How the Grinch Stole Christmas

The classic tale of a grumpy creature who wants to ruin a joyous holiday because of misguided intentions but has a change of heart upon learning that the true value of the holiday lies not in materialism but in togetherness with friends and family? All wrapped up in a heartwarming, beautifully animated, twenty-six-minute package that comes with a near-perfect soundtrack? And the legendary Boris Karloff completes the deal with his thunderous, booming, spectacular voice? You can bet I start humming "You're a mean one, Mr. Grinch" every year when December rolls around. Based on Dr Seuss's book of the same name, this 1966 movie is overflowing with the writer's usual charm and humour.

Home Alone

There's something about the original Home Alone and its ability to maintain a balance between a sense of spookiness and a sense of joy that, to this day, has not quite been replicated in any of its sequels. The special effects, the creativity behind the traps set up by our 8-year-old protagonist, Kevin, and the ridiculous escalation of the action by the third act is still a joy to watch. At this point, the story of Home Alone may be known to everyone, but even decades later, the movie is endlessly rewatchable and is the perfect family movie to watch on a cosy winter night.

The Nightmare Before Christmas

When Jack Skellington, the Pumpkin King of Halloween Town, gets bored with his annual Halloween fiesta and decides to instead take over Christmas one year, the adventure that ensues involves a kidnapped Santa, a mass terror, sledges pulled by skeletal reindeer, and a holiday saved from the brink of ruin. Every single song is undeniably brilliant, the stop-motion animation is without fault, and Tim Burton's signature touch wonderfully complements the film, making the grotesque seem beautiful. Although the debate over whether The Nightmare Before Christmas is a Halloween movie or a Christmas movie persists, I find myself drawn to it every year on both occasions.

Tokyo Godfathers

Legendary director Satoshi Kon's most unique project by a long shot, Tokyo Godfathers manages to be heartfelt, poignant, and extremely goofy without ever missing a beat. The story, on paper, can seem darker than what one might find on display: 3 homeless people (Gin, Miyuki, and Hana), on Christmas Eve, stumble upon a baby abandoned in a dumpster. This sets them off on a sprawling adventure that mixes humour with a sort of realism that is very rare in any form of media. The slapstick nature of the comedy is aided by the decision to have the narrative be led by one small miracle after another. A chance encounter, a sudden discovery, and gusts of wind that save lives. These are what make Tokyo Godfathers feel like magic.