Grief consumes all in Meredith Danluck’s State Like Sleep. The director laces the paralyzing feeling into her newest feature to create a drippy, noir, murder mystery that drags the viewer to its conclusion with stops and starts. While State Like Sleep may personify its target emotion to a tee, it doesn’t make for a compelling watch.
The film follows Katherine (Katherine Waterson), a woman still coming to terms with her husband’s death the year prior. She has escaped to New York, hoping that a change in scenery will expedite the process, but when her mother gets sick she is pulled back to the scene of the incident, Brussels. Forced to confront her grief, Katherine begins to unravel new mysteries as she digs into her husband’s final days.
Waterson is excellent casting in the lead role, showing an in-depth understanding of the complexities of grief. While Katherine’s year-long escape to the States sounds like negligence, Waterson’s body language and void-like facial expression show how grieved to the point of inoperability her character is. She is a woman floating through the sea of life who only shows a desire to push back when she is on the brink of drowning. It’s a fight or flight reaction that is endearing to watch unfold.
We get similarly conflicting reactions with each new character introduction. Whether she is meeting a weathered neighbor (Michael Shannon) or a former friend of her husband (Luke Evans), she approaches each new scenario with a desire to learn more but appears to always be on the brink of falling into a depressive hole. Add in the work of cinematographer Christopher Blauvelt who creates a world teeming with seductive dread – danger feels just around the corner in every scene, but the enchanting nature in which it is shot calls for further exploration – and you get a portrayal that keeps the viewers on their toes, rooting for Katherine’s growth.
A majority of these highlights can get overlooked, however, thanks to a plot that doesn’t have a destination in mind. The relationship between Katherine and the aforementioned neighbor, Edward, plays out with an uneasy chemistry that shifts between romantic and tense. As the two discuss marriage and what it does to those involved one would think this plays a larger role in the narrative, but it ultimately equates to a distraction.
The same can be said for Katherine’s relationship to her mother-in-law. The two converse early on in a way that sets the film up as a classic whodunnit, casting doubt and intrigue onto our protagonist. This too is dragged out to the extent that any payoff feels insignificant. The actors do an excellent job of creating tension, but it always results in a whimper rather than a bang. They are simply distractions for Katherine to busy herself with until the plot calls for a new scene.
State Like Sleep succumbs to the grief it is so desperate to explore. It finds subplots worth diving into, but either gets distracted by another subplot or loses interest before too long and gives up on the exploration. The film has enticing ideas, but lacks the gusto to get there. It’s a hazy feature that were it not for the light of its cast and visuals would be lost and forgotten.
“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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