Since the introduction of the horror/thriller-centric streaming service Shudder in 2016, viewers have had the opportunity to stumble across films that could typically only be found tucked away in the corner of their local video store (if they still have one).
The service has made easily accessible the genre films that would be overlooked when slotted on the same screen as the latest Marvel effort on Netflix. Pieces is one such film that has been kept in a spotlight due to Shudder’s efforts, and thankfully so, as it cartoonishly blends smut, mystery, and a disregard for logic to keep you smiling through the chaos.
The film wastes no time in revealing its exploitation leanings, as it opens with young Timmy putting together a jigsaw puzzle of a nude woman. When his mother walks in and chastises him for playing with “filth” he appropriately responds by murdering and then decapitating her with a hacksaw. Cut to 40 years later and it appears that Timmy is back on the prowl, this time offing young women on a Boston college campus. It’s up to the local police to identify the killer before the body count climbs.
The narrative is fairly routine for slashers of the time, but the execution is what makes the film such an enjoyable ride. Pieces takes from the Italian giallo style and carries an aura of mystery with its proceedings. The cops are presented with a ragtag roster of suspects including campus hearthrob Kendall (Ian Sera), Anatomy professor Arthur Brown (Jack Taylor) and groundskeeper Willard (Paul Smith). The latter of which encapsulates the absurd joy of the film.
It’s clear writers Dick Randall and Roberto Loyola wanted Willard to be the film’s red herring, but something gets lost along the way and Smith plays Willard as a full-on caricature complete with bug-eyed stares. At one point he stumbles onto a crime scene and decides to touch the murder weapon before attempting to assault and flee from three officers.
The laughable creative decisions continue from there with a late-night campus stroll that ends with a kung-fu surprise that’s explained away as the result of “bad chop suey,” and a speaker-shattering line read from Lynda Day George’s distraught Mary. Those are just a few examples, but Pieces has more than enough out-of-left-field plot turns and line reads to fill its sub-90 minute runtime.
Putting the comedic aside for a moment, the film still delivers on its central concept and earns its place in Shudder’s catalog. When allowed to breathe, the film’s mystery is able to bring an unnerving air to a scene. Director Juan Piquer Simón’s location decisions, he often chooses tight spaces like a bathroom or elevator, do a great job of furthering this feeling of no escape. It’s also not afraid to repaint the walls with red and provide some stomach-turning albeit memorable visuals; and expect disembowelment or two.
Pieces has one of the most apt taglines I’ve ever seen, proudly declaring “It’s exactly what you think it is!” This bold acceptance of what the crew has created fosters a sense of endearment that undoubtedly aided its cult status. Pieces is undeniably Pieces up until the very end. Inexplicable, exploitative, entertainment.
“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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