The other day my wife and I passed by a preschool, and I asked “Have you ever thought about how scary it must be to drop your kid off and have no idea what they’re doing? Who’s watching them and how do you know they’re taken care of?”
Yes, it’s a bit of a naive question from someone undoubtedly lacking the mental fortitude required to handle child-rearing, but the fear associated with trusting a group of strangers to protect and nurture your child during the day is a common one. Embracing it, director Abe Forsythe’s latest feature Little Monsters takes that ball of worry and manipulates it into an instrument for joy.
The film stars Alexander England as Dave, a washed-up man-baby musician who instantly falls for his nephew’s beautiful school teacher Miss Caroline (Lupita Nyong’o). Seeing it as an opportunity to get closer to her, Dave signs up to accompany the class on a field trip to a local petting zoo. Unfortunately, the zoo is down the road from a zombie infested military complex who escape to find fresh meat. It’s up to Dave, Miss Caroline, and TV personality Teddy McGiggle (Josh Gad) to protect the children from the undead and get them back to safety.
For a film listed as a Horror/Comedy Little Monsters leans heavily into its humorous side, so those looking for a scare should turn elsewhere. However, the film has plenty of fun with the gore, and decapitations abound as much as the jokes do. The decision to embrace the comedic is the correct one as the film secretly has more interest in the heartfelt, and what could have been a tonal mess blends together with sincerity.
Before the screening, Forsythe came out to reveal the inspiration for the film came from the anxiety he felt as his child started school. The director wanted to convey how strong he felt today’s teachers have to be to juggle numerous children while maintaining a calm and steady demeanor even in volatile situations. He pulls this off without question. The film is an ode to those who sacrifice so much to shape the minds of children, and because it has committed to its brand of comedy the underlying message never overwhelms. It lifts up the film during the slower moments.
Miss Caroline’s dedication to not only protecting the class physically but mentally as well is equal parts inspiring and ridiculous. Leading a “Wheels on the Bus” sing-along as a distraction from the horde of the undead on their tail is only the tip of the iceberg for the film. Nyong’o shines in her role, bouncing from a fairy godmother-esque teacher to a badass willing to stab anything alive or dead that threatens her class. She is the glue, and Gad is the glitter. He is playing to the rafters with an over the top performance that feels extreme even for this movie. It mostly lands, but will grate on the senses of a small sector of the audience.
Although it’s more comedy than horror, Little Monsters finds a way to shine amongst its peers thanks to an excellent cast and a lot of heart. You’ll be lost in laughter, and if you aren’t careful you’re bound to stumble into a patch of feelings you didn’t see coming.
“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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