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Aquaman and the Lost Kingdom

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Aquaman’s nemesis Manta returns possessed by an ancient evil, with plans to take down both the human world and the Kingdom of Atlantis! 

We launch right into a game of catch-up just as soon as the film begins, taking off at breathless speeds as Arthur Curry aka Aquaman, balances being married to Atlantean royalty Mera (Amber Heard) with their new baby inevitably Arthur Jr. and all that entails a life lived on the land, plus oh yeah, being the reluctant King of Atlantis and all the political stonewalling from the Royal Council, responsibility for the lives and safety of the aquatic denizens of Atlantis, and all the problems and headaches there. This is a hard act to juggle, and Arthur is eternally grateful to his adoptive father Tom (Temuera Morrison) for always being willing to help out watching his grandson, giving Aquaman sage advice when he’s struggling, forever quietly proud of his Polynesian ancestry and the family he made for himself here, where the land meets the sea under his lighthouse. 

The flip side of this idyllic if tiring life is Aquaman’s old nemesis David Kane aka Black Manta (Yahya Abdul-Mateen II), armed with the genius of the entirely naïve Dr. Stephen Shin (Randall Park), a determined lieutenant called Stingray (Jani Zhao) and whatever old Atlantean tech he can get his hands on, is on the hunt for more Atlantean tech to fix his busted Manta suit. Because we’re still, on about getting revenge for Aquaman killing Kane’s father, in the previous movie. Kane does hunt down a lost artifact far more powerful than his blasted suit, the legendary but lost for good reason Black Trident. 

See the thing about artifacts in superhero movies especially, is that the things used to belong to someone, and most likely that someone was powerful, likely magical, and inclined to either great good or horrific evil. Guess which one the Black Trident is? 

Time passes and the whole planet is starting to be affected by the bad things – greenhouse gases, extreme weather, oceanic modifications, the culmination of all of that – and Arthur thinks his best option is to go break his brother Orm (Patrick Wilson) out of aquatic prison to help him fight off Kane and his plans for worldwide destruction! Everyone has to give their opinion on this rather crazed plan of action, especially Arthur’s mother Atlanna (Nicole Kidman), and Orm’s dad King Nereus (Dolph Lungren), though they do come willingly to aid when Arthur gets inevitably in the clutch. 

Things are all coming to a head for a showdown between Kane and the forces of evil behind the real owner of the Black Trident, and Aquaman and all the forces of good, both land and sea, he can muster to fight with him! 

It’s a good movie, fun and light-hearted and full of jokes at the leads’ expense, never taking things too terribly seriously despite the purported world-ending scenario. The CGI for the floating hair of the denizens of Atlantis is better done than in the previous film, though it still strikes me as highly improbable for aquatic humanoids to have long hair in anything other than braids. The version of the film I saw was in IMAX 3D and that was entirely unnecessary, the transition of 3D between scene shifts needed a bit of work. Jason Momoa steers the film with the cheerful recklessness and obstinacy of a surfer against a taller-than-you breaker, always on the verge of a smirk turned into a charming smile, breathlessly whisking the audience along on the adventures of Aquaman and pals. Rumor says this second installment of Aquaman will be the last film in what is known as the DCEU, the slate of DC superhero movies before James Gunn and Peter Safran reboot the whole thing in 2025, and if that’s the case, Aquaman and the Lost Kingdom is a perfectly fun movie to go out on. 

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‘Mufasa: The Lion King’ Will Leave You Breathless

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“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.

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Is ‘Kraven the Hunter’ a Total Letdown?

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“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.

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A Brief Review and History of A Year Without a Santa Claus

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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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