So if you’re the Baudelaire orphan trio, you really don’t particularly care about the differences between worried and anxious, very likely feeling both as the odious Mr. Poe takes you to yet another guardians house. Like the rest, #667 Dark Avenue is a very different place for Violet, Klaus, and Sunny to end up, in these unfortunate events that keep happening to them.
A Series of Unfortunate Events
Enter Jerome and Esme Squalor, the cities 6th most important financial advisor, who lives in the penthouse of #667, and Esme at least is concerned with all things IN and OUT. We’re not talking inappropriate gas-passing, we’re talking light and dark, orphaned or not, pinstripe suits and cafes specializing in the repetitive use of a single ingredient in every single last dish including the water – that sort of what’s IN and what’s OUT.
Stairs are IN, apparently, so our orphans get to make the long climb to the penthouse on foot, but we’re treated to a very familiar symbol when our Baudelaires look down the stairwell to the bottom floor and see the V.F.D. eye. Orphans are now IN, thank goodness, so while our kids are genuinely welcomed by a cowed Jerome, Esme proceeds to remake them as IN as possible, in pinstripe suits and aqueous martinis. That also means subjecting the Baudelaires to the nasty attentions of the eternal Count Olaf, arriving this time as Gunther, foreign fashion consultant to the simpering Esme. But before the next grand acting scheme, Olaf informed us that he has possession of the Quagmires, very closely in fact, so nothing would do but for our beleaguered children to go looking for their friends!
Esme and Gunther have planned a high profile auction, with all the profits going to Esme herself of course, for the near future. But for right now, Esme’s going to take Klaus and Sunny on a tour of most of the seventy-one rooms of the penthouse, while Violet uses chalk marks to do some exploring of her own. Note that the sugar bowl is missing from Esme’s own tea set. Your easter egg for this episode is that all the portraits in the din
A Series of Unfortunate Events
ing rooms of the Squalors’ penthouse, are of Barry Sonnenfield, Executive Director/Producer for the television show ‘A Series of Unfortunate Events’.
Chases and chalk marks and charisma, oh my, and we still haven’t found the Quagmires, nor really, anything else the Baudelaires might be looking for. Esme is insistent on taking the children to the INnest restaurant around, and while Gunther may think its Herring Houdini’s, the real bestest place to go is Café Salmonella. Where everything has salmon in it, including the water. But the Café is full of familiar faces, several of which are doing their level best to stall everyone, so V.F.D. operatives can go look for the Quagmires too!
It has to be said, and will likely continue to be said, that Jacques Snicket is so damn smooth and charismatic, no wonder he’s the go-to operative Jacqueline calls in when she needs missions of the utmost importance done. The way he schmoozes Olivia Caliban, and apparently genuinely seems to love books, librarians, curiosity and the things that make life worth living, is an adult peek into the Baudelaire world that we all love.
Not even a musical number, ‘Keep Chasing Your Schemes’ as performed by Neil Patrick Harris as Count Olaf, can keep the bad guys from hurrying back to #667 Dark Avenue to make sure they beat the Baudelaire children and their friends to whatever treasure there is to be had. But everyone underestimates the ingeniousness of the Baudelaire orphans, and the bottom of the ersatz elevator shaft may just hold a bunch of answers!
Return to Netflix’s Season 2 of ‘Lemony Snicket’s A Series of Unfortunate Events’ and the eternal chase of the Baudelaire children!
“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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