally there comes a really creeepy and spooky movie, and this one is very creepy. The whole way the movie is stylized and build, is fantastic. The up-building atmosphere is disturbing, captivating and thrilling. Some of the scenes are creepy as fuck, and will burn onto your retina.Watch it if you like:Asian horror movies, Psycho, Don't Look Now

Alex K (mx) wrote: Really funny football movie.

Kris W (br) wrote: "An Undercover Nightmare." Cheesy 80's comedy directed by Martha Coolidge (who previously directed the seminal 80's teen comedies Valley Girl & Real Genius). Arliss Howard goes undercover in a high school to find the real killer of one of the teachers. He plays a young looking 24 year old police officer, ironically, he was 34 at the time. The rest of the cast is a 80's whose who, including Suzy Amis (Fandango), George Wendt (Cheers), Diane Ladd (Wild At Heart), Robert Stack(Caddy Shack 2), Harry Shearer (Spinal Tap), Reginald VelJohnson (Family Matters), and Max Perlich (Gleaming The Cube). Also, some old timers appear, such as Abe Vigoda (Godfather) and Seymour Cassel (Rushmore). The soundtrack features a bunch of obscure Knack songs, and the cast Kyle: And do you know what we do with shit around here, Nick? Nick: From your breath, I'd say you eat it. Punk Guy: You're a cop? Nick: Surprise, surprise. Nick: You're a teacher? Robin Torrence: Surprise, surprise. Robin Torrence: You're a cop? Nick: Surprise, surprise. Share this quote Nick: Gee, Kyle, is this really fair? There are only three of you! [two more Wardens appear] Nick: Ah. That's more like it. Ed Malmburg: You're supposed to be helping your brother Matt, not getting nippy with some cheerleaders! Kyle: Tonight's the night, Nick. Nick: Gee, that sounds really romantic, Kyle, but right now I can't. Mr. Wiseman: I knew it! I knew he was too polite to be a student! Dave Hechtor: Will somebody please tell me what the hell's going on? Ed Malmburg: Gee, it's your case, Dave. Punk Girl: They actually put cops on stuff like this? Nick: Tell me about it. Captain Graff: Dunbar, get me a cup of coffee, two sugars. Nick: Yes, sir. Punk Girl: Easy to see who has all the status around here, Dunbar. Matt Dunbar: Just pretend to be a student - you're supposed to be good at that kind of thing. Nick: Matt, no one is going to believe I am a high school kid. Matt Dunbar: Nick, be serious - no one believes you're a cop!

Robert S (ru) wrote: This film is utterly disappointing. I will get the good points out the way first. Fonda and Danner act well in the film and the creepyness is very well done with brilliant sound and a claustrophobic sense from inside the tunnels. The sets are impressive for the most part and the robot effects are very well implemented. Now for the bad points, the script is dire with characters such as Ron who is set up in the beginning (only to tell people its the sequel to Westworld we are watching) and then removed from the movie halfway through to focus on the main characters. The plot surrounding identity is laughably done with no mystery. The film could have made the clones of Fonda and Danner mess with the real humans and integrate the movies message of 'Is this you or are you you' but no the clones never really pose any frightening questions as the main characters find out that they have clones instead of keeping it a mystery. The robot (Clark) is shown to have emotions and knows how to cheat which is never explained with Harry saying that the robots only do what they are programmed to do and Clark very clearly does not follow these rules which would have made a more fascinating movie in itself. Harry's (Margolin) death is brushed aside with no mention by the main characters despite helping them escape and apparently befriending the main characters. Danner dreams about a sexual relationship with Yul Brynner's cowboy robot despite having only seen him once in the recap of the earlier film at the start and is obviously just a way of shoehorning Yul into the cast. Fonda has little to no reaction to Danner dreaming about a relationship with a robot she has never met and shrugs it of like a bump on the knee. The ending ties up the fact that some of the world leaders are doubles quickly and cheaply giving no payoff. The other world besides Furtureworld are glossed over (as is future world in some aspects). Westworld remains intact despite Medievalworld and Romanworld having been removed (supposedly). The death of the clone or Fonda could have set up a 'is he the real one' moment but is again shoved out the way and it is revealed that the real one survived despite being weaker than the clones/robots. The female clone survives being shot and gives off sparks, despite the Dr stating that the clones are completely human. Cloning now somehow generates telepathy. Dalos has become an evil company all of a sudden which is interesting but is never hinted in the first movie and feels like an excuse just to make a sequel rather than a proper plot point. The paranoia of all the people being robots is never fully utilized. The other guests never flag up that Fonda and Danner are missing despite them being high profile guests. The use of clones to generate good press for Dalos is pointless as if they had just acted as if everything was normal and stopped them from wandering off then they would have written good press anyway meaning that they would not have had to waste money on genetically cloning journalists, or if they were afraid that the journalists would write bad press because of their suspicions then why didn't they get journalists who were less suspicious. The robots are shown in the bar scene to be working for the company when teh picture Fonda has is taken by the robot but the rest of the robots apart from the guards and samurai do not pose a threat to Fonda, Danner or Margolin. The love between Danner and Fonda seems to materialize out of nowhere. Harry and the murdered employee have little to no back story and Harry seems to convert from strictly no giving away information to blabbermouth quickly. Harry seems to workout how to bypass teh system to get in the secret room very quickly considering he has tried to get in on many occasions. The company does not really state why they have Harry around if they rely on robots due to human mistakes and whether there are more humans working in the resort as Harry is shown to be the only workman besides the dead man at the start. Surely Dalos can stop there own train and stop Danner and Fonda from leaving. Danner and Fonda are very quick to come to the conclusion that they are both human when so are the clones who also think alike.

Greg W (de) wrote: another winning western from the master of the genre, john ford.