Reviewed by Alicia Glass
Set in the early 80’s, with roots stemming from director James Gray’s personal history, comes a story of the ties that bind, and gag, family and the generational pursuit of the American dream.
Meet Paul Graff (Banks Repeta), artist and dreamer, lover of space and despiser of the rigidities of middle school. His extended family is somewhat lapsed Jewish, personified in the blunt if gentle relationship with Grandpa Aaron Rabinowitz (Sir Anthony Hopkins), and his stories of immigration to escape the Nazi hunting parties. Matter of fact, Grandpa is the only one that Paul seems to get along with for any extended length of time – Mom Esther Graff (Anne Hathaway) might be the head of the PTA, but that gives her no power whatsoever, either inside or outside the home; patriarch Irving (Jeremy Strong) reluctantly administers beatings when Paul inevitably screws up and is therefore a figure of terror most of the time; brother Ted (Ryan Sell) attends an affluent private school and is yet another bully in Paul’s life; Grandma Mickey (Tovah Feldshuh) is the proud kind of tarnished Jewish nobility, who thinks Paul should attend brother Ted’s private school as a matter of course; and Aunt Ruth (Marcia Haufrecht) and Uncle Louis (Teddy Coluca) are living overbearing Jewish stereotypes that constantly grace the dinner table with their often literal color commentary.
A new school year has begun and with it comes a new teacher, Mr. Turkeltaub (Andrew Polk), more often than not called Turkey-somethingorother, stoic and unbending for the troublemakers in his class, of which somehow Paul has managed to make the list, along with his new black friend, Johnny Davis (Jaylin Webb).
The general feeling is that having black kids in the school is a relatively new experience, and that all non-white children are thieves, low-lifes, degenerates, even this early in middle school. Poor Johnny tries his best to keep a cheerful (or at least passive) outlook on the whole deal, and is a normal kid enjoying normal kid things just like Paul – science and outer-space exploration, the popular music scene (in this case the Sugar Hill Gang and their new style of “rapping” music), and general freedom from the persecution of adults.
Two main themes seem to run through the film – the early labeling of poor Paul as a “slow” student, despite his clear artistic sensibilities, much to the rage and shame of his extended family, and the racist dismissal of his friend Johnny by, well, everyone around him, except for Paul himself. “Troublemaker” Johnny already had clear strikes against him before even attending school, with his lack of caring family save for his indigent grandmother and his head in the clouds of distracting music with Sugar Hill Gang concerts, it’s no wonder he sorely wants to escape the gross reality of his current life, where the very color of his skin earns him immediate dismissal most of the time. It was only Paul, the supposedly slow dreamer with his head past the clouds and out into space and art, who truly saw Johnny as just another human who’d be worth making friends with. And after the death of his beloved Grandfather, the only other person that Paul got along with, the elder of the family who seemed happy to accept Paul just as he was and encouraged him to be a Mensch – to be right and do right – Paul really needs his only friend left. Though what happens to that friendship in the third act and that rather abrupt not-ending, frankly made me sad.
Full of often-misplaced heart and the shenanigans of rebellious boys in a world of never-ending shifting priorities and constant upheaval, Armageddon Time is a lovely, if entirely melancholy, journey through the early memories of Director James Gray.
“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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