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Ron Perlman Shows His Range in Asher

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Since the late 80s, when he was cast as The Beast in a television adaptation of Beauty and the Beast, Ron Perlman has solidified himself as just that, a beast of an actor. Perlman is a consistently strong presence known for the stature and swagger he exudes in his roles. So much so that it can be easy to overlook the amount of heart and humor he can bring to a feature, but with his latest effort, Asher, Perlman brings the feels to the forefront.

The film introduces us to the titular aging hitman Asher (Ron Perlman) who has fallen into a life of routine complete with contract killing in the afternoon and a glass of wine just before bed. When his path collides with Sophie’s (Famke Janssen) on a hit gone wrong, he sees a way to the life he left behind years previously. But his old lifestyle won’t go down quietly, forcing Asher to fight for the right to start anew.

If you feel like you’ve read that plot synopsis before it’s because you almost certainly have. One of Asher’s most glaring issues is, ironic enough, the routine nature of its plot structure. First-time feature writer Jay Zaretsky is taking few chances in his initial go around. The killer with a heart of gold, the love interest who knows she should stay away, and add in a turf war for turmoil – it’s all here.  

Although, Zaretsky does sprinkle in glimmers of promise throughout the screenplay. Janssen’s Sophie is given agency outside of her Asher-centric interactions with the introduction of her dementia-addled mother. This allows the film to contrast difficult topics such as euthanasia and its accompanying emotions with the emotionless killings of a hitman. Yet this idea is timidly explored, highlighting that these grand ideas are out of the scope of this film.

Thankfully, Perlman takes these glimmers and polishes them until they outshine the more mundane aspects of the film. The actor takes it upon himself to present a character full of history. The viewer can envision the difficult and empty life Asher has endured thanks to the longing ever present in Perlman’s expression. The amount of emotion conveyed in Perlman’s lethargic sighs as he goes about his day wash over you and remain until the film ends. You easily understand why Asher and Sophie leave such a strong impression on each other despite their short time together.

Janssen is an excellent companion to Perlman. She is the graceful counterpart to the lumbering Asher but manages to match him in her forlorn presentation. These two weathered individuals pull you into their plight to such an extent that when the plot calls for a revisit to the seedy underbelly of Asher’s occupation you’ll be calling for a return of the film’s more exciting storyline.

From the outside, Asher doesn’t look like much. It offers itself up as a commonplace story showcasing a couple familiar faces in the hope you’ll give it a passing glance. Beneath that uninspiring exterior though is a passionate core that will win you over if you give it a chance.

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‘Mufasa: The Lion King’ Will Leave You Breathless

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“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?

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“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

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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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