Today, in honor of what would have been the birthday of French director Jean-Luc Godard’s birthday, our scene of the day comes from Godard Alphaville, a 1965 film that mixed philosophy with science fiction and film noir.
Let’s talk about love.
Today, in honor of what would have been the birthday of French director Jean-Luc Godard’s birthday, our scene of the day comes from Godard Alphaville, a 1965 film that mixed philosophy with science fiction and film noir.
Let’s talk about love.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
Today would have been Jean-Luc Godard’s 95th birthday. It’s time for….
4 Shots From 4 Jean-Luc Godard Films
In 2016’s Broadcasting Christmas, Melissa Joan Hart (who will always be Sabrina to me) plays Emily Morgan.
Emily is a television news journalist in Connecticut. She specializes in doing human interest stories. Years ago, Emily was up for a job with a station in New York but she lost out to her then-boyfriend, Charlie Fisher (Dean Cain). Charlie went to New York and Emily has never really forgiven him. As the Christmas season approaches, Emily finds herself reporting about the fact that America’s top morning show, Rise & Shine, is looking for a new co-host. Being considered are a basketball player, a reality TV star, and …. CHARLIE! Emily has a meltdown on air and says that she feels that she should be the new cohost of Rise and Shine. Emily’s rant goes viral and, soon enough, she’s invited to come audition for the spot.
Emily, Charlie, Abby (Krista Braun), and Jimmy Eubanks (Todd Litzinger) will be auditioning over the holiday season. They’ll take turns co-hosting with Veronika Daniels (Jackee Harry) and they will also be expected to come up with human interest stories. Emily and Charlie immediately start working hard, trying to make a good impression while also trying to resist the fact that they’re clearly both still in love with each other. Jimmy Eubanks doesn’t work at all. And Abby — well, Abby knows that she’s going to get the job and the auditions are all just for show.
Except, Abby doesn’t get the job. She gets a chance to plan a celebrity wedding and abandons the show. Now, it’s just between Emily and Charlie. Will they be able to balance falling in love with competing for the same job? Will Emily find her confidence? Will Charlie make peace with the fact that his famous father was instrumental in getting New York to select him over Emily? And how does a hundred year-old fruitcake fit into it all?
Okay, I know what you’re thinking. Yes, it’s a Hallmark holiday film and, as soon as you see their names in the credits, you immediately know that Melissa Joan Hart and Dean Cain are going to end up back together. It’s the type of film where New York is safe and beautiful and the snow falls constantly without anyone ever getting a red nose or a scratchy throat. The film’s portrayal of the behind-the-scenes shenanigans at a network show feel especially false. One doesn’t necessarily watch a film like this expecting to see anything reflecting reality but the whole idea that Veronika would have four people on her show without fully knowing what they’re planning on doing when they appear requires a huge suspension of disbelief.
That said, it’s a sweet-natured movie. Melissa Joan Hart and Dean Cain make for a cute couple and I have to say that, between her Hallmark films and her Lifetime films, Hart has shown herself to be one of the stronger performers appearing in these type of films. That’s the holiday spirit for you. Any other time of the year, I would probably roll my eyes at this film. But, watching it in December, I was just happy that Emily and Charlie realized that they still loved each other.
Awwwww!

I guess you can call this the holiday season of love for me, as I turn my attention today toward the 2005 romantic comedy HITCH. Will Smith stars as Alex “Hitch” Hitchens, a somewhat legendary and highly discreet consultant based in New York City. His specialty… helping less than perfect, even slightly awkward, men win the hearts of beautiful women. His methods are very effective, but he only works with men who are genuinely in love and not just chasing a one-night stand. His latest lovelorn client, the sweet and clumsy tax accountant Albert Brennaman (Kevin James), is smitten with a famous heiress named Allegra Cole (Amber Valletta), a client of the tax firm he works for. As Hitch works his magic for Albert, he also meets the cynical, but extremely beautiful tabloid journalist Sara Melas (Eva Mendes). Hitch finds himself falling for Sara at the same time that she’s on the trail of an urban myth of a “Date Doctor,” mistakenly believing that he is exploiting the emotions of women in the city for his own personal gain. When Sara and Amber discover who Hitch really is, will the guys’ true love win the day, or will the ladies believe it was all just a sleazy, manipulative setup?
HITCH is one of my favorite romantic comedies, and I watch it every year, usually multiple times. I’m a romantic at heart, and I really enjoy a film that plays with the idea of characters who truly care about, and respect, each other. This dynamic plays out through several different relationships. My favorite is the genuine friendship that develops between Hitch and Albert Brennamen. Hitch recognizes the sincere feelings that Albert has for Allegra, and he then goes all in to help him win her heart. While Will Smith is effortlessly charming and in peak movie star form, unsurprisingly, the character I identify the most with is Kevin James as Albert. His character is so sweet and earnest in his pursuit of Allegra that you just can’t help but pull for him. Balance that part of his character with James’ excellent physical comedy, whether it be his natural clumsiness or his unfounded confidence in his dance moves, and James gives the performance that takes this movie over the top for me. When teaching Albert the dance moves that he should stick with when he’s out on a date with Allegra, Hitch utters the line, “Don’t you bite your lip. Stop it!” It was that moment when I realized that, like Albert, I never dance without biting my own lip!
While the fraternal love between Hitch and Albert is my favorite relationship in the film, I also like the romantic relationship that develops between Hitch and Sara. I appreciate the way both characters step out of their comfort zones and risk their own hearts for each other. This is not easy for either of them, as Hitch’s charm and confidence actually masks deep insecurities based on his past relationships. Sara, on the other hand, has allowed herself to become very cynical towards all men, building walls so tall that no man can climb them. The fact that they truly open themselves up to each other, even if there are some serious complications along the way, gave me a strong rooting interest in their happiness.
The last performance I wanted to highlight in HITCH is that of Jeffrey Donovan, who plays sleazy narcissist Vance Munson. Munson tries to hire Hitch to help him get a vulnerable woman into bed, and in a moment of pure audience satisfaction, he pays the price for his disrespect. About the time I watched HITCH, Donovan was starring in a T.V. series that I really enjoyed called BURN NOTICE. I’m a big fan of Donovan, and he’s perfect here as a man you love to hate. In a movie full of likable characters, Vance Munson was a needed counterpoint, and his A-hole character really stands out.
No movie is perfect, but if you’re in the mood for something that’s lighthearted, funny, and makes you want to fall in love, then HITCH is about as close as it gets.
The New York Film Critics Circle has announced its picks for the best of 2025. And here they are:
Best Film: One Battle After Another
Best Actress: Rose Byrne, If I Had Legs I’d Kick You
Best Director: Jafar Panahi, It Was Just An Accident
Best Screenplay: Marty Supreme
Best Actor: Wagner Moura, The Secret Agent
Cinematography: Sinners
Supporting Actress: Amy Madigan, Weapons
Best Non-Fiction Film: My Undesirable Friends: Part I – Last Air in Moscow
Best Animated Film: KPop Demon Hunters
Best First Film: Eephus
Best Supporting Actor: Benicio Del Toro, One Battle After Another
Best International Film: The Secret Agent
Last night, Awards Season began with the Gotham Awards! One Battle After Another, which I really don’t want to have to sit through but I guess now I have no choice, won Best Feature. (Oddly enough, that was the only award that One Battle After Another won, suggesting that the award had more to do with the film’s politics than its quality.) Far more interesting is the fact that Iranian dissident (who is facing prison if he even returns to his native country) Jafar Panahi won Best Director and Best Screenplay for It Was Just An Accident. Will the Academy have the courage to also honor him?
The winners are listed in bold below.
Best Feature
Bugonia
East of Wall
Hamnet
If I Had Legs I’d Kick You
Lurker
One Battle After Another
Sorry, Baby
The Testament of Ann Lee
Train Dreams
Best Director
Mary Bronstein – If I Had Legs I’d Kick You
Jafar Panahi – It Was Just an Accident
Kelly Reichardt – The Mastermind
Paul Thomas Anderson – One Battle After Another
Oliver Laxe – Sirât
Outstanding Lead Performance
Jessie Buckley – Hamnet
Lee Byung-hun – No Other Choice
Rose Byrne – If I Had Legs I’d Kick You
Sopé Dìrísù – My Father’s Shadow
Ethan Hawke – Blue Moon
Jennifer Lawrence – Die My Love
Wagner Moura – The Secret Agent
Josh O’Connor – The Mastermind
Amanda Seyfried – The Testament of Ann Lee
Tessa Thompson – Hedda
Outstanding Supporting Performance
Benicio Del Toro – One Battle After Another
Jacob Elordi – Frankenstein
Inga Ibsdotter Lilleaas – Sentimental Value
Indya Moore – Father Mother Sister Brother
Wunmi Mosaku – Sinners
Adam Sandler – Jay Kelly
Andrew Scott – Blue Moon
Alexander Skarsgård – Pillion
Stellan Skarsgård – Sentimental Value
Teyana Taylor – One Battle After Another
Best Original Screenplay
If I Had Legs I’d Kick You
It Was Just an Accident
The Secret Agent
Sorry, Baby
Sound of Falling
Best Adapted Screenplay
No Other Choice
One Battle After Another
Pillion
Preparation for the Next Life
Train Dreams
Best International Feature
It Was Just an Accident
No Other Choice
Nouvelle Vague
Resurrection
Sound of Falling
Best Documentary Feature
2000 Meters to Andriivka
BLKNWS: Terms & Conditions
My Undesirable Friends: Part I – Last Air in Moscow
The Perfect Neighbor
Put Your Soul on Your Hand and Walk
Breakthrough Director
Constance Tsang – Blue Sun Palace
Carson Lund – Eephus
Sarah Friedland – Familiar Touch
Akinola Davies Jr. – My Father’s Shadow
Harris Dickinson – Urchin
Breakthrough Performer
A$AP Rocky – Highest 2 Lowest
Sebiye Behtiyar – Preparation for the Next Life
Chase Infiniti – One Battle After Another
Abou Sangaré – Souleymane’s Story
Tonatiuh – Kiss of the Spider Woman
It’s the holiday season and Ashley (Kari Hawker-Diaz), who has spent almost her entire life alone, needs a job. She has a nice apartment and a cute dog but no job. Fortunately, her neighbor, Nick (Bruce Davison), needs an assistant. It turns out that Nick is a bit of a Secret Santa, anonymously helping people. Nick makes Ashley promise not to reveal who she works for….
(Wait, Nick — SAINT NICK! I just got that. Anyway….)
But when a travel writer (K.C. Clyde) meets Ashley and discovers the truth about Nick’s involvement, it looks like the holidays might be ruined for everyone. Can the holiday season be saved?
Okay, obviously this is not a film for cynical people. I like it, though. December is my month to be earnest. It’s a cute movie and there’s a lot of romance in the snow. Bruce Davison isn’t in as much of the film as you might expect but he’s still the perfect Secret Santa. If you’re in need some holiday cheer, you watch it below!
Goodfellas is totally a Christmas movie!
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
4 Shots From 4 Holiday Films
Whatever else one may want to say about it, 1996’s Jingle All The Way is a cute film.
It’s necessary to point that out because Jingle All The Way has a terrible reputation and, if we’re going to be honest, it deserves a lot of the criticism that it has gotten over the years. In many ways, it epitomizes the way a Hollywood studio can take an interesting idea and then produce a film that seems to have no understanding of what made that idea so interesting in the first place. Arnold Schwarzenegger plays Howard Langston, an overworked mattress store manager who waits until Christmas Eve to try to buy his son a Turbo Man action figure. (In the film, they call it a “doll,” which is one of the film’s false moments.) The only problem is that the Turbo Man action figure is the most popular gift of the year and everyone is looking for one. What starts out at as a satire of commercialism ultimately becomes a celebration of the same thing as Howard ends up dressed up as Turbo Man and taking part in his town’s Christmas parade. The film becomes a comedy without any sharp edges.
That said, it’s a cute film. It’s not cute enough to really be good but it is cute enough that it won’t leave you filled with rage. Arnold Schwarzenegger is in True Lies mode here, playing a seemingly boring and suburban guy who is secretly a badass. (In True Lies, Schwarzenegger was secretly a spy who had killed man people, though all of them were bad. In Jingle All The Way, he’s just a parent who has waited too long to go Christmas shopping.) Schwarzenegger’s main strength as an action star — even beyond his physique — was that he always seemed to have a genuine sense of humor and he’s the best thing about Jingle All The Way. This film finds him acting opposite actual comedic actors like Jim Belushi and Phil Hartman and holding his own. (The film also features Sinbad as another dad trying to get the Turbo Man action figure but Sinbad comes across as being more of a stand-up comedian doing bits from his routine than an actual character.) The film’s set pieces grow increasingly bizarre and surreal as Howard searches for his Turbo Man and the film actually becomes less effective the stranger that it gets. A scene of Howard fighting a crowd in a toy store works far better than a later scene where Howard battles a bunch of men dressed as Santa Claus and his elves. (It doesn’t help that, after an intelligent and well-edited opening thirty minutes, the film seems to lose all concept of comedic timing.) But there’s a sincerity to Schwarzenegger’s performance that keeps you watching.
Of course, today, Jingle All The Way feels like a relic from a different age. All the kids want a Turbo Man and you’re so busy at work that the stores are closed by the time you get home? Fine. Hop on Amazon at three in the morning and order one. Christmas shopping is a lot easier nowadays.
It’s just not as much fun.