Welcome to the Familyathon Blogathon! With Thanksgiving on the horizon and the Christmas/holiday season on the way, the theme of family is recognized and celebrated! Even outside of special occasions, family has been a popular topic in entertainment media for decades. From these on-screen families, familiar faces and beloved characters have won over the hearts of fans. Their stories have served valuable lessons and even stood the test of time. Every entry in this event showcases how the subject of family has been incorporated into movies and television! From the underrated tv films to silver screen classics, let the blogathon begin!
Familyathon blogathon banner created by Sally Silverscreen of 18 Cinema Lane
Before I start this review, I would like to say thank you to each and every follower of 18 Cinema Lane! This blog would not be the success it is today without you, so I appreciate your support! For this Blog Follower Dedication Review, I wanted to choose a film that was Halloween themed, as the holiday is just around the corner. I also recognize how animated films are rarely covered on my blog. Combining the two concepts, I selected the 2012 Disney movie, Frankenweenie! While I have read Mary Shelley’s classic novel, I haven’t seen many adaptations of Frankenstein. Yes, I did review Jesse James Meets Frankenstein’s Daughter. But there were very few traces of Mary’s source material woven into that film. When it comes to Halloween fare, vampires, including Dracula himself, have made their home on 18 Cinema Lane. So, Frankenweenie serves as a nice change! Put on your costumes and grab your Trick-or-Treat buckets, it’s time for this Blog Follower Dedication Review!
Frankenweenie(2012) poster created by Walt Disney Pictures, Tim Burton Productions, and Walt Disney Studios Motion Pictures
Things I liked about the film:
The animation: When it comes to animation, Tim Burton has a very distinct style. While this style shines in Frankenweenie, I want to talk about how the characters express emotion. Throughout the story, emotions are expressed through the mouth and eyelids. This prevented the characters from appearing static. One example is when Victor is working on his science experiment for the first time. After performing the experiment, Victor is curious about its effectiveness. When he thinks the experiment didn’t work, Victor’s mouth is turned in a frown and his eyelids are lowered. That combination created a facial expression that showcased Victor’s sadness and disappointment.
Creative ideas are typically found in Tim Burton’s animated films. In Frankenweenie, this creativity is found in the creatures who appear in the story! When Victor’s peers try to recreate his experiment, they receive unexpected results. A turtle comes back to life as a hybrid between a turtle and a dinosaur. Due to a mix-up, one girl’s cat turns into a combination of cat, werewolf, and bat. These creatures were so unique, as I have never heard or seen them in media before. Frankenweenie serves as an example of how imaginative the animation genre can be!
The “Easter Eggs”: “Easter Eggs” are references that are subtly woven into a piece of entertainment media. Disney and Tim Burton related “Easter Eggs” can be found in Frankenweenie! During Victor’s science experiment, he flies two kites in an attempt to capture lightening. One of these kites is shaped like a bat, a nod to when Tim directed Batman from 1989. In Victor’s room, there is a poster of 20,000 Leagues Under the Sea. This is a reference to when Disney adapted that story in 1954. I love when a film scatters “Easter Eggs” throughout the story, as it keeps the audience engaged in what they’re watching!
The messages and themes: Frankenweenie included several good messages and themes into the story! One of them appeared when Victor is interacting with his science teacher, Mr. Rzykruski. During this conversation, Victor explains how his science experiment worked the first time, but not the second time. Mr. Rzykruski helps Victor understand his dilemma by stressing how he should do science experiments for the right reasons. This message becomes an overarching theme in Frankenweenie, as characters’ intentions determine an outcome.
No pops of color: Frankenweenie is presented in black-and-white imagery. This creative choice allowed the movie to boast a distinctive aesthetic. But what would have made the visuals even more interesting is if pops of color were included. Whenever lightening appears, a bright yellow flash could have graced the screen. If a character were holding a Sea Monkey packet, that packet could have delivered vibrant hues of blue and purple. Adding color to certain elements or objects would have emphasized important parts of the story. Those pops of color would have also stood out nicely against the black-and-white background.
An underutilized antagonist: In stories created for children/families, there will sometimes be a grown-up character as the main antagonist. A perfect example is Miss Trunchbull from Matilda. There is a grown-up antagonistic character in Frankenweenie, Mr. Burgermeister, the mayor of New Holland. But unlike Miss Trunchbull, Mr. Burgermeister was underutilized in the story. Victor faced more conflicts with his peers than with Mr. Burgermeister. Plus, the mayor’s appearances in the movie were far and few between. This makes me wish Victor’s peers had been the only antagonists in the film.
Parts of the story that are unexplained: For this part of my review, I will include a spoiler for Frankenweenie. If you have not seen this film and are interested in watching it, please skip this part and continue where it says “My overall impression”.
As I mentioned earlier, Victor’s peers receive unexpected results after they try to recreate his experiment. When these creatures cause chaos throughout the town, Victor helps his peers reverse the effects of their experiments. With the use of electricity, Victor is able to reverse the effects of the turtle/dinosaur hybrid, with the turtle becoming dead again. Yet, when Victor uses electricity on his dog, Sparky, the dog stays alive. Because the science wasn’t explained, this part of the story felt inconsistent.
Disney has a history of re-telling pre-established stories. When re-telling these stories, whether it’s The Hunchback of Notre Dame or Oliver Twist, the delivery of these projects has adopted distinct identities and aesthetics, making the movie feel unique and creative. With Frankenweenie, it is a cute, unique take on Frankenstein! The combination of stop-motion animation and black-and-white imagery allow the movie to stand out among other versions of Mary Shelley’s story. “Easter Eggs” related to Tim Burton and Disney keep viewers engaged in the film they are watching. Yes, there are flaws within Frankenweenie, like unexplained parts of the story and an underutilized antagonist. However, this is a good choice for Halloween entertainment!
Overall score: 7.8 out of 10
Have you seen Frankenweenie? Are there any animated films you like watching during the Halloween season? Let me know in the comment section below!
You’re probably wondering why I’m reviewing a Christmas movie right before Halloween, especially since I tend to wait until about November to write about Christmas films. That’s because I chose this particular title, Christmas at Castle Hart, for the Genre Grandeur blogathon! When I discovered October’s theme was ‘Mistaken or Stolen Identity Films’, the first movie that came to mind was the 2021 Hallmark Channel project, Christmas at Castle Hart. But Genre Grandeur isn’t the only reason why I wanted to check this film out. Back in 2018, in my Movie Blogger’s Christmas Wish List, I wrote how I wanted to see Stuart Townsend and Marguerite Moreau star in a Hallmark Hall of Fame movie together. Since the publication of that Christmas wish list, Hallmark has abandoned Hallmark Hall of Fame, not releasing a film for that collection since 2019. Despite that, I kind of got what I wanted, with Stuart co-starring in a Hallmark Christmas movie. Will Christmas at Castle Hart reach expectations? Keep reading this review to find out!
The acting: I will admit I haven’t seen many projects from Stuart Townsend’s filmography, with Queen of the Damned being his only project I’ve seen in its entirety. A reason why I wanted to see Stuart star in a Hallmark production was to see if he had what it takes, talent wise, to carry a Hallmark film. He proved he could with his portrayal of Aiden in Christmas at Castle Hart! During the movie, Aiden takes Brooke, portrayed by Lacey Chabert, to a run-down chapel in desperate need of repair. This trip encourages Aiden to tell Brooke a story of a renovation project gone wrong. When telling this part of the story, Aiden looks completely defeated, looking back on how he let someone down. Aiden’s defeated attitude radiated through the screen, as the emotions Aiden felt appear genuine. Stuart’s ability to show emotions genuinely helped create a protagonist that was likable!
Lacey Chabert is one of the strongest actresses Hallmark has in their community! She has proven she can work with both comedic and dramatic material. One of the great things about Lacey’s acting abilities is how easily she adapts to various situations. When her character, Brooke, learns about her mistaken identity, she displays a collection of reactions. At first, Brooke appears confused at being referred to by another name. When she realizes what is going on, Brooke looks shocked, but never makes the other characters suspicious. She then seems irritated by what the mistaken identity entails. Yet Brooke maintains a professional persona the entire time. This scene serves as a great example of Lacey’s acting talents!
When a Hallmark movie features older members of royalty or nobility, those characters will, more often than not, carry a snobbish attitude. This attitude will especially be present whenever they interact with characters that are labeled as “commoners”. But Kate O’Toole’s portrayal of Duchess of Abercorn was much different from those aforementioned characters. In fact, her on-screen personality was so pleasant! The Duchess of Abercorn was so friendly toward Brooke and her sister, Margot. She even goes out of her way to help the sisters in their search for their family history. Kate’s performance helped break a trope that is typically found in Hallmark’s “royal” films. This made me wish the Duchess of Abercorn had more appearances in this film!
The scenery: When I reviewed Chasing Leprechauns, I talked about how that movie’s creative team didn’t seem to take the initiative to capture Ireland’s natural beauty on film. The creative team of Christmas at Castle Hart learned from the previous movie’s mistakes, showcasing Ireland in a much more appealing light! While Ireland’s greenery was made visible through long, establishing shots, a light sprinkle of snow veiled the countryside. From the movie’s titular castle to the small-town streets, everything looked like it existed inside a snow-globe! When Brooke and Aiden were riding horses, there were some establishing shots near Ireland’s coast. The icy blue and gray water complimented the white and green of the nearby landscape, creating an interesting winter palette. Because of the creative team’s desire to feature the best of Ireland’s natural environment, the scenery looked inviting!
The set design: More often than not, the set design in Hallmark’s Christmas films appear beautiful. While this is the case for Christmas at Castle Hart, there were some design choices that really stood out! One example is the Christmas party Brooke and Margot plan. The ballroom is covered in shades of gold and cream. Lighted tree branches serve as walls surrounding the space. The branches made the room feel intimate, creating a smaller event that felt more private and exclusive. That design choice was one of the more creative Christmas decorations I’ve seen in a Hallmark production! At a local pub, the wooden bar shelves and countertop are covered in string lights. Even the large, red-framed, exterior windows are given Christmas attention, paired nicely with green garland. Creative decisions like the ones I mentioned show how this creative team paid attention to the space they had at their disposal!
Bad CGI: CGI (computer generated images) is a component that isn’t common in Hallmark’s programming. I’m also aware how Hallmark projects tend to have smaller budgets. Even though the movie’s poor CGI wasn’t a consistent flaw, it was still noticeable enough to point out. In one scene, Aiden is driving through the Irish countryside. Whenever he looked over at Brooke, a green outline was visible around Aiden’s head, revealing pieces of the creative team’s green-screen. When the titular castle was first presented in the film, I wondered if the wreaths on the castle were images added in post-production. In a close-up shot of the castle, it appears I may be correct. One of the wreaths had a visible shadow that made it look like the wreath was floating over the stone wall of the castle. Looking back on Christmas at Castle Hart, I wonder why CGI was used in this film in the first place?
The underutilization of Stuart Townsend: Since 2018, I’ve wanted to see Stuart Townsend in a Hallmark production, specifically a Hallmark Hall of Fame movie. While I kind of got what I wanted, I didn’t get it the way I wanted it. In Christmas at Castle Hart, Stuart wasn’t given much material to work with. In fact, Aiden spent the majority of the story driving Brooke around Ireland. There were opportunities for Aiden to be more involved in the story, such as restoring a local chapel. Sadly, these opportunities weren’t given to Aiden. Instead, the story heavily revolved around Brooke and her efforts to plan a Christmas party.
An underutilized subplot: A subplot within Christmas at Castle Hart was Brooke and her sister, Margot, trying to trace their family roots and learn more about their father. This part of the movie created a more unique element to Hallmark’s Christmas programming. But most of the story focused on Brooke and Margot’s efforts to plan a Christmas party. This creative decision led to the aforementioned subplot being treated like an afterthought. While this search for Brooke and Margot’s family heritage was brought up in a few scenes, the search itself was not elaborated on. Even though this subplot was resolved, the resolution was underwhelming.
Weak on-screen chemistry: As I mentioned earlier in this review, I liked Stuart’s and Lacey’s performance in Christmas at Castle Hart. However, I found their on-screen chemistry weak. This weakness had more to do with the material itself. Aiden and Brooke spend most of the story interacting in a professional context. That prevented the characters from developing a romantic spark between them. While there were sweet moments between Aiden and Brooke, such as baking a plum pudding together, I never got the impression they were falling in love.
I haven’t seen all of Hallmark’s movies taking place in Ireland. But out of the ones I’ve seen, most of them have been underwhelming. Christmas at Castle Hart is, sadly, one of those titles I wasn’t impressed with. For me, the biggest flaw was the writing. Brooke and Margot’s search for their family history was a more unique story for Hallmark’s Christmas programming. Unfortunately, this part of the story was treated as an afterthought. There were opportunities for Stuart’s character, Aiden, to become more involved in the story. Yet, Stuart’s talents were underutilized, giving him little material to work with. Christmas at Castle Hart is an example of Hallmark’s focus on quantity instead of quality. Had this same movie been created during the prime of Hallmark’s ‘Countdown to Christmas’ line-up, more attention to detail would have been given, especially for a project starring Lacey Chabert.
Overall score: 5.2 out of 10
Have you seen Christmas at Castle Hart? What is your favorite Christmas movie starring Lacey Chabert? Please tell me in the comment section!
Pirate films are rarely covered on 18 Cinema Lane. In fact, the only three I’ve reviewed are The Princess and the Pirate (which I liked), Captain Sabertooth and the Treasure of Lama Rama (which I found disappointing), and China Seas (which was just ok). This is one of the reasons why I chose to write about the 1952 movie, Blackbeard, the Pirate! The other reason is Linda Darnell’s involvement, as she is the subject of the Linda Darnell Centennial Blogathon, hosted by Musings of a Classic Film Addict! Blackbeard, the Pirate is the second film of Linda’s I covered on my blog. The first one was The Song of Bernadette, which was also reviewed for a blogathon. The 1943 film was one of the best I saw last year! But because Linda’s role was smaller in that movie, I had to remind myself which character she portrayed. Since her role in Blackbeard, the Pirate was bigger, it was easier for me to remember her performance!
The acting: Since Linda Darnell is one of the reasons why I reviewed Blackbeard, the Pirate, I’ll talk about her performance first. Linda was cast as the lead female protagonist, portraying a character named Edwina. Throughout the film, she consistently carried her character with confidence that radiated off the screen! Edwina was also a head-strong character, going toe-to-toe with characters like Blackbeard and sharing banter with them. Speaking of Blackbeard, Robert Newton shined in this role! What made his portrayal work was how animated and energetic it was. That consistent energy made Blackbeard interesting to watch! Linda shared a lot of scenes with Keith Andes, who portrayed Robert Maynard. I liked his performance for two reasons. The first reason is how calm Robert appeared while under pressure, a protagonist who didn’t let his feelings get the better of him. The second reason is how Keith’s on-screen chemistry with Linda was nice!
Clever dialogue: There were some moments in Blackbeard, the Pirate where I found the dialogue cleverly written! A great example is when Edwina meets Blackbeard for the first time. During this introductory encounter, Blackbeard asks Edwina what her name is. She then says Blackbeard’s name, in disbelief because she’s standing in his presence. Blackbeard replies by telling Edwina she can’t have the name ‘Blackbeard’, as that is his name. That scene was not only funny, it was also an interesting glimpse into Blackbeard’s perspective!
Historical accuracy: Most pirate films take place prior to the 19th century. This means the historical accuracy of the project can make or break that story. In the case of Blackbeard, the Pirate, it looked like the creative team cared about the presentation of their film! There are many ways historical accuracy can be featured in a movie. One way is through the cast’s wardrobe. While trying to escape from Blackbeard, Edwina asks Robert to untie her dress. This is so she can navigate around the ship in less layers. This scene reveals how Edwina was wearing a corset, an article of clothing that was common in the 17th century. Edwina’s outfit alone showed how much research was done to make this project look and feel historically accurate!
A misleading synopsis: According to a synopsis I read, Blackbeard, the Pirate is about Sir Henry Morgan’s attempt to capture Blackbeard and stop his pirating ways. This synopsis turns out to be a lie, as Henry doesn’t appear until fifty-seven minutes into this hour and thirty-eight-minute movie. Even while Henry is involved in the story, he isn’t given much to do. It made me wonder why Henry was included in the film in the first place?
An unclear story: Like any genre, there are several types of stories that can be told in a pirate film. But in Blackbeard, the Pirate, the movie’s creative team tried to tell several types of stories in one production. These include a quest for treasure, a “cat and mouse” chase between Henry and Blackbeard, and the hero rescuing the female protagonist from the villain. The creative team’s attempt to incorporate different types of stories prevented their movie from developing its own identity. The story itself isn’t clearly defined because of this creative choice.
A meandering protagonist: I’ve stated before how some Hallmark movies will center around a protagonist who says they’re going to do something, but spends most of the movie not doing the thing they said they were going to do. This isn’t just an issue in Hallmark films, as that was also an issue in Blackbeard, the Pirate. Through a voiceover toward the beginning of the movie, Robert claims he wants to bring Henry to the authorities, as he wants to receive the reward money. Unfortunately, Robert doesn’t make any attempts to capture Henry. In fact, he does everything but make Henry face accountability for his past actions. This meandering subplot is the result of the creative team trying to tell too many types of stories at once.
I mentioned in my review’s introduction how I don’t talk about pirate films often. So, it’s disappointing when one of these movies turn out less than stellar. Blackbeard, the Pirate was, sadly, underwhelming. This was due to the weak screenwriting. Too many story ideas were incorporated into one script, preventing the film from adopting its own identity. That creative decision also caused the protagonist to not reach his goal. However, there were aspects of the movie I liked, such as the acting and the historical accuracy. But, in my opinion, the cast deserved better material. I’d like to check out more films from Linda’s filmography. Hopefully, I’ll find a movie better than Blackbeard, the Pirate.
Overall score: 5.3 out of 10
Have you seen Blackbeard, the Pirate? Are there any pirate films you like to watch? Let me know in the comment section!
When the terms “American Film Institute”, “classic”, and “Austria” are put in the same sentence, most people would think of the 1965 film, The Sound of Music. While that movie has become a beloved staple in cinema, there’s another title that fits the aforementioned criteria; 1949’s The Third Man. This film also fits the criteria for Hometowns to Hollywood’s Celluloid Road Trip Blogathon: International Edition. I’ve seen several movies from American Film Institute’s list of the top one hundred films of all time. Some of these films have, in my opinion, earned their respective places on that list. Other films have left me confused, questioning why a given film is on the list in the first place. While American Film Institute’s list comes across as objective, I have learned that almost any movie list is subjective. Therefore, I’m checking out The Third Man for myself, determining if I think the 1949 film should be on American Film Institute’s list!
The Third Manposter created by London Film Productions, StudioCanal International, and Selznick Releasing Organization
Things I liked about the film:
The acting: In The Third Man, Ernst Deutsch portrayed Baron Kurtz, a friend of Harry Lime. Despite appearing in the film for a limited period of time, Ernst, in my opinion, stole the show! Anytime he appeared on screen, Ernst’s facial expressions were very fluid and expressive, allowing his character’s reactions to be on point. His performance makes me wish he had more appearances in The Third Man! Individual portrayals were not the only memorable performances, as I liked the on-screen chemistry between Joseph Cotten and Alida Valli. One scene shows Holly and Anna discussing Holly’s friend, Harry. This scene gave Alida and Joseph the opportunity to give their characters genuine emotion, from Anna shedding tears over how the world grew up around Harry to Holly smiling over a past memory of his friend. Their performances made their characters feel like they were meant to be together.
The set design: As mentioned in the introduction, The Third Man takes place in Austria. With the story set in Vienna, the landscape is urban, boasting a European charm that is reflective in the set design. Toward the beginning of the film, Holly goes to a restaurant in the middle of the city. The crown jewel of this location is the marble columns holding up the ceiling. Carved detailing bordered the edges on the ceiling, adding quaint elegance to the restaurant. Even the police station featured elegant design choices, such as the patterned wallpaper. The set design of The Third Man serves as a visual example of timeless beauty, still holding up 74 years later!
An honest glimpse of post-World War II Europe: The story of The Third Man takes place after World War II. Through visual presentation and the dialogue, the state of Vienna, Austria is showcased in an honest way. In one scene, Holly is being chased through the city. During this chase, Holly runs over rubble and hides in an abandoned car. Holly’s hiding place, as well as the rubble, are remnants of the war. Featuring these remnants prominently in the chase scene highlights the aftermath Vienna, Austria faced.
Tilted angles: The role of a cinematographer is to present a scene in visually appealing ways. Creative decisions relating to cinematography can make a scene memorable, allowing the audience to bring up specific moments. In The Third Man, several scenes stood out because of cinematography, as these scenes were delivered at a tilted angle. However, there was no reason for those scenes to be presented that way. In fact, the tilted angles came randomly. It felt like those scenes were filmed that way simply for the sake of it.
Tonally unfit music: Acoustic guitar served as the only soundtrack for The Third Man. While this sound was pleasant to hear in some scenes, it was jarring to hear in other scenes. When the police, in one scene, dig up a grave in order to solve a mystery, the acoustic guitar sound gave off a cheerful tone. Yet, the scene itself was very serious in tone, as the film’s mystery is a murder mystery. This is just one example of the music being tonally unfit.
Inconsistent sense of urgency: As I just mentioned, the mystery in The Third Man is a murder mystery. In these types of stories, there is typically a strong sense of urgency, as the protagonist wants to stop the guilty party from hurting other people. But in The Third Man, the sense of urgency was inconsistent. Chase scenes and the climax are where the urgency was present. However, these moments were far and few between. Most scenes featured characters talking with one another. While there can be urgency included in these moments, urgency was not prioritized in the script.
My overall impression:
In 2008, the American Film Institute released a revised list of their one hundred films of all time. On this list, The Third Man was replaced by other titles. However, it does make me wonder why this film was on American Film Institute’s original list in the first place? As I stated in my review of The Bridge on the River Kwai, movies that appear on lists such as American Film Institute’s should, in my opinion, fit one of two categories; those that represent the time they were released and those that brought something new to the cinematic table. The only explanation I can think of is how The Third Man shows Europe post-World War II. Yet Roman Holiday takes place in Italy post-World War II and never appeared on any of American Film Institute’s lists. As for bringing something new to the cinematic table, I can’t think of how The Third Man achieved that. Similar to The Bridge on the River Kwai, this movie has left me confused.
Overall score: 6-6.1 out of 10
Have you seen The Third Man? How many movies from American Film Institute’s lists have you watched? Please share your thoughts in the comment section below!
Three years ago, I created a tier rank list of every Hallmark Hall of Fame movie I’d seen. These films were categorized by my overall impression of each presentation. In honor of 18 Cinema Lane turning five, I promised my readers I would revisit one of my past articles. I’ve seen more Hallmark Hall of Fame movies since I published my original tier rank list, so that’s the article I’ve selected! Along with adding more Hallmark Hall of Fame productions, I changed the names of each tier category. This decision was made to better reflect whether a film is worth its retail price of twenty dollars a DVD compared to its quality. The new tier category names are the following:
Bottom of the Barrel – Not Even Worth a Dime
Ok – Catch it on TV/Youtube
Decent/Fine – Bought It at a Garage Sale for a Dollar
Good – Get It On Sale for Half Off
Great – Where Do I Pay Full Price?
For each movie I added or moved to a different tier, I will share my thoughts on them. If I wrote about a movie on my blog, I will add the link to this article.
Screenshot taken by me, Sally Silverscreen
Bottom of the Barrel – Not Even Worth a Dime
Durango
Reviewed for the Legends of Western Cinema Week Blogathon, I stated Durango should have been a David and Goliath story. That’s because a David and Goliath reference was placed within the last nineteen minutes of the movie, the creative team’s attempt to include a higher stake into the story. But this attempt didn’t work because the majority of the film had lower stakes. The protagonist and his plan to transport cattle worked out perfectly, too perfectly for the standards of the western genre. This takes away any room for concern the audience could have for the characters and their well-being.
As I explained in my list of the top ten worst movies I saw in 2022, the audience was not given a reason to care about the characters and their story in Journey. This flaw was achieved because the film’s creative team didn’t provide explanations for the characters’ choices. It also did not help how annoying Grandpa Marcus was, his photography hobby becoming an obsession. A major theme of Journey is memories being irreplaceable. That theme was poorly delivered in Journey, as Marcus’ hobby creates a plot hole within the story. Also, I’ve seen Hallmark Hall of Fame movies express this theme better, such as The Lost Valentine.
A Place for Annie
When it comes to movies that are products of their time, they can fit into one of two categories: movies that serve as visual time capsules and those that are dated on arrival. A Place for Annie, sadly, falls into the latter category. The majority of the story focuses on the medical information of HIV/AIDS that was known during the late ‘80s to mid ‘90s. That focus causes the film to show its age more obviously. The way foster care/adoption is discussed in this story is so oversimplified, I couldn’t take that part of the movie seriously. Similar to what I said about Journey, the theme of adoption is expressed better in other Hallmark Hall of Fame stories, like Redwood Curtain.
The Corsican Brothers
Alexandre Dumas’ stories are, more often than not, filled with adventure, intrigue, and suspense. But in the case of The Corsican Brothers, these elements were lacking. Granted, I still haven’t read the book this movie is based on. Though I do wonder how similar the 1985 adaptation is to the source material? If the original story primarily revolves around Louis attending fancy events in Paris, that would explain why the adaptation is so underwhelming. However, the original story could explain some of the confusing parts of the movie, such as the woman giving some of the characters fates.
The 1996 movie, The Summer of Ben Tyler, feels like Hallmark Hall of Fame wanted to create their own version of To Kill a Mockingbird. Upon reflection of this film, it doesn’t seem like the creative team displayed a strong understanding for what made Harper Lee’s story work. If anything, it feels like ideas are copied from Harper’s novel and pasted into the Hallmark Hall of Fame presentation, making The Summer of Ben Tyler a little too similar to To Kill a Mockingbird. This is a case of if you’ve seen one movie, you’ve basically seen the other. So, if you’ve seen the adaptation of To Kill a Mockingbird, you’ve already seen The Summer of Ben Tyler.
Decoration Day
The way I feel about Decoration Day is similar to Promise; the majority of the story is very “slice-of-life”. To me, this makes both films less memorable than other Hallmark Hall of Fame titles. However, I did find Gee Pennywell’s dilemma over receiving the Congressional Medal of Honor the most interesting part of the movie. In fact, I wish Decoration Day had solely revolved around that dilemma.
Foxfire
Hallmark Hall of Fame has a history of adapting plays into films. Sometimes, a movie’s creative team will take advantage of the expansive nature of cinema, allowing the story to move beyond the boundaries of the stage. For Foxfire, though, the story was confined to the four walls of Annie’s house. A smaller cast and a condensed story also caused the 1987 Hallmark Hall of Fame project will feel more like a televised play. If I choose to watch Hallmark Hall of Fame film, I expect to watch a film. Foxfire subverted my expectations, but in a disappointing way.
Calm at Sunset is one of those movies where better, more interesting ideas were woven into the fabric of this story. One example is when the protagonist spots a cruise ship and imagines the types of people aboard that ship. Honestly, I wish Calm at Sunset was about that cruise ship instead. Similar to what I said about The Corsican Brothers, I haven’t read the book this movie is based on, so I don’t know which parts of the production came straight from the source material. If the book is pretty close to the film, it would explain why the adaptation was lackluster.
Witness for the Prosecution
Based on the adaptations of Agatha Christie’s books I’ve seen, the protagonist will play an active role in solving the mystery. Witness for the Prosecution is the exception to this statement, as Wilfred focuses more on the legal case he’s working to resolve. In a story where the protagonist doesn’t actively solve the story’s mystery, it can be difficult to get the audience invested in the story itself. Because Wilfred’s case is the primary focus of the story, the film is more dialogue heavy, putting emphasis on telling instead of showing. Hallmark Hall of Fame’s Witness for the Prosecution is a mystery that is light on the mystery.
In my editorial about the adaptation of The Flamingo Rising, I explained how the story should have been adapted into a television show or a multi-part mini-series. This is because the story itself is drawn out over the course of the protagonist’s life. Reflecting on the adaption, it felt like Hallmark Hall of Fame tried to fit The Flamingo Rising into their brand of storytelling. In this attempt, several parts of the source material were omitted or changed due to them not being “Hallmark appropriate”. As I did in the aforementioned editorial, I questioned why Hallmark Hall of Fame would choose to adapt Larry Baker’s story over a story that was more “Hallmark appropriate”?
Having read the source material and seen the adaptation of O Pioneers!, I can say the movie is respectful toward the book. With that said, if you’ve seen the film, you’ve already read the novel. Speaking of the adaptation, I said in my review how the story should have been adapted into a mini-series or a television show. With so many characters and so many parts of the story, maybe O Pioneers! would have benefitted from receiving more time. The 1992 Hallmark Hall of Fame presentation is a western that didn’t leave a memorable impression on me.
I’ve stated before on 18 Cinema Lane how the 1972 adaptation of Harvey is better than the original from 1950. While this statement is still true, the 1972 and 1950 versions of this story felt like a copy of one another. It makes me wonder why Hallmark Hall of Fame would choose to adapt Harvey if they knew they were going to make a lot of the same creative decisions as the original film? Despite the similarities, I did like the changes in the 1972 adaptation. One example is how the made-for-tv movie chose a dramatic tone for their version of the story instead of being both a drama and comedy.
Decent/Fine – Bought It at a Garage Sale for a Dollar
The Locket
For a movie titled The Locket, the locket itself is treated as an afterthought. What the story focuses on instead is the protagonist and his hardships. But from what I remember, the 2002 project addressed the importance of elder care. Since that topic is rarely brought up in Hallmark’s programming, I appreciate that creative decision. Marguerite Moreau is one of the reasons why I chose to watch The Locket. Her performance was so good, she ended up outshining the other actors in the movie! Unfortunately, Marguerite was kind of under-utilized in this film, as her on-screen appearances were not as consistent as I expected.
I said in my review of Saint Maybe how the adaptation is faithful to the source material. However, there are changes the film made from the book. One notable example is how religion/faith is downplayed in the Hallmark Hall of Fame presentation. Meanwhile, religion/faith played a significant role in the novel. For years, Saint Maybe was included in Hallmark Movies & Mysteries’ ‘Miracles of Christmas’ marathon. Now that I have seen the adaptation, I understand why the network would make this decision. Personally, I wouldn’t call Saint Maybe a Christmas story/movie, as the story itself takes place over several years.
The Lost Child serves as a good introduction to Native American culture, specifically the Navajo culture. Through dialogue and character interactions, the audience receives a glimpse into life on a Navajo reservation. For the story itself, The Lost Child didn’t leave a strong impression on me. The most interesting part of the film, Rebecca’s search of her family, wasn’t emphasized as much as her adjustment to reservation life. Also, Rebecca’s search for her twin brother was abandoned after she meets her biological family.
I’ve finally seen Loving Leah in its entirety! The way I feel about the 2009 movie is similar to The Lost Child; it’s a good introduction to Jewish religion and culture. Throughout the story, the audience receives a glimpse into the many aspects of Jewish life. Like The Lost Child, Loving Leah didn’t leave as strong of an impression as other Hallmark Hall of Fame titles. From what I remember, the story was a little too drawn out. But from what I also remember, it was nice to see the protagonists’ relationship unfold. With all that said, the movie was pleasant!
Good – Get It On Sale for Half Off
An American Story/After the Glory
Since publishing my review of An American Story/After the Glory, it has become one of my most popular reviews, garnering 1,838 views and counting! The innovative and compelling nature of the project is likely the reason why this particular title is so well-received on 18 Cinema Lane! Like I said in my review, An American Story/After the Glory felt kind of ahead of its time. This feeling is achieved by incorporating the discussion of veterans’ mental health into the script. The way veteran related topics are included in the story is reverent and respectful. An American Story/After the Glory is definitely one of Hallmark’s better military themed productions!
The Love Letter is one of Hallmark Hall of Fame’s more unique titles, as fantastical elements are rarely found in this collection of films. Yet this part of the story worked in the 1998 movie, helping to create a love story that was simple yet intriguing! The characters were not only well written, but also well-acted! Since the protagonists were multi-dimensional, their connection throughout the film was interesting to watch. I also liked the historical accuracy in The Love Letter, as the attention to detail was handled with care!
In my five years of movie blogging, I have discovered very few films that were better than their respective source material. Hallmark Hall of Fame’s Redwood Curtain is one of those films, as I found myself liking it over the play! The movie’s creative team took advantage of the expansive nature of cinema, broadening the horizons in Geri’s life. More characters were added to the story, giving them characterization that the play didn’t provide. Geri’s personality was more likable in the movie, which made me like her as a character. Redwood Curtain is a Hallmark Hall of Fame presentation I wish was re-released on DVD.
As of the publication of this list, Caroline? is, so far, the best movie I’ve all year! That’s because the 1990 production is a close to perfect example of what a Hallmark Hall of Fame presentation can and should be. From the younger actors’ performances to the differentiation of time, I could tell there was a lot of effort and care put into this project! Even though the story of a long-lost family member’s return is nothing new, the way Caroline? was written was creative, allowing this story to have its own identity. This movie is one I wish more Hallmark fans acknowledged!
During my blogging years, I have seen Charles Dickens adaptations I have liked. The 1980 version of A Tale of Two Cities is definitely one of those films! Despite the movie being two hours and thirty-six minutes, the story never felt too long. The immersive nature of the story helped the pacing, as I was invested in what was happening on screen. This Hallmark Hall of Fame production was so good, it makes me want to read the source material! It’s also another film from this collection that deserves more recognition!
Hello everyone! This post is to remind anyone who is interested in participating in the Familyathon Blogathon that there is still time to sign up for the event! Information about the blogathon can be found at the link below:
Recently, I wrote about a movie that was recommended by one of my readers. That film was the 1998 romantic comedy, You’ve Got Mail, a title I chose to review for a recent blogathon! But that’s not the only film recommendation I’m talking about for a blogging event this month. Because September’s Genre Grandeur theme is ‘Movies That Take Place in Mexico’, I had to research titles that would be eligible for the event. When I discovered one of these movies was No Country for Old Men, I remembered how Annlyel, from Annlyel Online, had once recommended the film to me. Finding another good opportunity to review a recommended title, I selected the 2007 film for this edition of Genre Grandeur! No Country for Old Men is a movie I had heard of, as it was nominated for several awards during “awards season”. But since I hadn’t seen the film until this blogathon, I couldn’t form an opinion on it. Now that I have checked out No Country for Old Men, I can finally share my thoughts on the 2007 picture!
No Country for Old Men poster created by Paramount Vantage, Miramax, Scott Rudin Productions, and Mike Zoss Productions
Things I liked about the film:
The scenery: In some scenes, the story takes place in a desert. Through screen-writing and cinematography, the desert looked photogenic on film! One of my favorite shots is when Llewelyn is returning to his truck. While he does this, a huge gray storm-cloud is slowly overtaking the sand-colored desert in the background. Thunder can also be heard. This shot looked striking on screen, as well as serving a visual representation of what was to come in the story.
Showing instead of telling: The script of No Country for Old Men doesn’t rely on dialogue. This is to emphasize the visual presentation of the story. Choosing to show instead of tell also allows the audience to figure things out for themselves. Throughout the story, Llewelyn is being chased by Anton. During this chase, it is unknown how Anton knows where Llewelyn is. Until Llewelyn makes a discovery that explains Anton’s knowledge of his whereabouts. This discovery and its connection to Anton are visually presented, with no dialogue included. The audience is given the opportunity to piece the story together because of this creative decision.
Hiding causes of suspense: As I already explained, No Country for Old Men emphasizes showing instead of telling. Another way this is accomplished is by hiding characters that cause suspense. When Llewelyn discovers a crime scene, he sees another truck is parked next to his truck, with characters entering and exiting their vehicle. Because this takes place at dawn, only the silhouette of the characters and their truck is shown. Later in the movie, Llewelyn is being chased through a small town. During the chase, the film’s antagonist can be seen in the reflection of a nearby store window. But only their silhouette is shown in this window, causing suspense to take place in the story. Both suspense and intrigue were incorporated into the film because of the use of showing instead of telling!
The run-time: No Country for Old Men is a movie that boasts a run-time of a little over two hours. While a competently written, directed, and acted story can be captured in a two-hour time-frame, I don’t think it was necessary for the 2007 film to be this long. Scenes were either drawn-out or added for the sake of satisfying this run-time. This creative decision caused the story to take longer to get to its intended point. In my opinion, No Country for Old Men could have benefitted from having a shorter run-time, say an hour and twenty or thirty minutes. The story would have reached its point sooner and the script would have been a bit tighter.
Almost no sense of urgency: Like I just mentioned in this review, No Country for Old Men has a run-time that, in my opinion, is longer than necessary. The film’s run-time caused the story to contain almost no sense of urgency, making suspense and intrigue far and few between. No Country for Old Men has a “cat and mouse” type narrative, with the protagonist constantly trying to get away from the antagonist. The chase between these characters felt like it was taking place in slow motion because of the drawn-out story. This resulted in the picture, sometimes, feeling boring.
Some things left unexplained: While I appreciate the script respecting the audience’s intelligence by allowing them to figure things out for themselves, there are some parts of the story I wish had been explained. One example is when Anton stops at a gas station. He explains to the gas station’s owner how he has a special coin that he’s carried for 22 years, stressing how his coin was meant to be at that specific place in time. Throughout the movie, however, there are no explanations provided for the coin’s significance. In fact, Anton never brings up that coin again after his stop at the gas station.
Throughout cinema, there have been movies that have received an abundance of praise. Some of these films have left me confused, questioning why it has achieved its positive recognition. For me, No Country for Old Men is one of these movies. While it’s not a bad title, it does leave me wondering why it won Best Picture, let alone get nominated at all? The film has a run-time of a little over two hours. Instead of benefitting the story, the run-time caused the movie to feel too drawn-out and, sometimes, boring. There are strengths within No Country for Old Men, such as utilizing the storytelling technique of showing instead of telling. However, these strengths do not outweigh the flaws. Looking back on the movies from the western genre I’ve reviewed, I haven’t found a film from this genre I actually liked. Similar to made-for-tv movies from the 1970s and my choice for a “so bad it’s good” title, I guess it’s time to go back to square one and continue the quest.
Overall score: 6 out of 10
Have you seen No Country for Old Men? Are there any movies from the western genre you’d like to see me review? Please tell me in the comment below!
Every so often, I try to review a movie that has been recommended by one of my readers or a fellow blogger. It’s a wonderful opportunity when I can write about a recommended film for a blogging event. This is what happened when I joined the Everything Is Copy Blogathon! When I learned Rebecca’s, from Taking Up Room’s, event centered around the Ephron family, I realized no one had chosen You’ve Got Mail as their blogathon entry. Since the movie was recommended by Janis from Momshie Diaries, I found the perfect excuse to finally see the film in its entirety! You’ve Got Mail is far from the first romantic comedy (rom-com) I’ve talked about on 18 Cinema Lane. Several Hallmark Channel films have received their own review, ranging from terrible to the best I’ve ever seen. So, where does You’ve Got Mail rank among those Hallmark titles? Log in to this review to find out!
Tom and Meg’s on-screen chemistry: An ingredient to a successful rom-com is casting an actor and actress who share strong on-screen chemistry. This ingredient creates an on-screen relationship that feels believable. In You’ve Got Mail, Tom Hanks and Meg Ryan portray Joe Fox and Kathleen Kelly; two literary business owners who have different perspectives on the world of bookselling. Yet, whenever they’re together, Kathleen and Joe share a spark between them, learning over time how they have more in common than they initially believed. The on-screen chemistry between Meg and Tom makes it feel like their characters have known each other for many years. It also helps how Tom and Meg brought a strong sense of likability to their characters. Even though Joe was a businessman who felt there was a time and a place for “big box stores”, his personality was more jovial than some of the businessmen who appear in a typical Hallmark Channel rom-com. Meanwhile, Kathleen’s personality was fun and fancy-free, trying to find a silver lining during autumn in New York City.
The set design: One of the conflicts in You’ve Got Mail was a bigger, chain bookstore affecting the business of a smaller, locally owned book shop. The interior design of the bigger bookstore was meant to imply how impersonal that store’s shopping experience was. But I actually liked the interior design of both stores! At the smaller book shop, the pale yellow walls paired nicely with warm wood shelves. With string lights circling near the store’s ceiling, the space itself felt cozy and quaint. At the bigger bookstore, white supporting columns, dark gray granite countertops, and shiny silver railings boasted a modern space that looked and felt heavenly. Quirky décor, such as a large, spinning silver globe and a replica of the Statue of Liberty reading a book prevented the store from being dull. Even the bookstore’s bakery section was promoted as a hip gathering space, a curved countertop with tall stools providing an area for readers to come together and enjoy each other’s company. Both spaces looked inviting and appeared photogenic!
The dialogue: The strength of dialogue can create or break a script. While the dialogue can be elevated through delivery, its believability and memorability lie in the writing talent. Within You’ve Got Mail, there was dialogue that I thought was cleverly written! One example was when Kathleen and Joe met each other at a restaurant. Using advice from her anonymous pen pal, Kathleen shared what was on her mind with Joe. Frustrated by Joe’s inability to see how his bookstore prevented other bookstores from thriving, Kathleen told Joe his brain was replaced by a cash register and his heart was taken over by the bottom line. While her statement was meant to be insulting, Kathleen’s quote was an eloquent way of illustrating how she saw Joe. Her quote also stressed how her love of literature helped her choose words that made her opinion sound mature and intelligent.
Forgettable secondary characters: In a rom-com, the main male and female character are not the only characters who can make a story work. A collection of secondary characters who interact with the protagonists can add humor, wit, and even thoughtful insight to the film. The story of You’ve Got Mail revolved so heavily around Kathleen and Joe, all of the movie’s secondary characters seemed like an afterthought. This group of actors and actresses did a good job with the material they were given. But the characters they portrayed weren’t as 3-dimensional as Joe and Kathleen. Some rom-coms will give at least one secondary character a subplot. However, no subplots were given to the secondary characters in You’ve Got Mail. Even when there was the possibility for a secondary character to receive their own piece of the story, this opportunity didn’t lead anywhere. It felt like You’ve Got Mail was the world according to Joe and Kathleen, where every other character was simply given permission to exist in it.
The protagonists’ love interests: I have seen some Hallmark rom-coms where the main male and female characters are already in a romantic relationship, only for these characters to end their previously established relationships in order to fall in love with each other. This trope is not limited to Hallmark’s films, as it appeared in You’ve Got Mail. At the beginning of the movie, the story established Kathleen is living with her boyfriend, Frank. Meanwhile, Joe is considering proposing to his girlfriend, Patricia. Because You’ve Got Mail is a rom-com, there is a greater likelihood Kathleen and Joe will fall in love. I’ve also mentioned in this review how, in my opinion, Tom and Meg had strong on-screen chemistry. Therefore, Joe and Kathleen’s previously established relationships feel pointless.
The run-time: You’ve Got Mail has a run-time of one hundred and twenty minutes. This is almost the same run-time as a typical Hallmark movie. Like I mentioned in this review, none of the story’s secondary characters were given a subplot, as the film revolved heavily around Joe and Kathleen. You’ve Got Mail’s plot includes anonymous pen pals desiring to connect in the real world. With the story being so simple and easier to follow, the movie’s run-time feels excessive. Some scenes are drawn out to likely satisfy the film’s run-time. In my opinion, You’ve Got Mail should have shown the anonymous pen pals meeting sooner. That way, they could not only help each other with their professional dilemmas, but the story itself could have become a contemporary retelling of Pride and Prejudice.
Before and after the release of You’ve Got Mail, rom-coms have found their place in the world of film. Like any genre, there’s a variety of titles, some good and some bad. For me, You’ve Got Mail falls somewhere in the middle. The main romance was well written, directed, and acted. This combination allowed the protagonists to form a relationship that felt believable and charming. While the dialogue and set design certainly helped this picture, it wasn’t enough to outweigh the film’s flaws. From none of the secondary characters receiving their own subplot to the run-time, these things held the movie back from being a stronger story. With the film titled, You’ve Got Mail, and with the anonymous pen pals exchanging emails and instant messages, I’m surprised none of the story’s bookstores brought up the possibility of selling their merchandise online. In fact, I’m shocked the internet wasn’t a bigger topic/theme in this movie! I would say that was a missed opportunity. But with the film itself being just fine, I guess I don’t have much to complain about.
Overall score: 7.2 out of 10
Have you seen You’ve Got Mail? What’s your favorite rom-com? Tell me in the comment section below!
In the five years I’ve been movie blogging, I discovered some of my most popular content has been Hallmark-related. One example is how, in a six-month time-frame, my editorial about why Francesca Quinn, PI is the worst Hallmark movie I’ve ever seen has received over two thousand views! Yet, it’s been a while since I reviewed a Hallmark production, with my last review for the Hallmark Hall of Fame adaptation of A Tale of Two Cities. To remedy that, I decided to write about the latest Hallmark Movies & Mysteries film, Guiding Emily! When I first heard about this movie, I liked the idea of a story that didn’t seem to utilize a lot of the tropes and cliches typically found in Hallmark’s projects. However, I was skeptical of the inclusion of a talking dog in the film. Guiding Emily is based on a book of the same name by Barbara Hinske, where the novel is told from the protagonist and her guide dog’s perspective. But I was unsure how the guide dog’s perspective would translate to the screen. Despite this uncertainty, I wanted to check out the movie and see if that uncertainty was justified!
Guiding Emily poster created by Front Street Pictures and Hallmark Movies & Mysteries
Things I liked about the film:
Sarah Drew’s performance: Whenever I’ve talked about an actor or actress’s performance, I have brought up the expressive nature of their performance. One way an actor or actress can achieve an expressive performance is through the use of their eyes. Because Emily, the film’s protagonist, has lost her eyesight, Sarah Drew, the actress who portrayed Emily, used other acting techniques to her advantage. These included body language, vocal inflections, and movements of the mouth. A good example of this can be seen when Emily receives news from her boyfriend, Conner. When she first hears Conner’s news, Emily is excited for him. A smile is shown on her face, even a giggle is heard in her voice. But as Conner shares more news, Emily’s smile fades and her voice sounds defeated. This defeat quickly turned into sadness. The slight quiver of Emily’s lower lip and the sobs heard in her voice provide proof of her feelings. Throughout this scene, Emily has bandages over her eyes because she recently had surgery.
Honesty about guide dog training: Guiding Emily follows Garth, the dog that will become Emily’s guide dog. Before he can take on that role, Garth needs to learn how to be a guide dog. His training is shown through a series of scenes. These scenes address the reality of guide dog training. For approximately two years, Katie trains Garth. During this training period, Katie’s son, Alex, is frustrated that he can’t take Garth into the pet store. He feels frustrated because he sees taking Garth to the pet store as a form of socialization. Katie explains to her son how Garth hasn’t had his vaccinations yet. She also tells Alex how Garth isn’t trained to handle so much stimulation. When Garth is ready to graduate out of his training years, the scene itself is presented as an emotional moment. Katie is sad about Garth’s graduation, even looking like she wants to cry. Mark, the man who placed Garth with Katie, displays a bittersweet look on his face as well. Scenes like this one don’t shy away from addressing how sad it can be to let go of a dog that one bonded with through training.
The scenery: Though not one of the main focal points of the story, I really liked the scenery in Guiding Emily, as it was marvelous to look at! One place that boasted wonderful scenery was the backyard of Emily’s mother’s house! A sprawling green lawn provided the stage for the star of the show. This star was a large body of blue water. A border of shrubbery and a colorful array of flowers served as the star’s “curtain”. At the water’s edge, a sitting area was situated around a gray stone fire pit. The backyard of Emily’s mother’s house would definitely be the perfect cover story for any home and garden magazine!
A disjointed story: Like I said in my introduction, Guiding Emily is based on a book where the novel is told from the protagonist and her guide dog’s perspective. This element of the novel was translated to the screen, with the story bouncing between Emily and Garth’s point of view. However, the script emphasized Emily’s side of the story, as Garth’s side of the story was sometimes told through brief scenes. I found this disappointing because I expected both Garth and Emily’s perspective to be told for an equal amount of time. Honestly, I wish this story was about Emily and Garth learning to work together as a team.
Forgotten young characters: When Emily stays at her mother’s house, she meets her mother’s next-door neighbor, Zoe. This encounter sparks an acquaintanceship between the two characters. But after Zoe talks to Matthew, one of Emily’s friends, at his rock-climbing facility, she disappears from the story. This means that Zoe is gone for half the movie. When Katie is introduced in the story, it is revealed she has a son named Alex. In this two-hour film, Alex only appeared in two scenes total. He didn’t even show up at Garth’s graduation day. With all that said, it makes me wonder why younger characters were included in the story when they just ended up getting forgotten about?
Parts of the story that didn’t make sense: After being discharged from the hospital, Emily returns to her apartment. While there one day, she attempts to navigate through her home without the use of her vision. This attempt ends in disaster, with Emily tripping over a couch and spilling pasta noodles which she thought were chips. Following the aforementioned disaster, Emily’s mother criticizes Conner for leaving Emily alone for six hours, as Conner explains to Emily’s mother how he was “taking a meeting” during that time. But where was Emily’s mother during those six hours? Wasn’t she staying with her daughter? Because the script never addresses the whereabouts of Emily’s mother, this scene is one of a few moments in the movie that didn’t make sense.
On the blog, It’s a Wonderful Movie, a commenter mentioned how Guiding Emily should have been a Hallmark Hall of Fame movie. While reflecting on this film, I will say Hallmark Movies & Mysteries’ latest presentation does feel reminiscent of Hallmark Hall of Fame projects of yesteryear! Sure, the movie does have its flaws, such as a disjointed story and a few parts of the story that don’t make sense. But Guiding Emily is a fine, pleasant film. It does tell a more unique story from those that Hallmark typically creates, avoiding a lot of Hallmark’s tropes and cliches. The talking dog element of the movie is similar to Homeward Bound: The Incredible Journey, where it sounds like the audience is hearing the animal’s thoughts. I wish Hallmark created more movies like Guiding Emily, where the creative teams are given more opportunities to think outside of the box!
Overall scores: 7 out of 10
Have you seen Guiding Emily? Would you like to see Hallmark tell more creative stories through film? Let me know in the comment section!
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