“Home Sweet Home Alone” Review: This is a super fun sequel to the previous chapter

A very unorthodox Christmas production from 1990, Alone at Home. The Parents So Busy To Fly On Time That They Somehow Dumped Their Bloodthirsty Eight-Year-Old Son. On the contrary to their surprising success, was a huge hit (476 gross US Dollars).

Million dollars would now be about 1 billion dollars with inflation, so a continuation is more inevitable than logical. So it was soon followed by “Home Alone 2”. A film that envisaged more unforgivable parental neglect, and then somehow a franchise. With three crashes recalculated at the top, the true festive glow of the original faded in the twilight.

Another prospect, this time with an equally dark universe, relates to the first:

This has generated more outrage than they usually have since the trailer was released last month. A sign of loyal fans of the original and increased fatigue from reviewing and redoing outdated properties.

But by releasing Disney+ in time for young audiences to watch, review. And then watch again on the big day, Home Sweet Home Alone is a very enjoyable, if entirely unnecessary. Mandarin sequel that we hope will find a lump of coal.

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This film is kept from being just another Bots show. It is its incredibly sharp sense of humour, with a script by Saturday Night Live duo Mikey Day and Streeter Seidell. Which directed by Dan Meiser of Borat, a funnier cast expecting an Alone at Home sequel.

Their co-star was also more fun than expected.

With Isling Bee from This Way Up, Eli Kemper from Kimi Schmidt, Pete Holmes from Crashing, Timothy Simons from Veep, and Rob Delaney from Catastrophe as SNL favourites Kenan Thompson and Chris Parnell.

So far, the reviews have been mostly negative, but the film has an exciting boldness. As if the participants knew all too well that they were doing something. That they shouldn’t have but made the most of it anyway.

Archie Yates, one of the least scary things about Taika Whitey’s worst bunny, Jojo, is Kevin’s last successor, Max. Who is belittled and belittled by his family, led by his possessed mother, Bea.

His usual pensive state leaves him when the family goes to Tokyo. But the initial happiness soon turns (a little too soon this time) into crushing loneliness. His anonymous home on the show is attacked not by thieves but by a married couple, played by Delaney and Kemper, who believe Max stole their $200,000 retro doll. Violence followed.

There are similar and well-known Home Sweet Home Alone prices:

It quickly reminds us that we are no longer in the 90s and no longer in theatres. But rather streaming at home in a world of low budgets and expectations. The original by Chris Columbus stands out in colour, the McAllister house, stylized in aggressive shades of red and green.

A film that screams Christmas in every image. Visually, chasing Mazer was much smoother in every way. But no attempt to rework the franchise would ever work. And thinking so would be a ridiculous task.

Instead, it is a pleasure to watch enthusiastic players. As they succumb to the stupidity and futility of the whole effort with a wink. Script Day and Seidel have a fun free SNL vibe. Which helped by one of Thompson’s most entertaining MVPs in a minor role.

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Especially Kemper, whose maniac cooking style works well here. Especially when sentimentality kicks in, one of Saccharin’s seriousness. (unlike in the first film, the emotional blow never comes).

When the final act of mayhem arrives, the carnage has the benefit of being easily recognizable as both intruders comment on the severe medical damage they have inflicted (a note that I think could have been played a bit more). Still, the trap is unimaginative and faithful.

Yates’ path is somewhat mechanical compared to Macaulay Culkin. The jokes become repetitive and ineffective. A predictable twist also softens the perhaps more sophisticated dark addition to the film’s formula.