Martin Scorsese says that each film usually has a single frame that in visual terms defines and encapsulates the film. Think of George Bailey, in Frank Capra’s It’s a Wonderful Life, clutching his wife and children beside the Christmas tree, gratefully looking up to heaven to congratulate the angel Clarence on getting his wings. Scorsese argued that these were not shots that the filmmakers mindfully planned as the definitive image, but rather the image that they and the audience discovered as the tell-tale sign.
NOR_D30_071017_204253_204322_R_COMP – Tom Hanks (as Ben Bradlee) and Meryl Streep (as Kay Graham) star in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.
Or think of the Norman Rockwell painting of the little African-American girl being led by the Federal Marshals past the hateful graffiti into the desegregated school. It is a work that nails a moment in history, and in doing so signifies both what happened and how it is to be seen. It also signifies, as time passes and new perspectives and new voices arise, what other ways the scene can be viewed.
All this brings us to a shot in Steven Spielberg’s newest film, The Post, a fictionalized retelling of the publication of the Pentagon Papers, the top secret report leaked by Daniel Ellsberg revealing decades of lies concerning involvement in Vietnam and Southeast Asia, told to the American people by several administrations.
The shot is of Katherine Graham (Meryl Streep), the owner of the Washington Post, walking down the steps of the Supreme Court Building. While the reporters throw questions to the owner of the New York Times, who were the first to published the Papers, Graham silently descends pass a group of young women who fawningly eye her, this icon of a woman in power. Add John Williams’ lush strings and voila! A tableau. A moment.
NOR_D00_052317_7961_R – Meryl Streep, Director Steven Spielberg, and Tom Hanks on the set of THE POST. Photo Credit: Niko Tavernise.
It’s classic Spielberg…committed, heartfelt, sincere, and obvious. Is obviousness a fault? If it is then much of Spielberg’s early career has to be reevaluated, for he built a career, as did his hero, Frank Capra, before him, on playing straight to the heart. The Post acts as a bridging film, combining the earnest qualities of his early films with the darker, more mature style and subject matter of his later years.
With nuanced and solid performances from his stars (Streep as Graham and Tom Hanks as editor Ben Bradlee), as well as down the line excellence in the supporting cast, the film is engaging, well paced, and smart. This is Hollywood doing what it does best.
It is only in the last third, when Spielberg and his writers, Elizabeth Hannah and Josh Singer(Spotlight), start drawing the parallels to our current historical moment, that the heavier hand begins to be applied. Yet, if they’re going to go there, can they afford to be subtle? Is ours a moment of measurable subtly? After all, what’s at stake, the filmmakers seem to be arguing, is the 1st Amendment and Freedom of the Press. For in this film, the giants battling are not the left and right, the Democrats and the Republicans, but the Press and Power. And the gospel goes that a combative Press is the People, our right to know, our right to not be lied to and manipulated. (Cue the John Williams music, please)
NOR_D10_061217_0738_0732_R2_COMP – L-R: Howard Simons (David Cross), Frederick “Fritz” Beebe (Tracy Letts), Ben Bradlee (Tom Hanks), Kay Graham (Meryl Streep), Arthur Parsons (Bradley Whitford), Chalmers Roberts (Philip Casnoff), Paul Ignatius (Brent Langdon), Meg Greenfield (Carrie Coon, seated) and other members of The Washington Post in Twentieth Century Fox’s THE POST. Photo Credit: Niko Tavernise.
Overall, The Post is a strong film, a muscular statement for our time, but will people who believe that the Press is phony and corrupt buy in, either to the premise, the facts, the drama, or at the box office? Will the story and the principles embedded in the historical narrative be overshadowed by the tribal beliefs of our moment? Do we agree with Supreme Court Justice Black when he wrote in the Pentagon Papers decision, “Only a free and unrestrained press can effectively expose deception in government.”
The Post is betting that you will agree. It’s also betting that the everyman appeal of Tom Hanks will make the pill easier to swallow. It’s also hoping that Spielberg is back in his Frank Capra/Norman Rockwell groove; once again being America’s most beloved entertainer.
“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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