In 2017, IRL, truth is no longer a given in public life. Lies, and the acceptance of dishonesty as a bargaining tool in civil discourse, have become prevalent to the point of being considered the norm. And so, paradoxically, when it comes to our products of cultural and artistic expression, we value authenticity more than ever.
We want our pop culture to peel back the facade, not add to its fakeness. And that goes for the genres dealing with typically lighter subject matter, like relationships and comedy, as well as the more serious stuff. On the small screen, examples abound: the songs on Crazy Ex Girlfriend expose the pitfalls of beauty standards and traditional male-female dynamics, shows like Catastrophe and You’re the Worst revel in the fact that there are no thrilling relationship ups without equally dizzying downs. Girls might have been an outlier when its protagonists started making bad decisions and having ugly sexy, but now that’s par for the course on any show dealing with romance, lust and love, or any combination of the three.
On television, a whole slew of romcoms have embraced a “warts and all” philosophy when it comes to their portrayals of dating, falling in love and staying there, and even breaking up (looking at you, HBO’s Divorce). But film has lagged behind. There are a few exceptions, Trainwreck being a great one, but so many straight romcoms still cater to outdated gender stereotypes, which usually reduce even the most likable characters to thinly written clichés. (And by “straight” here, I don’t mean hetero, although most, sadly, are also that. What I mean without a genre twist. So not a romcom set within a sci-fi or thriller or superhero movie, just a regular old, person-meets-another-person-falls-in-love-and-complications-ensue story. If I could get everyone to go watch The Lobster by selling it as a romcom, I would, but it just isn’t).
On the big screen, we needed a Girls moment, a Rachel Bloom singing The Sexy Getting Ready Song moment, something for those of us who genuinely appreciate the romantic comedy format and wanted to see it evolve – with stories rooted in genuine affection and realistic challenges (rather than mind-blowing notions like, men enjoy sports and women are screeching harpies). And thanks to Emily Gordon and Kumail Nanjinani, nerd power-couple extraordinaire, we have it. Their new movie, The Big Sick, which is based on their real-life love story, is a breath of fresh air for the whole brand.
In The Big Sick you get the ordinary – they meet, fall in love, deal with work and family stress, suffer through roommates and the crappy apartments we all lived in our 20s – and the extraordinary – did I mention that one of them is placed in a medically induced coma due to a life threatening infection!?! The latter lends a sense of urgency to the otherwise very relatable struggles the characters face: How much do we owe our parents for the sacrifices they made to raise our quality of life? How much should we sacrifice and even pretend when their traditions are no longer relevant to us? Is honesty or devotion more important in our relationships with our partners? Does it matter more if we lie about who we are to our friends and family or to ourselves? That’s a lot to grapple with, so we’re lucky the movie’s specialty is making the weighty and complex surprisingly hilarious (primo-example – a 9/11 joke that had my whole theater lol-ing) .
All the while, The Big Sick never cuts its characters slack when it comes to their blindspots. She calls him out for mansplaining old movies, he confronts her about not making more of an effort to understand his culture. There are no villanous “other women” or sprints through the airport to fix everything with a grand romantic gesture. Just two complicated people, plus their families and histories, not sure if they can work it out. This frank look at what it’s like to love someone and try to decide if you want to spend the rest of your life together, reminds me of one of my favorite Drake lyrics – we’re shown that Emily and Kumail are “the furthest thing from perfect, like everyone I know.” That’s what make The Big Sick such an authentic take on modern love – and in 2017 that’s the romcom we need.
“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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