Santa Claus: The Movie
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| Santa Claus: The Movie | |
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| Directed by | Jeannot Szwarc |
| Produced by | Pierre Spengler, Ilya Salkind |
| Starring | Dudley Moore, John Lithgow, David Huddleston, Judy Cornwell Burgess Meredith |
| Distributed by | Tri-Star Pictures |
| Release date(s) | November 27, 1985 |
| Running time | 108 min. |
| Language | English |
| IMDb profile | |
Santa Claus: The Movie is a 1985 Christmas Film starring Dudley Moore and John Lithgow. It is the next-to-last major feature and last major fantasy film, produced by the Paris-based father-and-son production team of Alexander and Ilya Salkind. The film was directed by Jeannot Szwarc and released in North America on November 27, 1985 by Tri-Star Pictures.
Santa Claus: The Movie is a straightforward, nondenominational attempt to explore the mysteries of Santa Claus with the key objective being to answer some of the most basic questions many children have about Santa including: How do his reindeer fly? How did Santa and his wife make it to the North Pole? How does he manage to go up the chimneys? At the same time, the film supplemented its answers to these and other questions by telling a contemporary story in which one of Santa's elves (called "Vendequm" in film), a visionary named Patch, sets out to employ Santa's toymaking methods on his own, unaware that he might be ruining the magic of Christmas in the process.
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[edit] Overview
Conceived by Ilya Salkind in the wake of the apparently waning critical and U.S. box office success of 1983's Superman III and its immediate follow-up, 1984's Supergirl, the film was directed by veteran film and television director Jeannot Szwarc (Jaws 2 and Somewhere in Time) from a story by David and Leslie Newman, who had written the three previous Superman films, but were not involved in the production of Supergirl. David Newman, however, took sole screenplay credit. Pierre Spengler, Ilya's longtime partner, and the third key element of Team Salkind, joined Alexander's son as the project's producer.
[edit] Plot
The Origins of Santa
The film's storyline is divided into two basic parts. The first part takes place in an unspecified period during the early or late 14th Century, where Claus (David Huddleston) is a simple peasant woodcutter in his late fifties who, with his wife Anya (Judy Cornwell), delivers his gifts to the children of a certain village.
One night, following a particularly routine visit, Claus and Anya are caught in a violent blizzard that seemingly freezes them and their reindeer, Donner and Blitzen, to death. Mere moments later, however, the four of them, along with their sleigh, reawaken to find themselves deposited in a spectacular frozen plain: the "ice mountains, way up at the top of the world," the home of the fabled Vendequm, or Elves. Leading the contingent that greets them is a venerable old Elf named Dooley (John Barrard), who then tells Claus and Anya that they have been expected.
Also in the contingent of Elves is a wide-eyed, overzealous fellow named Patch (Moore), who is joined by his three faithful companions Boog (Tim Stern), Honka (Peter O'Farrell) and Vout (Christopher Ryan). Dooley instructs the four Elves to take charge of the reindeer and sleigh, and the kindly couple are led into the wondrous, wooden-shaped world of the Elvish Compound. Before long, Dooley explains to Claus and Anya that they have been brought here to spend eternity crafting and giving a fantastic array of toys of all descriptions to every child on Earth.
Later, Patch introduces Claus to the six other deer who will join Donner and Blitzen in helping the old woodcutter make his rounds: Prancer and Dancer, Dasher and Vixen, Comet and Cupid. In an extended montage sequence, set to the film's major song, "Making Toys," we see various aspects of the final preparations for Santa's very first Christmas Eve journey, climaxing with 'Season's Greetings,' in which the North Star's light effuses the Great Hall of the Elvish Compound with that unmistakable Christmas magic.
Later, the supreme moment arrives when Claus, resplendent in his full red-suited regalia, is greeted by the Ancient One (Burgess Meredith), the oldest and wisest of all the Elves, who explains to Claus that he and Anya represent the fulfillment of a prophecy that a "Chosen One" would be brought into the Elves' world who, "having no child of his own, would love all children everywhere, and that he himself would be an artisan, and a craftsman, and a skilled maker of toys." The Ancient One then presents the Chosen One with his sacred duties --- and the name by which he will be known throughout the world for all time to come: Santa Claus!
At that point, Santa boards his newly recrafted sleigh, while the reindeer are fed with an incredible feed that grants them the power of flight. With a boisterous "YO!", Santa takes off, to the delighted cheers of the Elves --- and so, a new Christmas Legend is born.
The opening portion concludes with a second montage exploring Santa's subsequent adventures across the intervening centuries: the reasons for the creation of his 'naughty-or-nice' list; the many letters sent to him from all over the world; and his initially hostile reaction to Clement Clarke Moore's poem A Visit from St. Nicholas, also known as 'Twas the Night Before Christmas. (Anya suspects that it has something to do with the cookies.)
New York City, Present Day
The second part of the film opens in present-day New York City. In an alley somewhere on Manhattan's Upper East Side, a young 10-year-old boy, Joe (Christian Fitzpatrick) struggles to keep himself warm. Directly across the street, in an elegant Colonial townhouse, a 9 1/2-year-old girl named Cornelia (Carrie Kei Heim) suddenly notices the boy before being scolded about her homework by her nanny, Miss Tucker (Dorothea Phillips).
Meanwhile, at the North Pole, Santa meets with Patch and another elf, Puffy (Anthony O'Donnell), to tell them both that in the coming weeks he will choose one of them to be his Official Assistant (the idea having been based on a suggestion from Anya). This leads to the film's third major montage sequence, in which the modern-era-loving Patch, with Boog, Honka and Vout helping out, creates a giant automated toymaking machine, the Patch-o-Matic Supertoy Constructor; while Puffy, obsessed with quality in every detail, creates dozens of dolls, pillows and other toys that reflect his passion for the finest craftsmanship around. Patch's belief in modern methods of production, however, wins the day; and he becomes Santa's Assistant.
Later, as Santa takes flight on another routine Christmas Eve, he notices young Joe, digging through various garbage bins in search of food. The cynical 10-year-old has spent too many Christmases witnessing various drunks wearing Santa suits --- but when young Joe finds himself face to face with the real deal, his tough guy attitude almost completely melts down --- even more so when Santa offers the lad a ride on his sleigh. The sequence, "Sleigh Ride Over Manhattan," has had such a powerful impact that excerpts of it were used for many years by Radio City Music Hall to open its annual Christmas Spectacular, starring the Rockettes.
Christmas morning finds a scene of unexpected chaos, as all around the world, dozens of toys fall apart in the hands of their owners --- and all of them created with the Patch-o-Matic Supertoy Constructor. The reluctant elf, who secretly has harbored a fear that his fellow Elves might not be as willing to embrace his view of the modern world as he himself, removes his Assistant's apron from his waist before Santa can even rebuke him; later, in the stables he shares with the reindeer, Patch laments that even Santa, despite his kind-hearted demeanor, might not like him at all either. Overwhelmed with pride, he leaves the Elvish Compound, determined to prove himself to Santa --- no matter what it takes.
Patch Meets B.Z.
We first glimpse the Human known only as B.Z. (Lithgow) as he testifies before a Senate Subcommittee Hearing on Toy Safety; after two graphic demonstrations of his company's shoddy manufacturing processes, B.Z. is threatened with revocation of his license as a manufacturer unless he recalls all the toys he has put on the market. Later, B.Z. consults with his Head of Research and Development, Dr. Eric Towzer (Jeffrey Kramer). Santa, meanwhile, reacts to the news that Patch has run away.
Days later, Patch encounters B.Z. and Towzer, suggesting that they use him, Patch, to create "something special" with a "secret ingredient." B.Z. goes him one better by explaining about the business of advertising; the result proves to be a television commercial that is broadcast on every last major television network on Earth. Joe and Cornelia are among the many children who witness Patch's commercial; Cornelia's particular interest is strong in that she is B.Z.'s own step-niece. Santa, too, watches the commercial; but declares that, regardless of what Patch has done, it's still Christmas Eve .... and there's still a job to be done.
Hours later, B.Z. and Towzer are joined by Ms. Abruzzi, B.Z.'s secretary (Judith Morse) and Grizzard, his bodyguard and chauffeur (John Hallam). In an abandoned corner of B.Z.'s factory and headquarters, a makeshift landing pad has been constructed for the sole use of one vehicle: the Patchmobile, in which Patch himself will journey through the skies, delivering puce-colored lollipops laden with the Elf's "secret ingredient." Stomping on the pedal, Patch activates his brand-new "delivery system," and before long the Patchmobile takes to the skies, directly mimicking Santa's own Christmas flight.
All the while, Santa and his reindeer soar through the Manhattan skyline, determined to give his presents to the children as he had always done. But Santa soon learns that popularity is often fickle: every house on Santa's route has one or several of Patch's lollipops. Santa takes comfort, though, in the knowledge that Joe has remained loyal; since he'd first met the Jolly Old Elf, the boy had been spending much of his time with Cornelia .... and, no doubt, both had become friends. But the magic of Patch's Puce Pops becomes so insatiable that soon the whole world is captivated by them; as a result, B.Z. calls a press conference at which he announces that Patch will be a B.Z. Toys exclusive.
Patch, however, remains reluctant as ever, and now considers himself ready to return to the North Pole. But B.Z. suggests to Patch that there might be a way to follow up on his success; this occurs when the Elf reveals to the Human that children are able to fly because of the magic contained in the lollipops. Perhaps if the same formula could be applied using candy canes, maybe even more success could come Patch's way? Indeed, B.Z. wastes no time in giving the new idea a name: Christmas II!
A few nights later, it is raining. Joe ventures to Cornelia's townhouse for a little visit; 'Corny,' as Joe has often called her, deduces that he has come down with a slight fever; accordingly, she sets out to remedy Joe's malady. Meanwhile, back at Santa's, he has begun to suffer bouts of depression, having concluded that perhaps the concept of Christmas is no longer any good. Later that same night, Towzer arrives at the townhouse to find B.Z. a little bit frazzled (it is, after all, three o'clock in the morning). The two men then go to the kitchen for some drinks and conversation --- and during the latter, B.Z. gloats that he means to take over Christmas. But Joe and Cornelia have unexpectedly overheard B.Z.'s plan; they race quickly to hide themselves, but Joe is soon captured by a quickly summoned Grizzard, who then gags the boy and takes him to B.Z.'s factory.
Santa to the Rescue!
As B.Z. and Towzer clear themselves up from the brief moment of excitement, Towzer reveals that the candy canes, although innocently magical, overreact when exposed to extreme heat, rendering them volatile. B.Z. dismisses this news as a reckless afterthought, and proposes to Towzer that the two of them escape to Brazil, thus leaving Patch to take the rap for all the mayhem. Next morning, however, Cornelia writes to Santa concerning Joe's capture. When Santa learns of the events, he orders Boog, Honka and Vout to prepare the reindeer, only to be told by the three that Comet and Cupid have come down with the flu. Santa quickly decides to make do with six deer, and soon races off to Cornelia's to find out everything.
At B.Z.'s factory, Patch discovers the captured Joe, who at first avenges himself upon the Elf for having ruined Christmas --- until Patch discovers that Joe has been carrying around a perfect wooden likeness of Patch himself, crafted by Santa's very own hands: Patch's 'elf-portrait'. Fueled by the possibility that Santa may like Patch after all, the Elf and the boy soon join forces, in the hope of giving Santa a present. Quickly, the two new friends stuff the Patchmobile with as many candy canes as they are able to place in the car --- both of them unaware of the canes' lethal side effects.
At that same moment, B.Z., in his office going over the final details of Christmas II, is interrupted by the sounds of a police siren. As Corny explains to Santa, she had called the cops to stop her stepuncle before he could realize his horrible plot. Within moments, Towzer and Grizzard are restrained by several of New York's Finest; B.Z., however, decides that there's still one way out: he eats the several candy canes in his desk, and leaps out of the window, just as the cops move in for the bust. To their and B.Z.'s unexpected surprise, the toy mogul soon finds himself literally floating on air. Higher and higher he floats, ultimately disappearing into the stratosphere.....
Meanwhile, Patch and Joe, aboard the Patchmobile, zoom over the skies of the North American continent, hellbent on making it back to Santa's headquarters with their big pile of candy cane presents. Santa and Corny in the sleigh soon give chase. As Patch and Joe pour on the speed, the intensity of the heat from the candy canes begins to increase, so much so that before long, even Patch and Joe are no longer able to maintain control of the craft. Finally, a desperate Santa orders Donner to execute the one move that, in all of the team's prior adventures, he has never been able to accomplish: the SuperDuper Looper! Armed with the knowledge that Patch is aboard that endangered vessel, Donner fixes his gaze on his beloved Elf friend, never looking down --- and yet completing the maneuver with expert timing. In that same moment, the Patchmobile --- candy canes and all --- explodes, its oversize parts hurtling in every direction, the boy and the Elf screaming in fear all the while. But down swoops the sleigh like a powerful rollercoaster --- until, at the last possible second, Patch and Joe plummet into the back of Santa's sleigh. Triumphant, Santa chortles with well-deserved glee, and before long our friends return to the top of the world.
The film concludes with a joyous celebration among Humans and Elves --- in which Joe decides it might be neat to stay with Santa and Anya. Cornelia wastes no time thinking the exact same thing. Dooley, already burdened with a cornucopia of responsibilities, reacts with cheerful mockingness: "As if I don't have enough to do! Now, I'm going to have to be a schoolteacher!"
"School?" gulp Joe and Corny, their faces falling. Regardless, everyone bursts out laughing. And so, the magic of Christmas is restored to the children of the world.
[edit] Production
Filmed in Buckinghamshire, England at Pinewood Studios, where James Bond films had been produced, between August and November 1984, Santa Claus: The Movie was photographed by the late Arthur Ibbetson (this was, in fact, his last feature film; Ibbetson is best known as the cinematographer for 1971's Willy Wonka and the Chocolate Factory); production designed by Anthony Pratt; film edited by Peter Hollywood; and featured the spectacular costume design concepts of Bob Ringwood. The music was composed and conducted by the late Henry Mancini (famous for, among other things, the Pink Panther and Peter Gunn themes), with veteran lyricist and screenwriter Leslie Bricusse contributing five original songs: "Every Christmas Eve (Main Title)," sung by Aled Jones; "Patch, Natch!", performed by the Ambrosian Singers; "Making Toys (March and Dance)," "Christmas Again (Love Theme)" and "Thank You, Santa!", performed by the Ambrosian Children's Choir. The song score was complemented by two additional tracks: "Shouldn't Do That," written by Nick Beggs, Stuart Croxford, Neal Askew and Steve Askew, produced by Ken Scott, and performed by Kaja; and the end-title theme, "Christmas All Over the World," written by Bill House and John Hobbs, produced by Keith Olsen, and sung by Sheena Easton.
The visual effects unit, as well as several of the production staff, were comprised of Salkind stalwarts from the Superman films: Derek Meddings, director of visual and miniature effects; Roy Field, optical visual effects supervisor; and David Lane, flying and second-unit director. On its first U.S. release, the film ended up taking $23.5 million; this despite boasting of a $50 million budget.
While many critics marveled at the opening portion of the film (one online reviewer called it "one of the most spirited, atmospheric and visually wondrous depictions of the Father Christmas story that's ever been put to the screen"), others could not get past the alleged blandness of Huddleston in the title role, or Lithgow's over-the-top scenery-chewing as B.Z., or Patch's repeated use of "elf-explanatory" or "elf-control" or similar words. By and large, however, some reviewers of the film willingly sat back and had fun, precisely as its creators had intended.
One reviewer, writing in the Internet Movie Database, suggests, as some historians of the Salkinds' films have recently done, that a large part of the problems with their films had their origins behind the scenes: "Bust-ups with several directors [like Superman: The Movie's Richard Donner, for example] and screenwriters [Supergirl's David Odell, for another example] often hindered the finished results, forcing the producers to settle for second-best." But since then, filmmakers in general, and historians of Christmas movies in particular, are beginning to rediscover the mystique of Santa Claus: The Movie, most recently through Anchor Bay Entertainment's recent DVD of the film, which includes the film's making-of documentary, "Santa Claus: The Making of The Movie," introduced by Huddleston himself, in character as Santa; with Moore serving as on-screen host; and voice-over commentary by Ted Maynard, who had also done voice-overs for the film's original UK trailer. The documentary originally aired in the U.S. on the television stations of the American Broadcasting Company, on Christmas Eve, 1987, and, with the exception of the later Superboy (TV series), was the last major work the Salkinds had specifically prepared for television.
Of the few surviving cast members, John Lithgow concluded his starring run in the Broadway musical remake of the film, Dirty Rotten Scoundrels in summer 2006, then landed the starring role, along with Jeffrey Tambor, on the recently canceled NBC sitcom Thirty Good Years. However, Lithgow has since resumed his career as a children's book author/performer, having written such groundbreaking stories as The Remarkable Farkle McBride; Marsupial Sue; I'm a Manatee; Micawber; and Carnival of the Animals, based on the classical piece by Camille Saent-Saens. After Santa Claus: The Movie concluded principal photography, Judy Cornwell resumed her career as one of the leading mainstays of British television, being best known for her starring role on the popular BBC sitcom Keeping up Appearances; while Jeffrey Kramer, upon renaming himself Jeffrey L. Kramer, served as a top executive with David E. Kelley Productions. As for the film's two child actors, Carrie Kei Heim is now a practicing attorney and sometime world traveller, who was married in New York City --- Cornelia's own home town --- in May 2005; however, in mid-January 2006, Christian Fitzpatrick contacted KringleQuest.com Founding Elf Richard Washington with an e-mail missive from Boston concerning his present whereabouts; unfortunately, since then, Mr. Fitzpatrick has vanished once more from the public eye. Dudley Moore's fate, alas, would not be as rosy. In September 1999, the former star of 10 and Arthur, who had now so recently enchanted the world by portraying one of Santa's elves, was forced into going public with the news that he had been diagnosed with PSP (Progressive supranuclear palsy); he died in May 2002 of pneumonia-related PSP complications, at the home of his caregiver, Ms. Rena Fruchter, in Plainfield, New Jersey. He was 66.
In a bitter twist of tragedy, a 2004 Sunday New York Daily News article interviewed young Patrick Moore, Dudley's real-life son, and the inspiration for the name of his dad's character --- "Patch" ---in Santa Claus: The Movie. According to the article, young Patrick, now in his mid-30s, was living in a temporary shelter for the homeless in Harlem, New York City; however, the article also revealed that Patrick was at the time on the verge of inheriting the $900 million fortune massed between Dudley and his biological mother, actress Tuesday Weld. No further information regarding that fortune, or Patrick Moore's present whereabouts, has publicly surfaced since.
Effective November 2006, the KringleQuest website was renamed KringleQuest.com Beyond. "The URL remains the same -- http://kringlequest.tripod.com," explained Founding Elf Richard Washington. "All that's changing is the site's name."
[edit] The elves
So just who are these Elves featured in Santa Claus: The Movie, these legendary beings called the Vendequm? Well, according to the Santa Claus: The Movie novel, written by science fiction/fantasy novelist Joan D. Vinge, these Elves keep watch over all that happens in the world that borders their own magical realm. The Vendequm are notorious for taking an extremely particular fondness to children, as children are the only ones capable of seeing them, mostly in light of the fact that the world of children still possesses a certain element of wonder, unlike the cold, hard world of adults. Since the Vendequm are fond of children, and fond of making things for them, they often journeyed out into the world, leaving their newly crafted toys where the kids would find them. However, with the passing of each new century, and as civilizations continued to rise and fall, it became more and more difficult and dangerous for the Elves to venture too far out into the Humans' world; as a result, one can assume that the Elvish Council of Elders must have decided that their kind must not in any way interfere with the behaviors of Humans. Thus the vast majority of the toys the Elves made could not be given out, and were left to gather dust in their magnificent storeroom, the Toy Tunnel.
Then, on a certain long-ago long winter's night, the oldest and wisest Elf of them all, the Vendequm's true spiritual leader, the Ancient One, foresaw a day when a Human man would come whose love for children would be equal to that of the Elves. That man, the Ancient One believed, would be the one to whom the Elves would grant full immortality, along the ability to deliver the Elves' gifts to all the children in all the world.
In addition to Patch, Dooley, Puffy, Boog, Honka and Vout, the Santa Claus: The Movie screenplay and cast list features three additional Elves: Groot, who is the Elves' Senior Chef, and as such is responsible for the maintenance of the Vendequm's food-related activities; Goober, head of the Elves' Tailoring Shop, who crafts Santa's full red robes; and Goobler, who trains several of his fellow Elves in the fine art of painting toys with their own beards.
[edit] Reviews of Santa Claus: The Movie
Following are excerpts from various reactions to Santa Claus: The Movie:
The pros
- "Santa Claus: The Movie is, undoubtedly the greatest Christmas movie of all time. .... David Newman has taken a great deal of criticism for his writing styles. Whatever [his] merits, he proves here that he can write an exciting, entertaining epic for the big screen. Director Szwarc lets his cast indulge in what is essentially a Hollywood-style pantomime. Add to this one of the most impressive sets for any movie, some of the greatest costumes ever crafted for Santa and his friends, and a wonderful Yuletide New York setting in typical Salkind style, [and it] all gels together marvelously to bring to us what childhood dreams are truly made of." --- Tom Bixby, The Internet Movie Database, August 20th, 2001
- "A special edition of Santa Claus: The Movie? Why? Over the years, its reputation has taken a pretty rare beating, no thanks in part to the pan-and-scan Media Home Entertainment VHS cassette that more or less resembled a very colorful screen of static. But thanks to Anchor Bay's anamorphic 2.35:1 THX-approved transfer, the film can now be judged on its own merits. And guess what? It's not half bad. There's an inherent cheesiness to it, but if you're willing to give in to the good will of the season and enjoy the quality of the presentation, there's a good chance that you'll really enjoy yourself. ... There's no debate that this transfer is miles ahead of how it's ever been seen before. One note, however: the layer change that occurs at 1:16:11 is unfortunately placed right in the middle of a scene. The music drops out for just a second, making this switch fairly obvious. A placement on a cut or the end of a scene may have provided a subtler method. ... [Director Jeannot Szwarc]'s outlook on the whole affair is so warm and optimistic, it's infectious. Despite what you may think of his track record, he remains one of the busiest television directors in town. It would have been refreshing to hear more [of his] thoughts on the unsuccessful elements of the production, but it's just as well to hear about the creative and technical demands that were undertaken by the team." --- Bob Brenneman, DVDreview.com, August 24th, 2000
- "There is nothing I dislike about Santa Claus: The Movie. It is total charm. I think it proves just how much writers David and Leslie Newman learned from Tom Mankiewicz about writing about a legend and giving that legend proper respect. ... [In terms of] the special effects, the level of verisimilitude is mind-blowing, and it's sad knowing that the quality of this kind of caliber could have made 'Superman IV: The Quest for Peace' look epic had not the Cannon Group fired Roy Field and his team. I love this film to death, and if you plan on seeing it this Christmas, make sure it's the Anchor Bay widescreen DVD or nothing." --- Tim P., Superman Cinema, circa 2003
- "Although the film dates from 1985, the story still holds true, perhaps even more so in today's modern society. Children will marvel at the amazement of seeing the legend of how the bearded gift-giver is first consummated. Scrooges in the audience will revel in [the plight of Joe] as he seeks out shelter and food during the cold winter nights; the older, wiser generation will find humour in how the story comments on the issue of commercialism and how money-hungry tycoons can often manipulate the season's good tidings. ..... David and Leslie Newman made a name for themselves with their scripts for Superman: The Movie, Superman II, Superman III and also the 'Smooth Criminal' sequence of Michael Jackson's Moonwalker video. Their experience pays off here as the 2-part 'action structure' seems to work almost seamlessly and the wondrous pace never lets up, and crams as much action into a relatively short space of time ..... This is the best Christmas movie ever made, and probably always will be. (No sign of Rudolph, though.)" --- Viren Udeshi, WhatDVD.net, circa 2002
The cons
- "Not only is the so-called story a disjointed mess --- there are at least three different movies jammed in here --- but this disgusting film turns Santa into an idiotic, clueless doofus. Shame on [screenwriter David Newman and director Jeannot Szwarc] for thinking we needed to experience the nightmare of Santa dieting after that 'bowl full of jelly' remark from Clement Clarke Moore, [not to mention] whoever thought we needed a widescreen and a pan-and-scan version of the DVD." --- MaryAnn Johanson, The Flick Filosopher, December 18th, 2000
- "Here, the Salkinds' attempt to craft a Santa Claus origin story goes disastrously astray. .... At a $10 million budget the film could have worked quite cheerfully, but the budgetary excess drags it all out to a level that deadens all the spontenaity." --- Richard Schieb, The New Zealand Sci-Fi, Horror and Fantasy Film Review, 1990
- "Is 'Santa Claus' the best AND worst Christmas film of all time? It embodies what Christmas has becomes, managing to depict both seasonal warmth and mercantile exploitation. .... Director Jeannot Szwarc knew what he was doing in creating a multilayered metaphor for the increasing commercialisation and meaninglessness of Christmas. If you're under 12, you'll love this film. But if you're over 12, the abysmal flying effects, the machiavellian machinations of John Lithgow's B.Z., and the corruption of Dudley Moore's innocent Patch will leave you incredibly depressed." --- William Mager, BBC.co.uk Film Review Section, December 1st, 2000
