10 Christmas Corkers (Essential Christmas Viewing)

Christmas is fast approaching (it’s just a few sleigh rides away you know...) and if you’ve exhausted yourself with eating mince pies, preparing seasonal recipes, decorating the house, ice skating, wrapping presents and *enter stereotypical Christmas activity here*, what better way to enjoy the cold weather than from the comfort of your own home beside the fire with these familiar classics and Christmas viewing suggestions (this is a rhetorical question). If you feel overloaded with sentimentality afterwards, you can always just kick over someone’s snow man (if it snows that is...)

Here are 10 films to kick start the holiday season:

1. Home Alone



Macaulay Culkin was a fundamental part of my childhood movie diet. He was my ‘greens and veg’ alongside Kirsten Dunst. He was Richie Rich, Miles, and Thomas J. Sennett. But first and foremost he was Kevin McCallister. With his angelic ‘top of the Christmas tree’ looks but troublesome attitude, Kevin manages to live out the situation that every child desires and dreads in equal measure: he gets left home alone – parentless! With his parents in Paris, Kevin enjoys his new found freedoms; he survives on a diet of ice cream and old movies, but it soon becomes clear that a pair of mismatched chancers have their sights set on their rather palatial Chicago home. Harry and Marv aka the wet bandits have noticed that Kevin is living all alone and begin to make advances on the house. What ensues is comedy, but also drama, because when I was a child watching this film, every inch of me was on edge waiting to see who would come out tops: the kid, or the big, bad grownups. This film is excellent at getting into the mindset of a frustrated and creative child who feels largely ignored and rejected by his parents in a crowded and bustling home. It’s hilarious, but also heart warming and it also inspired a generation of children to booby trap their homes should an invader drop by for the holidays. Last I heard the McCallister family home was actually on the market, so should you plan on moving to Chicago (and have a fair bit of money in your pocket); you might actually be able to watch this film from the very house it was set in!

2. Home Alone 2: Lost In New York



Mr and Mrs McCallister should be nominated for the parental equivalent of a Razzie for their truly lax parenting skills as they manage to leave Kevin behind for a second time. This time, they manage to get him as far as the airport, but Kevin ends up in New York whilst they stare out of rain soaked windows in Florida. The sequel follows the same formula as the first; Kevin exploits his liberated status in a glitzy New York hotel whilst relaying on the stonker of a story that his father is constantly caught up in business meetings, leaving him free to make the most of his credit card and as usual kick back and eat tonnes of ice cream and watch black and white films in his hotel room. The reality and gravitas of his situation sets in when he realises that the wet bandits have reinvented themselves as the sticky bandits and are planning on robbing Duncan’s Toy Chest on Christmas Eve. The hotel staff, ingeniously smarmy (there is an exceptional comedic turn from Tim Curry), are also on Kevin’s back when they discover there is no ‘dad on business’ and Kevin is  further intimidated by the locals that frequent the city, including what appears on first impressions to be a mad pigeon lady (every city has one). There is the same heart-warming comedy to be found as Kevin bats for survival, dishes it out to the bad guys and returns to the family fold, hopefully to never be left behind again. This is essential Christmas viewing if only to see the Big Apple all lit up for Christmas.

3. The Muppets Christmas Carol



This has always been my favourite Christmas film because ‘The Muppets’ themselves represent everything that Christmas itself stands for; friendship, acceptance and family. Existing as a motley crew of oddballs, eccentrics and rejects, the Muppets embrace one another as a hodgepodge of different characters who manage to mesh...somehow. This is a spirited venture which takes on the traditional English tale by Charles Dickens, relaying the stingy and spiteful character of Ebenezer Scrooge as he is visited on Christmas Eve by three spirits who each seek to provoke him to acknowledge a new way of life and embrace the holiday season. Michael Caine takes his turn as Ebenezer, the man who loathes Christmas and happiness and has a way of sucking the joy out of all he comes across, but this is a victorious and transformative film lead by Gonzo and Rizzo, with Kermit and Ms Piggy portraying the Cratchits. The ending is of course triumphant and bursting with joyful songs and true merriment, as well as a sense of frivolity, wonder and humour. Caine also considers this to be one of his finest roles, and given the man’s career, that is quite the accolade. You can catch a showing of this at the Prince Charles Theatre from the 16^th December to the 22^nd if you happen to be an English citizen and local to London. It's quite astonishing to think that man made muppets can convey more emotion that some flesh and blood actors (coughKeiraKnightleycough).

4. Elf



Will Ferrell is a love him or loathe him kinda guy...which makes him perfect as the portrayer of Buddy the Elf; a sickly, sappy, soppy and absolutely loopy human being who stowed away in Santa’s sack as a child and was raised amongst the elves at Santa’s workshop. Buddy never truly acknowledges his human status until his superior height and inferior toy making abilities render him an obvious outsider. When he is returned to the human world (New York City of all places) his ignorance and naivety with regard to human civilisation mean that he makes just a few social faux pas (including ripping off the beard of a false Santa). Buddy reunites with his father, Walter Hobbs, played by James Caan, who is firmly on Santa’s naughty list. For me this was an ingenious (yes I’ll say that again, ingenious) casting choice because you can’t get any more different that Will Ferrell and James Caan. Caan manages to be perfectly exasperated and deadpan throughout. This is a film that strengthens the importance of prioritizing family over a hectic work schedule and also incorporates the positive properties of hope, belief and engaging with the wants and needs of our inner child from time to time.  In a society where Christmas is closely affiliated with consumerism and capitalism rather than peace and goodwill to all men, Buddy’s insane positivity ruffles a few feathers, but also gains him an unlikely love interest in the form of saucer eyed Zooey Deschanel as elf imitator Jovie.

5. The Nightmare Before Christmas



The eagle-eyed among you will recall that this film made a guest appearance on my recommendations for Halloween films entry. It is a difficult film to place as it boldly merges two very distinctive holidays. Despite the memorable Halloween styling and imagery, this film does incorporate a strong Christmas vibe. Jack, the Pumpkin King and most respected amongst his fellow Halloween Town citizens for his successful scares, becomes apathetic with his holiday and stumbles upon Christmas Town, which awakens a new sense of childlike wonder in Jack as he discovers snow and the concept of presents for the first time. Jack attempts to bring the Christmas Spirit to Halloween Town and give Santa a well deserved rest whilst taking his place. Unfortunately, good intentions collide with his misunderstanding of the Christmas Spirit and Christmas goes terribly wrong. He manages to reacquaint himself with his own holiday and accept his identity as a man of jeer, not cheer.

6. How the Grinch Stole Christmas (The Grinch)



Dr. Suess’ simple story is transported onto the screen in one of many countless renditions. Within a single snowflake exist the ‘who’s’ who inhabit ‘Whoville’, a joyous and merry place. Just beyond the reach of the ‘who’s’ lives the Grinch, a social outcast who despises Christmas and generally everything else. He can’t be described as a misanthrope precisely, because the Who’s aren’t specifically human, but there is no love lost between them. He isn’t happy enough being apart from them in essential exile; instead he plots to steal Christmas from the townspeople. It turns out that the Grinch is not simply naturally sadistic but instead a hardened and defensive victim of childhood torment and unrequited love – he fits the staple of the ‘Scrooge’ character that hardens himself in adversity and loses all sense of softness. Cindy Lou Who (who, would you believe, is played by Taylor Momsen) attempts to acquaint herself with the Grinch and help him recover his Christmas Spirit in what proves to be a long and arduous task.

7. The Santa Clause



This is any parent’s perfect Christmas film. Period. Tim Allen is Scott Calvin – a father who is desperately trying to assure his son that Santa is real and accidentally ends up killing Mr Clause on Christmas Eve. Much to his chagrin, he automatically becomes the ‘new’ Santa, begging the questions: how many fathers have accidentally killed Santa and had to step up to the plate, and what happens if a woman accidentally bumps Santa off? Scott’s encroaching transformation leaves him mortified but eventually he is able to muster up some festive cheer and build bridges with his ex-wife and her new partner Neil who have a terse (at best) relationship with one another. Allen steals the show here, perfecting the art of the grumpy father of Charlie and the festive Father Christmas, but I’d recommend watching this film simply for the ‘Neil’ jokes which fall fast and frequent and will rouse the spirits of any Christmas singletons, single parents or divorcees.

8. The Snowman



One suitably snowy Christmas Eve, a young boy creates a snow man that instantly comes to life and spirits him away on an air bound adventure to meet Santa himself. This classic Christmas tale includes no dialogue but features the angelic vocals of Peter Auty as he sings a song now unanimous with Christmas: ‘Walking in the Air’. This film is in keeping with all children’s ability to perform magical thinking and bring to life all of their deepest imaginings.

9. The Holiday



Cameron Diaz and Kate Winslet play characters in dire straits who are both experiencing man issues in their native homelands. They decide that the solution might just be to switch locations to gain enough distance and a fresh perspective, so Amanda (Diaz) packs for Surrey and Iris (Winslet) departs for Los Angeles. Whilst away, they both manage to acquire new loves...even if it does seem rather unrealistic that Winslet should be paired with Jack Black. This is a cheerful holiday season film that depicts the sense of loneliness and isolation that being single during a period of traditional ‘togetherness’ can bring. Thankfully, in movie land, no-one ends up lonesome for long.

10. Monty Python's Life of Brian



Christmas is the celebration of the birth of Jesus Christ, so by incorporating this film, I am being potentially blasphemous. On the same night of Jesus birth, another child is born and mistaken for the Messiah; that babies name is Brian. What follows is a hilarious case of mistaken identity as the Pythons, known for their surreal, offbeat and generally hit-and-miss style of comedy, hit the ball out of the park with every joke. This is in my opinion, essential Christmas viewing, particularly if you are an atheist or agnostic but still enjoy the festivities of Christmas. This film incorporates none of the slush or sentiment that usually comes with seasonal movies, because essentially, it isn’t a seasonal movie at all (its far more of an Easter film), but it does have a very upbeat and inspirational message, encouraging individually, acceptance and open-mindedness. It might have caused a storm of controversy upon its release, but it can now be enjoyed (hopefully) as a funny film that took a chance and didn’t skirt around a potentially very thorny subject. Most importantly in my mind, it will make you laugh a real belly laugh that Santa would be proud of.

Watch this space for further suggestions...

Top 10 Movie Mermaids

There is something naturally silly about the torso of a woman merged with the lower half of a fish, and yet there is also something prevailingly dazzling and enchanting about the fabled mermaid, who has intrigued and captivated  audiences for a long time. Mermaids abound in literature, legend and folklore, and though there are many mermaid movies, there aren't nearly enough. Here are some of the more interesting movie interpretations of these sensational creatures.

1. Hook







Peter Banning returns to Neverland to recapture the adventurous and sprightly spirit of his youth. He re-aquaints himself with the Lost Boys and pesky pirates, but also with the beautiful mermaids, depicted here as benevolent and frankly 'free with the lovin' types who return him to the world above the water with a whimsical kiss. This short scene really captures as a cameo the serene and ethereal nature of the mermaid. There design and makeup, though simple, shimmers and shines.

2. Peter Pan







Disney never disappoints with its maidens. Characters tend to be polarized as all good or all bad, and the mermaids as depicted here, are childlike, spiteful and jealous, and can afford to sit around all day combing their hair and looking pretty. They are happy to be reunited with piper Peter, but are a little more reluctant when it comes to Wendy, but its okay, they were 'only trying to drown her'. They fit the traditional depiction of mermaids as gorgeous, unknowable and vacuous.

3. The Little Mermaid



Ariel, underwater princess and daughter of King Trident, sacrifices the life she knows to gain a human soul and the love of Prince Eric. The first mermaid I witnessed on film (this movie was released the year I was born), Ariel was unique amongst Disney princesses as a rebellious, free-spirited and unconventional soul, right down to her flame red hair and skimpy attire. Most little girls might dream of being princesses or make-believe that they are mermaids, but Ariel dreamed to be human. Disney doubters see the story of the Little Mermaid as the tale of a young girl who sacrifices her independence and individuality to give herself over to a life of convention and tradition, but there is still something endearing about this story, which is the epitome of 'the grass is greener on the other side' syndrome.

4. Aquamarine



A mermaid with a valley girl twist, the consequence of two best friends wish to not be separated, Aquamarine is the ‘miracle’ that emerges as a result of their wish. She is able to take human form during the day so long as she makes no contact with water. She has arrived on land in order to understand the human emotion of love and quickly captures the attention of lifeguard Raymond. This is a fresh take on the mermaid story and interestingly depicts the mermaids fascination with humanity, which rivals that of mans preoccupation with the sea. Think 'The Little Mermaid' meets Clueless.

5. Splash



Everyone knows this mermaid movie. Daryl Hannah is Madison the mermaid, who befriends a young boy named Allen, and captivates him for all of his days until she reunites with him in adulthood. Unlike 'typical tails', which are quintessentially turquoise and relatively aquatic, Madison's tail is reminiscent of that of a large goldfish jumping into the setting sun and is memorable because of it.

6. Pirates of the Caribbean: On Stranger Tides







The saving grace of this otherwise dire movie, are the mermaids, who prove to be the scene stealers. Erotic, exotic...oh and flesh-eating, these mermaids lure men to their dooms, similarly to the sirens, and drag them to their deaths in the depths by coaxing them in with a kiss. These mermaids are both innocent and evil, captivating and crafty, but yet frustratingly underused in the movie and in the promotional material. Hopefully, Disney will catch on to the fact that the world needs more mermaids!

6. Harry Potter and the Goblet of Fire



The merfolk of J K Rowling's world are a complete reimagining. They lack the glamour, instead appearing as rather grotesque, and most certainly not wizard friendly. The merpeoples' language exists as an ear-piercing screech above water, but appears as a lulling melody below. Any director when told that mermaids will be making an appearance in their movie, would be tempted to resort to the tried and tested clichés of the beautiful female mermaid (that is, after all, what most movie goers want to see). Not so in Harry's world, where mermaids appear more androgynous and indecipherable. Harry has to venture into their world to conquer his second trial in the Triwizard Tournament.

7. Ponyo





Ponyo is Studio Ghibli's imagining of the story of The Little Mermaid. Originating from a castle under the sea, Ponyo who is enlivened with great curiosity after a trip in her fathers submarine, slips away to see more of the world above the waves. Here, she befriends Sosuke and transforms into a human child.

8. Fishtales



Most men probably dream of seeing Kelly Brook embodying the role of a scantily clad mermaid. With this film, their fantasy can reach fulfilment. Here she portrays the stunning mermaid Nereid, who is in danger of being poached for her rather expensive tail. Like many mermaids before her, Nereid sacrifices her existence as a mermaid to become a human woman.

9. Peter Pan (2011)



The mermaids of the 2011 interpretation of Peter Pan are an unusual combination of sensuous and eerie, with their flame red hair (before Rihanna made it mainstream) and pale blue skin. The mermaids are aware of everything that occurs in Neverland and are notoriously evasive (somewhat different to the Disney mermaids, who enjoy a chat and catch up and act more like sorority sisters). The mermaids still have it in for Wendy (poor girl).

10. Night Tide



Slinky sailor Johnny Drake falls in love with Mora, who plays at being a mermaid for a living. As the film progresses, we cannot be sure if Mora really is a mermaid, or whether she is simply a little lost in her own fantasies. Mermaids don't usually feature in thrillers, so this is well worth a watch.

Wuthering Heights

There are iconic lovers that seem to capture something of the nature of love; Romeo and Juliet, Tristan and Isolde, Jack and Rose, but none cut through the sentimentality and slush quite like Cathy and Heathcliff. These two have always been the wild and untameable beasts of the moors who in each other find an obsessive and dizzying equal that cannot be contained. Emily Bronte’s classic novel has faced countless adaptations and now it faces another, in the capable hands of Andrea Arnold. This is gothic love, without the fluff and sweetness of Hollywood rom-coms; these are hard, raw, real characters, who for me come the closest to representing the dark underbelly of our sweetest intentions. This is perhaps why it is one of my favourite romantic novels, and why it endures today, as a simple tale that packs a profound punch.

Arnold has made some interesting choices with her adaptation, the most obvious one being her
decision to cast Solomon Glave and James Howson as her leading man in both his childlike and fully grown forms. Initially, I had my doubts about this. This was not the Heathcliff I envisioned, and it seemed to make the dubious and vague nature of Heathcliffs ethnicity in the book stark and startling. It added a racial motive for me, which did not colour the books (pardon the pun). This isn’t Othello. It also gives Arnold the excuse to throw in the N word (as well as the C word and a few others), which for me felt like adding a spark of controversy for the sake of it, and did not suit the setting. I never envisioned the characters as saints, but the ‘effing and blinding’, did not suit my idyllic, picturesque vision of Bronte’s Yorkshire. Any objections I might have had to the choice of lead actors evaporated when the chemistry between the characters became apparent.

I don’t envy the person whose job it was to cast Cathy and Heathcliff. They have perhaps, the most insistent, passionate and all-consuming chemistry of all – not an easy thing to find and create between two actors. Nonetheless Arnold manages it, by pairing the striking Glave with mischievous Shannon Beer, as the two frolic as children. In adulthood, Howson reunites with Kaya Scodelario (only after a few scenes did I manage to place her face – its only Effy from SKINS!). Arnold is known for recruiting unknown talents and I believe Glave will emerge as one; he has a quiet, simmering intensity and a very memorable face. At times, his delivery feels wooden and inconsequential. By contrast, Howson (not my automatic choice) grew on me slowly as the film progressed, and Kaya might just carve out a career for herself yet!



The tone of the novel is captured perfectly. Life on the moors is savage and cruel and the cinematography of the ugly and the natural reflects this. Stark, bleak, hopeless – nature courses
unbound. The camera obsesses itself with animals colliding in pairs, clear symbols of the cacophony of the combining of Cathy and Heathcliff as horses whinny, corralled by their owners, birds soar and insects gather at window panes for escape. The camera rushes at us like the wind, spinning and whirring like a lover’s homemade video footage. By running on the moor, they are flying. This is a tactile film that captures taste, feel, touch – the camera languishes through Cathy’s autumn hair, Heathcliff bites his lip, the two lock hands in the squelching mud. These scenes are for the senses. This film is like being buried alive in the earth, agonizing to some, sensuous to others, as we are pushed directly into the flame of their candle. The symbols and alludes are clear – Cathy and Heathcliff are nature and are animalised. Even the colour choices are straightforwardly simple; Cathy rides in red, Heathcliff in black, Isabella in white. Some viewers might see this as a bit of ‘directing for dummies’ – I was quite enchanted by its easy style. Cathy is shown to be air, mercurial and flighty as the wind that ravishes the moors – her hair abounds all about her and she collects feathers belonging to the birds. By contrast Heathcliff is the steady, unmoved yet volatile fire – he can only burn dependably in the grate of the home with his love.



This story has always been one of love, and the destructive potential of our passions. If the animals
of the moor reflect the vivacity of the pairs love, then they can never truly be happy with the likes of Edgar and Isabella, who represent civilized, stable, dependable love, which though consistent and loyal, can never make us feel true exhilaration. Isabella and Edgar are subordinates to Cathy and Heathcliff, but when the childhood soul mates are together, they are true equals. There are not
many love stories today that capture this sort of true, natural equality where man and woman are one another’s confidant and counterpart. In adulthood Cathy may be conditioned to be the lady of the house, but Heathcliff becomes only more and more animal. I felt the suspense of their reunion – the anticipation, barely concealed tension, the reigned in desire to possess, know, clash. Blindingly bleak, this is the slow burning tale of a love, obsession and lust that is never allowed to be, but also one of the purest friendship and acceptance. Arnold manages to be unsentimental – sleek as a knife and bustling as the wind in bringing to life this refreshing take on an old tale, saturating and intoxicating us as we sink into the mud with them. Unfortunately, this adaptation does not have the endurance of the novel and won’t be one I will watch again.

You'll like this if:

* You like a tale that takes its time  to be told i.e. Death in Venice

* You are a diehard Bronte fan

* You enjoy picking apart cinematography

You'll hate this if:

* You are expecting Twilight

*  You are expecting Titanic

* You are expecting Claire Danes and Leo

Paranormal Activity 3

The Blair Witch Project and Cloverfield might have paved the way for the faux documentary style of film making, but the Paranormal Activity trilogy has exploded amongst horror fans and established itself as a firm franchise. Like The Blair Witch Project, PA3 draws on the concept of ‘found footage’ after the events have taken place. For fans of the first and second instalments, the third (and
presumably not final) takes us back to the origin of the supernatural presence in 1988 that stalks the Rey sisters, Katie and Kristi.

I’m not quite sure what the obsession is with certain tried and tested horror movie staples; the adorable cherubic squabbling sisters, kids ‘drawing their feelings’ (always overlooked by the otherwise coddling parents – Insidious, The Ring, Orphan anyone? - all I'm getting from this is that art cannot lie...someone oughta tell that to the writers of PA3) and the perilous concept of the imaginary friend (remember Regan’s trusted confident Captain Howdy in The Exorcist?). Nonetheless, these conventions seem to evoke something uneasy in audiences enough for them to be reused and relied upon...provoking reactions every time and PA knows this and brandishes them at every opportunity. All I know is that the ‘creepy kids’ angle is possibly the best marketing strategy for birth control ever.



PA3 tells the story of Kristi’s imaginary friend ‘Toby’ who she seems to be on relatively friendly terms with. Toby makes frequent contact with Kristi, who seems receptive to him, and the two share secrets (he also attends her tea parties). Her mother Julie thinks that Toby is harmless childhood nonsense and sister Katie finds it childish and worthy of ridicule. Only step father Dennis thinks that there is something ominous and sinister to this Toby character, particularly as bizarre instances appear to
have begun occurring around the house ever since Kristi acquired her new chum. Naturally, in true PA style, Dennis decides to set up his video camera and begin filming the day to day occurrences
in the house. Gradually, the footage builds, and creepy occurrences become more unexpected and chilling. Toby’s intentions change from being maliciously playful to having a far more insidious, focused intent. He finally bribes Kristi to fulfil his bidding and in doing so, the film takes a darker, reflationary turn, as past family secrets come to light, but only partially.

The territory is familiar and feels formulaic by now. Certain scenes are direct repetitions from the earlier films. In many ways, PA is allowed to do this to some extent because it establishes the
demons presence, habits and hallmarks. We never truly understand who or what ‘Toby’ is or what his motivations and intentions are. PA3 leads us to some pretty insightful leads and we can certainly
grasp at some fanciful conclusions by piecing together the hints and clues from the earlier films. Nonetheless the answer is never explicitly spelled out for us, and so the character of ‘Toby’ remains an unexplainable, demonic presence. None of the secrets are fully divulged which makes PA3 ambiguous and also mildly frustrating for those that were hoping for a neat and tidy ending.

The movies are thoughtfully casted and the actors reactions feel genuine and authentic, particularly those of Kristie and Katie who perfectly capture the curiosity, naivety and terror of childhood. They are able to suspend their disbelief to some extent because of the power of their magical thinking. The parents themselves, Julie and Dennis are very likeable and glamorous although they make some questionable choices i.e. allowing the girls to camp out in tents despite having concerns about the safety of their home. The father figures in PA movies always appear to draw the short stick so don’t get too attached to poor Dennis.



Fitting with PA style, there is always an ‘excuse’ to have the camera around; there is the contrived attempt to make a homemade porn vid (which had me rolling my eyes), filming the girls room to keep a log of the unexplained activity and recording conversations with the sisters in an attempt to discover what is happening, but there are some instances when the recording seems unnatural, for instance when Dennis is editing his footage. Nonetheless, it does feel as if we have stumbled into private family footage. Although the initial premise of the movies invited us to believe that this could potentially
have happened – it becomes harder and harder to stretch your sense of disbelief to accommodate the spiralling storyline and accept that all of these different families just so happened to videotape all of their experiences. The layout of the house is very open, enabling shocks to emerge from all angles and the camera is now positioned on a rotating fan which only adds to our sense of suspense and anticipation.

A huge criticism has been that many of the scenes included in the trailer are not present in the film itself and this is true. PA3 is guilty of false advertisement, promising chills and thrills that do not emerge from the expected places; instead we get an ironic take on a babysitter’s bedtime story, and a freaky ‘bloody Mary’ mirror scene. As such, the trailer isn't really an accurate representation of what you're going to 'get'. There is nothing particularly groundbreaking about this film but diehard fans will be happy to learn more of the back-story and enjoy swapping theories about what’s really going on. These films certainly make you leap out of your skin when viewed on the big screen but I think they are more effective when watched in the ‘comfort’ of your own home, where they take on an eerie, immediate significance (it would also have saved me the cost of a £9 ticket).

The audience reactions were varied; I was sat low down in my chair, cowering behind my cardigan with expectation, but one of my friends was ‘bored’ and ‘over it’ and the other excited. Two movie goers claimed they felt cheated by the ending and one decided that the film clarified that women were essentially ‘batshit crazy’. All I’ll say is, don’t be surprised when you see the trailer for PA4, as this is a cash cow that, like the Nightmare on Elm Street or the Halloween movies is set to run and run, and potentially, get sillier and sillier.