Aw come on y’all, really? The world is apparently coming to an end here in the nowhere town of Elk Grove, just like it did more than a decade ago in a cabin in the woods, where a bunch of ill-informed people decided to read from a very nasty book and unleash some even nastier demons and death upon the world!
And there is seriously no time to dilly-dally, because Ruby just carved the skin off of Zoe’s back, just filleted her like a fish already, and is writing on it in blood, to make a replacement page for Necronomicon. Which kind of makes sense in that totally messed up way that is the Ash vs. Evil Dead world. But immediately after that, Knight of Sumeria Zoe has outlived her usefulness, and when she tries to make her escape it’s rather painfully and blindingly thwarted.
No one likes a spy, and as you can imagine, a good deal of this magic nonsense is still new to him, so when Pablo begins getting a literal eyeful from the Necronomicon, while knowing what’s going on can only be a good thing, that shit still sucks. Off goes Pablo to the rift in Pops’ basement, to find out what in the literal hell is is going on!
There’s something deeply nostalgic and adorkable about seeing our Ashy Slashy hand his beloved Boom-stick to his heretofore-unknown daughter, telling her with pride what it is and the glorious legends behind the Remington. But, even giving her the Boom-stick for protection and telling her to stay right there, isn’t likely to be enough as the town’s about to be overrun!
That’s right folks, Ruby has screwed everything all kinds of sideways, and Dark Ones are now coming out of the rift, missing Pablo by mere hairbreadths, which is odd, but whatever. Time to go wreak havoc on Elk Grove, along with the deadites that have begun attacking the Elk Lounge Bar, and this mega supernatural storm gathering outside!
Meanwhile elsewhere, poor Brandy is having the same bloody troubles her dad originally did with the screaming deadites, that go terrorizing through the night after her just like they did her father, so long ago. And when Brandy’s cellphone gets itself haunted by a deadite and her thumb gleefully bitten, the reference to deadites having a penchant for Williams family body parts is hilarious. Brandy manages to prove that she’s Ashy-Slashy’s daughter, damnit, and hurries off with Pablo to hopefully put an end to this mess!
It has to be said, that we should all have a memorial for Ash’s beloved specialized chainsaw. What Ruby did to that sweet machine, what she’s been trying to do to Ash and all his compatriots all this third season, oh she deserves what’s coming to her, right now as a matter of fact. The Dark Ones are here, and oh, are they livid with Ruby, and Kaya for that matter. That takes care of Kaya quite neatly, and Ruby in all her misguided glory, but the Dark Ones from the Deadlands are still here, and free, and we’re all pretty screwed. Again.
Ash may have grabbed Kelly’s body and the Necronomicon and skedaddled, but supernatural shadows have been gathering in the streets as the result of the storm, and the Dark Ones’ purpose seems to be to open the biggest rift they can and let in the worst things imaginable from the Deadlands! Even our hero Ash, surrounded by whats left of the Ghostbeaters, the Knights of Sumeria and his own family, looks way way up at the giant deadite tearing through that hole, can only stare and say, ‘Oh shit.’
Tune in to Starz next for the final episode of Ash vs. Evil Dead!
“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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