MERRY CHRISTMAS! Christmas Carol-A-Thon 2019, Balladeer’s Blog’s TENTH Annual Christmas Carol-A-Thon, comes to a close with a review of this 2019 item.
2nd CHANCE FOR CHRISTMAS (2019) – (Special thanks to Balladeer’s Blog reader Lee Ann for recommending this Carol to me.)
Directed by Christopher Ray, this is an adaptation of the Dickens classic and sets the story in the present-day. The Scrooge stand-in is a Country Western singer named Chance Love (Brittany Underwood). My fellow Carol enthusiasts will immediately be put in mind of A Diva’s Christmas Carol, reviewed previously here at Balladeer’s Blog.
2nd Chance For Christmas shrewdly stakes out its own territory so that it stands out from the Vanessa Williams flick about a pop starlet named Ebony Williams. In addition the film shrewdly used a numerical designation for the first word in the title rather than spelling out “Second” ensuring it will be listed ahead of movies whose titles begin with any letters at all.
Brittany Underwood does a very good job as Chance, the mean-spirited and selfish singing starlet who abuses everyone around her. Every step of the way Underwood is up to the demands of the storyline and manages her comedic parts well, always the toughest challenge.
In fact nearly all the comedy bits in 2nd Chance For Christmas are well-written and well-executed, so I will avoid any spoilers regarding the jokes so as not to ruin them for first-time viewers. Continue reading
A CHRISTMAS CAROL (2015) – This 59 minute rendition of the Dickens Yuletide classic is often referred to as “the Colin Baker version.” Too bad Baker can’t sue somebody over that, since he had nothing to do with this laughable production beyond portraying Charles Dickens and narrating the story. 
Soon the image improves to conventional standards (well, sort of) and the sound improves to 1950s television levels. Unfortunately, this is a 2015 production, not a 1950s presentation, and the weak, amateurish sound work will plague this Carol the rest of the way. 
TAKUGINAI (December 1988) – As always I enjoy reviewing some of the most obscure and/ or neglected versions of the Carol that I can find. 
Time for another post in Balladeer’s Blog’s TENTH annual orgy of entries on various versions of THE Christmas tale. The Charles Dickens classic has a certain unquenchable charm that ensures it will continue to be adapted for at least another few hundred years. 
HARRY FLASHMAN NOVELS – My reviews of George MacDonald Fraser’s series of Flashman novels have been very popular items. January saw three items: 
ROBERT GINTY MOVIE MARATHON – Six of the most psychotronic movies from the one and only Robert Ginty. 
FACULTY LOUNGE FASCIST ROUNDUP: JANUARY 21st – Yet another look at the Theater of the Absurd known as the United States “Educational” System. CLICK 
GENTLEMAN JEKYLL AND DRIVER HYDE (1950) – One of Canada’s most bizarrely entertaining Driver’s Ed shorts. CLICK 
THE PARSIFAL MOSAIC (1982) – My review of the Robert Ludlum novel. CLICK 
Balladeer’s Blog continues its annual orgy of versions of the Dickens classic as Christmas Carol-A-Thon 2019 resumes!
A CHRISTMAS CAROL (2012) – This adaptation of A Christmas Carol was a noble effort to try something different that was not just a gimmick. Ignore the negative IMDb reviews which accuse this adaptation of using “Elizabethan language.” They’re off by a few hundred years, since in reality the dialogue follows that in the Dickens novel of 1843. 
A CHRISTMAS CAROL (2019) – Directed and co-written by Steven Salgado, this adaptation of the 1843 novel sets the story in present-day Miami. Though some may try to pigeon-hole this indy film as “a Hispanic-American Christmas Carol” that would not be quite accurate. 
A CHRISTMAS CAROL (2006) – This computer-animation version of the Dickens classic was produced by BKN and distributed by Genius Entertainment, Kidtoon Films and Image Entertainment. Ric Machin directed. The 48 minute film had a brief theatrical run in November of 2006 before being released on home video. 
MASERATI: A HUNDRED YEARS AGAINST ALL ODDS (2019) – This fascinating documentary directed by Philip Selkirk is so riveting it flies along like one of the automobiles in the Maserati line. 
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