Marvel’s cinematic universe has been surprisingly successful at creating great movies anchored by second-tier (and sometimes third and fourth-tier) super heroes and elevating them into household names.They made half a billion dollars on a movie about a guy whose powers (at the time) included shrinking and ant talking. Visitors to Disney’s California Adventure are currently waiting in two-hour lines for a 45-second ride centered around a super hero team that’s one-fourth talking raccoon.
Netflix’s The Defenders, Marvel’s first real foray into a small-screen shared universe (sorry, Agents of S.H.E.I.L.D. and Agent Carter don’t count), falls far short of that sense of cohesion but still delivers a show that will keep fans engaged, though not enthralled.
Let’s be honest. If you want to watch The Defenders, nothing I can say about the first four episodes that Netflix made available to preview will change your mind. In fact, a lot of the negative criticism of The Defenders will be familiar to fans of the solo series (Daredevil, Jessica Jones, Luke Cage, Iron Fist).
The most glaring of which is the glacier slow-pacing. Netflix’s Marvel shows never seemed to have enough plot to fill up their seasons, and The Defenders seems no different. This is extra surprising when you consider the series will only run for eight episodes as opposed to the
Marvel’s The Defenders
solo series’ thirteen. The pacing is so slow at times, you wonder if it could survive in a traditional TV format. I’d venture to guess that a large part of the viewership would not stick around if there were forced to sit through commercials and wait a week between episodes. Bingeing the show isn’t just fun, it’s almost necessary.
Weirdly, the show spends a lot of the first hour reestablishing the motivations and relationships of characters with 13 hours (26 in Daredevils case) of backstory a literal click away. The team doesn’t get together until a short fight scene that closes episode three, before spending most of episode four debating the team up (spoiler alert: they eventually decide to defend stuff)
Episode one also introduces the villains’ mystical, secret plot, seemingly orchestrated by Sigourney Weaver. In a series that has given us fantastic villain performances by highly acclaimed actors (ie. D’Onofrio, Ali, Tennant), Weaver’s portrayal can be best described as ‘a thing that happened.’ This world needs a scene chewing villain and, four episodes in, what we get are a baddie that combines the most boring parts of Black Mariah from Luke Cage and Harold Meachum from Iron Fist.
All that being said, the show gives you enough that bingeing the series over two days won’t feel like a complete waste of time to fans who are interested in the universe but don’t neccessarily want to watch them all (*cough* Iron Fist *cough*). Early scenes between Daredevil’s Charlie Cox and Jessica Jones’ Krysten Ritter are fantastic. And scenes between Luke Cage’s Mike Colter and Iron Fist’s Finn Jones are a good time to go to the bathroom. The one action set piece in the first four episodes (the one you saw teased on youtube) felt like a fun but ‘diet’ version of the ab-so-lute-ly FANTASIC Daredevil action sequences (Serious…go back and watch those two hall way fight scenes right now). Daredevil season two showrunners Doug Petrie and Marco Ramirez are at the helm and leave the possibility of an action-packed episode five that this reviewer hopes comes a little closer to what they gave us in episode three of Daredevil.
Side note: There is a concerted but very distracting use of color throughout the entire series. Honestly, there’s not one scene where Matt Murdock isn’t coincidentally in front of something bright red or Jessica Jones isn’t bathed in a muted blue light. Billionaire Danny Rand I can only afford green-tinted clothing and and, apparently, Harlem is trying their damnedest to keep the Green Lantern out of the neighborhood (that’s a solid reference about the color yellow…look it up). 99% of the time this insistence on color coding is heavy handed but it regains its subtlety in episode four’s extended Chinese restaurant sequence (For instance, look at the columns near the front door for a cool melding of all four colors).
Marvel’s The Defenders
Long story short, you’re most likely going to start The Defenders. Whether or not you finish it depends on how badly you want to see Daredevil kick Sigourney Weaver in the face. I’ll see you at episode eight…
Marvel’s The Defenders airs on Netflix on August 18th.
“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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