‘Tinsel Town’ Review – A Christmas Comedy That’s Charming Enough, Until It Isn’t

On paper, you’d think a movie about a washed-up Hollywood action star starring in a tiny English village’s Christmas pantomime would have enough built-in absurdity and heart to carry itself. The setup is practically begging for a breezy, self-aware holiday comedy, something warm, a little silly, and maybe even moving if it wanted to be. And Tinsel Town, directed by Chris Foggin, absolutely tries to be that movie. You can feel the intention in almost every scene. But intention only gets you so far, especially in a genre where audiences have seen hundreds of variations of this sort of redemption arc. What the film delivers instead is a perfectly fine, lightly charming, entirely predictable Christmas watch–the kind that’s easy to turn on, easier to forget, and comfortable enough while it’s playing.

The film opens with what is, admittedly, a pretty funny bit: Bradley Mac (Kiefer Sutherland), a three-time Razzie nominee and full-time headache for any studio that hires him, is on the set of Killing Time 7, a totally ridiculous action sequel that barely resembles reality. Sutherland leans into the goofiness of this world, giving Bradley the right mix of self-importance and delusion. It’s a strong opening because it understands exactly who this man is. He’s not cruel but just out of touch, stubborn, and unaware that the industry has long moved on without him. Then comes the inevitable blow: the studio pulls the plug on Killing Time 8, and word spreads that Bradley is so difficult nobody wants to hire him. His one remaining option is theater work in England, which he accepts with the energy of someone boarding a sinking ship.

Once Bradley arrives in the small village and discovers he’s been tricked into starring in a chaotic Christmas pantomime of Cinderella, of all things, the movie shifts into its main rhythm. This is where the predictability fully settles in. You can practically map out every beat from memory if you’ve seen even a handful of holiday comedies. There’s the quirky cast of locals who all have a trait or two, but not much depth. There’s the fish-out-of-water setup, the clumsy rehearsals, the obligatory frustrations, the warm reminders of community, and the inevitable “maybe this washed-up guy isn’t so washed up after all” reveal.

And that’s fine, to a point. Familiarity isn’t always a problem in Christmas movies. Sometimes it’s the charm. But here, the film rarely pushes past the surface. Rebel Wilson plays Jill, the straight-talking choreographer who sees right through Bradley’s ego, but the script doesn’t give her much to work with. Her character is painfully underwritten, and almost every scene feels like an early draft that never got fleshed out. Most of the supporting characters suffer the same fate. They’re not irritating, just bland, which is somehow worse because it drains energy from a movie that desperately needs it.

The emotional core is supposed to come from Bradley reconnecting with his estranged daughter, and while this thread has potential, the film never fully earns the payoff. The scenes meant to carry emotional weight feel inserted rather than fully developed. Conflicts pop up because the plot needs them, not because the characters grow into them. This forced feeling creeps into multiple storylines. Moments that should feel natural, like arguments, apologies, and breakthroughs, just end up feeling rushed or manufactured. There is hardly any natural buildup; the movie just drops them in.

Still, through all of this, Kiefer Sutherland holds the film together. He’s a fun lead, giving the role more sincerity than it probably deserved. There’s an ease to the way he plays Bradley that makes him likable even when the writing doesn’t quite support him. He has a relaxed comedic sensibility that doesn’t strain for laughs. It’s subtle but effective. Had the rest of the film met him halfway, Tinsel Town might have had something special.

The production itself is harmless enough with cozy sets, familiar Christmas décor, rehearsal montages, and warm lighting meant to evoke the seasonal glow. Foggin directs with a gentle, easygoing touch, though the film’s pacing sometimes drags simply because the story doesn’t have many surprises in its arsenal. Once you understand where the movie is going (which happens quickly), you’re basically waiting for it to play out the way you already expect.

By the time Cinderella finally reaches the stage, the movie gives you exactly the performance you think it will: chaotic in a cute way, heartfelt in a gentle way, and wrapped up neatly with a bow. Nothing here sticks out, but nothing offends either. It’s the definition of a “while-you-wrap-your-gifts” kind of film, background comfort with occasional charm, carried mostly by a committed lead performance.

In a crowded genre full of movies trying to put their own twist on the holiday formula, Tinsel Town blends in more than it stands out. It’s cute enough, safe enough, and passable enough to fill a quiet December night. But once the credits roll, it doesn’t leave much behind—a perfectly serviceable holiday distraction, but not much more than that.

Tinsel Town will debut in select theaters and on digital platforms on November 28, 2025, courtesy of Brainstorm Media.