RELEASE DATE: September 11, 2015
STUDIO: Universal Pictures
DIRECTOR: M. Night Shyamalan
MPAA RATING: PG-13
SCREENWRITER: M. Night Shyamalan
STARRING: Kathryn Hahn, Ed Oxenbould, Deanna Dunagan, Peter McRobbie, Olivia DeJonge
GENRE: Thriller
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M. Night Shyamalan, the name sends chills up my spine. Not for the fantastic cinematic works he’s produced in the last few years but, the groan inducing, bore fests he’s become associated with recently. He’s been ridiculed for his ever so obnoxious love for the dumbest plot twists in the world. It’s needless to say that I had more than a few apprehensions about this film. Also the fact that it’s advertised as a horror film also it had another strike against it. But,ever the hopeless optimist I ventured in to the cinemaplex ready for anything.
The premise of this movie is that a woman who has been estranged from her parents since she was 17 is sending her children off to meet their grandparents for the first time. Shortly after they arrive strange things happen and they just have to know what’s really going on with good old Pop Pop and Nana. This movie plays heavily on some of the things we as children thought were creepy about the senior members of our families. The mind slips, the adult diaper usage it was all strange to us as kids and made creepy again by the performances of Deanna Dunagan and Peter McRobbie (Nana and Pop Pop respectively ). They bring a sweetness to the roles that makes the psychosis present in their characters shine in the moments when they’re called upon to freak you out. They never scared me personally but, they brought the neccesary evil (pun intended… that was a pun right ?) to the film. The isolated feeling brought on by the snow covered farm house in the small town they lived on the outskirts of was the real culprit of any anxiety I had as far as the kids being in trouble. Only a few visitors came by during the movie and it seemed as if they had to go out of their way in order to visit the homestead of Pop Pop and Nana. Always felt like if stuff went down the kids would have nowhere close to run for help and that is what was scariest to this reviewer.
Becca and Tyler (the children in the middle of all this) are handled capably by Olivia DeJonge and Ed Oxenbould. Becca is an amateur film maker that feels that documenting the trip to their grandparents’ home will bring some closure and emotional healing to the two parties. Tyler is a rapper and self proclaimed ladies man. Never quite got why white guys “acting black” (whatever that means) is still or ever was a funny/ relevant thing to add to a script. In 2015 with the success of so many white rappers (Iggy Azalea excluded because I still can’t figure why she changes her voice) why is it still a point of ridicule to be RWC aka Rhyming While Caucasian. Moving on, Tyler is also a rather troubled little boy with a huge phobia of germs and deep seeded abandonment issues. Becca also has self worth issues that Tyler exposes through the use of his camera. In fact, the characters best scenes are when they take a look in to themselves and open up about how much certain events in their lives have affected them. The documentary look of the film brings an intimacy to the events going on and a greater sense of doom to the proceedings. It was a good choice on the part of the director to shoot it that way.
I didn’t enjoy the film as a whole but it was there were parts that I enjoyed about the film. The atmosphere was excellent, the usage of an ending that was easy to see coming, and solid performances from the cast were pluses in my book. The outdated stereotyping of a white kid acting “ethnically confused” (as Becca put it), the hokey jump scares that didn’t work often, the constant scienceing away (see I can make words too suck it Webster’s) of some the creepy stuff that Nana and Pop Pop do (it kills their fright factor to know that it can all be real life regular stuff that happens to people as they age. This is the first tolerable M. Night Shyamalan film in ages and a hopeful return to making decent to great movies.
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‘Mufasa: The Lion King’ Will Leave You Breathless
“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.
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Is ‘Kraven the Hunter’ a Total Letdown?
“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.
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A Brief Review and History of A Year Without a Santa Claus
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.