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The Americanized “Spirited” is available on Apple TV+, while the British-based “Scrooge: A Christmas Carol” debuted on Netflix on Friday.
Originally published in 1843, Charles Dickens’ “A Christmas Carol” was that era’s equivalent of a bestseller, with 13 editions published in the first year of print alone.
(“The Muppet’s Christmas Carol,” for example, cast perpetual hero Kermit T. Frog as Cratchit rather than Scrooge.)
The animation is vibrant, capturing the feel of the old Claymation-style Christmas TV specials.
It is a bizarre and somewhat grotesque rewriting of the story’s moral; it's “A Christmas Carol” seen through the lens of bothsiderism.
“Glass Onion: A Knives Out Mystery” is a bit of a clunky title.
But the film itself, which only ever calls itself “Glass Onion” on screen, is a delightful trifle of a mystery movie, a laugh-out-loud comedy that deserves to be a mass market theatrical hit.
Perhaps “Glass Onion” is better experienced on streaming — at least philosophically.
But perhaps “Glass Onion” is better experienced on streaming — at least philosophically.
That being said, “Glass Onion” is as wonderfully enjoyable as its predecessor, even though there’s little need to connect the two.
The fifth season of Netflix’s superb, ambitious “The Crown” covers the years from 1988 to early 1997, arguably the nadir of England’s modern monarchy.
“The Crown” sets up series creator Peter Morgan to be a 21st- century Shakespeare for the Second Elizabethan era.
“The Crown” sets up series creator Peter Morgan to be a 21st-century Shakespeare for the Second Elizabethan era.
His retellings of royal life are no more accurate than “Richard II” or “Henry V,” making royal whining all these years later all the sillier.
“The Crown” even finds ways to make Charles a sympathetic figure in the divorce, no small feat.
The sequel to Netflix’s hit feature film “Enola Holmes” may not have the cleverest title, but “Enola Holmes 2” is just as quick-witted and charming as the original.
A quirky take on Sir Arthur Conan Doyle’s classic mysteries, Enola is more than ready for another adorable, all-ages romp.
Springer’s books, and the films, invent a female character that Doyle never conceived of, and put her front and center.
“Sherlock Holmes” is one of the most adapted mysteries series in history.
Hopefully the success of the “Enola Holmes” franchise encourages them to make more.
DC Films’ latest release into the endless superhero pantheon, “Black Adam,” has a lot riding on Dwayne Johnson’s muscled shoulders.
Black Adam, one of the regularly scheduled villains in the comic book, was supposed to be his main antagonist.
And while “Black Panther” did a great job of making its bad guy both a certifiable badass and a nuanced character, “Black Adam” fails miserably.
“Black Adam” has an interesting inkling of an idea: an oppressed culture that needs to overthrow the invading white men.
But the midcredit sequence in “Black Adam” unfortunately suggests studio leaders are committed to making the same mistakes all over again.