Hostiles, Scott Cooper’s new western, wants to be taken seriously. It wants to say important things, address essential themes, and say it all with unflinching intensity and beauty. To do that, especially in today’s market, takes not only talent, but courage and restraint. His success is mixed.
The film begins with a quote from D. H. Lawrence: “The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted”. The film itself sets a course to both illustrate this observation and to melt both the heart of the protagonist, Capt. Joe Blocker(Christian Bale) and the hearts of the audience.
Like other Post-Modern westerns (specifically, Unforgiven and Dances With Wolves) Hostiles uses the genre conventions to self consciously address the larger themes of violence and racism. The title itself carries this load, indicating both hostility and the notion of the Other. A timely film, it would seem, in this current age. But when done well, as in the case of the two older films, westerns have always been timely.
It’s an old saw that America defined itself through western expansion …. and westerns are soundtracked to the hum of old saws …. that in the West, America found its identity story.
But does America want westerns? And is Hostiles the kind of Western they want? Director Scott Cooper earnestly believes it’s the movie they need.
So, like so many contemporary filmmakers, he goes to the source western, the post Viet Nam thinking man’s western, John Ford’s The Searchers, for imagery and inspiration. Beginning with the Comanche attack on the settlers, through the framing of Christian Bales’ prejudiced and hateful Captain Blocker in the cabin’s doorway, through his path to healing and redemption, the fingerprint of Ford’s iconic film is everywhere.
The difference though is both dramatic and telling. Ford suggests and Cooper shows, if not tells.
Despite using the landscape, always a western’s greatest assess, effectively, letting its beauty and scope dwarf and counterpoint the characters, and despite strong internally driven performances by everyone, the film only sometimes hits its emotional mark.
Too often the characters say what they should show. These are truths that should be felt, not articulated. At times he trusts in the power of his silences to speak…and he wisely and admirably avoids comic relief….but as the film draws to its end, there are confessions and self reflections that deflate the emotional power of the scene. And power is exactly what Cooper is striving for, and he should be duly respected in these cynical franchise days for the attempt. Pushing Max Richter’s soundtrack to the front of the mix, assigning its rich synthesized and orchestrated chords to lead, Cooper is declaring his intent to address America’s burden of violence and heal its self-inflicted wounds.
For all the violence, this is not an exploitation film, it is not a shoot’em up. Cooper is aiming for a deadly seriousness and gravity that the themes demand. Christian Bale’s performance certainly is all in. He is like a still and broiling focus of Cooper’s ambition to say something profound, both timely and timeless. His character takes the mythic arc from lost to found, from damned to redeemed, but in order to make it fit the narrative it feels like stages are missing.
It’s as if in this PTSD parable, Cooper wants his hero to heal so badly that he’ll take a shortcut here and there to help him along. He begins the film as a hardened and hateful government sanctioned killer, an Army officer who has done awful things in the line of duty. But when he encounters, the vulnerability of the traumatized settler woman (Rosamund Pike), he becomes a compassionate and thoughtful man. Add the vulnerability (to say nothing of the nobility) of the Cheyenne chief (Wes Studi), then the Captain truly begins to change, and change rapidly, too rapidly.
The last shot of The Searchers is John Wayne, framed by a cabin door, having saved his niece and overcome his prejudice, returning alone to the wilderness. The door closes.
The last shot of Hostiles nods to this iconic ending, but vicariously invites the audience, for America, to enter and be healed. It is such a noble gesture, I wish it had been more earned. As it is, I wish Captain Blocker well, but I wish the film hadn’t got there so fast and, despite the many wounds and corpses, so easily.
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
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