A grieving couple who recently lost their only son decide to adopt a young boy with extraordinary, and incredibly dangerous, powers!
What you have to understand, keep it forefront in your mind because the Hobsons sure did, is that Sean’s death was an accident. Dad Mark (Thomas Jane) wasn’t there, Mom Jessie (Kate Bosworth) stepped away for just a minute or two, tops, and Sean drowned in only a few inches of water in the bathtub. It as an accident, yes, group therapy understands this and all that guilt and everything else Mom and Dad deal with, but they’ve chosen to attempt to fill that awful void now. By adopting a young orphan boy of similar approximate age to Sean (Antonio Romero) named Cody.
We know Cody (Jacob Tremblay) was the poor soul with a gun pointed at him from the opening blip of the film, so we gather the kid has something unique about him that potentially inspires murder, but what it turns out to be is far better, and terrifyingly much worse, than anyone could have guessed.
Yes, I am going to spoil it for everyone; deal. Cody is extraordinarily gifted in that, wait for it, his dreams can literally come true. We know Cody loves butterflies; the Hobsons encounter a cross between a firefly and a Monarch, lighting
up their living room like fairies. We know Cody wants to please the Hobsons, they certainly seem like gentle, caring souls; what could possibly make grieving parents the happiest?
From this question, as Jessie begins to clutch at Cody like an addict, we learn at least some of the extent of Cody’s powers – he had to have heard Sean’s voice to make his dream complete, so Jessie played him a video of the Hobson family previous Christmas, complete with Sean in his jammies everywhere, laughing and giggling and being alive. And next thing you know, the addict and her husband have both had a fix, a drug in the form of a little sad, scared boy who genuinely only wants to be good, but just can’t help getting scared sometimes. That’s when shit gets hairy.
Cody is a bright child, very bright as it turns out, and his desires when awake to be helpful and good everywhere are noble, absolutely. But he is still a child, and when he sleeps and can’t help but fear, this malevolent force Cody named the Canker Man, manifests in all its shuddersome glory. The Canker Man comes, and he/it is without mercy or pity, there is no stopping the Canker Man at all, he/it usually pops out and carts off the main person Cody has come to love, and ultimately, fear for too. They just poof, disappear, into utter nothingness – there is NO stopping the Canker Man.
After Mark gets effectively eaten by the Canker Man, Jessie decides to do some investigating of her own. A visit to the orphanage Cody came from and some talk with his caretaker Natalie (Annabeth Gish), fraught discussion with Cody’s former foster father in a nuthouse too, and Jessie believes she knows what needs to be done to save that poor abandoned boy, finally.
No child should be chided for their fears, but they do need to be taught how to deal with them as a proper civilized person would, and Cody, way more so than your average kid, because he simply isn’t your average kid. Most, not all but most, children need a caring mother, and not all families are born from blood. Jessie clearly demonstrates that a mothers love can embrace all monsters, show courage in the face of nebulous black fears, and forgive damn near anything you might have done as an utterly terrified child.
Before I Wake does an excellent job at showcasing the wonders and terrors imminent in raising a child, regardless of whether that child came from your own loins or not. Children are often presented in horror films as the only ones who can see the monsters, and therefore think they have to deal with them all alone, never believed, always condemned for events they honestly did not do. While ‘Before I Wake’ takes a fun twist on this kiddie-Horror concept, the handling of raising gifted children and parental grief is something we can all appreciate, and Netflix approached the story with grace and love.
Don’t let the Canker Man get you, catch his nasty truth in Before I Wake on Netflix now!
“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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