‘Jesus, Mary and Joseph, this nativity is a catastrophe, minus two stars’ quipped Alan Carr’s character in the excellent first instalment of this franchise; a sentiment shared by many real-life critics (myself included) in relation to 2014’s Nativity 3: Dude, Where’s My Donkey?.
I am relieved to say this soft reboot is a huge improvement on its predecessor, offering a Nativity that feels simultaneously fresh and a warm reminder of what made these films work in the first place. With many of the stalwarts of St Bernadette’s not returning to the classroom (notably Marc Wootton’s Mr Poppy), we are treated to a new class of talented adults and children alike, all of whom take to Debbie Isitt’s improvisation-heavy directorial style like ducks to water. Simon Lipkin – playing Mr Poppy’s long last brother – is a genuine standout, bringing the Christmas spirit in abundance with some great physical comedy and a surprising amount of genuine musical talent. Hugh Dennis and Ruth Jones show up for a few laughs; whilst Craig Revel Horwood seems to be having the time of his life in a ridiculously over-the-top performance which allows Isitt to further deconstruct celebrity in a film far more interested with family and community.
“a Nativity that feels simultaneously fresh and a warm reminder of what made these films work in the first place”
As such, it is fitting that none of the big names threaten to steal the spotlight from the children – the real stars of the show – as we are treated to some classic Nativity moments in the form of auditions and performances, all complementing a surprisingly sincere story about a young refugee trying to find his father and a posh lad trying to reconnect with his parents. Whilst this may not be fine art, it is a film with a lot of heart, love and joy – something only a true cynic would be unable to find at least a little pleasure in.
Before you decide I have over-indulged in the festive mince pies and sherry, I must add this is a film that is far from perfect and by most conventional standards, deeply flawed. The absence of a Martin Freeman/David Tennant calibre of actor in the teaching role and the limited number of scenes between Mr Johnson (Daniel Boys) and Mr Poppy, rob the film of one of its most potentially amusing dynamics. Furthermore, this movie seems keen to answer the question ‘How much Poppy is too much Poppy?’ with the loveable idiot elevated from comic relief to main man, an overload that means some of his jokes fall flat with all but the youngest members of the audience. The plot is at once wholly contrived and utterly ridiculous and for some the idea of balancing an immigration storyline with one about a rock musical will be a trick that not even the magic of Christmas can pull off, an utterly absurd mismatch of the serious and the stupid, the equivalent of your festive viewing of School of Rock being occasionally interrupted with scenes from A Better Life.
That said, I simply refuse to end this review on a negative note. For all its imbalances and missteps, it is still a film with its heart firmly in the right place and one that encapsulates all the fun of this franchise. With likeable performances, consistent laughs, solid musical numbers and a hopeful message, Nativity Rocks is well worth watching, even if it is unlikely to convert the Scrooges of the holiday season. For fans, I would recommend it as a worthy addition to any Nativity marathon, just please, please, remember to skip Dude, Where’s My Donkey? unless you are looking for a sure-fire way to voluntarily evict unwelcome company this Christmas.
