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‘The Last Kingdom’ Season 3: Destiny is All

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Welcome back to the eternal medieval struggle between the Saxons, or the English, and the Danes, or the Vikings if you want to get technical. Uhtred (Alexander Dreymon), son of Uhtred, born a Saxon but raised as a Dane, has pledged himself to the Saxon King Alfred (David Dawson) and served faithfully and well for years at this point.

Now as Alfred’s son prepares to marry and become King of burgeoning England himself, Alfred’s demand that Uhtred pledge himself to Prince Edward (Timothy Innes) for the rest of his life creates a rift between them, even as the Saxons and Danes prepare to go to war yet again!

So yes, essentially Uhtred defies Alfred’s attempt at signing over the entire rest of his life to his son, and leaves Wessex to go rejoin the Danes, at least temporarily. The various factions of Danes are still quite at each-other’s throats, with each clan leader having his own plots for advancement, and it doesn’t help that Aethelwold (Harry McIntyre), Alfred’s nephew and resentful usurper, thinks he can get away with fomenting trouble amongst the Danes too.

Harald Bloodhair (Ola Rapace) has himself a witchy consort called Skade (Thea Sofie Loch Naess), who decides with her feminine wiles and blood magic she’s going to either have Uhtred for her own, or curse him to death. Either option seems fine for her. Many of the middle episodes are dedicated to Uhtred either chasing after or trying desperately to escape the wicked wiles of Skade.

The decline of King Alfred’s health is sending everyone into a tizzy of one-up-manship, as both Saxon and Dane prepare for a new King, or to carve themselves their own kingdom out of the ruins. The Norsemen are uniting, or appearing to at least, under the ragged banner of Uhtred’s brother Ragnar (Peter Gantzler), and just as it looks like he’s finally going to have a real army to crush the Saxons with, a surprise assassin comes out of left field and kills Ragnar but good.

This, of course, leads to the inevitable fracturing of the Danes clans, and a vow from Ragnar’s wife Brida (Emily Cox), to bring his soul out of Niflheim, the equivalent of purgatory for those warriors who didn’t die in battle, and send him on to Valhalla by slaying the one who killed him. After a bit of hemming and hawing, Uhtred determines to help Brida bring glory to Ragnar’s soul quest, too.

Based on The Saxon Stories’= books from Bernard Cornwell, Season 3 is closest to the fifth and sixth novels, ‘The Burning Land’ and ‘Death of Kings’ respectively. As there are four more books to build on, the show’s left-open ending could very well invite a next season. Though season three deals with the deaths of many beloved, and some very not-so, characters, Uhtred Lord of Bebbanburg is still alive and kicking, surrounded by friends and family he forged himself regardless of bloodline or parentage, and I really want to see him continue to kick all kinds of medieval ass!

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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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