Reviewed by Alicia Glass
Chasing the last days of a rising music star who, while trying to write his next big hit, dives headlong into his own downward spiral of drugs, expectations, and the crushing pressure of super-mega-stardom.
So, the lead character Cole is played by Colson Baker, known more popularly as Machine Gun Kelly, and is a fairly unnerving parallel of his own real life. Even the films title, Taurus, refers to MGK’s own zodiac sign.
We open with Cole wanting to work on a new song with accompanying female vocalist Lena (Naomi Wild), and though their interactions about his magic crystal with all his energy in it and his lack of direction or even interest is pretty apparent, Cole also seems satisfied? ish? with what she produces. From there we proceed into the strange fever dream that is Cole’s current existence – interminable meetings, product deals, collaborations with distributors, expectations for deadlines to be met, responsibilities to his daughter, strictures for his music and even life schedule, and on the twisted-flip side, clouds of welcome drugs, skeezy friends, expensive therapeutic call girls, creative binges and true art emerging like a light at the end of a tunnel. But really, all Cole sees is darkness.
The true hero of the desolation that is Cole’s life is, inevitably, his handler – Ilana (Maddie Hasson) acts as his shrink, walking reminder calendar, sober companion, emotional punching bag, motherly-slash-sisterly-care-giver, and anything else Cole could conceive a need for, and she does it all with willpower that is awesome to behold, given the major diva tendencies of her charge. Handlers of Hollywood folk – singers, actors, fashionistas and others – are more often than not loyal far past where their paychecks ended, offering up their own lives as a sacrifice to keep their charges’ lives from falling the hell apart. When the predestined breakdown between handler and charge happens onscreen, I for one was glad for Ilana’s finally, finally, giving Cole even a taste of the torment he inflicts on others – the scene is almost cathartic, and even Cole seems strangely relieved. Honesty in the performing artist world is a prize more valuable than diamonds, and far, far more rare.
So much of Cole’s life seems fake, plastic, hollow – the ridiculous mega-star house is in actuality just a superficial rental; the services of the obviously extravagant call girl Zia (Sara Silva) he invites over are much more drug mule and much less prostitute; Cole’s daughter Rose (Avery Tiiu Essex) calls him “Cole” too and though she lives in another part of the rental house, may as well be on the moon for all that she enters into Cole’s consciousness; even the blacklit scenes with Cole’s druggie pal Bub (Ruby Rose) are only philosophical on the surface, no depth at all. Assistant Ray (Scoot McNairy) practically has a foot-stomping tantrum himself while trying to fulfill all of Cole’s needs, which is effectively impossible, because what he really needs isn’t tangible.
The single bright spot in Cole’s life, in possibly the entire film, is the sadly short creative scene wherein Cole collaborates with some fellow singers (real-life rappers Lil Tjay and Lil Meech) and they have a freestyle sesh in the recording studio. We are served a fleeting glimpse of what Cole must have been like when he began – fresh, eager, talented and raw but blissfully alive and ready to take on the worlds’ injustices with his music. Cole’s moment of genuine artistry is interrupted by yet another fan with pleas, and we can practically see him deflate entirely into the shell armor he’s constructed around himself in order to survive stardom, a sad commentary on the music world and the way we treat our artists in general.
In the grand tradition of Oliver Stone’s psychedelic film The Doors, Taurus comes to a rather final if unsurprising ending, with Cole going far beyond the reach of fans, friends, and expectations, to whatever he finds on the other side. Let’s hope Machine Gun Kelly doesn’t decide to take the same route through stardom.
Filmed often in a haphazard and surreal way, likely to highlight Cole’s own unraveling, Taurus drags us on a mushroom highway journey laced with excellent music, most of which is from Colson’s own catalogue. Consume if you dare!
“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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