Pedro Almodóvar is not adverse to taking his audience to uncomfortable places. Often using comedy and melodrama, or his own unique mixture of the two, as a means in, he is so good at making movies about difficult subjects.
In his latest feature, Pain and Glory, he’s addressing perhaps the most taboo subject in modern film, aging. And this time, his style and storytelling is marked by its gentleness, affection and sincerity.
Guided by its protagonist, filmmaker Salvador Mallo (Antonio Banderas), the film begins with the director sitting motionless in a chair, submerged in a pool. In a moving close up, we see a surgical scar that runs nearly the length of his spine. This is a man suffering, within and without, replacing the hectic and physical work of filmmaking with the search for pain relief, whether in pools or with opioids. It is not, however, a woe-is-me tale of grumpy whining. Mallo hardly ever mentions his pain, but it is manifest in every motion and expression in Banderas’s award-winning performance. That is because his suffering seems to activate the revisiting and revitalization of childhood memories, particularly those involving he and his mother (Penelope Cruz).
For instance, that first image of the pained patient underwater transitions to a memory of his mother and her friends cleaning clothes by the river while he, the bright-eyed child, looks on, delighted by their comradery and singing. It’s a moment of connection.
The fact that this scene is evocative of a similar scene in Fellini’s 8 1/2, another film about a blocked director, points out that Pain and Glory is also a film about filmmaking. In particular, about the ability of art-making, not only to express the deepest and most thoughtful reflections of life, but also to connect — audience to artist, but also artist to himself.
By using frequent collaborators like Banderas (who wears Almodóvar’s clothes in the film) and Cruz, and filming in his own apartment, Almodóvar is opening up this film to an autobiographical reading, but not limiting it to that. Instead, it’s about how the experiences and relationships of one’s life is what shape and define us. This is experience and knowledge earned.
What is most appealing to me about this film — and I must say I found everything about it appealing — is the way it portrays the mature honesty and truth-telling one earns through old age. Not scenes of smacking down the young for their ignorance, or the hypocritical for their self-deceit, but the gentle surrendering to reality, to one’s addictions, to one’s mistakes and follies, to one’s vulnerabilities. And embracing and acting upon one’s strengths and talents.
This is a wise film made by an artist who has earned his wisdom through not only youthful and middle-age abandon, but also a life of reflection and thought. The last shot of Mallo, the boy, and Penelope Cruz, his mother, beautifully illustrates how for Almodóvar the filmmaker and his onscreen double — and for us, his dedicated audience over the years — his art, as well as his life, has led to this moment —- and this film.
This a movie to be, not just enjoyed, but cherished.
“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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