It is not only a funny movie, but it allows a great amount of joy for anyone who watches it.

A clunky actioner with a handful of cool moments.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

I have said many times that The Nutcracker is one of my all-time favourites. And this is one of my favourite productions alongside the later Royal Ballet production, Kirov and Baryschnikov productions. Bolshoi has its flaws but is also very good. In fact the only one I disliked was the Bejart production. This production from 1985 is just magical. The settings especially in Act 2 really give a timeless festive feel that the ballet and story should have and the costumes and lighting are equally simple but colourful. Tchaikovsky's music is phenomenal, one of the all-time great ballet scores and one of his best overall scores. The orchestral playing, which is full of lushness and power and conducting, which is both authoritative and nuanced, do the score justice.The choreography is splendid, all the moves and lines are flowing and look easy when they're not and it is in perfect sync with the music. The Grand Pas De Deux and Dance of the Snowflakes were especially well done, as well as the speciality numbers in the Land of Sweets. The scene with the Mice is thrilling, frightening and not too cluttered, and the early scenes at the party makes it feel like it's Christmas no matter when in the year and how many times you see it. The dancing itself is just as good, Lesley Collier is especially good as the Sugar Plum Fairy with effortless lines and commanding grace. Anthony Dowell is masculine and handsome as the Prince should be, while Julia Hope is a charming Clara and Guy Nibblet's Nutcracker appropriately valiant. Jonathan Cope is sinister as the Mouse King and his Arabian dance has an almost seductive element to it. Michael Coleman is perfect as Drosselmeyer.Overall, simply gorgeous. 10/10 Bethany Cox

Tchaikowsky's Nutcracker has, over the past century, become a fundamental Christmas season entertainment staple, in the event quite appropriate, since the work's action takes place upon Christmas Eve, but as the ballet has proved to be such a popular affair to all ages, it is a welcome diversion during any time of year. This rendering, shot with videotape for BBC Television before a very appreciative live matinée audience at Covent Garden, is abounding with first-class stage design, costumes, and special effects, all of which join with a good deal of splendid dancing by members of the Royal Ballet to make for a most engaging film. The original linear choreography created by Lev Ivanov (1892) has been employed, when applicable, by Peter Wright, Artistic Director of the Sadler's Wells Royal Ballet, whose researches within dance archives revealed a large amount of material that is used here for the staging methods of the piece, while additionally providing attendant and highly creative movements that often focus upon comedic elements intrinsic within the original work, without eschewing its well-known storyline requirements. A cardinal reason for most balletomanes to view the film will naturally center upon the technical credits of Anthony Dowell, soon to be named Director of the Royal Ballet, and here performing as The Prince, and his highly able partner, Lesley Collier, as the Sugar Plum Fairy, and although sporadic raggedness may be found throughout from members of the Corps, the four specialty numbers performed in the Land of Sweets (Spanish, Arab, Chinese, Russian) are engaging as is as well the acting by all, notably Julie Rose as Clara and Guy Niblett as Clara's companion, The Nutcracker himself. Dowell's perfection of line is seen here to good effect, especially in his cool and light partnering of Collier during their pas de deux, this perhaps most beautiful of all romantic pieces, and a meet showcase for the skills of the pair, with the ballerina's port de bras being exceptional. Mention must additionally be made of the elegantly detailed designing by Julia Trevelyan Oman, efficient lighting from John B. Read, and the musicological augmentation by Tchaikowsky authority Roland John Wiley, along with proficient conducting of Gennady Rozhdestvensky who is minutely conversant with Tchaikowsky's score. While there can be no denying the artistic impact of several other filmed performances of Nutcracker, this effort will be the most emotionally pleasing to many viewers.