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Elseworlds is the Justice League Movie We Deserved

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When it comes to movies and television DC Comics has pretty much always lived in the shadow of Marvel Studios. That seems to be changing as the company kicked off its own streaming service with the fantastic Titans and continues its run of amazing television with the Arrowverse Elseworlds crossover event.

The three night event, which is becoming an annual tradition, was a bit of a game changer for everyone involved. Not only did it bring together all the CW DC properties (except Black Lightning, maybe next year) but served as a love letter to the decades of shows and movies that have come before it.

So much ground was covered it’s hard to say where to begin. From minute one fans got not just a look a truly great villain but closure on the underrated 1990 Flash series which apparently co-exists in the DC Arrowverse universe. John Wesley Shipp not only reprises his role as Barry Allen, in his original suit, but the small glimpse we had of his earth showed that the universe there had expanded quite a bit in the nearly 30 years since we last saw it. Though only a glimpse those with a close eye might have spotted what looked like a Green Arrow, Ray and a few others fighting alongside him.

From there the audience is whisked away to a rather lighthearted look at swapped identities when Barry Allen and Oliver Queen wake up in each other’s lives. The two end up putting a microscope on all the tropes that define each of the shows and the characters. It isn’t until we end up on Earth-38 with Supergirl that things really get moving.

Rather than just do a quick transition though the audience finds themselves back in Smallville. Not just any Smallville though, THE Smallville from a decade ago. Same farm, same truck complete with the opening theme song. The Supergirl timeline is really unclear on where the Smallville series seems to stand in its timeline so maybe the music just solidifies the retcon. Supergirl takes place in the Smallville universe but with different actors. It’s a weird sort of compromise.

Regardless, the chemistry between Superman and the finally on screen Lois Lane is fantastic. They really do deserve their own series. Elizabeth Tulloch feels like a much better, more modern version of Margot Kidder and I mean that in the best possible way. She’s smart, passionate, feisty and fully formed by the time the audience meets her. The love between her and Clark is definitive and they shine every time they are on screen.

All of this leads up to a big fight with the starter Big Bad which ends up just being an excuse to have everyone work together as a team.  That’s really all the excuse that’s needed. Watching The Flash, Green Arrow, Superman and Supergirl work as a team is a joy to watch. It’s like the Justice Leagues cartoons come to life.

With each successive episode DC managed to win over hearts and minds even more. It proved you could have a multiverse level event and still keep things relatively light. The DC Cinematic Universe could take a few lessons. Even that’s not totally fair. Titans is a dark, R-rated show about superheroes and it’s still one of the best shows on television right now. It’s the execution that seems to be the problem with most of the DC movies and the shows more than make up for that.

By the final episode everything comes to a head with an epic battle that brings everything together above and beyond expectations. The whole crossover is full of easter eggs ranging from big and obvious to really deep cuts. It’s a joy to watch from start to finish.

The crossover also served as an introduction to some new characters, each of which might get their own show in the near future. The Gotham they established in episode two is rife for exploration and Batwoman is an excellent, rarely used character that would be great to watch in the future. Lois and Clark are just asking for a series as well. My hat goes off to DC, they pulled off a high-concept plot expertly.

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‘Mufasa: The Lion King’ Will Leave You Breathless

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“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.

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Is ‘Kraven the Hunter’ a Total Letdown?

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“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.

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A Brief Review and History of A Year Without a Santa Claus

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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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