Reviewed by Alicia Glass
It’s generally an accepted fact that high school, no matter what age you happen to hail from, is a kind of Hell. The disaffected movie from the 80’s, starring a young Winona Ryder and Christian Slater as a pair of high school kids who end up plotting to literally end the revolution of popular ‘Heathers’ girls at their school, is a black comedy usually found relatable to a lot of people. Take a selfie and dive into the revamped miniseries ‘Heathers’ from the Paramount Network!
So like any typical high school show, Westerburg High is ruled by the popular kids, in this case the three Heathers: Duke, the screamingly flamboyant male gay Heath-er; McNamara, the black self-proclaimed lesbian who has affairs with her teachers; and Chandler, the plus-size gangsta shark leader of the bunch. Veronica Sawyer, while not being named Heather, has been a friend of theirs for a long time, and dutifully follows the Heathers’ insistent instructions on how to remain rulers of the school. And then there’s JD, not part of any clique or club, and yet Veronica coins a morbid fascination for him.
The Heathers personify the absolute worst of today’s PC culture cliques one can think of, especially after Chandler’s miraculous death and resurrection and her determination to become the ‘face of suicide’. Really, girl? Heather Chandler (Melanie Field) stalks the school like Missy Elliot on bad rainbow acid, giving benevolent and saint-like touches with one hand and pointing the demanding accusatory do-it-NOW-or-I’ll GUT-you finger with the other. While it may be true Chandler’s home-life is far from exemplary and she is surrounded by enablers at school, her messianic complex has a tendency to get on my last nerve. And that is likely precisely the point.
Heather McNamara (Jasmine Mathews) is barely in the show, as she decides to be the ultimate trendy and be the first major girl to take her own life, at the end of the very first episode. The pretty little black self-proclaimed lesbian who happens to be having affairs with her considerably older, white male teachers is an interesting twist on a standard trope, but even that can’t infuse this Heather with a ton of personality. Heather Duke (Brendan Scannell) on the other hand, screams personality and demands to be seen and noticed with his utterly fabulous ways, darling, and yet his little drag-apalooza is often over-shadowed by the shallowness of his heart. Because your sexual orientation doesn’t matter when you’re truly an asshole, capable of anything and everything to get what you think you want. It doesn’t help that Heather Duke’s stepmother (Selma Blair) is the worst kind of trailer park noveau riche trash one can think of, too.
JD (James Scully) is of course the disaffected standoffish bastard like many of us, hating the rat race that is his high school experience, annoyed at his rich never-there father and his eternal parade of ever-younger girlfriends, the poor little rich rebel without a cause or a clue. The oppressed violence that seems to lurk in many teenagers these days is given license in JD, especially once he discovers Veronica not only shares his tastes, but can do him one better, too. It sure doesn’t help that JD’s missing mother, played in flashbacks by the redoubtable Shannon Doherty, encourages him to live freely in his dark impulses, like she did.
Annnnd, then there’s Veronica (Grace Victoria Cox) herself. She keeps the same strange affectations the original Veronica did – the monocle for writing in her ever-present diary, the bloodlust and bloodshed, the hormonal madness given whirling dervish form. She obsesses over the Heathers and her part in them, she righteously turns the tables on JD as far as crazy goes, and she all but gleefully goes tripping about committing murder. But in all honesty, the angst that the original Veronica suffered, even while she was happily joining JD in murder, was more realistic and enjoyable.
It’s a very brave move for the Paramount Network to not only remake the ‘Heathers’ movie into a TV series, given all the very real high school violence and suicide that happens these days. The show was originally scheduled to have a certain number of episodes, and an entire episode was scrapped from showing on TV due to the Sante Fe and Parkland school shootings. The show’s premiere was actually pushed back a few times due to school shootings, but eventually went ahead with it, to generally positive reviews. And there are still talks of a second season, which yeah, I would watch.
Check your privilege with the new ‘Heathers’, on the Paramount Network 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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