The painting at the center of The Goldfinch is an example of trompe l’oeil, a flat painted surface that “tricks the eye” into believing it is three-dimensional.In the case of Carel Fabritius‘ small painting of 1654, the image is of a goldfinch perched on a wall-mounted stand. On closer examination, the viewer notices that the bird is chained to the stand. It is a subtle and striking work, but like most examples of tromp l’oeil, it is most effective when seen from a distance. Get too close and the signs of the artist’s hand breaks the illusion.
In the case of John Crowley’s film version of Donna Tartt’s novel, The Goldfinch, one need not look too closely before the magic dissolves. This is a film that tries to do too much, cover too much ground, and continuously takes short cuts, which in the end and throughout the 2 1/2 hour playtime, keeps the film from ever truly engaging the audience. Instead, we are aware of the story being sewn together, of holes in the plot being patched with painful leaps, truncations, or wild coincidences; of a few three-dimensional characters surrounded by stereotypes; and of mysteries that, rather than intriguing us, instead frustrate or bore.
In spite of Roger Deakins’ beautiful imagery, The Goldfinch never becomes the prestige film it longs to be. Instead, it remains a messy character study of a young man seeking moral and emotional footing in a world (and a plot) that keeps shifting beneath him. This is not helped by the choice to have the actors portraying Theodore Decker (Oakes Finley and Ansel Elgort) play the wounded protagonist encased in a such a shell of shock and survival that it’s hard to find a way in.
Finley plays a somewhat believable child and teen, but Elgort in many way squeezes down the character. Despite one framing meltdown, his performance is so restrained as to hint at an interior vacuum. As a result, when he does need to emote and telegraph real pain, a tear might appear behind his glasses but not much more. This could be interesting, a way for the audience to be drawn through empathy into Theodore’s suffering and coping. But too often this is betrayed by a plot turn or coincidence that makes one flinch or ache.
It’s only fair to mention that within this mess there were some solid performances. Jeffrey Wright as Hobie, the antiques restorer, certainly has the most integrity and essence. His pain seems the most genuine, and of course he is given the defining monologue tying the meaning of art, The Goldfinch in particular, to our transitory and befuddled lives. Nicole Kidman’s Mrs. Barbour has times when one wondered what was behind her penetrating stares. Unfortunately, this film was not particularly interested in showing us. Luke Wilson plays a dude and Sarah Paulson his low-brow girlfriend. Neither actor has much more to work with.
Unfortunately, even from a healthy distance this film does not become engaging, let alone gripping, and certainly not moving. As a result, no trick of the eye can transform it into a powerful work of art, nor let the bird fly from his stand.
“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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