40 Christmas Film and TV Treats

1. IT’S A WONDERFUL LIFE (1946)

Frank Capra’s 1946 tale of healing, generosity and rebirth owes much to Charles Dickens’ “A Christmas Carol” in its themes and tone. But unlike Dickens’ tale of the selfish Scrooge finding generosity and joy by revisiting his past, exploring his present, and envisioning his future, Capra’s movie shows a good man in crisis just how bleak things would be if he had never existed. Like many of Capra’s films, it is a tale of a good man fighting against injustice—a story about family, community, and hope —and a critique of greed and hate.

It’s a Wonderful Life’s darkness — there is plenty of it — is never allowed to blanket the film’s hope and positivity, as it reminds us that the path we carve through life touches many and creates ripples we can never fully comprehend.

However, like many Christmas classics, It’s a Wonderful Life didn’t have an easy path to success. Released just after the end of World War II, it was a financial flop at the box office, leading Capra’s newly founded Liberty Films to hit the buffers on its first major release. The film’s box office struggles were even more confusing, given that it earned five Oscar nominations. Things didn’t improve when Paramount Pictures acquired Liberty Films in 1947, and It’s a Wonderful Life continued to languish in the vaults. The advent of television made Capra’s film a classic, as its copyright lapsed and television networks picked it up without paying per-show royalties.

Now considered by many to be one of the greatest Christmas movies ever made, Capra’s masterpiece reminds us all that hope is never far away, even in our darkest moments, and that even when it seems like there’s nowhere to turn, our loved ones are always there to help us find a new path. And let’s face it, there is no better Christmas message than that.

2. THE HOLLY AND THE IVY (1952)

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Based on a stage play by Wynyard Browne, The Holly and the Ivy centres on local parson Martin Gregory (Ralph Richardson), his adult children (Celia Johnson, Denholm Elliott, and Margaret Leighton), and two elder sisters as they reunite in post-war Norfolk for the traditional family Christmas. The family’s dysfunction is apparent from the outset, as each child brings their own issues to the table. But one thing they do share is resentment of Martin, who appears to care more about his parishioners than his family.

Director George More O’Ferrall keeps locations tight while maintaining the story’s theatrical roots. Here, the family unit faces a range of problems, from caring for an elderly parent to alcoholism and grief, cramming the narrative with social issues that occasionally feel too dark for a festive celebration.

Despite its surface darkness, The Holly and the Ivy is a genuinely heartwarming Christmas delight, as each family member realises that their judgment of Martin may have been wrong.

3. SHAZAM! (2019)

Fourteen-year-old Billy Batson (Asher Angel) spends his days desperately searching for his birth mother. His quest has led him to run away from countless foster homes while developing a lengthy record of petty crimes. But, as Billy arrives at the last chance saloon, his life is about to radically change as an everyday subway journey turns into a magical rollercoaster ride of new and confusing superpowers.

SHAZAM! offered something fresh and unique in an ocean of comic-book movies, placing its tale of courage, super strength, and flight in the hands of a lonely, angry, streetwise schoolboy who felt he didn’t belong. Billy Batson is a teen who has been let down by the adults surrounding him his whole life, a kid who understands loneliness and rejection as he searches for love, hope and family. Billy reflects the desires and wishes of so many kids as they dream of flight, long to fight the bullies who torment them, and gain superpowers to save those they love. The film may be titled SHAZAM! But the heart and soul of David. F. Sandburg’s delightful film adaptation of C.C. Beck and Bill Parker’s unique comic book hero is the young Billy Batson.

Sandberg would dovetail elements of Superman (the end sequence is a love letter to Superman II), Kick-Ass, Big and Vice Versa, creating a lively origin story that appealed to all ages while carrying a far darker edge. Here, what could have been the movie’s biggest flaw ends up being one of its most charming elements: the interface between the overgrown Boy Scout superhero SHAZAM (Zachary Levi), his insecure teenage self (Asher Angel), his found family, and new best friend, Freddy (Jack Dylan Grazer).

For all its humour, explosions, and dastardly villains, SHAZAM! is a superhero movie about hope, love, and found family —and even better, it’s set during the Christmas festivities.

4. IRON MAN 3 (2013)

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It will always be subversive when you get Shane Black to do anything. The third instalment of the Iron Man trilogy has an uneasy relationship with fans, largely due to the fake-out Mandarin reveal, and it being much less Iron Man and much more Tony Stark. The festive winter setting dovetails closely with the thematic complexities Black explores in Iron Man 3, as Tony has reached the winter of his inner discontent. It’s an ironic commentary that the genius billionaire playboy philanthropist is stripped of almost everything at the happiest and most celebratory time of the year. 

What many misunderstand about the greatness of Iron Man 3 is that it’s an interrogation of why it has to be Tony Stark in the Iron Man suit; it can’t just be anyone. Similar parallels can be noticed in Tony’s speech to Peter in Spider-Man: Homecoming, which is undoubtedly a valuable lesson he learned from his challenging debacle in this more sombre approach. The Marvel Cinematic Universe often pushes Iron Man to the forefront of what makes this individual superpowered when it’s truthfully always been Tony’s dogmatic intelligence and, ultimately, heroic nature. Just as Obadiah Stane remarks in the original, “Tony Stark built this in a cave, with a box of scraps!” It’s a surprisingly intimate interrogation of Tony Stark —not just as a human, but also of what makes him uniquely powerful compared to his super-powered counterparts.

In an interview for The Story of Marvel Studios: The Making of the Marvel Cinematic Universe, Black explained his reasoning for setting his rendition at Christmas is because “it creates its own little encapsulated event in time … Christmas bands together and cements a story. You feel like there’s a common unity among all the people in it.” It brings Tony Stark back down to earth, forcing him to walk among everyone and think on his feet. It also conveys powerful emotional resonance in the mental and emotional strength Tony must continue to display in the face of absolute adversity. His intelligence is like a shining beacon in the dark malaise of the snowy night, with his trusty helper/agitator, Harley, at his side. There’s an undeniable magic to their scenes together, and it was long speculated whether that was a more magical manifestation of Tony’s own subconsciousness (debunked following Harley’s appearance in Endgame at Tony’s funeral). 

It’s one of the few Marvel properties to fully incorporate the sentimentality and natural magic of the world, encapsulated within a holiday like Christmas. Only Shane Black could strip away everything about Iron Man and somehow make the best Iron Man film out of Christmas, a box of scraps, and plucky know-how.

5. The Morecambe & Wise Christmas Special (1971)

The 1970s were the glory days of light entertainment on the BBC, and one double act sat at the top of the light entertainment tree: Morecambe and Wise. Their BBC festive shows have become the stuff of legend since they were first broadcast from BBC TV Centre, but their fabulous, funny and utterly brilliant 1971 special tops the tree. Eric and Ernie are joined by Shirley Bassey, Los Zafiros, and Glenda Jackson in this tinsel-adorned treat, but their sketch with André Previn is the cream on the delicious, tiered cake. With a double act like no other, the comic timing of Morecambe and Wise is legendary, and their act feels as fresh today as it did over forty years ago.

6. The Vicar of Dibley: The Christmas Lunch Incident (1996)

Good Christmas comedies are a rare commodity in the landscape of TV specials, with many ageing badly, much like a corked bottle of wine, as tastes in humour change. However, the first Christmas outing for the Vicar of Dibley is one of the best! Its devoutly silly humour is wrapped in a timeless story of companionship and Christmas dinner as Geraldine (Dawn French) gets far more than she bargained for on her first Christmas in Dibley. When multiple dinner invitations arrive, Geraldine finds herself trying to please everyone as she forces a year’s supply of Brussels sprouts into her mouth while attempting to maintain a festive smile.

7. CHRISTMAS WITH THE COOPERS (2015)

Receiving negative reviews upon its release, Christmas with the Coopers (also known as Love the Coopers) suffered from a highly misleading pre-release ad campaign that portrayed the movie as a lightweight festive comedy. However, in reality, Christmas with the Coopers is a tender and humorous family drama that explores themes of connection, belonging, and love. It’s not perfect, but it doesn’t need to be. All Christmas with the Coopers needs to provide is joy, charm and festive cheer, and it does just that from the opening scenes to the last. I don’t know what critics watched back in 2015, but they got it wrong with this film.

8. JOYEUX NOEL (2005)

Joyeux Noel received positive reviews on its release in 2005, but has since been forgotten in the festive mists of time. Joyeux Noel is an outstanding Christmas movie – its real-life story of humanity in the face of destruction is compelling, emotional and brave.

On Christmas Eve of 1914, in the trenches of Europe, a group of German, British and French soldiers laid down their weapons for a brief moment of solidarity in the face of hate and conflict. The result was an act of humanity, reconciliation, and hope that, sadly, only lasted for one day. Joyeux Noel never shies away from the brutal reality of war while demonstrating that peace is always possible when we listen, talk and build bridges of understanding across nationalistic divides.

9. CHRISTMAS IN CONNECTICUT (1945)

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Festive romantic comedies don’t come much better than Christmas in Connecticut, a classic story of deception, love and pretence directed by Peter Godfrey. Elizabeth Lane (Barbara Stanwyck) is an unmarried food writer from New York who writes under a pseudonym. Homemakers adore Elizabeth for her apparent idyllic lifestyle with her husband and their newborn baby on a Connecticut farm. However, the trouble is it’s all a sham! Trouble soon comes knocking when her publisher (Sydney Greenstreet) – unaware of the fraud – asks her to host a Christmas party for a returning war hero, with Elizabeth borrowing the neighbour’s baby and enlisting her chef uncle (S.Z. Sakall) to keep up the pretence.

The film joyously delves into the ridiculous. Elizabeth cannot perform the most basic household chores, creating moments of sublime situational comedy, while the screwball comedy heightens the plot’s absurdity as gender roles are swapped and a returning war hero becomes a childminder.

10. A CHRISTMAS CAROL (1951)

Charles Dickens’ A Christmas Carol would influence every Christmas film ever made, in one way or another. Published in 1843, it would become the most famous of Dickens’ four Christmas books. Born of his anger at the social ills around him, Dickens’ book reflected his ongoing campaign for child welfare, justice, and state intervention in poverty. However, unlike many of his books, A Christmas Carol challenged British society and helped define the very image of Christmas.

In 1843, the British concept of Christmas was still forming, and charity and goodwill were far from many people’s thoughts as the first Christmas card rolled off the press alongside 6,000 copies of Dickens’ book. Like the humble Christmas card, Dickens’ gift to London and the world would transform the social image of the festive season, placing charity, well-being, goodwill, and love at its heart. Since then, A Christmas Carol has never been out of print, with its tale of inequality, greed, corrupt power, revelation, and rebirth honoured through countless adaptations and reinventions.

There have, of course, been many adaptations of Dickens’ work, both on TV and film, with each offering a slightly different take on his story. But out of all the adaptations that have graced our screens, Brian Desmond Hurst’s 1951 version starring Alastair Sim takes the crown.

While A Christmas Carol or Scrooge in the United States may not reach the heights of David Lean’s 1946 adaptation of Great Expectations, Hurst’s film beautifully captures the darkness and light of Dickens’ story in a way few other adaptations have. Much of that is due to Alastair Sim, whose magnificent performance became the gold standard many have aspired to reach, but none have managed to better.

11. The Simpsons: Marge Be Not Proud (1995)

There are so many delightfully sharp, wickedly funny, festive treats from The Simpsons that picking just one is challenging. But Marge Be Not Proud has to be my favourite of the lot. If we think back to our childhood, no matter how long ago it was, most of us can remember a desire to own something our parents couldn’t afford. For some, like Kevin in The Wonder Years, it was a colour TV; for others, it was a pair of trainers; and for me, it was the Dagobah playset from Star Wars. For Bart, it’s a video game, and the urge is so strong that he turns to crime and shoplifts the precious item.

When she discovers Bart’s crime, Marge is angry and disappointed and decides to exclude Bart from the planned Christmas celebrations as punishment. This tender tale of a mother/son relationship on the rocks during what should be the happiest time of the year is beautifully written and performed. Marge Be Not Proud isn’t just the best Christmas outing for America’s most loved animated family; it is one of the best episodes of the entire show.

12. The Wonder Years: Christmas (1988)

It’s Christmas 1968, and the colour TV is just beginning its march across America. However, everything remains very black-and-white in the Arnold household as Kevin and his older brother, Wayne, start a Christmas campaign to buy a new colour TV. But their dad, Jack, isn’t playing ball, no matter how much they grovel and nag. Over six seasons, from 1988 to 1992, the Arnold family became our neighbours as we watched the 1960s morph into the 1970s. 

The Wonder Years gave us five festive specials during its run, each exploring various social issues and family pressures. However, while each Christmas outing is unique in its own right, it’s the first that holds a place in my heart, simply titled “Christmas”. This episode, from December 1988, perfectly explores the festive transition from childhood wonder to teenage anxiety for Kevin, while delicately unpicking the growing festive consumerism of the late 1960s and 1970s.

13. BEYOND TOMORROW (1940)

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Christmas movies are often associated with the fantasy genre due to the magical stories they tell. Frank Capra’s ​It’s a Wonderful Life is a prime example; Beyond Tomorrow is a long-forgotten forerunner of Capra’s classic.

Three rich old men, George, Allan and Michael (Harry Carey, C. Aubrey Smith and Charles Winninger), recruit their Christmas dinner guests by randomly throwing three wallets onto the street, each containing their addresses and some money. Whoever brings them back is welcome to dinner, which is how Jean (Jean Parker) and James (Richard Carlson) meet.

The film’s final message explores themes similar to those in Dickens’ A Christmas Carol, both in tone and structure. Although the finale is slightly preachy, it remains a fascinating precursor to many of the festive films that followed.

14. ALL I WANT FOR CHRISTMAS (1991)

A Christmas kids’ movie about family separation and divorce doesn’t exactly sound like the most festive offering. But the year was 1991, and divorce was increasing rapidly in the UK and across the pond in the US, so what was the harm in exploring a Christmas stuck between two warring parents?

Many critics felt that the subject matter of Robert Lieberman’s Christmas movie, starring Ethan Embry and Thora Birch, was depressing for kids, while others argued that the yuppie affluence on display was nauseating. The critics were right on both levels, but All I Want for Christmas also carries a warmth and charm that makes it incredibly festive and sweet despite its significant flaws. Plus, if you look past the sickly-sweet Americana, All I Want for Christmas harbours a much deeper discussion of parental separation and a teenage realisation that not all wishes can come true. Or can they?

15. RISE OF THE GUARDIANS (2012)

Directed by Peter Ramsey and based on William Joyce’s The Guardians of Childhood book series, Rise of the Guardians is unique in the landscape of kids’ animated holiday adventures because our heroes include Santa Claus, the Easter Bunny, the Tooth Fairy, the Sandman, and the mischievous Jack Frost. Just think of Ramsey’s film as a holiday version of The Avengers, and you are on the right track. 

The Guardians are a slightly dysfunctional troop of folklore heroes who protect the Earth and all its children, but as our story opens, Jack Frost (Chris Pine) isn’t a part of this heroic band. Instead, Jack walks the Earth alone with no special day to mark his importance. He feels ignored and unsure of his place in the world and of what it means to him and the children he entertains during the winter months. But when the evil Pitch Black (Jude Law) threatens to plunge the world into darkness by destroying every child’s belief in the Guardians, Jack finds himself accepted into the fold alongside Santa (Alec Baldwin), E. Aster Bunnymund (Hugh Jackman), Tooth Fairy (Isla Fisher) and the mute Sandman. 

Ramsey’s movie is alive with colour, energy and wonder and holds a surprising emotional depth, particularly in Jack’s journey. The world doesn’t believe in Jack; it bypasses him despite his important seasonal role. One could argue this is a discussion on mental health, belonging, and a need to be seen. But, for me, it represents something far more complex: our relationship with nature. Jack is the only hero in our movie who represents the Earth. Maybe he is forgotten because the Earth itself is ignored in favour of magical heroes. These ‘other’ heroes give us chocolate eggs, toys, dreams or new teeth, yet only the Earth-bound Jack can ultimately save them all from the darkness.

It may be a stretch to suggest that Rise of the Guardians carries an underlying environmental message. But maybe Jack Frost is our hero because he represents the importance of the spinning blue ball suspended in space that holds all our dreams, celebrations, and stories together. 

Rise of the Guardians is a beautifully uplifting film that revels in the holiday spirit and the childhood wonder of our shared folklore and traditions. Unfortunately, despite the film performing well for DreamWorks, we never got the sequel we deserved. But maybe one day, the Guardians will rise again.

16. THE BISHOP’S WIFE (1947)

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Following in the footsteps of It’s a Wonderful Life (1946) and Miracle on 34th Street (1947), Henry Koster’s The Bishop’s Wife is another classic Christmas miracle fantasy film. Bishop Henry Brougham (David Niven) has a mission to raise funds for a new cathedral in town. However, his obsession is all-encompassing, leading him to neglect his wife, Julia (Loretta Young) and daughter (Karolyn Grimes). While Henry prays for guidance, he suddenly finds his prayers answered by an angel, Dudley (played by Cary Grant). But the heavenly Dudley only reveals his true identity to Henry while charming everyone else around him, much to Henry’s annoyance. To add to the confusion, Dudley also finds himself strongly attracted to Julia; yep, that’s right, the angel has the hots for the Bishop’s Wife!

Rumour has it that Niven was cast as Dudley and Grant as Henry; their roles switched at the last minute. If true, it is quite possibly the best thing that could have happened to Koster’s film. But let me explain why; many knew Cary Grant for his debonair leading roles in Hitchcock’s suspense dramas. But these sophisticated roles were also complemented by his brilliant comic timing in screwball comedies such as Bringing Up Baby (1938) and Arsenic and Old Lace (1944). Here, Dudley’s role allows The Bishop’s Wife to mix his two on-screen personas into a perfectly balanced concoction. The result is a sophisticated, inherently humorous character that showcases Grant’s range and on-screen magnetism.

While achieving critical success upon release, Koster’s film failed to ignite at the box office, with many finding it overtly religious. Given its title, it’s no wonder many expected a religious story, yet the film regularly subverts that expectation. For example, as Julia and Dudley slowly fall in love, Dudley indicates a willingness to stay on Earth and admits he envies the mortals. While the story never goes any further than this, the film suggests the angel is more than willing to abandon his mission for his own selfish reasons. Moreover, Julia reasons with him and changes his mind rather than giving any godly instruction on self-regulation. I think you will agree that this is a bold detour for an apparently overly religious film.

Producer Samuel Goldwyn was well aware of this religious problem and therefore proposed retitling the film—his suggestion: Cary and The Bishop’s Wife. Unbelievably, this proved a huge success, and the film’s popularity increased by 25% after its initial release. This only shows the sheer marketing power Cary Grant could wield, and one can’t help but wonder whether any star today would have a similar ability.

17. Malcolm in the Middle: Christmas (2001)

Malcolm in the Middle would offer us three dedicated Christmas episodes throughout its seven-season run, joyously unpacking the Wilkerson family’s Christmas. For me, it’s the first Christmas outing that stands head and shoulders above the rest. Here, we see Lois threatening to cancel Christmas because of the boys’ bad behaviour, and Francis visiting his confrontational, chain-smoking grandmother.

The show’s willingness to explore that Christmas isn’t perfect elevates this Malcolm in the Middle Christmas episode, highlighting how stressful, tense, and often disappointing it can be as families strive for a vision of perfection that never really existed.

18. Doctor Who: A Christmas Carol (2010)

Since its rebirth in 2005, the Doctor Who Christmas special has formed a central part of the BBC festive schedule, initially holding a prestigious Christmas Day slot before moving to New Year’s Day under Jodie Whittaker’s stewardship.

Over the years, Doctor Who has offered us a mixed bag of Christmas outings, some stunning in vision and scale, while others melted faster than a snowman in July.

Following David Tennant was never going to be an easy task, but on entering the Tardis in early 2010, Matt Smith quickly made the role his own, with an energetic, child-like Doctor who bathed in delightful eccentricity, humour and wonder. His first season was bold, brilliant, and distinct from the Tennant era, and it also delivered the best Christmas special ever produced.

Bathed in Dickensian spirit, Doctor Who’s A Christmas Carol feels like a return to the foundations of the complex character we have come to love over fifty glorious years. This is writer and showrunner Steven Moffat at his most powerful, ingenious, and fun, as we are offered an emotional, festive, and exquisite time travel adventure that only the Doctor could deliver.

19. CAROL (2015)

It’s December in New York City, and the Christmas season has begun as the snow falls on the cold sidewalks. For young Therese (Rooney Mara), the festive season is her busiest time of year behind the toy counter of a major New York department store. But Therese dreams of escape as she longs to build her photography career. As the beautiful and confident Carol (Cate Blanchett) approaches her toy counter to buy a Christmas gift for her young daughter, Therese initially has no idea that the escape she seeks stands before her in a beautiful, elegant dress. But as both women enter a secretive and impossible love affair, their growing love will face the social barriers of expectation, class conflict and forbidden desire.

Todd Haynes’ genius lies in his ability to lace each frame with an electric undercurrent of desire —from Carol and Therese’s first encounter to their final separation —in a film that pulsates with passion. By framing this unstoppable, unavoidable love and lust against the backdrop of 1950s New York’s conservative norms and ingrained prejudices, Haynes not only heightens the stakes for Carol and Therese but also creates a taut atmosphere as their love struggles against the societal pressures surrounding them. Carol’s confidence hides the sharp pain of her unhappy marriage with Harge and her need to hold on tight to a daughter she cannot and will not lose, while Therese is bound by the social restrictions of her class and the bubbling desire that engulfs her the minute she lays eyes on the beautiful socialite standing before her. 

20. THE SHOP AROUND THE CORNER (1940)

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One of the most distinctively Hungarian films of the classic Hollywood era, Ernst Lubitsch’s The Shop Around the Corner is not only based on Miklós László’s play Parfumerie but also set and filmed on location in Budapest, using the original Hungarian character names to further enhance its authenticity.

The plot revolves around the lives of the people working in a titular leather goods shop, with a particular focus on salesman Alfred Kralik (James Stewart) and the newly hired Klara Novak (Margaret Sullavan). The Shop Around the Corner provides us with the perfect basis for a classic screwball comedy. After all, it is apparent early on that Kralik and Novak can’t stand each other. Yet they have also been exchanging letters anonymously, both slowly falling in love with their secret pen pal.

In my opinion, one of the greatest achievements of Lubitsch’s film is that it inhabits the classic Christmas template while embracing a realistic, human focus. Here, the festive season is not excessively jolly or kitsch but is rooted in rare realism. But let me explain this further.

Screwball comedy is notable for satirising love stories where the two leads engage in a humorous battle of the sexes. In most cases, the result is exclusively comprised of over-the-top conflicts, absurd situations, and extremely fast-paced storytelling – as seen in Bringing Up Baby (1938) or His Girl Friday (1940). Yet Lubitsch takes the central conflict of the screwball genre and turns it into an endearing comedy that doesn’t shy away from the lingering sadness of its characters. The result is a genuinely funny, moving, and emotional film that demonstrates the complexities of human interactions, perceptions, and judgements.

While James Stewart’s name is already associated with the ultimate Christmas classic, It’s a Wonderful Life, Lubitsch’s film is just as charming. Just take a look at the numerous adaptations the original play has inspired, from Robert Z. Leonard’s musical In the Good Old Summertime (1949) to Nora Ephron’s You’ve Got Mail (1998) and Kadhal Kottai, an unofficial Tamil-language remake in 1996. However, Lubitsch’s original film remains a timeless classic worth rewatching every festive season.

21. ONE MAGIC CHRISTMAS (1985)

One part It’s a Wonderful Life and one part A Christmas Carol, Disney’s One Magic Christmas often felt more like a horror than a family feel-good flick, and the critics picked up on this in 1985. The critics were right in many ways; the film’s ad campaign and poster simply didn’t match the story, but that disjointed advertising campaign makes One Magic Christmas such a fascinating Disney misstep and a movie that everyone should explore at least once. 

One Magic Christmas may not break new ground, but it is a fascinatingly dark Disney outing that deserves far more attention.

22. GET SANTA (2014)

Sometimes, directors throw a curveball, and Christopher Smith’s Get Santa is one; after all, this guy brought us Creep, Severance, and Black Death. With Get Santa, Smith offers something different—a rare festive gem that appeals to kids and adults alike, with sharp, delightfully silly humour. Add to that the brilliant Jim Broadbent as Santa alongside a veritable who’s who of British talent, from Stephen Graham to a young Kit Connor, Joanna Scanlan and Rafe Spall, and you have a festive comedy that has only grown in popularity over the years since its initial release. 

Get Santa is, in essence, a delightfully different take on Miracle on 34th Street. This cracking family comedy explores life, missed opportunities, and the wrong turns we so easily take, as Smith masterfully weaves together a host of laugh-out-loud moments with something far more delicate and emotionally resonant.

23. THE NIGHTMARE BEFORE CHRISTMAS (1994)

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The Nightmare Before Christmas is one of those universally recognised films that everyone has seen. Henry Sellick does a fantastic job translating the spooky, oddball styling of Tim Burton into a delightful, kid-friendly adventure without losing too much of the horror – I’m not sure Jack Skellington would be quite so friendly and charming if we saw him in the (lack of) flesh.

Many may not know that The Nightmare Before Christmas began as a poem by Burton rather than a script. However, numerous rejections for being “too weird” led Burton to venture into live-action storytelling instead. Ironically enough, Burton’s live-action Beetlejuice and Batman convinced Disney that his style could work, but might need a translator. 

There’s such a fun and incredible energy held in Nightmare, with its mysterious forest of holiday doorways implanted into trees and Zero, the ghost dog, floating around like a Christmas spectre. Halloweentown and Christmas Town are worlds you want to dive into, exploring every nook and cranny to see what delights you might find waiting behind a door. At the same time, its stop-motion animation ensures a timeless appeal. Its multi-seasonal songs have become iconic, including “What’s This?” “This is Halloween,” and “Oogie Boogie’s Song.” The Nightmare Before Christmas defies time and place, and without it, we wouldn’t have had James and the Giant Peach or Paranorman some years later –Nightmare was indeed the blueprint. 

To this day, Henry Sellick and Tim Burton are the only creatives to have ever encouraged Disney to work with stop-motion animation– a strong legacy that solidifies their place as the kooky creatives who got Disney to experiment, albeit briefly. 

24. ELF (2003)

After years living as an elf with Santa, Buddy discovers he’s human and that his birth father lives in New York City. So the oversized Buddy the Elf sets out to track him down, but the human world isn’t quite as happy as he thought it would be, and neither is his real dad!

Over twenty years on from its premiere, Elf has become a firmly established family favourite and a present that keeps on giving due to the beautiful and downright silly performance of Will Ferrell and the far more straight-laced performances of many of those humans that surround him, including the brilliant James Caan.

But what makes us return to Elf every year, despite its simple premise and plot, is the childhood wonder Buddy conveys in a human world that has become cynical, greedy, and self-obsessed. Like Miracle on 34th Street, Elf asks us to believe in something better and search for the magic and wonder we once held as kids. No matter how much of a Grinch you might be around the holidays, like all the best Christmas movies, Elf demands a smile, a chuckle and yes, even a tear.

25. My So-Called Life: So-Called Angels (1994)

For many LGBTQ+ teens, Christmas can be a challenging time as they are expected to hide who they are from their families. Out of all the episodes of Winnie Holzman’s stunning and groundbreaking teen drama, “So-Called Angels” is the bravest, considering the year of its broadcast. Back in 1994, the landscape of support and advice for LGBTQ+ teens was patchy, and homophobia was still rife and unchallenged in most schools and colleges.

For Rickie Vasquez (Wilson Cruz), the holidays begin with him stumbling in the snow, blood oozing from his lips, and his face scarred and bruised. He has just run from his abusive uncle into the freezing night, with nothing but the clothes on his back, as Angela (Claire Danes) begins to worry about his lack of communication. Tackling themes of youth homelessness, abuse and homophobia head-on, “So-Called Angels” isn’t just one of the most emotional slices of young adult drama ever made; it is a defiant scream for change for every kid who ever felt alienated, different, scared and alone at Christmas.

26. The Snowman (1982)

On 26 December 1982, Channel 4 aired a speechless animated film scored by Howard Blake that would become an enduring Christmas classic. Based on Raymond Briggs’ children’s book, the pure magic of Dianne Jackson’s film lies in its simplicity, as the pages of Raymond Briggs’ book came to life on screen alongside a delicate and unforgettable score.

The Snowman is a celebration of childhood imagination, a love letter to the magic of Christmas, and a salute to the power of traditional animation and music to convey emotion and escapism without words.

Exquisitely crafted, beautifully realised, and always emotional, The Snowman has rightly earned its place as a beautiful Christmas classic for multiple generations and long may it continue to do so.  

27. MEET ME IN ST. LOUIS (1944)

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Vincente Minnelli’s classic musical is an odd Christmas film in that, apart from including one of the most famous Christmas songs ever written, the plot does not revolve around Christmas at all. Yet, there is no denying that its overall warmth, atmosphere, and family-oriented themes embody a classic festive vibe.

The film follows a year in the life of the upper-middle-class Smith family, beginning in the summer of 1903 and culminating in the spring of 1904, just before the St. Louis World’s Fair. For a classic Hollywood studio film, Meet Me in St. Louis is somewhat unique in that it does not centre on a specific conflict. The main issue here is a father moving to New York for work, leaving his family behind in their beloved St. Louis. However, this secular plot device is introduced only halfway through the film and resolved with few significant obstacles.

Instead, Meet Me in St. Louis is told through a series of vignettes, one for each season. Each one portrays the successes and hardships of the family members. This includes the disagreements between Mum and Dad (Leon Ames and Mary Astor) and the two oldest children, Rose (Lucille Bremer) and Esther (Judy Garland), who search for love. At the same time, the two youngest, Agnes (Joan Carroll) and Tootie (Margaret O’Brien), search for security and warmth. Here, we find all the core elements of the classic coming-of-age tale long before it was labelled as such, as Minnelli dutifully adapts the short stories by Sally Benson published in The New Yorker.

As the first collaboration between Minelli and Garland, Meet Me in St. Louis is the epitome of a classic Hollywood romantic musical, with everything you would expect from the genre. The majestic settings, authentic costumes, and incredibly vibrant, gorgeous colours make it clear how high the budget must have been. At the same time, the cast is outstanding as an ensemble, with Margaret O’Brien’s 6-year-old Tootie stealing some scenes. However, this is Judy Garland’s film – her voice is incredible as she belts out the timeless classics “Have Yourself a Merry Little Christmas” and “The Trolley Song”.

Meet Me in St. Louis is quite possibly one of the most iconic musicals from the Golden Age of Hollywood. While it might feel a bit too sentimental or cloying at times, its visuals, performances, and festive spirit are worth anyone’s time. It may now be considered a Christmas classic, but the film is primarily a love letter to St. Louis.

28. C.R.A.Z.Y (2005)

Is Jean-Marc Vallée’s outstanding comedy/drama C.R.A.Z.Y. a Christmas movie? Well, yes and no. While C.R.A.Z.Y. may not centre its full runtime around the holidays, Christmas forms a huge part of this coming-of-age gem. Full to the brim with superb performances and killer needle drops, this beautiful, engaging and sweeping tale of a family caught in the headlights of social change, secrets, and sibling rivalry takes us from the mid-1960s to the early 1980s.

Born on December 25, 1960, Zac Beaulieu (Marc-André Grondin) is the fourth son of Gervais and Laurianne, and from birth, he doesn’t quite fit in. As he grows into a young boy, his differences become more pronounced: his mother is convinced he has a God-given ability to heal others, while his father worries about his love of prams and dolls.

Zac has no choice but to fight for his father’s attention and approval in a family of five boys, with Raymond, his older brother, the biggest obstacle to his need for fatherly love. At the same time, Zac is silently questioning his sexual orientation as he immerses himself in the music of Bowie, The Rolling Stones and Pink Floyd, hiding his feelings and emotions from his family while his older brother slowly goes off the rails and his dad ignores the problems brewing.

As Zac’s confidence grows, alongside his feeling of alienation from the family, the ’70s morph into the ’80s, and the family finds itself tested like never before as secrets bubble to the surface and long-simmering sibling conflicts take centre stage.

Jean-Marc Vallée’s film provides us with the honest and open tale of one boy grappling with his sexual orientation in a conservative home environment where his father’s rigid expectations create tension, rivalry and internal conflict. While Zac’s older brother may appear to be a competitor for his father’s love, neither brother will ever please their father; no matter what they do, they will never meet his expectations.

The film’s title is symbolic, representing Zac’s unconventional nature and the chaotic world surrounding him. The acronym C.R.A.Z.Y stands for the first initials of Zac and his four brothers, highlighting the complex dynamics within their family. Each sibling embodies different qualities, and their contrasting personalities create a rich tapestry of experiences that shape Zac’s journey.

29. A CHARLIE BROWN CHRISTMAS (1965)

Looking at this 1965 Christmas gem now, many view A Charlie Brown Christmas as a gentle, quaint and endearing slice of mid-sixties TV. However, on its broadcast, it was a game-changing feature-length story that played to the changing landscape of 1960s culture, TV, and animation.

With its outstanding jazz score, kids voicing its characters, and discussions on child psychology, A Charlie Brown Christmas brought the Peanuts gang to a whole new generation and cemented itself as a festive TV gem.

CBS may not have been convinced, but audiences across the world quickly brushed away any misgivings as Charlie and friends, including Snoopy and Woodstock, brought the Christmas message home that it’s not the presents under the tree or the size of its branches that matter; what matters is friendship, love and a feeling of togetherness.

30. ON HER MAJESTY’S SECRET SERVICE (1969)

By the late 1960s, Sean Connery’s love for James Bond had turned sour, as had his relationship with the production team. As Connery announced his departure, Bond would face its most significant challenge in recasting the spy for a new generation. But were audiences ready to move on from Connery? 

George Lazenby may have been a surprising casting choice, but he made Bond his own in one of the best Bond films ever. However, Lazenby faced backlash in 1969, and his movie was unfairly criticised for years after its release for his decision to walk away from the role.

Thankfully, On Her Majesty’s Secret Service has since earned its rightful place as one of the best 007 movies; from its style to its action sequences and sublime score, this is Bond at his best.

31. 3 GODFATHERS (1948)

WORDS AGI SAJTI

The Western is rarely associated with the Christmas genre, but with 3 Godfathers, John Ford dovetails the classic Christmas tale with the oppressive heat of Arizona.

The story is based on Peter B. Kyne’s 1913 novelette, which features three wise men transplanted to the Wild West. Here, three rustlers, Robert (John Wayne), William (Harry Carey Jr.) and Pedro (Pedro Armendáriz), flee into the desert after robbing a bank, only to find themselves helping a woman in labour. However, when the woman dies, she asks the men to protect her newborn boy and carry him to the safety of New Jerusalem.

The three rugged cowboys have no idea how to care for the newborn in a story that blends Biblical scripture with classic Western comedy.

32. TANGERINE (2015)

Christmas isn’t always full of tinsel, elves, and snow, and Tangerine is a stunning example of a Christmas movie set amid the urban sprawl and realities of life. Sean Baker’s movie pairs a laugh-out-loud comedy with a moving, tender, and urgent exploration of sex work, as the glimmering lights of L.A. contrast with the daily reality of street work.

Baker brings the same nonjudgmental approach that characterised his Independent Spirit Awards prize-winner Starlet, while an in-your-face soundtrack pumps up the volume to boisterous effect.

Shot entirely on the iPhone 5, Tangerine is bathed in the winter sun and the heat of Los Angeles, offering a heartfelt, emotional, and humorous Christmas on the margins of society. In the proud tradition of spit-and-sawdust American Indies, dialogue is often improvised, even when it was initially scripted, and it maintains a loose narrative structure that feels authentic throughout. 

Tangerine wears its heart on its sleeve as two transgender sex workers, Alexandra and Sin-Dee, walk the backstreets of L.A. on Christmas Eve in this must-see, proudly queer indie gem.

33. THE LION, THE WITCH AND THE WARDROBE (2005)

C.S. Lewis and J.R.R. Tolkien shared a close but turbulent relationship born in the dreaming spires of Oxford. Tolkien was critical of Lewis’ Chronicles of Narnia and its use of religious iconography and narrative beats, while Lewis offered encouragement and support for Tolkien’s The Lord of the Rings. Both men were intrinsically linked and a shared love of history that would sit at the centre of their fantasy worlds. Tolkien built his fantasy world from the horrors of World War I, while Lewis placed his biblical fantasy into the hands of young evacuees during the Second World War. 

The Lion, the Witch and the Wardrobe would lace its story of betrayal and resurrection with elements of classic Greek mythology, pagan belief and fantasy, sculpting a world that celebrated Christian biblical texts while exploring broader mythology.

Andrew Adamson’s beautiful, thoughtful, and stunning adaptation opened to positive reviews on December 9, 2005, bringing the world of C.S. Lewis to life in exquisite detail through puppetry, physical effects, and CGI. Unlike the equally impressive BBC TV series, Adamson had the budget and technical power to add scale, enlarging Narnia into a breathtaking world of darkness and light.

Walden Media always envisioned The Lion, the Witch and the Wardrobe as the opening chapter of a series, and true to their word, Prince Caspian and The Voyage of the Dawn Treader would follow. However, due to legal disputes over rights between Walden Media, 20th Century Fox, and Disney, The Voyage of the Dawn Treader would be the final Narnia outing. Disney’s acquisition of Fox would later solve this legal battle, but, as yet, there are no signs of any return to Narnia.

34. THE LION IN WINTER (1968)

WORDS AGI SAJTI

With a fascinating mix of film and theatre, Anthony Harvey’s adaptation of the celebrated stage play The Lion in Winter offers us a lavish portrait of a medieval Christmas. The festive celebrations of 1183 serve as a mere backdrop as Henry II of England brings his family together, with the secret intention of announcing his successor among his three sons. One outstanding attribute of The Lion in Winter is its brilliant combination of political and personal turmoil. Here, the question of royal succession dovetails with a family’s irreparable dysfunctionality.

Thanks to the masterful screenplay (written by and based on James Goldman’s play of the same name), The Lion in Winter remains a riveting watch. There is an air of Game of Thrones in the political scheming, alongside a dash of Succession. However, a strong screenplay also needs a great cast to reach its full potential, and here, there is no denying the sheer strength of Harvey’s film.

The Lion in Winter boasts one of the greatest ensemble casts of any 1960s movie (and yes, I am aware How the West Was Won was also released in this decade). Peter O’Toole and Katharine Hepburn’s natural chemistry and magnetism are glorious as they bicker relentlessly. And given that O’Toole portrays a middle-aged character while being 36 years old and 25 years Hepburn’s junior, this on-screen relationship is even more remarkable. But add the feature debut of Anthony Hopkins and Timothy Dalton as Richard Lionheart and Philip II of France, and The Lion in Winter becomes a striking example of stage meets screen. Its dramatic power was held aloft by a cast who were and would become cinema legends.

Sometimes, The Lion in Winter feels slightly stagey, with a few too many static shots. However, this was a common problem in many 60s and 70s historical dramas. But trust me, this minor flaw never distracts from the sheer talent on display or the outstanding screenplay. Its royal drama is marked by family disagreements, backbiting, and one-upmanship; in fact, you may question whether anything has changed since the Christmas of 1183. In my opinion, The Lion in Winter is one of the greatest films of the 1960s.

35. LOVE ACTUALLY (2003)

WORDS SAB ASTLEY

Since 2003, the tide has gradually turned for Love Actually. That is not to say people don’t fight its corner, but others disregard it as being a bit naff or weird. Yet, despite several now problematic themes, Love Actually remains a classic festive offering due to its ensemble cast, which includes Alan Rickman, Emma Thompson, Hugh Grant, Keira Knightley, Colin Firth, Liam Neeson, Thomas Brodie-Sangster, Bill Nighy, Chiwetel Ejiofor, Andrew Lincoln, Laura Linney, Kris Marshall, and Rowan Atkinson.

The genuinely heart-warming stories aren’t necessarily the romantic ones, from Daniel and his son Sam managing to get through their first Christmas without Sam’s mum to the long-time friendship between manager Joe and rock-n-roller Billy Mack. Love Actually’s joys are to be found in its subplots

Each story is linked, and if you’re thinking, “Wow, that sounds difficult”, you’d be right. Director Richard Curtis described the editing process as a “catastrophe” and “the only nightmare scenario that I’ve been caught in“. After all, when the editing of your film resembles a three-dimensional game of chess, you are sure of a challenging ride. Nonetheless, Curtis deftly pulls it off, and, in turn, it seems like everything went off without a hitch.

The resulting picture is undoubtedly a love letter to London, taking in iconic locations from Canary Wharf and Hyde Park to the Tate Modern and Selfridges. However, it also speaks directly to the Britpop era, which was in decline by the early millennium, and, in many ways, Love Actually feels like a love letter and a goodbye to it.

36. JINGLE ALL THE WAY (1996)

WORDS AGI SAJTI

Brian Levant’s Jingle All the Way is often overshadowed by Home Alone and The Muppet Christmas Carol as a memorable 90s Christmas family film. Yet, it has everything we could ask for from a festive movie while also reflecting the biggest nightmare for most parents: finding that elusive Christmas toy that’s become so popular it’s rare. Jingle All the Way reflected the Toy Story mania of Christmas 1995 (I am sure you all remember the clamour for a Buzz Lightyear figure) and the horror of the fight for “Cabbage Patch Kids” in 1983. It represents everything that many claim is wrong with Christmas: indulgent consumerism.

Workaholic mattress salesman Howard (Arnold Schwarzenegger) feels guilty for not spending enough time with his son, Jamie (Jake Lloyd), and promises to get him a much-sought-after “Turbo Man” action figure for Christmas. However, the toy is so popular that it’s become unavailable, and Howard’s fight to claim one soon escalates into a competition with a fellow dad, Myron (Sinbad).

Jingle All the Way was never going to be part of any academic discussion on cinema, nor was it destined to go down in film history as a masterpiece. But does that mean it’s a bad movie? Of course not! Levant’s film is an enjoyable and ridiculous comedy with a dark edge.

Like the delightfully odd Kindergarten Cop, Schwarzenegger feels entirely out of place, yet his presence makes the film work. Jingle All the Way also brings us the big-screen debut of Jake Lloyd, who would later become Anakin Skywalker, with countless figures of him lining shop windows, only adding to the fascinating themes at play.

Jingle All the Way never attempts to be serious, but it does hold a sharp dissection of the commercialisation of Christmas, which, in retrospect, is rather bold for a mid-’90s commercial film.

37. LET IT SNOW (2019)

Let It Snow’s tinsel-dressed rom-com offers us something slightly different from the normal festive love-in; at its core, it is a coming-of-age comedy/drama reflecting a group of teenagers on the verge of change with some Christmas love thrown in for good measure. With a cracking ensemble cast, Let It Snow ripples with youthful energy and diversity, reflecting the complexity of teenage relationships and the painful end of adolescence. 

The result is a surprisingly warm and tender film that may not be perfect, but offers us an entertaining and festive story that carries a sleigh full of Christmas cheer.

38. Lego Star Wars Holiday Special (2020)

By Christmas 1978, Star Wars had become the only topic on many a child’s lips. However, while Santa found himself inundated with requests for shiny new Kenner toys from a galaxy far, far away, there was a notable lack of visual stimuli; after all, this was pre-VHS. Therefore, developing a Star Wars TV special must have seemed logical to quench consumer thirst.

For one night only, CBS would bump Wonder Woman and The Incredible Hulk for The Star Wars Holiday Special, and the show started pretty well, with Han and Chewie escaping Star Destroyers to reach the planet of Kashyyyk for ‘Life Day’ celebrations with Chewie’s family. However, ‘Life Day’ celebrations soon descended into what can only be described as a psychedelic mess, a Star Wars-inspired LSD trip, if you will.

Since then, there hasn’t been another Star Wars Holiday Special until this one! However, this time, it comes courtesy of the Lego Star Wars team at Disney+, and the result is a tongue-in-cheek take on the 1978 Christmas outing and the Skywalker legacy. Appealing to kids and adults is tough, but here it’s achieved by having the Lego team place the Star Wars universe into a gigantic intergalactic blender.

39. The Signalman: A Ghost Story for Christmas (1976)

Ghost stories have long formed a part of our shared festive celebrations; from Shelley’s Frankenstein to Shakespeare’s Hamlet and Henry James’ Turn of the Screw, Christmas is as much a time for scares as Halloween. M.R. James had sat at the heart of the BBC’s “A Ghost Story for Christmas” tradition since 1968. However, in 1976, the BBC turned to Charles Dickens’ lesser-known short story about a haunted section of a railway for its festive scares, after years of James adaptations.

The result was one of the finest TV ghost stories ever made, The Signalman, starring Denholm Elliot. The Signalman creatively used sound and cinematography, as its taut, spine-tingling atmosphere sent a shiver through the audience.

40. Gavin and Stacey (2007-2025)

BBC Three has offered us some of the BBC’s most memorable shows over the years, but it’s James Corden and Ruth Jones’ Gavin & Stacey that takes the crown for longevity and love. Like many shows that began their life on BBC Three, Gavin and Stacey would transition to BBC Two and then BBC One as its popularity grew. Despite starting in 2007 and ending in 2024, only 22 episodes were produced, including several Christmas specials.

Those 22 expertly written and beautifully crafted episodes found an eternal place in the hearts of the British public as we followed Essex boy Gavin (Mathew Horne) and his love, Welsh girl Stacey (Joanna Page). But the ‘Will They, Won’t They’ highs and lows of Smithy (James Corden) and Nessa (Ruth Jones) cemented this sitcom’s place as one of the most fantastic slices of British comedy ever made.

Every character in Gavin and Stacey’s orbit is beautifully realised, from Uncle Bryn (Rob Brydon) to Pam (Alison Steadman) and Dawn (Julia Davis), creating a sitcom where every individual could easily carry their own show. In a word, Gavin and Stacey is lush, and each Christmas special is an unmissable festive treat.