Comic-Con Revolution Ontario once again blasted its way to the Inland Empire last weekend. With an impressive slue of guests including some of Hollywood’s best voiceover talent, to legends of the comic book industry, this convention was not to be missed. Kicking off this astounding convention was a panel showcasing one of the most seminal animated series of our time, Samurai Jack.
Featured on the panel were the show’s two leads, Phil LaMarr (Jack) and Greg Baldwin (the second voice of Aku). When asked what it was like meeting Jack for the first time, LaMarr said, “For me it began with the original audition. They may have had a character drawing; not much of a description. I just remember Genndy Tartakovsky (series creator) and Collette Sunderman (voice director) were there and we were just sort of “massaging” the voice. I knew the character was from Japan, but they really didn’t want much of an accent. They kept telling me to dial it back.” LaMarr continued, “Eventually we sort of stumbled onto what I like to call “a young, Asian Clint Eastwood voice.”
Unlike LaMarr, Baldwin had come into the series when it was revived for its fifth and final season. He replaced the legendary actor Mako, who had created the role of the villainous Aku. This is not the first time Baldwin has had to step into Mako’s shoes; he had previously taken over Mako’s role as Iroh in Avatar: The Last Airbender shortly after Mako’s passing in 2006. “I was a fan,” said Baldwin, “My Son and I would watch the show everyday when he got home from school and it was something we both enjoyed. I was sad to see it go and elated when I got the call to do the last season.”
The actors also touched upon the fact that while the show has a ton of action, that wasn’t necessarily the driving force of the series. “You realize it doesn’t mean anything if it isn’t grounded in a story, in a reason, in a character,” said LaMarr.
The two were also asked how they felt about high-profile celebrity talent getting roles in animation, citing Robin Williams in Aladdin as example. LaMarr said of this “Disney took away the wrong lesson from that film. Instead of continuing to cast actors that were like Robin Williams, that actually brought life to a character, they thought to themselves “Stars! We need more stars!”. Baldwin added, “It made sense for Robin to play the Genie, who else would’ve voiced that? However Mel Gibson didn’t need to voice John Smith. I understand why he did, but he didn’t need to.”
In closing, the two were asked what it was like to interact with their fans and if Samurai Jack fans were different in any way. “I think every fandom is different because each show is different,” said LaMarr, “What we want us to give you something different.” Baldwin added, “Iroh has surprised me a little bit. I always thought Iroh was a very well written character, but it wasn’t until I started coming to these cons when I realized this character had an impact. Time after time, I would come to realize Iroh was a father figure in many ways.”
Samurai Jack is now available to stream in its entirety on adultswim.com.
“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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