For any feature, walking the tightrope of drama and comedy is never an easy thing to do. Too many movies get lost trying to maintain the balance between the two genres either finding themselves incapable of properly capturing both spectrum of emotion simultaneously or instead losing the audience to tone mismanagement. Downhill, directed by Jim Rash and Nat Faxon, sometimes stumbles into the latter pitfall but thanks to a pair of experienced leads it manages to barely stay on the rope long enough to tell a story of love and trust.
Will Ferrell and Julia Louis-Dreyfus star as Pete and Bille Staunton, a married couple on a family ski trip in the Alps. When confronted by a lunchtime avalanche scare Pete bolts for safety, only stopping to grab his phone, leaving his family and their bowls of soup to fend for themselves. While the threat dissipates in a matter of seconds, Pete’s decision creates a rift in the family unit that threatens to tear them apart before vacation’s end.
A remake of the 2014 film Force Majeure, Downhill attempts to differentiate itself with two of the biggest faces of the old guard of comedy. While the film’s leads are at their best performance wise (more on that later), their presence manages to do more harm than good at times. The writing and direction doesn’t do them any favors either, and the two are in conflict with each other during the film’s pivotal moments. During my screening, there were a handful of emotional moments cut short thanks to a quick reaction shot with unclear intent.
It’s unfortunate because after a couple of years of so-so sequels and films best left forgotten, Will Ferrell returns to a style of acting that he hasn’t showcased since 2010’s Everything Must Go. Don’t worry you’ll still get a few of the Ferrell classics, belligerent drunkenness and shouting make their necessary appearances, but it’s the quieter moments that get you invested. Ferrell portrays Pete with a somber distance. A man who knows but won’t admit he’s made a mistake; one who sees happiness is just around the corner, and yet he can never quite reach it due to forces within himself he won’t confront. It’s a portrayal of fatherhood that Ferrell should continue to take chances on again in the future.
Ferrell’s performance is a return to form of sorts, but Louis-Dreyfus goes beat-for-beat with him managing to best him more times than not. She embodies Billie’s sense of devastation and distrust with equal parts rage and shakiness. It’s a more showy part than Ferrell’s Pete and Louis-Dreyfus doesn’t back down. Her ability to deliver on the script’s weightiest moments resonants, and when she is given the chance to let loose it’s an emotional avalanche that can overwhelm.
We also get a couple of highlight supporting performances from Miranda Otto as a sexually explicit hotel liaison and Zach Woods as Pete’s friend who is living a #lifewithnoagenda. The former is the more ridiculous of the two, but both act as springboards to tempt and discourage Pete and Billie with what they could be missing out on in life.
At 90 minutes, Downhill is a satisfactory dramedy buoyed by leads who are pushing themselves out of their comfort zone for the benefit of the audience. While the film may not be making the best use of these performances, it works to show that we should give “comedy” actors more chances to spread their wings.
“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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