Hi, my name is Robert and I run a podcast with my co-host, Norton about movie and tv reviews on the Spotify and iHeart podcast called, After The Credits. We fire off on all cylinders on the latest news about movies. One of which, just so happened to fall in tow with my fellow writer, Christian Angeles and his review of Frankenstein’s Monster’s Monster, Frankenstein
On this episode, we wax heavily on Frankenstein’s Monster’s Monster, Frankenstein (which sounds like a Tim and Eric joke) and review the trailers for the new Top Gun and… Oh! Did you know Tom Hanks was portraying your favorite avuncular person on the small screen ever? Yup. We talk about him as well.
So kick back, relax, partake in what you want and listen to what I inevitably might be posting bi-weekly.
Pikuniku is a hilarious puzzle platformer that asks players, “Should I kick this?” And the answer is always yes.
Charming design, clever dialogue, and general aloofness set Pikuniku apart from other puzzle-platformer video games. Developed by SectorDub and published by Devolver Digital, Pikuniku is a colorful, straight-forward game that never takes itself too seriously. As Piku, the red oval with legs hero of the story, it is up to you, to save the world from the evil Mr. Sunshine and his corn stealing ways.
Sounds easy, right? Well, actually, it is.
Simplicity is the star of Pikuniku and I mean that in every sense of the word. Geometric characters are sprinkled throughout a 2D world colored with a bright, bold palette found only in a kindergartener’s crayon box. The music, punctuated by single notes, is charming in its playfulness, reminiscent of MIDI music from games three decades its senior. The controls are just as basic, adding: a flimsy kick that you’ll use often to solve puzzles and irritate neighbors, an ability to roll into an oval for faster speeds, or a graceful swing from hooks with Piku’s ever-so-nimble legs. Boss battles are easy affairs, brought down only by trying to navigate the imprecise nature of Piku’s movement. (No, I meant to kick his feeble leg the other direction!) Because of Pikuniku’s clean design, I didn’t come across any game-breaking bugs or graphical hitches on either the PC or the Switch.
In fact, Pikuniku’s strength comes from simply being present in this ridiculous world. Despite all the platformer elements, Pikuniku is much more of an adventure game that relies on the player being nosey. Comedic dialogue carries the story and without it, Pikuniku would have been a much more tedious experience. Instead, Pikuniku expects its players to be trolls, kicking everything in sight — from an entire pottery store, to skulls, even to baby bird eggs — and it rewards this absurd behavior with trophies. I regret that Pikuniku didn’t lean into this mechanic more heavily, letting Piku be more of a menace than a robot kicking hero. I found myself wanting more of these small world-building additions but unfortunately, once the story kicked into high gear with boss battles, it lost much of the nonsensical nuance.
While Pikuniku wants you to explore the world at large and enjoy all that it has to offer, earning trophies for completing side quests along the way, the reality is: there isn’t much to do outside of the linear main questline. The linear story, coupled with the relatively short gameplay, does Pikuniku a disservice. What’s there is fun and engaging, leaning into the ridiculous physics of Piku and his bouncy friends just enough to make traversing the world interesting and at times, hilarious. However, if the game had offered more than the three-hour playtime, more secrets to explore than three map areas, and fleshed out other uses for currency and gear, it would have been a richer gaming experience.
To increase some of the time playing Pikuniku, the game adds 9 co-op levels for two players to solve puzzles with Piku and Niku respectively. While the co-op is challenging and fun, it suffers from the same issue as the solo campaign: I wanted more.
The most disappointing aspect of Pikuniku might be the “could have been.” When I demoed the beta version of Pikuniku back in 2017, the game felt more like what was promised in the trailers: political intrigue and covert operations wrapped in a playful bow of circles and cloud-shapes. Beating robots required feeding them paradoxes with dialogue choices. Mr. Sunshine was a more prevalent character in the town as opposed to the evil, unseen entity he’s become in the finished product. You weren’t sure which of the townsfolk you could trust and that made the colorful design all the more interesting because the cheery geometric shapes belied a darkness of distrust. As it is now, Pikuniku isn’t a bad game, not by any means, but I’m left with a hollow feeling wishing I had never played a game that didn’t pan out and might not ever be.
All in all, Pikuniku is a simple, entertaining game that left me wanting more. Had it been a mobile title, we might be praising the game’s mechanics and ingenuity and instead, I’m yearning for an update. As a game that launched on the Nintendo Switch and PC, it’s a fun time-waster that offers three hours of entertainment and a lot of laughs, which I would say is worth the $13 price tag, but I can’t imagine that either the solo story or the co-op levels offer much in the way of replay value. While I enjoyed the experience, I’ll just be over here hoping that SectorDub and Devolver offer gamers a bit more in the Pikuniku universe.
From Monday, July 22, through Friday, July 26, we will be running articles about pinball in the lead-up to Santa Clara, California’s “California Extreme” video game and pinball expo.
For the next five days, we will take a look at the history of pinball, the resurgence of its popularity, we’ll count down the 60 best machines of all-time and we’ll take a look at pinball games you can play on your computer, game system, or mobile device so you don’t have to venture to an arcade to get the experience.
We will also feature thoughts from various people in the world of video games and pinballs which range from owners to hobbyists to the gamers themselves.
We hope you enjoy it!
If you missed previous articles, you can find them here:
In “A Brief History of the Silver Ball”, we covered pinball’s past, present, and future, the latter of which covered the world of Virtual Pinball.
To review, Virtual Pinball is any pinball game that can be played on a computer (Mac or PC) or any sort of mobile device. There are currently several applications and programs available for would-be pinheads and this article will discuss the pros and cons of each.
These are presented in no particular order.
THE PINBALL ARCADE
PUBLISHER(S): Farsight Studios, Stern Pinball
AVAILABLE ON: Android, iOS, MacOS, PlayStation Vita, Xbox 360, Microsoft Windows, Kindle Fire, Ouya, PlayStation 4, Nintendo Switch
Pinball’s history is on display here as Farsight faithfully emulates some of pinball’s most famous tables. The graphics vary. The tables are beautifully rendered on XBOX ONE and the Playstation 4 but lose their luster on iOS and tablets due to the lack of processing power. Mobile devices and computer versions also lack the “room lighting” option, which gives PS4 and XBOX users the option to make the virtual room around the table “dark” so that the table’s lights are the only thing illuminating the game. The other major issue is that The Pinball Arcade had over 100 tables at one point — but lost the licensing rights for Bally and Williams tables, so that list was whittled down to around just under 40. Only games from Stern Pinball, Gottlieb, Farsight, Data East, Sega, and Alvin G. and Co. remain. That may sound like a lot — and it is — but Stern just dumped one of the best tables they had in AC/DC (though, “Ghostbusters” and “Star Trek” are thankfully still there) and the stuff offered by Gottlieb, Data East and Sega are just decent, at best. Also, the physics remain a big problem for the app as the ball jumps all over the place and doesn’t jive with real life. The DLC is FAR too expensive for what you’re getting. Still, it’s a good game of pin. It’s just not what it used to be.
PROS: It’s pinball and there’s a lot to choose from. A couple good modern Stern tables in “Ghostbusters” and “Star Trek” play well. The game’s graphics are amazing on PS4/XBOX.
CONS: The only free table is “Black Hole” by Gottlieb and you only get to play two free tables a month. DLC is expensive. All the great tables Bally/Williams made are gone now which means no more classics like “The Addams Family”, “Twilight Zone”, “Pinbot” or “Attack From Mars”. Graphics suck on mobile devices and, strangely enough, on PC’s and Mac as well. Lighting options don’t exist on those devices either.
OVERALL RATING: C+
ZEN PINBALL / PINBALL FX 3
PUBLISHER: Zen Studios ZEN PINBALL AVAILABLE ON: PlayStation 3, iOS, Nintendo 3DS, Android PINBALL FX 3 AVAILABLE ON: Microsoft Windows, PlayStation 4, Xbox One, Nintendo Switch
Zen claims to have the best pinball physics in the VP world. That’s debatable. What I do know is that both Zen Pinball and Pinball FX 3 are great games. Each one has original tables, which feel fairly basic and play basic but what they lack in gameplay, they make up for in the A/V side of things. The thing that sets Zen’s pinball games apart from your run-of-the-mill emulation of existing tables is that the tables are surreal pieces where various components, characters, animals, and other elements of the table come to life. The top half of “JAWS” is covered in water with the shark out there waiting to eat you. “Back to the Future” has Doc guiding you on how to shoot as he stands near the plunger, giving a full range of motion. The stock free table has spiders that come down from the ceiling while ghosts haunt the table. It’s all beautifully rendered, even on mobile devices (“Zen Pinball” is the mobile version) and the audio is crystal clear. The ball DOES feel like it has realistic physics and doesn’t “float” like it does with other pinball emulation programs. It’s a wonderful game with a plethora of tables at your disposal and the DLC tables are cheap at $2 a pop — though $1 might be more to one’s liking.
PROS: Great graphics, even on mobile devices. The tables are beautiful and creative. Audio is top-notch. Physics seem to be fairly realistic. The rulesets for each table are clearly explained in guides. Tables are inexpensive to purchase.
CONS: The gameplay is fairly simplistic. Creativity has its limits and not every table is a winner and while even the best tables look great, some lack targets and feature fairly unrewarding shots. All tables are original and there isn’t any licensed content. Only one table is free. Everything else has to be purchased.
OVERALL RATING: B+
ZEN PINBALL 2 / WILLIAMS PINBALL
PUBLISHER: Zen Studios ZEN PINBALL 2 AVAILABLE ON: Wii U, PlayStation 3, PlayStation Vita, PlayStation 4, MacOS WILLIAMS PINBALL AVAILABLE ON: iOS, Android
This is basically a continuation of Zen’s pinball suite we just mentioned. The only change here are the addition of the Williams/Bally tables that Pinball Arcade lost the rights to. As of right now, Zen/Williams has 13 of the Williams’ tables: “Party Zone”, “Attack From Mars”, “Medieval Madness”, “Junkyard”, “The Getaway”, “Fish Tales”, “Black Rose”, “Theatre of Magic”, “The Champion Pub”, “Safecracker”, “White Water”, “Road Show”, and “Hurricane”. Each table looks GREAT, even on mobile devices, with accurate colors and playfields and awesome lighting. The tables look far better than they did when Pinball Arcade had the rights. The biggest gripe I have is Zen’s insistence on bringing the same silly, surreal elements to the Williams tables that they have on their original tables. “Theatre of Magic” has a magic wand near the plunger which lifts when you shoot the ball while the female magician you hear stands and moves around in the center of the table. It’s distracting and unnecessary. Also, for whatever reason, the iOS version wants you to grind for a table. Each table can be “purchased” using “tokens” which you can get by completing challenges. But getting just ONE token is an exercise in frustration and takes forever. That wouldn’t be so bad…except that each table costs 250 tokens. So you’d have to play for months to obtain ONE table. No thank you. I contacted Zen about this and their response was less than satisfactory, claiming that “I would be given other chances to purchase the tables outright at a later date.” Fine…but I’m not playing until that’s fixed. Tables on other versions around about $3 a pop which, while not horrible, still feels like a lot for one game.
PROS: Zen does it again with the graphics and lighting. Everything looks and plays spectacular. Physics are awesome — though everything is so smooth, it feels almost too easy to complete a table.
CONS: Mobile version features a horribly balanced “grinding” system in order to buy tables. Addition of surreal elements is largely unnecessary. Buying tables on other versions is a dollar higher than the last version.
OVERALL RATINGS:
ZEN PINBALL 2: A-
WILLIAMS PINBALL: B+
This is the end-all/be-all Virtual Pinball application. Visual Pinball X is a freeware, Open Source program which allows users to emulate virtually any pinball table in existence — or one from their imagination. VPX serves as both emulator and builder so anyone with knowledge of complex computer language coding and design skills in Illustrator and Photoshop can build their own table. The most recent stable release is 10.5 which allows for graphics (better lighting effects which include a day/night option), 3D versions of objects, and far better physics than its predecessor. The downside to all of this is the legality of it. It’s an independent emulator running ROM files most gamers likely don’t own. Also, at the current time, the application is unable to run any of Stern’s SPIKE games due to coding limitations. This excludes you from being able to play such games as “Game of Thrones”, “WWE WrestleMania”, “KISS”, ” group of coders found their way around this by reverse-engineering Pinball Arcade’s “Ghostbusters” code — but Stern found out and immediately issued a cease-and-desist to stop the emulation of the game in its tracks. Gottlieb has been issuing C&D’s in order to have their ROM sets removed as well. Also, your PC has got to have a decent video card and be pretty fast on its own to run this sucker as it’s very graphic intensive. If you’re still game, dive right in. This app also works beautifully on a multi-cade VP cabinet or Arcade cabinet.
PROS: Excellent emulation. Physics are right on. Customizable platform means that you can design ’til your heart’s content. Users on VP Forums are extremely helpful if you ever need help for any reason — including design.
CONS: Independent emulation means legal issues running games. Emulation for newer, modern tables is missing meaning no Stern games from about the last four years. Emulation for Jersey Jack, Spooky Pinball, and Dutch is rare to none. Steep learning curve in design of tables if you’re a novice with no background in design or coding. Table quality depends on designer/distributor.
Future Pinball was released five years after Visual Pinball and it’s about the same but with some drawbacks. The pros must come first and everything here looks good. Graphics are sound, audio is perfect. Like VP, you have the option to design your own tables and utilize 3D objects. Also, there’s no hunting for ROM files as Future Pinball doesn’t require them. All the coding is usually included in the table script. So, the legal issues are somewhat lessened. This allows for some excellent original tables and modified versions of existing tables. “JAWS” comes to mind as the artist found a way to put a working video monitor in the corner which also doubles as the famous “Amity Island” sign from the film. The drawbacks, however, outweigh everything else. The physics suck on toast. The ball feels like it floats too much. This can be somewhat remedied by the addition of a modified physics engine but the results are mixed. Additionally, it doesn’t have the graphics engine that VP has so the lighting effects can’t really be altered on the fly. Also, not all modified versions of existing tables work like their real-life counterparts and feature needless rule sets and changes to triggers, light shows, and drain sequences. The emulation on some tables is also a problem. Some tables play slow and lack the speed and audio playback of their real-life counterparts. The software only lasted five years before it was discontinued in 2010 and, while most of the Virtual Pinball community seems to have ventured to Visual Pinball, Future Pinball still has some insanely dedicated fans and users who still design and distribute tables.
PROS: Nice design suite. Some tables are incredible. No ROM files needed to run games.
CONS: Physics are terrible without the physics mod installed. Emulation of existing tables is mixed and, often, inaccurate. Still a steep learning curve for design suite — though simpler tables are a lot easier. Software discontinued meaning no more official support.
OVERALL RATING: C+
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That’s it for now! Thanks for reading.
We will be back tomorrow with the conclusion of Pinball Week! Join us then!
As a special treat for a ‘Stranger Things’ themed July, I’ve been writing extensive recaps for Stranger Things Season Three, covering every moment you may have missed in full detail. Episodes one and two are right here, and last week, I recapped episodes three through five.
The following is an extensive recap of the final three episodes of Season Three. Along with the second, and only other episode of ‘Confused Things with Stranger Friends’.
You Can Listen to the staff of TheWorkprint Hilariously try and explain Season Three of Stranger Things on a new podcast: ‘Confused Things With Stranger Friends’. Downloadable via TheWorkprint Podcast and available right here and on iTunes and GooglePlay.
RECAPS
Chapter Six: E Pluribus Unum
The episode opens on an electromagnetic beam firing a gate open to the upside-down, which Robin comments about and asks Steve and Dustin what the hell is going on. Soon after, the group returns to the communications room where Erica realizes their ‘Russian friend’ whom Steve beat up, has gone missing. An alarm sounds alerting the base. A chase scene ensues, as the group runs door-through-door, passing the main operations room and even past the primary laser. Eventually, Steve and Robin elect to hold the door closed behind them and yell at Dustin to get help. Dustin hilariously says, “I won’t forget you!” as he leaves with Erica through the ventilation shaft, bidding Steve and Robin farewell — just in case. The Russians break-in and capture Steve and Robin at gunpoint.
Back at Hawkin’s Hospital, the lights flicker on-and-off and Will feels a prickling at the back of his neck, stating, “He’s here.” Eleven breathes heavily, preparing for the worst. Back upstairs in the hospital wing hallway, Jonathan yells at Nancy to run as the combined remains of Bruce and Tom form a terrifying creature that approaches her. She can’t initially escape at the staircase behind her as the door is blocked by bags-upon-bags of fertilizer, ironically proving that Bruce (The asshole reporter) and his joke towards Nancy earlier about, “Nancy Drew’s Case of The Missing fertilizer!” proved to be Bruce and the flayed (those controlled by the Mindflayer) as the culprits, all along.
Nancy eventually opens the door just enough to make an opening into the stairwell. Downstairs, the kids (Eleven, Mike, Lucas, Max, Will) ditch the night nurse and her “Two-at-a-time” visitation rule, and go search for the monster they know is there. Nancy runs down the halls and eventually goes into a hospital room and locks a door behind her but the creature melts into a puddle of goo and slips-in underneath.
Just outside the hospital room, Jonathan limps toward the creature but misses attacking it just as it enters. He tries to break open the door, right as the scene cuts away to the kids below, who ditch the non-working elevator and take the stairs.
Back in the room, the creature slams Nancy hard against a wall, as Jonathan grabs an oxygen tank and tries breaking down the door. The creature crawls atop Nancy and roars at her face but seconds before killing her, Eleven breaks down the door and slams the creature across several walls before pushing it outside the window. The monster melts into goo again and enters the sewers, rejoining the larger and ever-growing Mindflayer. Below the large Mindflayer, Billy and Heather stand before the giant mass as Billy exclaims:
“It’s time.”
After the opening credits, we switch to an establishing shot of Mayor Kline’s ‘Fun Fair’, as denizens happily set-up for the fair, and Possum River’s ‘Stand Up and Meet Your Brother’ plays in the backdrop. We close-in on Mayor Kline reprimanding a hotdog stand vendor before realizing in the distance, that the Terminator-Russian (credited as Grigori, though the character has no actual name) is waiting for him.
Inside the ‘Gravitron’, Mayor Kline speaks with the Terminator-Russian in private. He tells Grigori that he has all his people looking for Hopper, and that when he finds him, if Grigori could bring along some backup this time. This makes Grigori angry and the Terminator-Russian activates the ride strangling Mayor Kline along the ride’s handlebar. He gives the Mayor a one-day ultimatum to find Hopper.
Back at Murray’s (The conspiracy reporter) compound, Hopper arrives with some Burger King whoppers with extra ketchup, large fries, a pack of Marlboro Reds, and a Slurpee — all for, Alexi, the Russian scientist — who is watching Looney Toons and enjoying his freedom (4th of July theme after all). Joyce asks Alexi what the generators are powering, and Hopper emphasizes that Murray (who translates for Russian) tell Alexi not to lie and say it’s only the Starcourt Mall — because they know it’s not. Alexi instead, complains that his Slurpee is Strawberry and not Cherry flavored, which angers Hopper — who tells Murray to say it all tastes the God damn same. Afterwards, Alexi disagrees and refuses to talk unless he gets his cherry Slurpee. Now very pissed off, Hopper roughs up Alexi, pushes him out the door, and throws the keys to both the handcuffs and his car at Alexi’s face.
Hopper shuts the door and prevents Joyce or Murray from pursuing. He deduces that Alexi (whom he keeps calling Smirnoff) could’ve escaped in the woods yesterday but didn’t, because he believes he’s scared of the Russians. At that moment, a very happy Alexi begins to liberate himself and drive off, all while The Pointer Sisters, ‘Neutron Dance’ plays in the backdrop. Joyce eventually scoffs and convinces Jim to move. But as they get outside, they find Alexi stopped in the car just before the gate. Alexi reverses the car and gets out, giving the keys backs to Jim. He says that he likes Strawberry too — effectively proving Jim right: Alexi is scared of his own people.
In the underground lab, Dustin shares the entirety of the ‘Stranger Things’ storyline with Erica as they navigate the airducts of the secret lab. She believes everything except for her brother Lucas’ involvement as she thinks he’s a big coward (they’re siblings after all).
While deactivating a rotating fan together to move further through the vents, Erica surprisingly shows significant prowess in estimating numbers, all while constructing a plan of attack of how to escape the lab with Dustin. He then confirms that Erica is a nerd: she’s a math junkie, a political junkie, and loves ‘My Little Pony’. She hates this but we know it’s true.
Elsewhere in the lab, Steve is getting beaten by the Russians who ask for whom does he works for. Steve tells the truth: Scoops Ahoy. They beat him more. He lies and fabricates a story that the store’s delivery didn’t arrive, and he went into the docks to check, he accidentally went down the elevator. When it seems to not be working, Steve bribes them with ice cream, particularly asking if they’ve tried the USS butterscotch, which makes the Russians laugh. Then they continue beating him until he’s unconscious.
As they drag Steve into a room with Robin, she tries to wake him up but is slapped in the face by the Russian in charge. They tie to two together back-to-back on a pair of metal chairs. The officer in charge then says that he thinks Steve needs a doctor. Creepily suggests that they have a very best. Robin spits in the officer’s face. He promises she’ll regret that.
Back in Hawkins, Eleven walks through her blackened mind space searching for Heather who has gone missing for a long time. We see hints through the amount of tissues with nosebleed blood on it that the girl has been at this for a while. Mike is worried Eleven has been using her powers too much. Next to them, Nancy follows up with a lead on the phone, seeing if anything else had gone missing recently. For some reason, the chemicals have stopped going missing and it seems whatever the Mindflayer was doing, stopped. Though we as the audience know it’s because the Mindflayer has corrupted several members of the town already who all are covering it up.
Max and Mike argue over Eleven and the abuse of her powers. Nancy agrees with Max that Eleven is her own person. Mike admits that he’s scared as he “Loves her (Eleven) and can’t lose her again.” At that moment, El arrives. Mike gets quiet. She says she found him.
Back at Murray’s, Alexi has drawn elegant blueprints and finally gives them information. That the key built by the Russians draws on their town’s power in order to break through a barrier and open a doorway between worlds. However, the key itself was only half the equation. The lock/location (Hawkins) was the other part. Alexi tells them the Russians know that the door was open once in Hawkins but is still healing, and the goal was to open the door again. Joyce goes to call her kids. Alexi asks to watch Looney tunes. Hopper asks for whiskey, but Murray offers vodka instead (nod to season two with Jonathan and Nancy).
Hopper asks Murray to ask Alexi if they can turn off the machine and promises that he will get him to his key. Alexi has a big laugh telling Hopper that he reminds him of a ‘Fat Rambo’. He then sadly says impossible, even for real Rambo, as the key was designed by the greatest Russian minds and guarded by the best Russian warriors — breaking in is impossible.
We brilliantly cut to Dustin breaking into this impossible key (the base) with Erica. They find a bunch of the green vials used to power the laser from earlier, as Dustin tries to jumpstart a car. Next to them, lies a gigantic cage meant to hold a creature the size of a Demogorgon, and Erica finds a powerful cattle-prod they take with them as a weapon. Dustin finds some keys and they two drive on.
Back in the interrogation room in the lab, Robin yells for help in their cell, which finally wakes up a very beaten Steve. Robin tells them they’re calling him a doctor. She deduces that there’s some scissors to their side and so she wants to hop over and kick the scissors to Steve, so that he can cut their binds. Together, they laugh and call the Russians morons, as they begin hopping over in synch. But on attempt three, they fall and collapse on their tied chair together. Robin giggles, as she never thought she’d die with Steve ‘The Hair’ Harrington, at a secret Russian base.
In an intimate moment, Robin mentions that she sat behind Steve two days a week for a year, remembering what he ate for breakfast every day. She calls him an asshole. Says that she was obsessed with him and that deep down, every loser just wants to be popular — though more than anything really, just accepted. Steve relents that none of that mattered in the end, that it was all bullshit. That maybe in life, you must mess things up in order to figure things out. Steve wishes he’d known Robin back then. That if he did, maybe he’d be in college. Robin agrees and says she’d then be happily ignorant and slinging ice cream upstairs with some other schmuck. Steve confesses he was happy being her shmuck.
Suddenly, the doctor arrives and props them up. He pulls out a long needle injector and penetrates Steve’s neck with it, as Harrington screams.
Eleven props in front of a TV and a concerned Mike warns her that she’s only done this before once. Eleven says that he can’t hurt her in there. She asks Mike to trust her. He says he does and for her to be careful. Eleven blindfolds herself in front of the television. She enters her darkened mind place where she finds Billy, sitting in his bedroom, waiting. Eleven touches his hand and reaches saying she wants to, “See what happened.”
Aggressively, Billy grabs her by he forearm and won’t let go. Eleven tries pulling away. Falls. Then sees a series of flashback images: everything that happened to Billy…
She crash lands on a beach. Mike asks if she’s okay and she responds that she is. Eleven sees Billy, as a child with a surfboard, interacting with his mother — whom she says is pretty. This is Billy surfing with his mother. It is his happiest memory. Eleven sees the source in the distance, as a red lightning storm appears over the sky.
Back at Murray’s, Jim calls the scientists from last year under the codename ‘Antique Chariot’. He tells the operator:
“Tell Owen’s the ruskies are entering the Gate. Entrance at Starcourt Mall. Send backup. I know how to get in.”
When he hangs up, he conveys that now the three just have to wait. Murray is upset as Jim just compromised who he is to the powers that be. Joyce, likewise, gets very upset as they can’t wait: all the kids are attending the fair which is right next to the suspected gate.
This drives Joyce mad and she calls the operator back, telling him her codename is “Wheelbarrow (Made up on the spot. Also, a befitting upgrade to a chariot)” and that she stresses the urgency to get off his ass, find Owens, and get to Hawkins and bring his men right now! The group then decides to leave and return to Hawkins.
Back at the underground laboratory cell, Steve and Robin call them morons saying they messed up the drug because they feel… very good. The Russian director returns and begins interrogating the two along with the newly arrived doctor who takes out some torturing tools.
Now under truth serum, Steve admits they work for Scoops Ahoy and that they stumbled here by accident — which still upsets the Russians. As the doctor begins the process of removing Steve’s nails, Robin talks and admits that they caught wind of the stupid Russian code. That they broadcasted all throughout town and how they cracked the code in a day. She admits that people know they’re there. When the director asks, Steve slips that Dustin Henderson knows they’re there. When they ask where he is, Steve admits he’s long gone, probably calling Hopper, who is calling the US cavalry, who’re going to arrive and kick their asses… Threats which the Russians don’t take kindly.
Suddenly, the torture is interrupted by an alarm. When the commanding officer departs and arrives at the scene, he finds a giant hole on the floor, as Dustin obviously dropped some of the green vials which melted part of the complex. Dustin then infiltrates the holding cell and uses the cattle prod to take out the doctor, effectively liberating Steve and Robin — though Erica was there too.
Back in Steve’s memories, Eleven sees a series of flashbacks. Billy is abused by his father, who calls his son a pussy. After, Billy’s father calling his wife a whore as he smacks her across the face. Next, we see Billy crying and begging his mom to come home over the phone (she left the family). After, we see Billy bully a child and call them a pussy, much like how his father did to him. Then we see him get introduced to Max and his stepfamily for the first time. Then, we see him asking who’s there at the steelworks, which Eleven finally sees in detail. Above her, a giant red storm cloud accumulates and Eleven believes that this location is the source: Brimborn Steelworks. Jonathan finds the address in the yellow pages. Mike tells her to get out of there.
As Eleven returns she calls for Mike but finds the room oddly empty. Suddenly, Billy appears from out of the corner and gives her a warning as he puts out his cigarette:
“He can’t hear you. You shouldn’t have looked for me. Because now I see you. Now we can all See You”.
At that moment every flayed person from every corner of Hawkins assembles, including Heather and her mother. Eleven cries as Billy continues to condemn her:
“You let us in. And now you are going to have to let us stay. Don’t you see all this time we’ve been building it. We’ve been building it for you. All that work. All that pain. All of it, for you. And now it’s time. Time to end it. And we are going to end you. And when you are gone, we are going to end your friends. And then we are going to end… everyone.”
Eleven telekinetically flings Billy to the end of the room as she liberates herself. Back in her room at home, she cries into Mike’s arms.
At the Steelworks building, we see Heather and her mother line up along with every flayed in town, one-by-one, electing to kill themselves. Including Mrs. Driscoll. All causing the Mindflayer to grow extra-large in size.
In the final shot, the Mindflayer breaks out through the roof of the steelworks building.
Chapter Seven: The Bite
At Mayor Kline’s Fun Fair, John Mellencamp’s R.O.C.K. in the USA plays. Mayor Kline arrives much to the crowd’s approval and he tells the audience that he spared no expense for the best entertainment money could buy. Meanwhile, Mrs. Wheeler rides with Mr. Wheeler and their little daughter, Holly as the family sits atop the Ferris Wheel (Mrs. Wheeler bribed the operator to stop the ride once they were up high). The fireworks go off and Mayor Kline wishes the crowd a happy fourth of July. Yet in the distance, Holly notices that the trees are moving. Her parents ignore her pleas. The camera zooms in and hears the loud shriek of ‘The Mindflayer’.
As fireworks go off in the sky, the camera pans low back to Eleven and Hopper’s shack. Inside, Eleven tells the others what she saw in her mind place: that the Mindflayer is building something special for her. They deduce that it’s going after Eleven as she’s the only thing that can stop it. Eleven also tells them that it wants to kill all of them.
Just then, Nancy stops everyone and questions El: “Didn’t Billy see this exact room?” Will feels a tingle on his neck. Jonathan leads the group outside. In the distance, a large creature approaches.
At the underground lab, Dustin drives the gang away as Steve compares his driving to the Indi 300. Robin corrects him that it’s the 500, and the two argue, with Robin agreeing that they’ll have to just settle on a million. Steve agrees. Erica doesn’t know what’s wrong with them, though it’s admittingly distracting. Dustin crashes the car. Dustin and Erica try and get Steve and Robin to go into the elevator.
In the elevator, now ascending, Steve tries surfing on a wheelable pallet but stumbles, much to Robin’s amusement. Dustin asks if Steve was drugged and Steve admits he doesn’t do drugs… just marijuana. Dustin asks if Steve’s going to die on them and Robin responds haphazardly:
“We all die my strange little child friend. It’s just a matter of how and when?”
Dustin asks Steve where he parked his car and Steve asks if they can stop at the food court, much to Robin’s approval. Dustin agrees so long as they address the car issue, but Steve suddenly remembers that the Russian took his keys during the interrogation. As the elevator arrives at the ground level, Robin and Steve laughingly taste the air, but an armed officer arrives at the scene, and so Dustin and Erica rush everyone back inside.
Back at Eleven and Hopper’s shack, the gang arms up and prepares for a battle, boarding up the windows. They stand back-to-back in the middle of the living room as Nancy, equips a shotgun, and Jonathan, an Axe. Suddenly, a tendril breaks into the house and attacks. Jonathan uses the axe to cut it while Nancy blasts it with the shotgun. Eleven grabs it with her mind and snaps the tip off as the tentacle whips back outside.
Suddenly, two more attack Eleven from both the left and right, as Eleven stops them in their tracks and destroys those too. A large monster’s head then pops out from the ceiling and whips another tendril at Eleven’s leg, pulling her. The group holds onto Eleven as Nancy reloads and then fires the shotgun. Lucas grabs the axe and after several chops, cuts the tendril off.
Mike grabs the tendril and pulls it off eleven who screams in great pain. She gets up, upset, and uses both hands to rip the creature’s head in two. The creature now staggered, Mike and Max carry Eleven out as the kids use the chance to load-up in the car and drive away.
Back at the mall, Dustin leads the group as he takes the three of them behind and the back and into the movie theatre front, where “Back to The Future” is playing. He lets Robin and Steve settle on one end, while he and Erica sit on the other end of the front, exclaiming, “It’s official. I’m never having kids.” He tells Erica to watch the other two as Dustin leaves with the walkie talkie to find them a ride. Meanwhile, Steve and Robin indulge in some popcorn both admitting they have no idea what’s happening in this movie.
Now driving to Hawkins, Alexi goes over the device with Murray, telling the group that the device works with two keys turned simultaneously. To get the keys, they must enter a vault and enter the code: Planck’s Constant to grab the keys. Joyce and Hopper argue, and Murray tells them to cut the bullshit, and admit their feelings for another — breaking down why they’re obviously in love with each other. When Alexi asks what’s going on, Murray tells him in Russian, that he thinks Hopper and Joyce should stop fighting and have sex already. Alexi questions in Russian, “They Haven’t!?”
And with that, the two seemingly natural enemies (Russian Scientist vs. Anti-Russian conspiracy reporter), have become good friends.
Back with Eleven’s group, the gang raids a convenience store and Max tells everyone how to address Eleven’s injuries using first aid (She knows because she hurts herself a lot skateboarding, apparently). Lucas tries to help by dumping all his supplies in front of Max, but none-of-it is useful, and she tells him to grab a bowl — which he thinks is the hardest task ever to find in a convenience store.
While looking for supplies, Nancy deduces that all the flayed kept talking about going back to the source. That Driscol, Heather, and Janet are probably in that giant creature and that by killing the creature they kill all the flayed (which to be honest, is more of a convenient plot device than actual sound logic).
Lucas tells Will that getting a bowl seems to be the hardest task here. Yet on the search, he finds ‘Satan’s Baby’, a bunch of some of the high-powered fireworks. He begins taking a bunch of them with him for their journey just in case.
Mike talks with Eleven, saying it’s been hard breaking up. He admits that he likes that she and Max are friends. Admits that he was jealous as he wanted El all to himself but realizes that it’s unfair. He says he never felt this way before as (love) makes you crazy, though can’t find the words to say, “I love you.”
Suddenly, over the walkie, Dustin interrupts the two, as he’s finally able to reach his friends. Immediately, he asks for help and tries telling about the secret Russian base. He asks for a ride, but his radio is cutting out, as it’s low on battery due to overuse (Which Steve warned him about episodes ago). Dustin rushes back to Erica looking for batteries but realizes… Steve and Robin are missing.
At the water fountain just outside the movie theatre, Robin admits she thinks that the ‘Back to The Future’ mom just tried to bang her son. Which confuses Steve, as they’re the same age. He questions why is it called back to the future? As Robin pushes him away to drink from the fountain. Amazed, he tells Robin to check out the ceiling with him, which is beautiful… until they both get severely nauseous as the room spins. Together, the two rush for the bathroom toilets and throw-up, everywhere.
Now at the fair, Hopper and Joyce go about to search for their children. Murray is ordered to look after Alexi in the car. Hopper tells Joyce to not let Murray’s words get under their skin. In the background, Mayor Kline sees Hopper and calls in the Russians.
Back at the convenience store, Eleven looks for Dustin using her mental abilities, while Lucas and Mike argue that he really likes New Coke in a funny scene. They find Dustin in the movie theatre and decide to head out and drive to him. Back in the aisle, Eleven’s blood coagulates into a puddle that moves
Back at the movie theater bathroom, Robin and Steve think they puked most of the truth serum out and the two play a fun truth-telling game together. Robin admits she peed her pants earlier when the torture doctor pulled out the bone saw. Steve admits that he used to be in love with Nancy. Though he also emphasizes… ‘Used to’.
Steve uses the moment to make his move with Robin: admitting, that he’s never laughed this hard in a long time. That he’s fallen for a girl who’s smart and can crack secret Russian codes. That she’s someone he’s never really met before. Robin gets awkward, and Steve asked if she OD’ed. He slides under the stall towards her and she tells that floor’s disgusting.
He asks her what she thinks. She thinks that the girl sounds awesome, but the guy less so, as he’s on drugs. He thinks the guy is thinking straight for the first time. She says if he really knew her, they wouldn’t be her friend. She admits she likes Steve, but also says she’s not like his other friends — especially, Nancy Wheeler. Robin confesses she was obsessed, not because she had a crush on him, but because ‘she’ couldn’t stop staring at him.
She tells him about Tammy Thompson. How Tammy obsessed over Steve, despite how stupid he was in getting breakfast crumbs everywhere, and despite how much of a douche he was. Robin wanted Tammy and hated how much the girl crushed over Steve. Steve is confused as Tammy Thompson is a girl. After a moment, Steve realizes Robin is a lesbian.
Steve surprisingly admits that Tammy is a dud. Robin argues with him that she’s not and the two laugh about it and have fun with the situation, Steve being more accepting about both the rejection and also, the discovery. Dustin arrives and breaks their banter up.
Meanwhile, back at the convenience store, Billy arrives and touches Eleven’s living blood from the monster’s wound and leftover first aid, seeing it’s memories and tracking what the kids are planning.
Back at the fair, Alexi and tells Murray how to turn the machine off together and warns him that nobody should be near it, or else be vaporized. Alexi jokingly asks Murray if he can now become a US citizen and join in on the fair fun. Murray tells him he doesn’t need to be American to enjoy. He shows him a bit about the American culture, the rigged games, and how the games give illusion of fairness but are rigged to put money in rich man’s pocket. Murray buys his new friend tickets anyway, as Alexi plays and has fun, while Murray looks for some unhealthy fair food fore them.
Meanwhile, Hopper and Joyce spot Karen Wheeler and rush to her as they get on the Gravitron. She asks where the kids as the two are forced on the Gravitron ride together. Joyce holds Hopper’s hand as they go through the spinning ride.
At the movie theatre, the audience applauds the end of ‘Back to the Future’. Dustin tells the group to blend with the exiting guests, hoping that they can sneak on the bus. Steve warns them not to go home though, as Dustin’s house is likely compromised, as he gave the Russians his full name. Robin stops the group in their tracks from continuing, as Russians are spotted looking for them. The group runs and slides down between two escalators.
Back at the fair, Alexi wins a big American carnival prize: a woody woodpecker, which we know from his love of Looney Tunes, that he absolutely loves. As he walks happily back to a likewise celebrating Murray, who has gotten the two a pair of corndogs, he sees the Russian-terminator, Grigori, who calls him a “Traitor” as he shoots him with a silencer right as a balloon pops from a dart game — the same one where Alexi won his prize.
Murray screams Alexi’s name as the carnival begins to fade in Alexi’s eyes and he falls into his new friend’s arms. Murray carries Alexi to the side and takes off his own shirt to put pressure on his wound, looking desperately for help. He finds Jim and tells him that they got Alexi. Jim finds more Russians encroaching and takes Joyce by the hand as the two flee.
In an epic chase scene, Jim tells Joyce to find Murray, get the car, and wait for him out back. Jim goes into a funhouse as the Russians chase him, as he clears the scene of pedestrians. A Russian man approaches with a silencer into the funhouse’s ‘cave of horrors. As the man slowly looks for Jim, he gets ambushed by him.
Outside, Murray finds Joyce and brings him to Alexi — now dead. Murray is hard on himself as he left for a minute for a stupid corndog, blaming himself. As the two leave the park, Joyce runs into Larry (The Mayor) and punches him in the face. She then knees him in the balls and walks away with Murray to the car.
In the funhouse, Jim gets the edge and beats the Russian soldier with a heavy punching bag. But just outside, the Terminator-Russian approaches. Jim grabs the Russian’s walkie and silencer and hides, as Grigori approaches the Hall-of-Mirrors. Grigori believes he finds Jim and starts firing — hitting only a mirror, just as Jim gets the jump on him yet again and unloads several rounds into his chest — seemingly killing the Terminator-Russian for good.
Suddenly, the Russians arrive and so Jim jumps down the funhouse slide, escaping out the back exit and driving away with Murray and Joyce. They confirm that Alexi is dead. He hears Russian speech over the radio and tells Murray to translate — now.
We see the source of the radio signal and find Russians searching a newly evacuated mall for the children. Dustin, Steve, Erica, and Robin hide behind a counter, as the Russians approach the kids, guns in hand. Suddenly, a car that’s being used for middle-of-the-mall showcase starts honking. As we look at it, we start to see it moving. The camera pans up as Eleven telekinetically throws a car at the Russians.
Finally, we see Eleven’s group meet Dustin’s group for the first time this season. Erica is surprised at Lucas. Robin is surprised at Eleven, only discovering now that she has superpowers. They quickly summarize the Russians and Eleven/Mindflayer storylines as quick as possible.
Eleven keeps hearing noise in her head and passes out. When they go to her, she complains about the terrible pain in her leg. The group focuses in on it, and sees a living creature move from the inside, as Mike asks Eleven if she’s okay and the girl screams in great pain.
Chapter Eight: The Battle of Starcourt
The episode begins with ominous synthesizer music, as Joyce drives Hopper and Murray to the mall. Murray says that the deciphered message from Russian walkies from last episode, said the kids are at the food court.
At the food court, Eleven screams in pain as Mike tries his best to console her. Robin tries to alleviate the situation, saying one time during soccer, a girl’s whole bone came out of knee and that Eleven’s going to be fine. Steve tells Robin that’s not helping. Suddenly, Jonathan arrives and brings El a wooden spoon to bite down. They ready her and Jonathan cuts into her leg with a knife as Eleven screams. Jonathan reaches in to pull the creature out, as Eleven screams in severe pain, she yells at him to stop and says she can do it. Screaming in pure agony, she telekinetically pulls the creature out of her leg and screams, as the glass behind her shatters with her powers. She tosses the tiny creature away and as it tries crawling off, a boot SMASHES it.
Reveal that the boot is Hopper’s as he, Joyce, and Murray have finally arrived.
Begin opening credits.
Mike, Nancy, and Hopper finally converge their three storylines. Lucas tells him the creature destroyed his cabin. Steve reconfirms that this big fleshy spider thing is the Mindflayer’s big weapon made from melted people. Joyce asks if sure it’s still alive, and Max says El beat the shit out of it, but yes, it’s still alive. Lucas says if they close the gate again they should kill it. Murray, “YooHoos” and grabs everyone’s attention.
He goes over the maps he made with Alexi. Shows them ‘The Hub’ which should take them to the gateway. He believes that the vault should be closer to the gate, maybe 50-feet, but Erica interrupts and corrects them, that it’s in fact 500 with long corridors surrounded by guards. Erica and Murray exchange names, the girl calling him Mr. Bun-man, and claims that if the group follows his plan he’ll die. Dustin agrees and shows the hatch that leads to an underground ventilation system which goes around the guards. Dustin offers to navigate with Erica, but Hopper says no.
Moments later, as Hopper scavenges the guns from the dead Russians, Erica and Dustin agree that everyone going to the lab is going to die. Mike, Lucas, and Will chime in and say that they survived. Both groups apologize for everything earlier on this season and say they could’ve used each other and share a big-time hug.
Hopper tosses a walkie to Dustin telling him to navigate from someplace safe, but Dustin and Erica say that signal won’t reach. Dustin tells Hopper that he needs something with a high enough frequency band to relay with Russians radio tower. But that he’ll need someone who’s seen their comms room and has access to a superpowered handcrafted radio tower, who conveniently has one placed at the highest point in Hawkins’ — all of which points directly to Dustin. Hopper reluctantly agrees. Dustin says he needs a head start and a car…
“Goldrush” by Yello plays, as Steve is excited, he gets to drive Hopper’s stolen convertible the “Todfthr”. Together, the group has to drive to Dustin’s ‘Cerebro’ Radio Tower at weather top, the town’s highest point.
Murray goes over the keys with Jonathan and Nancy. Joyce says goodbye to Will, reassuring that he’s going to be safe from all this and that he should stay close to Jonathan. Will says he’s more worried about Joyce. They hug and she holds onto him tight.
Hopper holds Eleven’s hand and she tells him she just needs to recharge, then she can fight. He admits she can fight better than any of us, but right now, he needs her safe, as the creature is after her, not them. He asks if she understands and she nods. Mike approaches saying they should go and El hugs Hopper quick before he leaves. Max and Mike carry El off and Hopper calls Mike over, telling the boy to be careful. Finally, Joyce approaches Jim in a fond moment watching the kids go off, though then immediately is confused as to why she’s even there! The shot transitions into the Mall’s corridor halls behind the stores, Joyce and Murray convincing hopper it’s a three-man operation, as it takes two to turn the keys.
Just outside the mall, Mike and Max let Eleven sit in the back trunk as her leg is bleeding. Nancy tries starting her car but it’s not working. She pops the hood and Jonathan checks the car, finding that the ignition cable’s gone.
Suddenly, in the distance, headlines shine as a car engine revs revealing Billy. Nancy screams at the kids to head back into the mall, as Billy continues watching them from outside while revving his engine in intimidation.
Down the elevator shaft, Murray explains the plan again, saying that he’s going to cut the power cables which should set-off the alarm. It should give an opening for the other two to grab the keys from the vault. Joyce confirms that after, they should follow the map to the observation room, turn the key, then escape via the vents. Suddenly, Joyce gets on Hopper’s case as he made a noise, begrudgingly upset that it’s not his plan. Murray says, if all works out, they’ll never even know they were there — which of course, leads to the opening of the elevator door and the Russians finding and holding the group up at gunpoint. Murray tries convincing them that they were called in last-minute to see the comrade-lieutenant. When they ask which, Murray guesses, Lieutenant… Molotov?
At that point, thankfully, Jim gets trigger happy and unloads his machine gun taking out all the Russians. Murray says he had it under control and Jim says he’s improvising as he takes the Russian soldiers’ uniforms — he gets an idea.
Jackie Wilson’s ‘Higher & Higher’ plays in the background, as Steve is driving Dustin’s group to Cerebro. Robin says Suzie must be special for him to lug all this to the middle of nowhere. Erica says that the girl sounds made up, and asks Steve what he thinks, who hesitates to reject the notion. Forgetting where he’s going, Dustin yells at Steve to turn off the non-road and they freak out, as Steve floors it uphill until the car gets stuck in the grass. They proceed on foot to Cerebro, just yards ahead.
At that moment, Mike signals ‘Scoops Troops’ (Dustin’s group) that they’re stuck in the Mall and Billy has disabled their car. Inside the mall, Nancy loads her gun and Max asks if they’re going to kill her brother. She says that it’s just precaution. Will tells Max the gun is also for use against Mind Flyer, who also must know they’re there. Nancy looks at the flipped over car joking questions that there’s no chance that’ll drive? Which Jonathan realizes, that it doesn’t have to — they just need the car’s ignition cable. The kids try flipping the car over to no avail. Eleven tries to use telekinesis… but is unable to channel her power.
Back in the underground lab, a newly disguised Murray and Hopper (they looted the bodies by the elevator) arrive at a checkpoint. Murray convinces the guard to let them through, while Hopper keeps quiet and plays dumb. Joyce asks why Murray was talking so much and he says that guard was nice. They then get a signal: as Dustin calls Murray the codename ‘Bald Eagle’, everyone laughing about the codename. Murray utters under his breath that he hates children as he jumps down into the vents.
Back at the mall, the gang uses leverage to flip the car using physics. Max finds Eleven who scampers off looking for a can of coke in the garbage. Eleven tries to bend it with her mind, like she had a million times in the past, but is unable to use her powers. When Mike asks her if she’s okay she gives a scared expression.
Nancy and Jonathan look for the ignition cable. Mike feels an odd prickling in the back of his neck. Max and Mike look up and see a giant creature breaking through the mall’s roof of glass. Mike calls out to his sister, as a creature snarls from high above and busts through the mall roof.
The Mindflayer lands in the heart of the Mall.
At that same moment, an elevator descends down the shaft, showing the Terminator-Russian arriving with a squad and finding dead bodies stripped of their clothes, calling out ‘The American’ in Russian.
Back at the base, Hopper is worried and Joyce tries being reassuring him, which makes Hopper annoyed as she’s supposed to argue why they needed to go back to the kids. She replies he’s supposed to argue, “It’s really hard to listen when you make it seem like everything’s the end of the world.”
Finally, with their guards down, Hopper admits that despite their bickering, they make for a really good team. Joyce admits they made it this far then asks if she got the job, as detective Byers has a ring to it. He tells her that it’s difficult to serve in a town she doesn’t live, reminding her that she’s still leaving Hawkins. Joyce hesitates now and says if they make it out, they both deserve to celebrate.
Joyce says that she hears Enzos is good and asks Hopper out on a date this time: Enzos Friday, 7 pm. Hopper needs to be sure it’s a real ‘date’ and Joyce tells him to stop talking before she changes her mind.
In the vents, Murray signals ‘Scoops Troop’ to tell him where to go. The kids tell ‘Bald Eagle’ to fly right. Steve finds the Mall’s lights flash on-and-off and tells Dustin to signal the ‘Griswald Family’ (Nancy and Mike’s group) to come in. However, the giant Mindflayer grabs the Walkie and screams into it instead (a tad convenient eh?).
The giant monster lumbers around the mall looking for the kids and even reabsorbs the piece cut out from Eleven. Dustin keeps trying to reach out but gets nothing but radio silence. Freaked out, Steve decides to head back to save them and Robin joins him, Dustin tossing her a walkie before she leaves. Dustin relays to ‘Bald Eagle’ that they have a problem and Hopper asks him what’s wrong.
Back at the food court, the Mindflayer keeps looking as Will freaks out behind the car with Jonathan and Nancy. On the other side of the place, Mike suggests they make a break for it with the creature turned around, but Max is concerned with El’s leg. El says there’s another way out through the back. They try it but knock over some debris as the Mindflaywer gets alerted towards that area of the store, launching several tendrils in search, one of which eviscerates a dummy dressed almost identical to Elven.
Back in the lab, ‘Bald Eagle’ has landed as Murray turns off the switch. He signals Hopper and Joyce to get ready. As Murray starts shifting the breakers off, the soldiers sound the alarm.
Back at the mall, the Mindflayer’s tendril continues looking for Eleven. Lucas tells his group not to worry, as he pops a balloon at the other side of the mall with his slingshot, which narrowly saves Mike from getting spotted. The Mindflayer chases after the sound and everyone uses the moment to scramble and run.
Below, in the lab, Hopper and Joyce run into a soldier and playing it cool. They walk up to the vault and input the code but it’s wrong. Hopper tells Murray his goddamn code is wrong, and Murray says he thought that was Planck’s constant but was obviously wrong. Listening in on the communications Justin gets an idea…
Outside the mall, Jonathan puts the ignition cable in and starts trying to start the car. Billy revs his engine and begins flooring it towards them with his car at full speed. Nancy tries to buy time and uses her handgun to unload bullets at a speeding Billy, to no avail. Out of bullets and still stuck, the group is saved as Steve smashes into Billy’s car in the “Todfthr” mere seconds before Billy could crash into them.
In the accident, Billy’s car hood light’s on fire. Steve asks if Robin is, she’s okay and she jokingly tells him to ask her again tomorrow. Above, the Mindflayer rises out of the mall and sees them, beginning the chase as Nancy tells the others to get in her newly started car. Jonathan drives Nancy’s car away picking up Steve and Robin, as the Mindflayer gives chase.
In Salt Lake City, Utah is a house with a large radio tower on the roof. A radio kicks in asking, “Suzie, do you copy?” as we close-in and see a girl with a large oboe to her side, reading a copy of Ursula K. LeGuin’s A Wizard of Earthsea. This is revealed to be none-other-than Suzie, Dustin’s apparently not-made-up girlfriend. She enthusiastically greets him via nicknames of Dusty-bun Suzie-poo, all while the Mindflayer keeps chasing Jonathan in his car way past the mall. Needing to know Planck’s Constant, Dustin asks Suzie and switches the channel they’re on into the group channel so that everyone can hear the conversation. Suzie refuses to help until Dustin does what she likes… revealed to be a singalong to ‘The NeverEnding Story’. I’ll just post right here for all the adorableness.
All this so Suzie could reveal Planck’s constant: 6.62607004
Hopper inputs the code and retrieves the keys. Dustin tells her she just saved the world and the two grossly keep stating how much they miss each other, before Erica cuts out the radio.
The following happens in quick cuts highlighting tensions:
Outside the mall, Billy crawls out of his burning car as Mike, Max, and Eleven try to escape. Max doubles back to shut the gate on him though Billy stops it from fully closing.
At Nancy’s car, the creature turns around and heads back to the mall, the group needing to double back after it.
Murray gets his door knocked on as Russians encroach. Right as, on the other side of the Lab, Hopper gets to the observation deck with Joyce and fires rounds of ammo into the air causing the scientists in the room to leave. He sets up the keys with Joyce.
Back at the mall, Eleven and Mike try to wait at the elevator but soon find Billy approaching and looking rather menacing. Max begs Billy to stop and not do this, as she tries reaching out to her brother’s humanity, but he coldly backhands her in the face. Mike likewise tries stopping him and is thrown into a wall pipe which knocks him out. Eleven tries using telekinesis but is slammed into a wall behind her and then thrown into a separate wall, effectively knocking her out as well, as Billy picks up her unconscious body and carries her away.
Back at the observation room, Hopper asks if they’re set down there, and Murray says he’s ready but to hurry as company is coming. Hopper tells Joyce he’s ready but is interrupted and stopped by Terminator-Russian, Grigori, who signals that he’s found the Americans. Grigori and Hopper begin having one last fistfight.
Billy carries eleven over the shoulder into the center of the mall. He places her on the ground and whispers:
“Don’t be afraid. It’ll be over soon. Just try and stay… very still.”
Above her, the giant MindFlayer approaches from the roof and lowers itself to eleven, Billy standing over her while watching. As the creature pulls shoots out it’s long and tendrilled tongue, an explosion happens on its face.
From the upper levels of the Mall, Lucas screams, “Flay this you ugly piece of shit!” as he starts tossing the “Satan’s Baby” fireworks onto the creature with Will’s help. As seen from the several sticks strapped together (and confirmed by an earlier scene with Lucas), the fireworks have enough gunpowder combined to be on the level of dynamite.
From the opposite side, Jonathan and Nancy also drop fireworks, and from a third side, Steve also drops some with Robin, while calling the monster an asshole.
Back at battle in the lab below, Hopper and Grigori fight down narrow metal corridor and end at the giant laser adjacent to them. Hopper signals Grigori to bring it.
Back at the food court, The three groups continue to drop fireworks onto the creature as Billy hits the ground in agony, feeling the pain that the Mindflayer feels via their psychic link.
In the commotion, Eleven tries to sneak away, but Billy drags the girl back towards the creature. And at the footsteps below the suffering beast, he begins choking Eleven.
Back below, Hopper and Grigori exchange blows. Hopper gets the upper hand but is kneed onto the ground as his face is mere inches away from being torn by the electromagnetic laser’s spinning generator.
Back above, Nancy throws another big firework but yells she’s almost out. Steve signals to Dustin that they’re out of time and Dustin signals the group to close the gate now!
Back below, Joyce undoes her stolen Russian guard belt and uses it to try and turn the two keys simultaneously by herself.
Back above, Max awakes by the elevator and wakes up Mike. The two rush back to the main part of the mall when they realize Eleven is gone.
Back at the food court, Eleven senses the Mindflayer’s control over Billy’s slipping due to all the explosions. He still chokes her out. She softly whispers to him…
“Seven Feet. You told her the wave was seven feet. You ran to her, on the beach. There were seagulls. She wore a hat… with a blue ribbon. A long dress with a blue and red flower. Yellow sandals, covered in sand. She was pretty. She was really pretty. And you… you were happy.”
She touches his face and in that last tiny moment, Billy regains his humanity.
Back below, at the electromagnetic drill, Hopper is inches away from getting his face torn to pieces. He instead, snaps the Terminator-Russian’s ankle then pulls Grigori close causing his face to hit the spinning turbine instead. It doesn’t kill him, but Hopper gets to his feet and fingers Grigori’s bullet wound, whispers into his ear, “I’ll see you in hell…” then throws Grigori into the turbine which eviscerates the Russian-terminator into pieces.
Back above, Nancy grabs the last big firework. Tosses it. Will tells Lucas they’re out of fireworks too. The creature encroaches on Eleven. Mike and max arrive, as Billy’s the only thing standing in the Mindflayer’s way. As the creature reaches out to kill Eleven, Billy sticks his arms out in rejection, yelling and screaming at the creature — redeeming himself. It proceeds to stab in from almost every direction, as Billy sacrifices himself to save Elven. Screaming as the creature uses one final tendril to stab Billy right in the chest, as Max screams out her brother’s name.
Dustin screams again to close the gate now! Through the walkie, as the scientists arrive just below. Hopper looks at Joyce and he knowingly nods to her. She tears as Joyce flips the keys. The electromagnetic drill explodes, liquifying the scientists below and closes the gate
At the mall, the Mindflayer keels over and dies. Everyone looks on in disbelief. A weak snarling sound as the Mindflayer lays defeated.
Max approaches a dying Billy. With his last worries, he says sorry to Max and dies in front of her. She sobs, speechless, as Eleven holds onto her as she cries.
Joyce looks on towards the platform where Hopper was seemingly evaporated. She cries too. Murray arrives at the last second and asks where Jim was, with no response. The two see more Russians arrive and flee the scene.
At Dustin’s camp at Cerebro, we see helicopters fly by, the cavalry reinforcements of American soldiers arriving on the scene. They break into the underground lab and find Joyce and Murray sitting and hiding, all the Russians having mysteriously emptied out. At the electromagnetic laser, they find the crack in the wall, a hole into the upside-down now closed but wounded. As they evacuate the Mall’s survivor’s, Joyce finds Will safe and sound and the two embraces (spoiler, Will’s puberty hits very hard these last few episodes, he’s much taller than Joyce now). Meanwhile, El finds Joyce crying in Will’s arms. And with no Hopper in sight, she cries too, knowing what must’ve happened.
Three months later…
On an episode of ‘Cutting Edge’, a seemingly sketchy conspiracy show, they do a piece on Hawkins Indiana. The July 4th tragedy, government cover-ups, and death of Police Chief Jim Hopper. They also mention the chemical leak and show pictures of a conspiracy at the lab, including Barbara’s disappearance and Bob’s mysterious death. It also showcases the disgrace of a corrupt mayor, showing that Mayor Larry Kline was arrested. There’s also a sign of the words Hell spray pained over Hawkins, and potentially, blame the rise in Satanism, an occurrence which actually did happen in the late 1980s.
At ‘Family Video’, a videotape rental store, Steve and Robin apply for jobs. Keith (played by Matty Cardarople from Season Two. Also a Netflix veteran for his work on A Series of Unfortunate Events), asks each to give their three favorite movies. Robin selects The Apartment, Hidden Fortress, Children of Paradise. Steve selects Animal House, Star Wars (The one with the teddy bears AKA Return of the Jedi), and the movie with the Dole-ran (DeLorean) and Alex P. Keaton (Michael J. Fox) where he tries to bang his mom, which Steve effectively calls: “The Time”. Keith gives the job easily to Robin but not Steve. She convinces Keith to hire Steve by saying he’ll attract all the hot ladies, lying that Steve drove in traffic at Scoops Ahoy. When asked about their relationship, she simply stresses that he’s her friend.
Back at the Byer’s residence, Lucas and Max tease Dustin by singing ‘The Never Ending Story’ as they pack the house up. They ask Dustin to sing along. He says it’s for Suzie’s ears alone — causing the couple to sing the song again to his annoyance. Feet away, Will drops his D&D box into the donation box. Mike asks him if he’s sure, what if he wants to play with another party? Will says it’s not possible, showing that Will has moved on beyond D&D but not necessarily his friends.
Meanwhile, in a separate room, Nancy asks Jonathan if that’s everything packed. He mentions 17 years of his life packed in a single day. Nancy hugs him from behind and asks what if she never lets him go. He says he thinks the new owners might kick them out. She tells him he could stay in their basement, hide in a tent, like El. Jonathan tells her everything will be okay and sighs. Says as a wise man (Murray) once said, “They have shared trauma.”
She says what’s a little more, and the two agree and kiss as they say goodbye.
In the closet, Eleven can’t reach the teddy bear on the top shelf. She tries using telekinesis, to no avail. Mike brings it down and asks her if she packed her Walkie. Says he’s going to steal Cerebro from Dustin and call her all the time. He confirmed he can come down for thanksgiving and will ask if she and Will can come down for Christmas. She brings up the day at the cabin where he was talking to Max about his feelings, and then El tells Mike, “I love you, too” and plants him one last kiss.
Joyce packs Hopper’s stuff in the house (We’re guessing she took all of his belongings after he died) and finds the heart-to-heart note he wrote for El and Mike with her help. El walks past and Joyce and mentions it’s the speech he wrote for them. El confirms he never spoke it to her, much to Joyce’s laughter. She asks Joyce if she can read the note. Joyce obliges.
The following narrative occurs over Hopper’s voice over, with Joyce’s scribbled notes like “stay calm” and “breathe” interspersed throughout the early section of the essay for Hopper to keep mindful of and follow.
“There’s something I’ve been wanting to talk to you both about – and I know this is a difficult conversation. But I care about you both very much. And I know you care about each other very much and that’s why it’s important that we set these boundaries moving forward so we can build an environment, where we all feel comfortable, trusted and open to sharing our feelings.”
Here, we run through clips of the group saying farewell to the Byer house, Hopper’s empty cabin now filled with holes, and everyone hugging and saying goodbye. All while El is emotionally touched by the letter. We also see her ride shotgun in the moving truck as Joyce and family leave Hawkins.
We also see Dustin and Lucas give the donation box to Lucas’ sister, Erica.
For the rest of the note, Hopper really starts to really share his feelings and writes from his heart, as seen in the flashback. The final scene of the montage is El crying while finishing the note as Peter Gabriel’s ‘Hero’ plays as Joyce asks El if she’s okay.
“Feelings. Jesus. The truth is, for so long, I’d forgotten what those even were. I’ve been stuck in one place. In a cave, you might say. A deep dark cave. And then, I left some Eggos out in the woods and you came into my life and… for the first time in a long time, I started to feel things again. I started to feel happy.
But lately, I guess I’ve been feeling… distant from you. Like you’re pulling away from me or something. I miss playing board games every night, making triple-decker Eggo extravaganzas at sunrise, watching westerns together before we doze off.
But I know you’re getting older, growing, changing. And I guess… if I’m being really honest, that’s what scares me. I don’t want things to change. So I think maybe that’s why I came here, to try to maybe… stop that change. To turn back the clock. To make things go back to how they were.
But I know that’s naive. It’s just… not how life works. It’s moving. Always moving whether you like it or not. And yeah, sometimes it’s painful. Sometimes it’s sad and sometimes it’s surprising. Happy.
So you know what? Keep on growing up, kid. Don’t let me stop you. Make mistakes, learn from ’em, and when life hurts you – because it will – remember the hurt. The hurt is good. It means you’re out of that cave.
But, please, if you don’t mind, for the sake of your poor old dad, keep the door open three inches.”
The final scenes are El walking away with a box of Hoppers Goods. And one last look from Joyce, as she closes the door to the Byer’s home.
Post Credits Scene
We open in on Russia, where soldiers intentionally mention “The American” in a cell (possibly, Hopper as that was his nickname by Grigori). They take out a prisoner to be brought below, where it’s revealed a tiny Demogorgon lies caged, which soon eats the prisoner.
Thoughts:
Episode 6 was the best and creepiest cliffhanger of the series.
There was so much more product placement everywhere. Everything from New Coke to Marlboro Reds to 711 to Orange Julius. Perhaps the real Mindflayer… is capitalism?
Episode 7 really reminded me of Red Dawn with all the Russian references. Also, I loved Alexi and Murray’s almost love story.
Episode 8 was such a good ending to the series I’m sad to see it go. It was an episode which capped in growth for everyone though I don’t know if I agree where all the characters ended.
Hoppers final words are technically, “I’ll See you in Hell.” Which to me, is quite literal, as he was predicted to retire his TV career and pursue the Hellboy movie series (Which I don’t think will happen anymore).
I hope you all enjoyed these thorough recaps about Stranger Things!
From Monday, July 22, through Friday, July 26, we will be running articles about pinball in the lead-up to Santa Clara, California’s “California Extreme” video game and pinball expo.
For the next five days, we will take a look at the history of pinball, the resurgence of its popularity, we’ll count down the 60 best machines of all-time and we’ll take a look at pinball games you can play on your computer, game system, or mobile device so you don’t have to venture to an arcade to get the experience.
We will also feature thoughts from various people in the world of video games and pinballs which range from owners to hobbyists to the gamers themselves.
We hope you enjoy it!
If you missed previous articles, you can find them here:
In the next few days, we’ll counting down the Top 60 Pinball Tables of All-Time. We will be doing 20 tables at a time. The countdown started on Monday and continues today and will conclude Friday.
If you’re a pinball veteran, your list might be close to ours. If not, feel free to sound off in the comments about what you believe to be the greatest game you’ve ever played! If you’re a novice to the game and have never played pinball before, welcome!
We hope this list gets you into your local pinball arcade and gets you playing!
Let’s roll!
40) IRON MAIDEN: LEGACY OF THE BEAST – Pro Version (Stern, 2016)
I’m not a fan of Iron Maiden. I never was. And I’m a child of the 80’s. I’m not actually a huge fan of Metallica or Aerosmith or KISS either. But I would listen to those last three in a heartbeat if it was between them and Iron Maiden and I’d choose their tables over this one any day of the week. So, right off the bat, the audio is just a turn-off. Secondly, I might be in the minority but I don’t need PS4-level graphics on a video screen. It’s a pinball machine, not a slot machine. It comes across as extremely tacky, especially the whole weird “mummy/WW2 dogfight” hybrid theme it’s displaying. I thought the awful Scooby-Doo-esque visuals on “Aerosmith” were terrible. This is something worse. Lastly, it feels awfully cookie cutter in that it features almost the same ramp layouts as all their other rock tables. That said, “Iron Maiden: Legacy of the Beast” features a beautiful, colorful playfield, reminiscent of “Metallica” and “Aerosmith”. The game is fast and flows beautifully, despite it being an extremely open space with a series of ramps. The variety of shots and skill required to make them provides for a good gaming experience and it has a nice old school feel. The game sometimes feels like “Sorcerer” and “Gorgar” on steroids, especially with the addition of the two extra flippers up top. The lighting is your usual modern Stern flair which isn’t a bad thing at all. Light shows are excellent and they work in conjunction with the theme and audio. The issue is that this doesn’t feel “different”. At least “Aerosmith” and “AC/DC” had their toys and gimmicks to differentiate. This is just two ramps and not much else. There’s a feeling that without any real “identity” past the A/V or the playfield, this pretty much could be anything with a quick re-code and fresh coat of paint. You can’t say that about “Ghostbusters” or “Aerosmith”, for example. Overall, this is just another Stern rock table.
39) JACK*BOT (Williams, 1995)
This was the third in the “Pinbot” series of pinball games. It’s a better table than the last entry (“Bride of Pinbot”). In fact, “Jack*bot” seems a bit layered in terms of meaning: is it is a response to the cries of sexism in “Bride of Pinbot”, featuring a male robot instead of a female or is it “Jackbot” as in “jackpot”? Nobody honestly cares, I suppose. But while this is better than the second table, that’s not saying much. The game is a virtual carbon-copy of the first game. There’s no originality in the design except that you’re playing in some sort of space casino thing while scoring “Jackbots” every so often. The casino games are just kinda there and there’s no real risk in losing anything since an average player can easily score a billion points without a sweat. I like what I’m seeing but nothing in this series will top the original “Pinbot”.
38) BLACK KNIGHT (Williams, 1980)
I will say this: it’s a better game than its follow-up. It’s more colorful, smoother and a lot more fun. The issue with the game is that it has two playfields and I’ve learned that when you have this feature, you either live or die by the second playfield. It’s difficult to get the ball back up there once it’s downstairs. And when you get it to the upper field (which takes up a good half of the playfield), the shot angles are a bit difficult to make. Other than that, there isn’t much variety here. Beautiful playfield, though. That sword in the center is epic and I love the sound of the Black Knight taunting me as well as the sound of his horse galloping. Very clever. It’s just too bad that there isn’t much to this game.
37) TRANSFORMERS – Pro version (Stern, 2011)
Transformers is fun, if only just a series of ramps you have to hit. The “choose your side” gimmick is clever but there isn’t much going on with the toys in the game, which stay stationary no matter what. It’s all talk and no action. It has the easiest multi-ball in recent memory, which is odd. You can get that mode in about a minute without even trying because the shots are fairly easy to make. The rule set isn’t complicated. It’s by-the-numbers Stern, yet again. They’ve produced far better than this Transformer film cash-in.
34) THE AVENGERS – Pro Version (Stern, 2012)
“The Avengers” looks and feels like your typical Stern/Marvel licensed thing: colorful, with a some neat toys (Hulk “smashes” things with his arms while the Tesseract spins around much like the lamp in “Tales of the Arabian Nights”, cool features which are hampered by Stern’s penchant for using amateur voiceover work and music that has nothing to do with the film. The thing that saves it from being a complete waste is the straight-forward gameplay — even if every shot outside the Hulk is ridiculous to make. In fact, get ready to hear a LOT of Hulk audio because that’s where your ball is gonna hit most of the time whether you like it or not. Grabbing other Avengers is an exercise in frustration (Black Widow is scream-inducing) and, after awhile, you may just throw your hands up and try another game. Still, this is loads better than “X-Men”. The playfield is colorful and well-produced and the presentation is right on. It’s more geared towards comic fans and completionists.
35) FATHOM (Bally, 1981)
“Fathom” is everything “Paragon” wasn’t — a great theme and art but with better audio that goes far beyond “bloop” and “bleep” and much better gameplay thanks to a reduced playfield and the removal of the awful “double right flipper”. This one had interesting “water” or “wave” sounds as you played and a voice that taunted the player as they played. It’s dated as hell but one can tell that effort was put into it with great targets and a rewarding set of shots that actually work thanks to much smoother gameplay. The playfield is an absolute work of art with gorgeous sea-theming. Even in the dark, the lighting makes this table look great in a gameroom with vivid blue coloring and gorgeous ambient lighting.
34) AEROSMITH – Pro Version (Stern, 2017)
Stern’s rock band-themed tables are hit-and-miss. They range from ridiculously fun and clever (AC/DC) to tables with a band’s name on it (Metallica). Thankfully, Aerosmith is the former. Beautiful, colorful, eye-catching playfield, a good soundtrack and a cool little toybox that you can toss your ball into. The multi-ball call-out is really cool and I love the light-show built into the playfield (the “spotlight” effect is very clever). I’m not a huge fan of the the DMD being replaced with a video screen but if this and Star Wars are any indication, that’s probably going to be the norm from here on out. That and the animations played on the screen are goofy and not really reminiscent of the band, really. It’s like watching a 70’s white-guy version of “Fat Albert”. That said, the game is fun to play.
33) ATLANTIS (Gottlieb, 1975)
A great early pin from Gottlieb. The sea-theming is charming (as is the artwork) and the shots are smooth as silk with a good, simple rule set for an EM table. The only downside is that it hasn’t aged well but if you can get past that, the table is worth your time.
32) NO GOOD GOFERS (Williams, 1997)
Want a fun shooter with a simplistic rule set? Look no further than “No Good Gofers”, a game that pretty much sits in the same boat (no pun intended) as “Fish Tales” in terms of goofball humor and gameplay. Your entire goal is to play a round of golf which ends up being a war against pesky gophers who try anything to get in your way. The shot targets are incredibly fun and satisfying (such as whacking the gophers in the face and the famed “Hole in One”) but seasoned gamers might scoff at the cutesy kiddie art and theme.
31) THE MUNSTERS – Pro Version (Stern, 2019)
A recent release by Stern, this is one of their best tables. The table plays ultra smooth, has some nice audio, and features a great light show when you hit the multiball event. The Herman toy is wonderful. The color scheme is deep greens and purples and the table feels like it should belong in an old mansion or in the background on “Creature Features”. The downside is that the game feels too simple. Shots are fairly simple to make so getting to Wizard Mode on the table isn’t a huge chore like it is on other tables. The “Premium” version of the table comes with a lower playfield which is missing in the “Pro” incarnation (something Stern does which irritates me to no end) and the coding on the table is lacking…something ELSE Stern is famous for. The layout is also a touch recycled. Still, I have a soft spot for the show and it’s fairly fun to play.
30) METALLICA – Pro Version (Stern, 2013)
Sparky (the top middle bash toy) getting zapped is pretty much the highlight of this table. That sequence along with the drain sequence is neat. But there really isn’t much to it. You have to basically hit targets about about a dozen times each to hit a “mini-boss” level. Getting to the actual “Wizard Mode” on the table seems a touch repetitive. Being able to choose what Metallica song to listen to before you play is nice. Nothing truly groundbreaking, nothing “different”. Stern’s “AC/DC” is still the end-all/be-all of “rock band pinball” to me. Compared to that table, anything else is just a quickee meant to capitalize on a recurring theme.
29) SPIDER-MAN – Vault Edition (Stern, 2016)
Like Stern’s movie version of “Spider-Man”? Guess what? Here it is again with a new coat of paint. This is the same exact game with a face-lift. Gone is the metallic film look of the first game. In its place is a comic book version of the titular hero. Rules are pretty much the same: capture villains and become New York’s hero. Everything is more colorful, though J.K. Simmons is sorely missed as J. Jonah Jameson. In his place is an actor playing Spider-Man who makes his trademark quips every five seconds (“Hey, Sandman – didn’t you know stripes were OUT this year?”; “Ah…the black spider-suit…cool…and homicidal!”) and that wears on you in the first few minutes of playing. Still, it’s a fun game (I love when the table shakes when you face Sandman) but one can’t really help but feel like Stern didn’t really try much here. Still, this is their best Marvel game.
28) BLACK ROSE (Bally, 1992)
“Black Rose” is a fun, frustrating, game. On the one hand, the scoring is complex and the little side-games (swinging to a ship’s deck, escaping a shark, etc.) are really cool. Shots on this bad boy take skill and precision. The left ramp is fairly easy. The one on the right, no so much. That and it’s a timed combo system so you have like ten seconds or so to hit the next ramp so you can get your points. The fun is really in the center ramp and the use of the cannon to hit targets you normally have trouble with. Even if you’re playing mini-video games on the DMD (which takes away from the pinball game at hand), the games are fun. But what the game lacks in gameplay and scoring, it more than makes up for in style and atmosphere. The table art and layout is breathtaking with ramp railing laid out in such a way that it looks like a pirate ship. Unlike Stern’s “Pirates of the Caribbean” (what COULD have been with that table) this FEELS like a pirate game.
27) GUARDIANS OF THE GALAXY (Stern, 2017)
If Stern hadn’t updated the code for this table, it wouldn’t be here. Much like “Deadpool”, Guardians is fairly new. It features great music and a Groot bash toy. The missions are a lot of fun and keeps the table from getting stale. The playfield is typical modern Stern. It’s a cheap copy of other games like “Iron Man” and “TRON: Legacy”. Still, the game is uber-challenging and requires strategy and skill to complete, much like the titular heroes resort to in the film.
26) DEADPOOL (Stern, 2018)
This is one of Stern’s best modern tables. Gone is the tacky Photoshop job from past licensed Stern quickies. The playfield is a WOW with some beautiful art that looks like the artists at Marvel helped design. The kitana on the right side of the table is part of the game is just plain badass. The cute little Deadpool bobble next to it just fits. The shots are rewarding as hell (though sometimes ridiculously simple to make) and the callouts are fantastic. The video display is still an annoyance as Stern ditched your typical DMD years ago, but this is a winner in every sense.
25) WHO DUNNIT? (Bally, 1995)
“Who Dunnit” is an interesting table, much like “Safecracker”. Even though the ramps are easy to hit (you can light up the “Extra Ball” like it’s the 4th of July), the theme is brilliant. Mystery noir with a hard-boiled private detective trying to find various killers throughout the city. The issue with this is that there’s no “logic”. You’re just guessing, really and, 99,9% of the time, you can guess who the killer is simply by listening to a witness literally tell you how murderous they seem. You can also score billions of points blindfolded on this game — but one of the cool catches is that you’re also supposed to be a habitual gambler and you can play slots and roulette as side games as you’re trying to solve cases. This means you could be about 100,000 from being the number one high scorer on the table…only to lose that position because you just lost 900,000,000 points at the roulette table. No, you don’t HAVE to play roulette…but the thought that you could not only be in 1st Place on the scoreboard by over a billion points appeals to your ego, something you have to have if you’re into pinball, AMIRITE? Once you do accurately guess the killer, you have to literally “chase” them across the city. The way this is executed is that lanes are randomly lit and you have to hit them — but they change every few seconds. So you have to hurry and try to get the ball up into the correct lane. If you hit the correct lane at the right time, you have to hit one last lane to “subdue” them and have them arrested. This is followed by a four-ball multiball which gives you a TON of points if you’re really good. The downside to this game is that the gameplay and audio feels more than a bit repetitive with audio callouts repeating every few seconds without fail. If CastleVania: Symphony of the Night were a pinball machine, this would be it.
24) THE ADDAMS FAMILY – Gold Collector’s Edition (Bally, 1994)
Once again, I might get hurt for putting The Addams Family this far down on the list. I played this game on and off for the last few years, never really understanding what the fuss was about. I finally sat down to really dig deep this weekend and, while it’s not my absolute favorite pin (Designer Pat Lawlor would triumph later in his career…but we’ll get to that), it’s a solid table. You can definitely see the influence it had on later tables what with the player having to collect “Mansion Rewards” in order to get to the Table Wizard mode of “Tour the Mansion”. The toys on the table (Thing is absolutely wonderful and the way he helps you out by literally picking up your ball is a WOW) are amazing. The theming makes you smile (love the toxic waste on the right side). The call-outs are fun (LOVE the Mamushka and the SHOWTIME multi-ball sequence) but some shots are insane and tough and require pinpoint accuracy. The magnet mission can also make you pull your hair out. The audio also sounds unfortunately garbled. All in all, the table still delivers.
23) SPIDER-MAN (Stern, 2007)
“Spider-Man” is a good shooter. That’s not to say it isn’t fun to play. Getting “Superhero” on this game is a bit of a chore thanks to a rule set that isn’t very deep. The goal is basically to hit ramps all day and all night in order to “capture” villains like Green Goblin, Venom and Sandman. I list those because they’re the easiest to beat being that Sandman’s “tank” is right in front of you and you can light that sucker up like Christmas. You can practically capture him about ten times per game because the game just doesn’t want to lock him down. I wish it would. It’s aggravating just how many times you’ll nail Sandman and beat him. That said, it’s so awesome to hear J.K. Simmons yack all game long about Spider-Man’s accomplishments. They’re pretty chuckle-worthy. Even when you hit start when you haven’t inserted a coin, he shouts, “What is this?! ‘Superhero on a Budget’?!” Good stuff. The light show is also cool and the multi-ball callouts (especially Doc Ock’s) are awesome. A winner all around.
22) ELVIS (Stern, 2004)
A great music table from Stern. It’s a must-have for Elvis fanatics. For the casual music fan or pinhead, this game still works. The rule set seems a touch random and some modes (Blue Suede Shoes) are ridiculous to achieve. Four-ball multi-ball, however, rocks and you’re handsomely rewarded for juggling that many balls for a long period of time. The artwork ranges from beautifully colorful to collector plate-tacky, depending on your taste and the audio, for the most part, is great when you’re not getting weird space sounds like “pew, pew” and lightsabers being ignited. The ramps and toys are fun to hit and that top playfield takes some timing if you want to hit the Heartbreak Hotel at the top. All in all, one of Stern’s best tables.
21) STAR WARS (Stern, 2017)
Feeling less like a Stern table and more like something Jersey Jack or Dutch would put out, “Star Wars” is an obvious choice for a table. It has some cool toys in the Death Star and Tie Fighter. I like the mini-LCD screen on the playfield, something that was obviously lifted from original virtual tables — but it’s most welcome. There are several missions but only one theme that revolves around the Death Star so missions in Tatooine don’t really feel “authentic”, but that’s not entirely bad. I do love shooting down Tie Fighters with the red firing button placed in the bottom center of the table. Pretty cool idea. I’m not entirely sold on it because I’m not the kind of person who needs more than the flipper buttons but I do like the concept. The table plays smooth and the ball doesn’t drain as much as other Stern tables so that’s a huge plus. The downside is that “Ghostbusters” came out a year prior and feels more inspired.
That’s the middle 20 games…join us Friday when we finish off our countdown with the 20 Greatest Tables of All-Time!
USA Network has released a brand new teaser for their hit series, The Purge, which is set to return for its second season this Fall. The series will revolve around a 12-hour period when all crime, including murder, is legal.
Season 2 of The Purge will explore how a single Purge night affects the lives of four interconnected characters over the course of the ensuing year, all inevitably leading up to the next Purge.
The previously announced cast includes Derek Luke (13 Reasons Why), Max Martini (Pacific Rim), Paola Nuñez (The Son) and Joel Allen (Never Goin’ Back).
Tokyo RPG Factory, best known for their releases of I Am Setsuna and Lost Sphear, have released the demo for their upcoming title, Oninaki, on the Nintendo Switch, Playstation 4, and Steam on PC.
In Oninaki, players will follow the story of Kagachi, a young watcher whose duty is to usher Lost Souls into the next world. After meeting a mysterious girl named Linne, his fate becomes entwined with blood and death.
The demo features extensive gameplay options and a deep “Story Mode” that lets players experience the opening of the game’s epic tale of life, death and reincarnation, including an option to allow players’ progress to be carried over to the main game upon release. A “Battle Mode” is also included, where players can play as an upgraded character possessed by four Daemons that perform exciting and varied alternate job roles, with unique combat weapons and abilities.
Pre-order bonuses have been announced for each system. Nintendo Switch players will receive the Ouka-Setsugetsu sword weapon, while players on the PlayStation 4 system will receive the Emrys spear weapon and an exclusive dynamic theme for pre-ordering Oninaki. Steam players will get the Titan axe weapon and an exclusive wallpaper. As an added bonus, all pre-orders of the game have a 10% discount until launch.
Step into the unknown with Moonlighter’s Between Dimensions DLC
Moonlighter‘s biggest expansion to date, Between Dimensions, hits Steam today bringing an onslaught of new monsters and items for players to encounter and sell!
Between Dimensions will add to Moonlighter’s post game by adding all-new interdimensional dungeons, while filling the current dungeons with new creatures, weapons, armors, shop items, and rings. Players will be able to access the DLC only after finishing the main game.
A list of new content and features can be found below:
A brand-new Interdimensional Dungeon (with a chance for it to appear as a Corrupted Dungeon in the original dungeons!)
10 all-new original enemies and 5 minibosses
A full set of weapons with a new short sword, large sword, bow, gloves, and spear
A new set of armor with a helmet, chest, and boots
Trick weapons – 10 unique weapons in total – both powerful… and punishing!
New rings for boosting Will’s passive abilities
New shop upgrade allowing Will to showcase his new Interdimensional Items
New customers wanting to trade and an unfamiliar NPC: The Trader
Additional story and lore
New thieves to invade your shop (free content)
A new client – the indecisive customer (free content)
A bothersome bird terrorizing your customers(free content)
Between Dimensions launches on July 23rd via Steam at 6.99 USD/Euro, and will be available on consoles at a later date.
For those that have yet to experience Moonlighter, the base version will receive a 50% discount on Steam for 48 hours starting July 23.
Years ago, when I was in single digits, my Grandmother took us to a local Round Table Pizza where I’d dump quarters into Pac-Man, Centipede, Paperboy, Marble Madness…whatever might have been in rotation at the time. What really caught my eye, however, was the sleek looking pinball machine in the corner. I didn’t understand what I was looking at so, when an adult put a quarter in to play it, I stuck around to watch. There was something so alluring about what I was seeing. The blinking lights, the roller coaster-like ramps and the way the ball would travel so smoothly along its metal edges, the noises and music. It was something different from the stuff I’d played.
“You don’t have the skill level for this,” my little brain told me. Hell, I was lucky to pass the first maze on Pac-Man at the time. What business did I have trying to play that thing?
A few years later, my Mom took us to her friend’s apartment complex for a nice pasta dinner. The husband of this friend was huge into entertaining — and dealing with kids — and he promised to take us all down to the complex’s gameroom so we could shoot some pool. As we did, I noticed a pinball machine against the wall. This one turned out to be “Elvira and the Party Monsters”. As a teen, I thought Elvira was beautiful, so I was instantly sold. But it was the game itself that pulled me in and didn’t let me go. Instantly, the husband fed quarters into the machine and off I went, eventually triggering the “Boogie Monster” event. Elvira yells “LET’S BOOGIE!!!” and, essentially, two finger puppets propped on a couple small metal spikes move up and down to silly music for about five or six seconds before Dracula yells, “THANK YOU, BOYS!” I loved the music, the lighting, the fact that I did something so minor — but got rewarded for it. It made me smile. Sure, there was Elvira with her ample cleavage sticking out and the game just looked sleazy…but there was a modicum of class and some presentation to it as well.
But it wasn’t until just a few short years later where my passion for it would be fully solidified.
A video arcade opened up at my local mall. It was the early-to-mid 90’s. Video games had progressed somewhat. The old favorites were still there but Mortal Kombat II, NBA Jam, and Killer Instinct were now a thing. The Terminator 2 gun game was a favorite of mine. That sat next to the basketball-for-tickets contraption in the corner until Aerosmith’s lightgun game, “Revolution X” (you heard that right) took its place…but also in that area was another pinball machine: “Twilight Zone”, based on the 1959 TV series. It was unlike anything I’d seen in a pinball game. Rod Serling’s unmistakable voice greeted, praised, and taunted every player who dared to take the game on. I must have watched a dozen players play that thing before I finally got brave enough to play it myself. I still sucked at it but I never forgot the multiball callout, the extra ball from Talking Tina, the insane “JACKPOT” event you got when you hit the piano during multiball…To say I was obsessed with this game was an understatement. I fell in love…which is why I was heartbroken when the arcade announced they were closing and began to sell off their video games and pinball machines. “The Twilight Zone” was listed at $500 dollars. Yes. You read that right. These guys were selling what is now a near $10,000 dollar machine for a SPLINTER of the cost. Of course, I was all of 16 or 17 back then, working at a video store and where the hell was I supposed to put such a thing IF I could afford it?
Alas, there isn’t much of a happy ending here. The arcade would close and I wouldn’t see my beloved “Twilight Zone” for 15 years…
But, I’m getting ahead of myself.
IN THE BEGINNING…
For most people, pinball is a game your parents played when they were kids, featuring a silver steel ball you could knock around for a few minutes, sending it at bumpers and drop targets and small tunnels, orbits, and ramps which would trigger various sounds and nice light shows, points be damned. The fun wasn’t racking up points or getting a high score. That was for the professionals who made it into a competitive sport. The pinball machine was fun to play and appealed to all ages — but like any video game out there, they took skill to master. Regardless of the appeal, various titles appeared in bars, arcades and pizza places around the nation and the world until it encountered its first of two peaks in the 1980’s.
When Pac-Man fever began to infect the world populace back in the 1980’s, pinball fell by the wayside. The boom continued with titles like Donkey Kong, Frogger and Centipede, forcing the industry into a slump which saw a complete lack of innovation. New tables felt like clones of older titles. Eventually, even the coin-op arcade era crashed and burned. By then, it was Gottlieb, Data East (run by the son of Gottlieb’s founder) and Capcom releasing solid hits while Williams was producing powerhouse classics like “The Addams Family” and “The Twilight Zone” which sold machines in record numbers, ushering in a short-lived pinball comeback throughout the 90’s.
By the end of the 90’s, pinball was once again in a rut. Williams and Sega (who bought Data East) were the only two pinball makers left. Sega sold its stake to Gary Stern who would eventually go on to create Stern Pinball while Williams attempted to go on making new machines incorporating video screens on their playfields. This saw some success but they weren’t able to match the success of their early 90’s machines and ended up selling the rights to their machines to another company while they would go on to make slot machines.
From 1999 on to the present, Stern Pinball remains the biggest producers of pinball machines in America with Jersey Jack Pinball, Dutch Pinball, Heighway Pinball, Spooky Pinball and Multimorphic following suit with their own machines.
THE SECOND COMING
Today, pinball is arguably bigger than it’s ever been.
Arcades, once extinct, have evolved into the ever-popular “arcade bar”, establishments which serve food and drink (both alcoholic and non-alcoholic, depending on the location) while you indulge yourself in revisiting your inner child. One of these, “LVL UP” in Campbell, California (400 E Campbell Avenue), features an impressive collection of 10 tables. I say “impressive” because the place is fairly small. LVL UP caters to just about everyone and anyone you could possibly think of. They offer video games, pinball, board games, trivia, and even a mini version of pool. It’s a family place where parents and kids can come and eat and play…but it’s adults only after a certain hour.
David Ramsey is the chef and owner of the establishment, housed in a historic theater building. His food and drink menu is as diverse as the slate of games he has to offer, featuring game-themed drinks like “The Thai Fighter” , “Hadouken”, and my personal favorite, if only for the clever name, “Sake Bob-omb”.
“That ‘Twilight Zone’ pinball table over there,” one of the bartenders says to me, “that particular machine is basically on loan.” I told him I recognized the digital alarm clock mod instead of the standard analog clock that comes stocked with the original game and how I’ve seen that machine before at California Extreme in Santa Clara, just down the freeway. He nods, “Yep. Same machine. The owner will probably take it when CAX comes back to town.”
While I am overjoyed with the notion that my area has an arcade bar, I cannot help but be worried about the future. Not long ago, we had “AFK” in downtown San Jose close and Nickel City around the corner from our place just shut down.
“The emphasis here is on ‘fun’ and really tying in the food and drinks to feed that atmosphere. As much as we would like to think we will be swimming in a vault full of quarters like Scrooge McDuck, we are realists and understand what really pays the bills are the food and drink.We know as long as we keep those our primary core objectives, we will position ourselves to be successful.”
But while pinball is a means to bring in customers and propel business, it’s also a diamond in the rough to others.
I am standing inside of Bobcat Batteries (210 San Jose Ave, STE 2) in a fairly dusty, industrialized part of San Jose, just off the northern end of Almaden Expressway and San Jose Avenue. It’s a hole in the wall, like many of the other businesses which surround it, such as metal shops, a bus yard, and a place which sells feed for livestock. Bobcat Batteries specializes in selling car batteries. My car is fine (knock on wood), so you might be asking yourself why I’m here or, hell, even mentioning this place in an article about pinball. It’s because the owner, Gary, is a pinball aficionado and houses several machines on his shop’s property.
“My obsession with pinball started when I was a kid,” he says to me. “It was a huge part of my childhood. Growing up, unlike now, we didn’t have video games. All there was, was pinball.” And, like myself, Gary fell head over heels with the silver ball and began collecting machines — and every Thursday night, from 7 PM and ending at 10 PM, he opens his shop to pinball nuts like himself, offering gamers the choice of playing 17 different pinball tables which span from 1973 (Williams’ “Gulfstream”) to 2000 (Stern’s “Striker Xtreme”) and includes his personal favorite, Bally’s 1978 vintage “Playboy” table. Gary doesn’t serve food and drink. In fact, no alcohol is allowed in the shop during pinball hours. It’s pinball. The good stuff, served raw and tasty as fresh Sashimi. Take it or leave it.
Oh, yeah…they’re one of the best battery shops in the area, too.
But these two locations simply scratch the surface.
If places like LVL UP and Bobcat Batteries are where you can go to get some of the good stuff, then the Pacific Pinball Museum in Alameda, California (1510 Webster Street) is the “doomsday vault” of the pinball world.
Founded in 2004, the machines here are set on “free play” for customers who pay a small, flat fee at the door, and just in case you thought this was all fun and games, each machine includes a placard which details each machine’s history and the various unique quirks which made them famous.
The museum was the brainchild of former museum exhibition designer Michael Schless who had become somewhat disenchanted with the lack of representation of pinball in your average museum. 18 years ago, Schless began collecting machines, acquiring nearly 40 of them and displaying half of them in a small, rented room, an establishment in Alameda which he dubbed “Lucky Ju Ju”. In just three years, after collecting donations (and removing an outdated ordinance banning the operation of pinball machines in Alameda), Schless opened “The Pacific Pinball Museum” which is currently home to nearly 90 games ranging from 1879 all the way to the present, covering nearly 150 years of pinball, if you’re keeping up with the math.
“There’s a nostalgia associated with pinball, it’s been with American culture for years,” says the museum’s Program Manager, Chris Rummell. “Pinball’s main distinction from video games is that it exists in the physical realm. It’s a steel ball racing around a playfield rather than a virtual depiction. That physical interaction is striking, especially for those who grew up on video games.”
And Rummell could not be more correct.
Whereas the creation of your average video game is something special, one could argue that the conception of a great pinball table takes a true artist. Placing objects on a table for the ball to hit and ramps for the ball to sail upon are half the battle. It takes thought to create stories and goals on this type of canvas and each table’s playfield is painstakingly designed, painted, and finished. Once all the pieces come together, a great pinball machine could easily be compared to American muscle car, a feat of ingenuity and grace.
This is what the Pacific Pinball Museum lives and breathes for.
“Our mission is to preserve this important part of American culture and to highlight all the science, technology, and art it takes to make pinball possible.” Rummell says. “Pinball has a fascinating history, and we think being able to not only see but actually play machines spanning the decades is the best way to show that history.”
PINBALL IN THE DIGITAL AGE
As gaming moves further into the digital age, pinball is already beginning to adapt.
In order to NOT have a repeat of the late 90’s pinball semi-crash, various apps and websites have attempted to preserve pinball their own way.
Pinside, for instance, is pinballer Robin van Mourik’s idea of keeping tabs on the pinball scene. It’s his take on the IPBD (The Internet Pinball Database). Originally created to see if he could handle coding and learn to keep a database, his website has become a multifaceted wonder. On top of the usual forums for pinball fans to connect with one another, the site also provides Internet pinball fans with an extensive catalogue and history of every pinball machine ever made and also tells them where they can go, anywhere on the planet, to play their favorite table. Without features such as these, places like “Bobcat Batteries” would probably have to rely on word of mouth.
Like most everyone I spoke with, Robin’s obsession with pinball also began at a very early age when he fell in love with one of the key aspects of virtually every modern pinball machine out there: the lights on the table.
“And, as you grow older, you find the hobby contains so many different aspects,” he says. “There’s research, the hunt, the purchase, the restoration, the playing, fixing tech issues, building up a collection of cool games that resonate with you. There’s so much to like about it.”
For Robin, video games are pre-programmed and fairly predictable and pinball is not. “The pinball is wild! The physics of the ball have often been imitated (ironically by the video game world) but never have they been able to fully capture the wildness of real pinball.”
Pinside HQ is based in the Netherlands (Hazenkoog 17B, 1822 BS Alkmaar, Netherlands) and Robin’s door is open to pinball fanatics every Friday night, featuring a gameroom stocked with 30 different tables for the discerning player. His goal is simple: human connection via the great game of silver ball.
“Many Pinsiders have become real life friends through the website and that’s my other goal,” He says. “I love it when there are Pinside meet-ups and people meet [in real life] for the first time but act as [long-time] friends. That’s great to see and a huge motivator for me!”
My last stop on pinball’s journey through history resides within the virtual world.
In 2000, a project called “Visual Pinball” was created by programmer Randy Davis. It’s a full on virtual simulation of actual pinball, imitating the physics of a real machine and has only improved over the last two decades. The software is open source, meaning any developer can try to improve it and it’s notable for providing almost near replicas of nearly every pinball machine imaginable as well as original tables created by various coders and artists who have made this their hobby.
The Windows-based program is extremely popular in the pinball community, attracting hundreds of people of various backgrounds who have done everything from provide feedback, improve coding, create their own tables (replicas of existing tables or full-blown originals), and/or using the software as a base to create an actual “Virtual Pinball Machine”, a physical machine which can hold as many games as the builder allows.
I was able to speak with four of the various (anonymous) programmers and gamers who have utilized VP in different ways.
ME:What do you think attracts people to pinball?
“XENONPH”: I think the attraction to pinball is deeply ingrained into the subconscious. It started when we were children and we get our first ball, and we learn the laws of gravity. From the dawn of humankind, we have been fascinated with round objects that can roll. Then, you throw in a bunch of flashing lights, sound effects, and the ability to interact and control this rolling silver ball with flippers! What could be better?
“STAT”: Pinball – it’s an old, old Game, still existing in [modern times]. I also played as a child. [It was a] “Cocktail Table” but cant remember which one it was. “Black Knight” was one. Also, “Funhouse”.
“BOLTBAIT”: Pinball is a game that can be played by people of all skill levels. A beginner can challenge themselves to get better scores and even win a free game by matching the last digits of their score with a random drawing at the end of each game. As you get better, an intermediate player can win a free game by keeping the ball in play long enough to beat a specific score. Then as you learn the rules of the game and begin to complete the specific objectives of a table you can stretch your quarter into hours of fun.
“KABS”: I’m not sure, maybe the lights, music, sound bites that get stuck in your head, the challenge of being able to keep the ball alive for as long as possible…
ME: What sets pinball apart from your average video game?
“XENONPH”: With pinball, you are controlling a ball with gravity, instead of a bunch of pixels with a sword. It’s a totally different experience. You have a more physical connection to pinball, as it is actually gravity moving the metal ball towards your flippers and not a videovgame engine.
“STAT”: Pinball is like playing a small version of mini-golf in a bar.
“BOLTBAIT”: I think it is the analog nature of the machine itself. In a video game, the characters always act the same… in pinball, the ball is free to bounce in different directions depending on the way you hit it with the flippers. I think this is one of the most difficult things to simulate in a digital pinball game–something VP does extremely well. Pinball machines also require a great deal of maintenance–they play differently when dirty or broken. They can be setup by the operator to be more difficult by adjusting the angle of the playfield, for example. So, unlike video games, every pinball game in the wild plays differently. One critical difference is the fact that nudging the machine can affect the ball in play. So, you learn to manipulate the machine to keep the ball in play. Of course, you can’t push the game around too much or you risk “tilting” the game which causes you to lose the ball in play along with any bonus you scored during that ball. Finally, unlike video games, you can win a “game”. In a video game, you can only extend your game, but pinball machines allow you to win additional games. As a kid, I used to put a quarter into a game, win a few games and sell the games to the next kid in line.
“KABS”: For me, it’s being able to see it all in front me. I choose what challenges to go for, there is no wrong way, and, most of the time, I’m in control of what happens.
ME: What got you into pinball?
“XENONPH”: My brother worked in an Arcade in Southern California when I was a kid. I would spend most of my time there after school, and on weekends. He would give me pockets full of these quarters that were painted red. This was back around the time when arcades first started switching to tokens, instead of quarters, because of new gambling laws. I would play “Black Knight” and “Xenon” for hours!! (Also played a lot of Tempest, and Battlezone!!) I was hooked after that. Can never thank my brother enough for having the coolest job in the world when I was a kid! He is the reason I have this addiction!
“STAT”: In general, I was hypnotized…with ALL the games and consoles [which were out by 1970]. Later, in the 80’s to 90’s, it was a great time for me because pinball became bigger.
“BOLTBAIT”: Having a paper route as a kid and access to several machines. With a paper route, I always had money in my pocket and there were at least 5 rotating machines at the bowling ally about a mile from my house. When I was growing up, pinball machines were all over the place. A burger place about half a mile from my house had one machine. A mall about 5 miles from my house had a game room with TONS of video games and a hand full of pinball machines. Even the Payless Drug Store half a mile from my house had 2 machines. It was a different time in the 70’s and my parents allowed me to ride my bicycle all over the place.
“KABS”: When i was young, maybe 9 years old, I used to always go bowling to watch my dad and uncle play. All the bowling centres had a lot of pinball and arcade machines. I would get coins from my dad and uncle and go play what ever pinball machines were there and hyper olympics.
Since the creation of Visual Pinball, we’ve had copycats in both the “homebrew” programming world and the professional world.
Future Pinball was created five years following the release of Visual Pinball — but was discontinued due to an arguably inferior physics system and weaker graphics.
Two years after the demise of Future Pinball, Farsight Studios introduced “The Pinball Arcade” for the Mac, PC, various gaming consoles, tablets and phones. It’s still around today, but a little stripped down. We’ll get to that on Thursday.
Last, but not least, is the Pinball FX app which provides gamers with original tables and very real physics.
The existence of the software isn’t meant to replace actual pinball, says “BoltBait”. In fact, the entire point of Visual Pinball mirrors the mission of the Pacific Pinball Museum.
“Playing digital pinball machines allow you to learn the rules of a table before you play the real machine,” he says. “[It all] serve as a recorded history of the machines of the past. Long after a real pinball machine falls into disrepair, future generations will be able to play those games having the same experiences as those of us who lived through the time period where these machines were common.”
Thus, pinball goes boldly into the future and is therefore on the way to immortality.
THE END IS THE BEGINNING
It’s 2019
I’m 41 years old.
A long time has passed since I was at that Round Table Pizza, since I was at that apartment gameroom, while Elvria complimented me on my…ahem…ball-handling.
I’m at the main Facebook campus in Menlo Park. My shift ended a half hour ago. Every Friday, I visited their “Arcade” which houses an impressive five pinball machines: Bally’s “Creature From the Black Lagoon” and four Stern tables in “Metallica”, “Rollercoaster Tycoon”, “The Simpsons’ Pinball Party”, and “Game of Thrones”. The latter has grown on me. Obviously based on the hit HBO series, it’s comprised of about half a dozen ramps and orbits which you must hit when the lights in front of them flash to prompt you. I’ve locked three straight pinballs up which triggers the “Blackwater Multiball” event. This tosses all three balls you’ve locked at you at the same time. The object, at this juncture, is to hit certain targets to get a jackpot which ultimately leads you to a free replay and, eventually, a spot on the high score list…which is big on Facebook’s big campus.
I have become a seasoned pinball vet. Whereas, as a kid, I couldn’t actually afford a “Twilight Zone” table and ended up making a “Twilight Zone”-themed version of the customizable game “Crystal Quest”, inspired by the pinball machine and practically pulled every string I could so that I could get a hold of the Atari Lynx version of “Elvira and the Party Monsters”, I now have virtual video versions of the tables on my Mac and on my gaming PC at home. I’ve invested in a joystick and button set built for two players which comes complete with pinball flipper buttons on the sides. And, when I’m not able to play at home, I have virtual versions of the games on my phone if I have that itch for a quick fix.
I’ve played my favorite tables more times than I can count. In fact, I’ve played over 100 different tables in my my 41 years on this planet. I still have that child-like feeling each time I do.
I adore retro-gaming. I have a soft spot for my pals, the Centipede, Donkey Kong, Mario, Pac-Man and the rest…but Robin at Pinside puts it more poetically beautiful than I can:
“[With pinball], there’s [another] world under the glass…and that fascinates me to no end.”
David Harbor, better known as police chief Jim Harper on Stranger Things, stars in this eccentric comedy short dedicated to his deceased father (not really), David Harbour Jr. and his magnum opus:
‘Frankenstein’s Monster’s Monster, Frankenstein’
Yes, that’s actually the title. A meta-melodramatic comedy teleplay mockumentary, the story is about Doctor Frankenstein’s attempt at pretending to be his own son/monster, set in a documentary about a son investigating his own father, while also playing him in the meta-melodramatic comedy.
If that’s confusing, trust me, it’s meant to be — as David Harbour the third (the real David Harbour) investigates this strange movie about Frankenstein, why his father was obsessed with it, and how his findings revealed how horrible of a person his father actually was behind the scenes, but most especially, in real life.
Also in the teleplay, Frankenstein’s assistant plays a young movie actor pretending to be Doctor Frankenstein — one whom David Harbour Jr. consistently is jealous of and berates onscreen (breaking the fourth wall). Also, his mother is dying. And his niece is there for no particular reason. And there’s a gun. One that’s mostly there as product placement for a gun store run by the mob.
If all of these afterthoughts seem like sloppy writing, trust me, it’s actually exactly how it’s presented in ‘Frankenstein’s Monster’s Monster, Frankenstein’ (Are you having fun yet? Try saying that title 3x fast).
Truly, the short doesn’t make much sense as anything but a fun self-parody of actors who take their professions too seriously. As David Harbour Junior Senior (Wow, that’s actually accurate) obsesses over what is true acting, with an emphasis in telling everyone that he went to Julliard (Spoiler, he didn’t), all while proving consistently throughout the film that he’s a hack.
And though much of the character is a parody on David Harbour himself, it’s also, a shot at Orsen Welles. Especially the Milk Steak commercial breaks featured in the teleplay which you’ll see was inspired by Welles’ own commercial below.
https://www.youtube.com/watch?v=Fs5YwFONswQ
The performance is a callback to Orsen Welles’ drunken wine commercial celebrating it’s ‘Sexcellence’
Why You Should Watch This
It’s evident that the cast was having a lot of fun with the cheap sets and overblown melodramatic dialogue and story beats in what’s basically a parody of David Harbour’s attempt at making ‘The Room’. So overall, it’s a fun film. Though I can’t see why Netflix agreed to this except as a low-budget joke and as free publicity for David Harbour — whom I’m sure post-Hellboy fame, Netflix was hoping to cash-in on — as there’s even a ‘Big Jim’ Stranger Things reference in the short (which is why I’m covering this for our ST3 themed July). With only a 30-minute runtime there’s a LOT delivered in a short time, especially with Harbour Jr. Jr. conducting interviews about the play in-between scenes, with those who worked with his father, as well as personal memos and thoughts about the play itself.
But none of it is meant to be taken seriously. Just expect nonsensical comedy and a fun way to waste 30-minutes. As ‘Frankenstein’s Monster’s Monster, Frankenstein’ feels like it could have been a bizarre ‘Stranger Things’ outtake using whatever props were left over from the backlot of Netflix studios.
It fits in that late-night comedy style-driven well. With little effort, yet a lot of character — a type of joke popularized by Adult Swim that serves as a funny side bit that self-parodies David Harbour yet doesn’t do anything substantially different.
The Take
Watch this if you really like David Harbour (Personally, I do, and found it funny) or have 30-minutes to laugh at absurdist/eccentric comedy.
You can watch ‘Frankenstein’s Monster’s Monster Frankenstein’ on Netflix Right Now
From Monday, July 22, through Friday, July 26, we will be running articles about pinball in the lead-up to Santa Clara, California’s “California Extreme” video game and pinball expo.
For the next five days, we will take a look at the history of pinball, the resurgence of its popularity, we’ll count down the 60 best machines of all-time and we’ll take a look at pinball games you can play on your computer, game system, or mobile device so you don’t have to venture to an arcade to get the experience.
We will also feature thoughts from various people in the world of video games and pinballs which range from owners to hobbyists to the gamers themselves.
We hope you enjoy it!
In the next few days, we’ll counting down the Top 60 Pinball Tables of All-Time. We will be doing 20 tables at a time and this countdown will take place today, Wednesday, and Friday.
If you’re a pinball veteran, your list might be close to ours. If not, feel free to sound off in the comments about what you believe to be the greatest game you’ve ever played! If you’re a novice to the game and have never played pinball before, welcome!
We hope this list gets you into your local pinball arcade and gets you playing!
Let’s roll!
60) Total Nuclear Annihilation (2017, Spooky Pinball)
I had heard so many great things about this pin and, while the audio and music is top-notch, I feel like maybe I’m missing something. It’s obviously a homage to the EM games of yore and it has a great 80’s theme with a throbbing 80’s dance beat. The shots are extremely limited and the ramps (all two of them) are difficult to hit. Getting into the middle upper playfield is an exercise in frustration and, when you finally get there, have fun keeping the ball inside there when it ALMOST ALWAYS bounces away from the upper left flipper into the drain and out to the main playfield again. Still, the co-op feature is a great idea here and the presentation is key, with some awesome color (this machine looks killer in a dark room), a nice 80’s theme and music that will have you groovin’ as you play.
59) CLASS OF 1812 (Gottlieb, 1991)
“Class of 1812” is the answer to “What if Gottlieb made their own really crappy version of Williams’ ‘Monster Bash’?” Here, we have Gottlieb upping their game a bit and presenting us with a pinball game where you need to collect “stiffs”, such as zombies and vampires, in order to score points. The other objective is to light high-scoring ramps and targets by hitting drop targets which, like the main objective as well as the multi-ball functions, is far more simple than it should be. If anything, it’s the toys that steal the show: a severed hand, a set of chattering vampire teeth that serves to mock you much like the head in “Funhouse” and a cool “beating” heart. The problem is that none of it really amounts to much and they don’t really have a place in the game. They’re just there to be there. Yay for Gottlieb putting some thought into this one…too bad it wasn’t more fleshed out.
58) Black Knight 2000 (1989)
This is a bit of a remix of the original “Black Knight”, a game you’ll see later on this list, but the game doesn’t play better or sound better then its predecessor. The theming is somewhat futuristic so that the game feels less like facing off against a Knight and more like you’re playing a weird version of Pinbot. The center “sword” has been replaced with a weird light “disc” that lights up in a “spinning” manner as you play. Once again, the upper playfield is back — with one freakin’ flipper which doesn’t make a whole lot of sense and makes the upper playfield borderline pointless since there’s no opposing flipper to keep anything in play for long. Once the ball goes downstairs, good luck getting it back up to the top again. The light show, however, is beautiful and it might be rewarding for players better than I. I, however, am not that player. Black Knight is beautiful to look at but feels cluttered and uneven.
57) BATMAN: THE DARK KNIGHT (Stern, 2008)
You haven’t truly laughed until you hear some voice actor hack yell “JACKPOT! YEAH!!!” in Christian Bale’s insane Cookie Monster Batman voice. It takes you right out of the game…which, to be honest, isn’t much. It’s Stern at its worst: amateurish voice work, sloppy PF layout (with another goofy bunch of faces pasted into multi-colored triangles, reminiscent of those themed Monopoly game boards), crappy, generic music that doesn’t even come close to matching the booming, epic tone witnessed in Christopher Nolan’s three films. The shots aren’t really satisfying and the DMD animations leave much to be desired. I understand that there’s a different audio pack which “fixes” the audio heard here. I have not yet heard this audio. Hopefully, those who swear it makes things ten times better are right.
56) HAUNTED HOUSE (Gottlieb, 1982)
In 1982, we got “Haunted House” from Gottlieb. I can see some of the appeal. The first thing you notice is, holy crap, there are THREE playfields on this sucker. Multiple playfields aren’t a bad thing…but with this game, it is. The lower playfield is just a rehash of “Black Hole” (a game which you will see later) and it’s not clear what point it has and the upper playfield is just a giant “no”. The flippers on that particular field take some getting used to but even when you do, there’s no real flow. The overall “theme” doesn’t even feel like a haunted house. The playfield looks like it belongs in a circus-themed pin and there’s no eeriness to be found except for the one organ tune that plays on repeat just like all of Gottlieb’s early games. There’s a lot going on here. Despite its flaws, it would become the 24th most successful Gottlieb pin.
55) SORCERER (Williams, 1985)
At first, this game aggravates you. It’s simplistic. The playfield and glass art are beautifully drawn — but the color pallet is barf-ugly. There’s a big, open playfield — which is typical of 80’s machines — and it has a ridiculously arbitrary island on the upper portion which is home to a bumper and features a borderline-useless flipper. The soundtrack sounds like somebody firing a machine gun through a kazoo and features a deep voice that taunts you every so often. The gameplay starts off mind-numbingly slow — then picks up. It plays faster than you’d think — though, at times, you feel like an NHL goalie more than a sure-shot winger aiming for the net. This machine makes you work for the shots you want. The main issue is that the shot trajectory seems curiously misaligned with the targets on the table. Attempting to get into that little Gottlieb-inspired “tunnel” in the left corner takes awhile. It takes skill to hit that regularly. The light show you get is built into the playfield floor and it’s pretty cool. This table will either make you or break you. I’d liken it to “Gorgar”…with some of the personality sucked out of it. Still, I like this table.
54) FUNHOUSE (Williams, 1990)
I’m gonna get hurt putting “FunHouse” this low on the list. It looks SO good. It’s colorful. Rudy, the ventriloquist dummy, is incredible to look at even though he’s creepy as hell. The sleep sequence is haunting and the game looks even better with LED lights installed. My gripe is that the flow is off. Shots are near impossible to make save for the two top-left tunnels. That center shot is annoying and is pretty much based on luck. Putting a ball into Rudy’s mouth is fun but that gets old quick. I WISH this game played better. Beautiful game, not much replay value. Notable, however, for having not one, but two plungers, one on each side of you when you play.
53) TX-SECTOR (Gottlieb, 1988)
What to say about “TX-Sector”…first, it’s not the prettiest pin I’ve seen. It’s like the Nostromo from “Alien” and the Golden Gate Bridge had a baby. It’s just…blah. Almost colorless. Industrial, really. The scoring is strange. You have to load up your “power”, then make a shot to…do something. I have no idea. There’s a ramp that, try as I might for five straight games, I have NOT been able to hit. I’ve only gotten the interlink shield down but the ball just won’t go up the ramp when I’ve cleared it. Otherwise, hitting targets is fun, I guess. Neat soundtrack, reminiscent of an 8-bit concerto but I wouldn’t go so far as to say “OMG GREATEST PINBALL SOUNDTRACK EVAR”. Like every other game Gottlieb did, it’s frustratingly limited.
52) IRON MAN (Stern, 2010)
Another licensed te-in from Stern, this time based on the popular “Iron Man” films. Music is decent but the rest of the audio is a mixture of sound clips from the flick haphazardly tossed into the game and played at random much like TRON Legacy. Audio call-outs are just plain odd at times. (Did we really need the line “I’m the one who approved the injunction against you” inserted into a PINBALL GAME?) When you aren’t hearing those clips, you’re getting told to do by a guy with a Southern accent and I’m not quite sure who that’s supposed to be. Also, the rules aren’t particularly clear except for when you’re taking on the Iron Monger which just kinda pops up in the middle of the table and waits for you to hit him, which is easy to do every single time. Other than that, the ramps are your only satisfying shots. Stern and Marvel are capable of better.
51) TAXI (Williams, 1988)
“Taxi” can be fun if you’re looking for a quickie pinball fix and just want to knock the ball through some ramps, so it requires some precision but it’s a fairly easy game to pick up. The entire game is comprised of you picking up famous passengers like Gorbachev, Santa Claus, Dracula, Marilyn Monroe and Pinbot. The game suffers, however, from an over-simplistic set of rules, a puke-ugly playfield, and repetitious audio. Yes, hearing your passengers calling “TAXI” is a riot (especially Pinbot who sounds so amusingly desperate hailing a cab in his robotic voice) but it gets old in about a minute. One plus is the alpha-numeric display which somehow animates “cars” going by complete with a passing car sound. This is a nice touch. Otherwise, the game is decent but not great. Even still, this is a must-have for collectors as it looks great in a gameroom and features some that great early 90’s Williams music twang.
50) SING ALONG (Gottlieb, 1967)
“Sing Along” was a game I had the pleasure of playing at Santa Clara’s big pinball expo, “California Extreme”. It’s simple to understand, yet extremely difficult to knock out. The object is to light up numbers that are strewn across the playfield and then score points by putting the ball in the left center hole which tosses the ball into the rest to score big points. The main issue is that the flippers are tiny which leaves you with a giant hole in the middle that your ball drains out of, so you need to nudge and shake the machine more than you should to get the bounces you want. The other issue is that the lanes and targets are insanely difficult to hit and there are other targets in the way that don’t really help things much. Overall, a decent EM.
49) BLACK KNIGHT: SWORD OF RAGE – Pro Version (Stern, 2019)
The third incarnation in the “Black Knight” series of pinball machines comes from Stern. It’s a massive improvement upon the last entry (“Black Knight 2000”, see above) adding a kick-ass new toy in the knight with the spinning baton and ball and the shield. It also features a Magna-Save feature which is aggravating more often than not — but still a very clever concept. The speed on this game kills. You have to be on your toes to make slap saves and be able to hit lanes with pinpoint accuracy. It still has that frustrating “Stern Curse” where you drain a ball after hitting targets you’re supposed to hit. Beautiful music and art on the table, though. It’s a game that’s in its infancy so it might climb higher up on “Greatest Ever” lists with time.
48) GAME OF THRONES – Pro Version (Stern, 2015)
Far superior to the “LE” version from Stern, but oddly void of decent theming save for a randomly-placed dragon, GOT Pro is comprised of basically hitting a series of ramps, orbits, and tunnels, which help you win “battles” amongst the various “houses”. The issue is that there isn’t much to it beyond the maze of ramps in front of you. The ramps and targets only really provide you with about a half dozen total shots, which limits the fun. That and the same music and audio bits just play over and over with generic voice actors seemingly replacing the actual show actors. Still, the sound is impressive on the machine and it’s awesome when you earn the Blackwater Multiball. The dot matrix animations need an upgrade to a video screen DMD because the animations just don’t translate well. The only thing that saves it is the gameplay which moves a lot quicker than GOT LE. You have to be on your toes when shots at targets come barrelling back at you at the same speed you hit them.
47) THE WALKING DEAD – Premium/LE Version (Stern, 2014)
“The Walking Dead” is another Stern cash-in where you shoot at a barn…and a huge, fat zombie thing in the middle of the table. You also “take out walkers” though I’m not quite sure if that’s done by hitting the barn or the bash toy. I keep being told I’m “killing walkers” each time the ball drains…which is often thanks to cheap drains from pop releases. It also has a big crossbow you can “fire” which is as random as the giant zombie in the middle of the playfield. You don’t need giant toys for a pinball machine, folks. The game play is smooth…when you can hit your targets. Otherwise, it’s aggravating to take cheap drains off the HUGE FREAKIN’ ZOMBIE TOY IN THE MIDDLE OF THE PLAYFIELD. The audio is comprised of Rick (I’m guessing here because it sounds nothing like him) saying homespun southernly things like “What a mess!” while you put up with zombies gurgling and the sound of guts being removed which just makes me want to continue playing, lemme tell ya’. The music is the show’s score and theme playing and that’s about it. There isn’t much to it and Stern has made better.
46) SAFE CRACKER (Bally, 1996)
“Safe Cracker” is like “Who Dunnit?” without the charm, wit or smooth gameplay. The concept is really cool but it’s all lost in translation and you get sick of “stop-n-go”, especially when the “stop” doesn’t make much sense: you crack a safe and basically stop a roulette-style safe wheel at a certain number. You’ll get a bunch of cash, a token if you’re lucky, or you’ll get a guard or some sort of robot dog that you have to “defeat”. One of the things I really do like about this game is infinite number of “lives” you get. The object isn’t to give you three chances (or pinballs) to crack a safe, it’s to give you a chance to crack the safe in a given amount of time, period. After you run out of time, you’re arrested. The great thing is there’s a lot to shoot at, despite the much smaller field and flippers. The bad thing is that it’s pretty easy to hit ramps and targets and it feels, at times, like you’re just going in circles until you finally get the shot you want. As for the art…meh. This isn’t the prettiest thing to look at and it’s mostly lights. Props for using the backglass, though. I’m a sucker for stuff like that. Still, this is disjointed and not really for me.
45) X-MEN – LE Version (Stern, 2012)
X-Men drives me crazy. The playfield is basically a bunch of ramps you have to hit…including one that moves around and gets in the way. Those ramps are hard to hit because Wolverine, the table’s bash toy, gets in the way constantly. And Magneto’s the other hindrance. Neither does a damn thing. Wolverine tosses your ball around occasionally and Magneto does the same — sometimes, right into the side drain. The game hates you, draining your ball left, right and center, making nudging a necessity to keep things going. The rules aren’t clear here, either. I guess you have to hit a certain ramp or ramps to grab heroes and occasionally pit them against villains you get from other ramps(?) and it isn’t even clear how you finish those stages. It doesn’t matter because both Wolverine and Magneto always get in the way, even if you’re aiming your shots carefully. It’s beyond annoying and that’s a shame because it’s an otherwise wonderful game with a colorful playfield and audio.
44) THE SOPRANOS (Stern, 2005)
Based on the show if you hadn’t guessed. It’s comprised of a bunch of ramps which includes a really cheap drain from the far left one if you’re not expecting it. The toys just feel placed there and don’t do much — except for the strippers, of course. They’re detailed as hell and they do things. In any case, the playfield is ugly, the “safe” (which you shoot at several times, making it all feel repetitious) looks terrible and the audio is just the show’s theme on repeat which, even if you’re a fan, becomes tiresome two minutes in. The rest of it is Tony asking for “the friggin’ money” every so often. It doesn’t really feel like the show and the theme isn’t all that present. It could be a generic mafia pin for all a gamer would know.
43) FISH TALES (Williams, 1992)
“Fish Tales” isn’t a game I’d play over and over with the intent on conquering it like I do other games. It’s basically a series of ramps which give you combos. The other targets catch you “fish” which add to your score. The game is fine in terms of theme, I supposed. It’s cutesy and revolves around rednecks fishing if you hadn’t guessed. There’s just not much to it and I feel like all I did was hit ramps and lock up balls for multiball. The audio is hit and miss with a GREAT banjo bluegrass tune which sounds beautiful (and seamlessly goes into an ending strum upon ball drain) but the call-outs and other audio remind me of “Creature From the Black Lagoon”: garbled as hell. All in all, a nice piece to have in a collection but, really, it’s only for completion purposes and nothing more.
42) CREATURE FROM THE BLACK LAGOON (Bally, 1992)
Speak of the devil. I like playing this table a lot. It has some really great shots and ramps and a great effect in the “lagoon” where a green hologram version of “the Creature” lurks. Love the 50’s drive-in movie theming. The cons? The audio is AWFUL. Everything sounds like the sound chip was dipped in water. That and the placement of the ramps feels like you’re looking at the McArthur Maze having an orgy. The entrances of certain ramps are hard to make out unless one knows where they already are. That, and aside from the hologram, there isn’t much “story” to this board except for couples making out at a drive-in. Almost nothing here has anything to do with the actual creature, unless you’re counting it being “a drain monster” which it surely can be when shots bounce back at you. Nudging BARELY helps with that, too. Still, a decent game and a lot of fun to play. It just plays fast and ends too quickly. Perhaps the machine I’ve been playing isn’t calibrated correctly.
41) THE MACHINE: BRIDE OF PINBOT (Williams, 1991)
So the company that brought us the brilliant “Pinbot” decided to eschew thoughtful design and a wondrous, colorful space theme…and replace it with a female Pinbot that looks like she’s blowing one of the ramps. The really weird borderline misogyny aside, the sequel to “Pinbot” is nowhere near as good as its predecessor. It’s just shooting the left ramp over and over to accomplish stuff with the main goal being to bring the female Pinbot to life. The flipping “face” at the top of the table is a REALLY cool idea, though when it comes down to it, it isn’t anything we haven’t seen before. Not a game I’d play over and over unlike the first one.
That’s the first 20 games…join us Wednesday when we continue our countdown!
The Stunning Visual Achievement Satisfies the Justification of a Remake
Out of all the Disney remakes that came out this last few years, The Lion King was the one I was the most excited for. I did hear mix reactions out of friends that loved the original and critics that saw the movie so I tried to keep that in mind while watching the movie.
The first thing I want to say is that this movie is stunning. The CGI is amazing and it’s crazy how far along we have come in technology. There was not a moment in this movie where I was taken out of the experience because of the visual presentation. I also saw it in 3D, and, while there were some fun moments, I didn’t feel it necessary to see it like that. Though definitely try to see on a big screen because it is unbelievable.
One critique I heard going about the movie was that the quest for realism in the portrayal of the animals resulted in a lack of facial expressions. This means you are not going to see a lion grinning. Though it is more realistic, I promise it does not detract from all the emotional moments; All it does is place a greater emphasis on the voice acting.
The Cast
Likewise, most of the cast does a tremendous job carrying the dramatic and comedic weight of the movie. Which is great, but does shine a light on those that did not perform as well as the rest.
JD McCrary, playing Young Simba, sounds robotic at points and can’t always hit the emotional notes you would desire, but he does do a phenomenal job when it comes to singing, “I Just Can’t Wait to Be King”. He is definitely outshined by Young Nala, excellently done by Shahadi Wright Joseph (who, to be fair, performs the role in ‘The Lion King’ on Broadway).
There were also points where John Oliver felt stiff in his performance as Zazu, and I’m a huge fan of him. In his defense, he is asked to do a lot with a lot of lines spoken quickly in some of these scenes.
To be honest, the person that shines the most for me was Seth Rogen. Not only does he own the role of Pumba, he really holds his own along with the beautiful singing of Billy Eichner (Bravo good sir).
Speaking of the music, most of the songs matched their original counterpart either by replicating it well or making some tweaks that worked. The most disappointing for me was “Be Prepared.” The original is my favorite Disney song ever, and the 2019 version I feel misses the mark.
Beyoncé contributed a song called “Spirit” that appeared in the movie. Though the song was well executed, its modern musical composition seemed to distract compared to the rest of the soundtrack and took me out of the movie for a scene, which is one example of the different changes made for this movie in comparison to the original.
The Takeaway
Of everything added or changed, I would say half of them worked for The Lion King. Certain scenes or moments were stretched, which most of the time didn’t do the movie any favors. The changes that worked added depth to characters and helped move the story along instead of slowing it down. You can also say the same of how the iconic moments played out in this remake. Half of them worked and the other half seemed to either underwhelm or overdo it.
This brings the directing. I am a fan of Jon Favreau, and his work with the Jungle Book played a part in my excitement for this movie. Yet, his direction left a bit to be desired, in some choices in the performances we saw, but mostly in the pacing. The second half of the movie feels rushed in dialogue exchanges and seemed strange as to why it made it to the final cut of the movie.
One of the best parts of the movie is definitely Timon and Pumba. The chemistry between Rogen and Eichner had worked splendidly for the movie, and writer, Jeff Nathanson, gives them plenty of time in the story to showcase their comedic ability. One thing that did surprise me is that the pair’s humor happily crossed the line into meta-humor. Fans of the original movie would have understood and loved these jokes, yet, if I never saw the original, it would have flown over my head.
Final thought – Make sure you see it in theaters and ONLY see it if you have seen the original.
You can watch ‘The Lion King’ in theatres right now.
In the Killjoys season 5 premiere, the Quad is turned upside down as The Lady has emerged from the green and now seemingly controls everything in the region. It’s especially eerie in Old Town where Dutch and Johnny are married and they have no idea who D’avin is.
The sad reality is that Team Awesome Force failed as their enemy is free enacting her nefarious plans. What her end game is we’ll find out in this final season but it’s surely going to be one hells of a ride to get there. Here are the crazy moments from tonight’s episode.
Dutch, Johnny, and D’av
BFFs John Jaqobis and Yalena ‘Dutch’ Jardeen are now a married couple under the mind control of The Lady. Dutch is known as Yala and she is also the operator of The Royale. Johnny in the meantime works at a factory and the two live above the bar. They run into D’avin, who is still a Killjoy, but also has a warrant for Jaq whom appears to be MIA. The elder Jaqobis brother gets a drink from Dutch who slips him a powerful sedative. The husband and wife then have a conversation outside where we discover that in this new world, Jaq is their son. Since the Killjoy is knocked out, the duo board Lucy (whom they don’t remember at the moment) but is soon followed by a pissed D’av. Johnny tries to threaten the other man with the gun that Dutch took, but in this incarnation he has no idea how to use one apparently. The trio end up talking it out and we learn that the warrant on Jaq is for a missing person because he ran away from his boarding school in Qresh. Dutch comments though that he ran away from his kidnappers and it seems that their son was requisitioned because he scored incredibly well some on tests. Interestingly enough, the married couple appear to disagree with Johnny thinking Jaq has a better future on the other planet while Dutch believes that he belongs with them.
D’av comments that the kid should be home by now unless he’s been detoured. John states that they can’t think of anywhere else his son might be, but the elder Jaqobis has them use a retinal scanner which will help them pinpoint any other location Jaq might be at. He interviews them one at a time and we can already see that personality traits and aspects of their relationships are still intact. Like the romantic tension between Dutch and D’av and the bickering rivalry of the Jaqobis brothers. John leaves the two and goes to a different part of the ship when Lucy tries to talk to him and the contamination alarm on his bracelet goes off. Meanwhile D and D are having a little chat while she looks at the scanner showing all the leads the Killjoy has on her missing son. He gets personal by asking her how long she and her hubby have been fighting. She dodges the question and asks him instead if he has any kids. When he answers no, Dutch explains that she never thought she would but Jaq is her home and she wants him with her. He doesn’t disagree but explains that he’ll need to take the kid back to Qresh to fulfill the warrant. She counters that he can take them with him so she can kick some Qreshi ass until her son is allowed to return with her. He laughs and agrees to it and that pull between him and Dutch comes to the surface as she extends a finger out to touch him.
What happens next is not entirely unexpected as she suddenly gets a rush of real memories of her past experiences with him. This freaks her out understandably and she rushes to leave only to find Johnny passed out on the ground. She sees his bracelet activated and takes him to a decontamination shower.
Back at The Royale, John has planned a romantic evening with his lady to try and work at their marriage. When the two smooch however, Dutch gets another flash of memories this time of her and her bff. She instantly pulls back and cries out that this feels wrong. The current owner of The Royale dashes to her room to calm down but is mysteriously locked in. Her bracelet then goes off and she desperately tries to get out fearing the contamination. As she sits alone, her true self begins to return as she remembers the words of Aneela and she wakes up from The Lady’s control.
The next morning, she finds Johnny who apparently crashed at Carl’s the night before because he was being grilled by Pree (who the presiding RAC officer in the area). Outside The Royale, she asks him to please listen to what she has to say even it sounds crazy. Dutch goes on to explain that they don’t own this bar, she was a former assassin, they are both Killjoys, D’avin is his big brother, the three of them were on a mission to destroy The Lady and they lost so she really needs him to wake up. John laughs it off though thinking that this is some kind of role play and he is relieved because he thought she was going to ask for a divorce. As Johnny leaves to go to work (after planting a smooch on a less than thrilled Dutch), she notices Zeph and calls out to her only to have the other woman scurry away.
Mass Hypnosis
Meanwhile Zeph looks like she’s endured some hard times living out of a dilapidated building and generally not talking to anyone. She ends up scanning Gareth’s hand print and along with others in the hopes of gaining access into a factory’s system in Old Town. Zeph knows something isn’t right and once she’s in queries five years of climate data for the area.
When Dutch catches up to her the following day, we find out that Zeph still doesn’t know her true identity, but does believe something is wrong with the rain. She explains that it doesn’t make sense for precipitation to come twice a day like clockwork in a semi-arrid climate like theirs so why isn’t anyone talking about it? Her theory is that everyone is sharing some kind of mass delusion. As Dutch wonders out loud how that is possible, she remembers the words of The Lady (as Khlyen) inside the green, “Memories aren’t just where you’ve been, it’s who you are and if I own that, I own you and when I get out of here little flea I will own everyone.” Zeph then shows the other woman her hideout. The scientist says that she’s been collecting data on things that don’t seem to mesh with her memories and factory slates. Her collecting lead her to discover that their biosphere seems to be having a giant hissy fit. Dutch tells her that she always figures stuff out, that the real Zeph is a mad genius and whatever part of that person is left in her is the one she needs. The other woman is relieved to realize that she’s not crazy after all and hugs Dutch after being told that she isn’t alone anymore.
Pree Has Hair
I did not even recognize the formidable Prima Dez with a head and face full of hair. He is currently the local RAC representative of sorts and still has something going on with Gareth, though the other man is engaged to another woman. She doesn’t seem to know what’s going on between the two men however. When Gareth is threatened by D’avin into helping him locate Jaq in exchange for dismissing the warrant against him for previous crimes, Pree gets upset and goes to confront the other Killjoy for not checking in with him. D’av though finds it interesting that Gareth is under the other man’s protection because there’s only three reasons why that could be: paid, laid, or afraid. But he does go on to say that this is the J and nobody cares what you do with your personal life as long as you do your job. However, Pree didn’t and the other man admits to it. Nobody has to know that however and D’av instead asks for any information about Delle Seyah Kendry who was flagged in the scanner that Dutch was previously looking at.
Delle Seyah Shows Off Her Knife Skills
Speaking of Delle Seyah, she’s looking beautiful and deadly as she quickly dispatches a number of Hullen within the Red 9 facility who are looking for Jaq. The young man is in fact with his birth mother, seemingly doing some hacking of sorts and leaves a trail for Dutch and his dad to follow. Team Awesome Force is also on their way there with D’av having gotten a lead on Seyah Kendry likely from Pree. When the trio get inside, Johnny asks if anyone else is getting major déjà vu. Dutch sneaks away from the boys who are busy bickering and finds Aneela’s lady love. The other woman knows exactly who she is and explains that The Lady is terraforming Westerley for some other dastardly purpose. The former member of the Nine tells Dutch to stick to the western side where she and Jaq have left them an exit. But before leaving Seyah Kendry gives her a big kiss while simultaneously handcuffing her to a chair. D’av though runs into his quarry in one of the hallways with the younger man turning around saying “Hi dad.” This confuses the Killjoy because in his mind Johnny is the kid’s father. But Jaq goes on to add that his dad promised not to forget him and that he’s strong and will push through this. Meanwhile Delle Seyah comes up from behind and zaps the D’av unconscious. She then gives her son fingerprints from Dutch’s gun and a DNA sample from their kiss. For yet to be known reasons, he needs these items and the duo are taking a long trip to a mysterious location.
Blame it on the Rain
Back at Old Town, Zeph is able to remove Dutch’s bracelet and reveals that the item doesn’t measure any kind of contamination but their cortisol levels. Whenever they are stressed because they are being triggered by a true memory resurfacing, the bracelet goes off and they head to a decontamination shower, where somehow a false memory is encoded into their brains again. Zeph believes that for someone to wake up they need visceral proof of their old life that takes them completely by surprise and no access to a decon shower. Dutch has a plan cooking and if all goes right they’ll have more help.
She has D’av, Johnny, and Pree meet her at The Royale where she gives her bff his wedding ring to Pawter (telling him about his real wife), D’av his military id (mentioned the time he killed his entire company on his worst day ever) and showing Pree a hologram of himself singing. Important to note that she got the items from Lucy who is still active but was hiding because the Hullen had tried to wipe her out on numerous occasions. As the memories come surfacing back for the three men though and their bracelets go off making them believe in the contamination lie. They run outside of The Royale and stand outside in the rain while Dutch tries to tell them the truth about their real lives. Zeph though realizes that it isn’t just the showers that are reprogramming their collective minds but the rain as well and she runs to intervene. The boys once again believe in the false memories, with D’av and Pree pointing their weapons at her. The other woman though arrives just in time and throws a light grenade as a distraction. The two hide quickly hide as they are being hunted by everyone in Old Town. Unfortunately Zeph gets shot during a gun fight in an alley.
How is Khlyen Alive?
The episode ends onboard a Hullen ship where we discover Khlyen is being held as a prisoner. He is visited by The Lady who is in the body of a young girl. She ask him how Dutch is awake and he responds by telling her not to underestimate his girls. The Lady scoffs that she has everyone looking for Dutch with Khlyen asking why is she so scared the of the other woman then.
Final Thoughts
The women of Killjoys continue to kick loads of ass and I am here for it. I am seriously loving this assassin side of Delle Seyah and totally ship her and Dutch even more now.
Did The Lady come out of the green as a little girl or is she inhabiting a body like a host?
How the heck is Khlyen alive? Did The Lady pull a version of him out of the green as well somehow?
Since Khlyen told The Lady not to underestimate his “girls,” the word being plural, I suspect that Aneela may have somehow survived.
As a special treat for a Stranger Things themed July, I’ll be doing extensive recaps covering every moment you may have missed in season three. All with extensive details that you won’t find anywhere else on the internet.
No podcast this week, however, as conflicts in scheduling arose. But we already recapped episodes one and two and will be doing a final podcast next week to close out Season Three.
Chapter Three: The Case of the Missing Lifeguard
This episode begins on a close-in on Hopper and Eleven’s shack in the early evening. Inside, in Eleven’s room, Madonna’s ‘Angel’ plays on the radio as Max paces back and forth, dancing and singing along into a hairbrush. On the bed, El reads an issue of Superteen magazine and flips to a signed picture of Ralph Macchio inside. Max describes why he’s a heartthrob and then gossips about boys, asking Eleven if Mike was a good kisser. Eleven says she doesn’t know as Mike was her first boyfriend, but Max reminds her: ‘Ex-boyfriend’, which Makes El a little sad. Max tells her not to worry, as she believes the boys will beg them both to come back emphasizing what she wouldn’t give to see the look on their current faces.
This gives Eleven an idea.
Eleven proceeds to blindfold herself to spy on the boys using her abilities. She finds Mike in his basement, moping on the couch while eating a bag of Doritos as Lucas tries to console him. The boys call girls an illogical and emotionally driven species, which Eleven recites back to Max, much to her dismay.
Just then, Will finishes readying the D&D board they’re about to play but Mike and Lucas are too busy moping. Emphasizing their ‘boyhood’, Mike proceeds to burps exclaiming he can really smell the nacho cheese. Lucas outdoes him by ripping a loud fart as we cut away back into Eleven’s room. El laughs hysterically about what she just witnessed.
Hopper, with his bottle of Chianti still in hand from his stood-up date with Joyce, enters the house and hears music from El’s room — barging in and yelling about the three-inch distance rule, thinking that Mike and El are kissing — not realizing that its Max who is sleeping over. This relieves him and Jim kicks bat and relaxes on his recliner happy that at least Mike is staying away.
Back in Eleven’s bedroom, Max and El create a spin-the-bottle game with different people’s names. Eleven’s bottle spin lands on Mr. Wheeler. Max tells her to pass and when Eleven questions if it’s breaking the rules, Max tells her to make her own rules — an important character theme of Eleven’s journey this season. She spins again and this time lands on Billy. Max tunes into a static radio station and Eleven blindfolds herself and enters her blackened mind space.
In the distance, Eleven finds Billy’s car with a noticeable shattered window. She walks over and finds Billy with his back turned, on the floor, talking to someone. Billy speaks his final words again to the muffled lifeguard girl from the last episode.
“Don’t be afraid. It’ll be over soon. Just stay very still.”
As Eleven approaches, the girl screams a loud cry for help, just as Billy turns around. In the real world, Billy sees a faintly distorted projection of Eleven. The two of them knowing each other is there.
Begin Opening Titles.
A budding thunderstorm crashes gently overhead, as we pan down to see the Wheeler house. Where Mr. Wheeler continues to mow his already perfect lawn while sporting a raincoat.
Inside the basement, a cassette recorder presses play, and loud medieval music awakens Mike and Lucas, who arise from their piles of trash and junk food acting as if they were hungover (from the junk food, obviously). They beg, Will — revealed to be the perpetrator — to turn down the music, but a stern Will Byers, wearing full wizard garb, tells them to address him by his full name (of his D&D character), revealed to be “Will the Wise”. Will is excited to have a day free of girls to play D&D with his friends. The brokenhearted boys reluctantly agree to play but Lucas asks if he can shower first.
We cut to Chief Jim Hopper showering at his place, popping ibuprofen, and then drinking milk straight out of the carton — in that specific order. He finds a note on the refrigerator: Eleven is sleeping over Max’s place and then hears a knock on the door, revealed to be, Joyce. She tells Hopper they need to talk but Jim is upset at her, as he hadn’t been stood-up like that since Alice Gilbert in the 9th Grade.
Joyce shows Jim all these demagnetized magnets, explains how she visited Scott Clarke’s house to research on it. She’s convinced that the lab has returned. However, Hopper is just upset over being stood up. That he thinks Joyce is scared and pushing him away. He changes and gets ready for work behind a curtain, unrealizing Joyce has already left and is taking his wire clippers and car with the intention of breaking into the lab with or without Hopper.
Meanwhile, Max and Eleven walk down a road talking about what happened with Billy. Eleven questions about the screams. Max tries describing that sometimes girls let out “Happy Screams” when they’re with Billy. The two head back to Max’s house and break into Billy’s room, where they find a bathtub filled with ice. They also check the garbage container, where they find a lifeguard’s bag and whistle, the latter of which was spotted with bloodstains.
At the film development room, Jonathan develops pictures of the Rats as evidence. Nancy pitches a breaking story to the men at the Hawkins Post about the Driscoll lead and how she cold-called Blackburn’s Supply, Hawkins Farming, and the Crawley’s, all locations which had supplies go missing — fertilizer, pesticides, and diesel fuel, specifically. She believes the rats are dining on chemicals, but is rebuked and made fun of by Bruce (Jake Busey) and is called Nancy Drew by the men in the room. Including her boss, Tom. Nancy storms out despite Jonathan’s attempts to console her.
Back at Scoops Ahoy, Robin practices her Russian, all while Erica (Priah Ferguson), Lucas’ sister, asks for more free samples of ice cream. Meanwhile, Steve and Dustin look around searching for Russians at the mall, but Steve keeps checking our girls. Dustin nags him, asking Steve why he’s checking out girls when Robin is the obvious choice right in front of him. Steve argues various reasons why she’s not popular enough and Dustin argues why not date somebody he enjoys being around. Steve brushes his advice off saying he’s the one that gives the lady advice not the other way around.
Back at the basement, enthusiastic for D&D Will tries very hard to get Mike and Lucas into their game but the two aren’t into it, and more concerned about their ex-girlfriends. Lucas suggests they call the girls, an idea which Mike finds unfathomable as it’s the 1980s. Will continues wanting to finish their game and Mike jokingly chooses to self-sacrifice their characters, saving the day, and ending the campaign abruptly. Upset, Will angrily storms out — complaining Mike’s obsession with Eleven is ruining the group’s friendship. Mike responds that it’s not his fault Will doesn’t like girls. That it’s not his fault he and Lucas have moved on and grown up a little. Will storms off in the rain.
Meanwhile, Max and Eleven approach a pair of lifeguards at the community pool and show them a lifeguard bag. One of the lifeguard’s claims it’s Heather’s bag, and that she’s not there, calling out today. Eleven finds a wall nearby with all the lifeguard’s pictures on the wall, including Heather’s. They pull down the photo, run a few of the showerheads in the bathroom, and then Eleven puts on some tapped goggles, using her ability to find Heather.
In the sensory world, she finds a red door and a bathtub full of ice. When Eleven approaches, she sees Heather jump out and beg her to help her, as the two proceed to get pulled underwater. Eleven snaps out of it, hyperventilating about her findings.
At Hawkin’s Lab, Hopper and Joyce break-in. She has a flashback of Bob getting mauled alive by a Demodog. Hopper asks her if she wants to wait in the car, but she chooses to press forward.
Back at the mall, Dustin and Steve find a man with a duffel bag and sunglasses, thinking he’s the evil Russian. They tail him but discover he’s only the jazzercise teacher, as he reveals his spandex under his coat and busts out a boombox playing ‘Wake Me Up (Before You Go Go)’ by Wham! Back at Scoop’s Ahoy, using her wits, Robin cracks the mysterious Russian code.
At the Hawkin’s Post, Nancy opens a cabinet and finds a rubber rat, a joke the writers put on them. Nancy approaches Jonathan saying they can get proof from Driscol’s house by bringing the rat back to the paper. Jonathan is hesitant, saying they could get fired and that Nancy should’ve just brought the rat to begin with, but eventually agrees to join her.
Back at Hawkin’s Lab, Hopper shows Joyce all the holes in the wall are filled. That the event is over. He tells Joyce that he wants Joyce to feel safe, that he can keep Hawkins safe. He confesses he knows that Joyce is selling the house. That she’s planning on moving. He confesses that people want to help her feel safe and at home in Hawkins (implying himself) and Joyce jokingly says people like Scott Clarke? The science teacher whom Joyce was learning from and the reason she had bailed on her date with Hopper. Interrupted by clanging sounds, Hopper decides to check out the noise telling Joyce to stay there.
Mike and Lucas bikes through the rain to Will’s house and try to find him but he’s not there. Will is at his little fort Beyer’s remembering better times with his friends. In tears, he angrily chooses to destroy the place and rip up and destroy all his memories there.
Nancy and Jonathan arrive at Mrs. Driscoll’s house. They find the door open and sneak inside. Unable to find her they slowly encroach into the basement, finding empty bags of fertilizer and the sounds of monstrous chomping and squealing. As they move closer, they find Mrs. Driscoll fattened and munching on fertilizer.
Just outside the Mall at the loading docks, Robin tells Dustin and Steve to look for Imperial Panda and Kaufman shoes. Where they find boxes of a mysterious supply and heavily armed guards. One of the men opens a mysterious metal door and Steve wants Dustin’s binoculars to get a closer look, accidentally causing Dustin to bang the binoculars against some metal, alerting the guards. Quickly, the three duck out of sight and Steve and Robin end up holding hands. A guard yells in Russian and rushes atop to find the roof they were hiding in empty.
Checking out the lab, Hopper finds evidence of a break-in and chases the culprit to an outside sliding door, finding no one in sight. Behind him, is the terminator-lookalike Russian who proceeds to beat Jim easily. Joyce arrives to find Hopper unconscious, as the Russian man rides off on a motorcycle in the distance through the rain.
Eleven and Max track down Heather to her house and Eleven uses her abilities to open the door. They hear Al Hazan’s ‘Is it A Sin’ playing as they saunter down the hallway and see a picture of Heather on the wall. In the photograph is also father, revealed to be none other than Tom Holloway, Nancy and Jonathan’s boss at the Hawkins Post. They find Tom and Janet Holloway having a nice conservative styled dinner with Billy at the end of the hall. Eleven demands to know from Billy where Heather is — just as Heather arrives from the kitchen with a tray of cookies. Billy apologizes, and introduces Maxine to the Holloways, then asks for Maxine friend’s name (Eleven). El tells him in a powerful moment, villain and hero finally meeting each other for the first time. Maxine mentions they were just checking up on Heather as she hadn’t shown up for work. Billy lies and tells the two that he was helping nurse Heather back to health; Heather later confirming his alibi. As Eleven and Maxine bike off annoyed at finding nothing, Billy (Mindflayer) has flashbacks about Eleven and how she sealed the gate in season two.
At the same moment, this is happening, Will feels the creature’s suffering in its flashbacks from the back of his neck, certain this time and telling an arriving Mike and Lucas that ‘It’s back.’
Back at Heather’s house, ‘American Pie’ plays in the backdrop as Janet mentions she feels a little lightheaded. As she takes a few steps to excuse herself, she falls immediately onto the floor, very evidently drugged. Meanwhile, while Tom rushes over to his wife, just as Heather bashes her father over the head with a bottle of wine and then uses chloroform supplied by Billy to take out her father, who screams as the episode plays out.
Chapter Four: The Sauna Test
Now at Max’s house, El is still disturbed over her encounter with Billy. She joins Max in her room and Max offers either Wonder Woman or Green Lantern to Eleven to read; however, El is distracted and unconvinced about what happened. The blood and the ice don’t make sense to El. She also says Billy seemed wrong but Max brushes it off, changing topics and sharing her copy of Wonder Woman.
Outside Mrs. Driscoll’s house, police and paramedics strap her down to a gurney as she screams about having to go back — all while Jonathan and Nancy look on. They are questioned by the deputy.
At the steelworks building, Tom and Janet wake up in bondages. Heather appears and unties Tom as he says she doesn’t have to do this. Billy arrives shortly after and tells Janet to try not to move. In the shadows, the five-legged creature towers over them and immediately forces its tendrils onto both of their faces, implanting them both with the parasite.
Hopper wakes up naked, the next morning on his couch, Joyce playing nurse to him. She reveals she took down parts of the man’s license but it’s only parts, however, that it’s a motorcycle. Hopper does, however, finally get to show off his bitching Magnum P.I. themed Hawaiian shirt, much to Joyce’s surprise.
Lucas signals Max that it’s a code red. Her and Eleven are still at a sleepover at her house, but Mike calls Max back and tells them to come over and he’ll explain. Lucas then tries signaling Dustin, but he isn’t responding.
At that moment, Dustin is scouting the loading docks and establishes that the Russians are guarding something big behind the door, but the only way in is through a guard with the keycard and massive gun. Steve boldly says he’ll sneak up behind one and take him out. Dustin laughs, reminding Steve that he’s never actually won a fight in the show’s entire history. Robin leaves with some money from the tip jar with the intention of finding a better way in.
We then transition to Nancy and Jonathan who are called into the office of Tom, their boss at the Hawkins Post. He is noticeably sweaty and has a gash on his forehead, is mad beyond all hell, and is there to reprimand Nancy and Jonathan. He reveals that Mrs. Driscoll is a paranoid schizophrenic and that her family is threatening litigation. He then fires the two of them.
At Mike’s place, Will reveals that he had felt the Mindflayer at several place sand times already. At the Day at the Dead, Nelson Farm, and now at Castle Byers — all moments when the power went out in town. The group goes over what happened though questions how it’s all possible given that El shut the gate last season. Will mentions there was a part of the Mindflayer in, the one that they exorcised, which technically still stayed around Hawkins. They deduct there might be new hosts. El asks, “How can you tell?”
Hopper and Joyce storm into the Mayor’s office. Jim is looking for the name of the guy who was there the other day, a Russian with a military build who rides a motorcycle. Jim shakes down Mayor Kline for answers by threatening to him expose him cheating on his wife and mentioning often finding powder on the Mayor’s nose. Larry retaliates he’s caught Jim drinking on duty and abusing prescription pills, threatening to contact Tom at the Post for a scandal. He then says to not get defensive and give dead daughter sob story, as he’s tired of it — which infuriates Jim.
In return, Hopper breaks Mayor’s nose against the door. He accosts Larry and says his friend tried killing him last night so they’re almost even. While interrogating him about who the Russian is, the mayor even says it’s Arnold Schwarzenegger (Calling the joke out directly). Annoyed, Jim starts using a cigar clipper on Larry’s finger and the Mayor starts squealing, revealing that the Russian works for StarCourt and that the mall wanted certain pieces of land, though as to why the Mayor doesn’t know. Jim asks for the physical records of all of this.
In Jonathan’s car, Nancy is upset Tom fired them and even madder that he’s excusing the story as the rants of a paranoid schizophrenic. Nancy even noticed features of Tom’s possession and confuses it for drug usage. Jonathan gets on her case for not acknowledging what it’s like being poor. That he really needed that job. Nancy gets on him for not knowing what it’s like being a woman and not taken seriously at the workforce. The two break off on bad terms.
Robin returns from the county records — whom she bribed for 20 bucks — in order to get schematics for the mall. They analyze it in the employee area of Scoops Ahoy and find that all the air ducts relay to an area they’re trying to break into. Soon after, Steve tries to push Dustin through the vents to head into the room, but he doesn’t fit. At that moment, we see the short-statured Erica ask Robin for more ice cream samples — giving Robin an idea.
At the community pool, the group scouts Billy who’s continually lifeguarding with lots of cooling layers. Mike comes up with a plan to have Billy chase them into the Sauna room, as the Mindflayer hates heat.
Back at Scoops Ahoy, Erica looks down the air duct Dustin was trying to squeeze through. Realizing she can fit but wants to know what’s in it for her. The three agree to bribe her with ice cream and as Robin goes over the plan with Erica, the girl mentions that the plan is blatant child endangerment. Given her unique skillset and driven by her notions of capitalism, she agrees to the plan as long as she gets free ice cream… for life.
At Mayor Kline’s mansion, Larry gives over the land deeds he kept safe at home for his protection. He reveals to Hopper that Starcourt keeps buying property, and Joyce, shortly realizes all these areas are in southeast Hawkins — deducing that the machine must be in one of those areas bought out areas. Smitten by her wit, Hopper asks Joyce to come work for him at the station.
Mrs. Wheeler knocks on Nancy’s door and realizes something is wrong. Nancy is sad over her fight with Jonathan. Her mom consoles her by being proud that Nancy stood up for herself and what she believed in — telling her to keep going and pursue the story, regardless of the Hawkins Post.
Back at the community pool, Lucas apologizes to Will about ignoring the D&D campaign while looking for supplies to spring a trap. Will tells him it doesn’t matter and then finds a chain. At that same moment, Eleven has a similar conversation with Mike. She finds a dummy, while Mike admits that he was lying — though admits Hopper forced him as they were spending too much time together. Eleven admits what if Hopper was right, then says she deserved to be with her own ‘species’ more — quoting Mike word-for-word when she was spying on him. When Mike argues that using her powers like that is against the rules, Eleven mentions she makes her own rules, taking the advice Max gave her.
Back at the Mall, Erica commences Operation Child Endangerment as she goes up the vent, breaks into the room, and opens the door for the gang. She then states that she wants free ice cream for life.
At his mansion, Larry, handcuffed to his bed, gets Winnie to help him as he needs to call someone immediately. Driving around to the areas of land purchased by StarCourt Mall on Larry’s map, Hopper and Joyce go to each area looking for the lab.
At the community pool, Billy uses the showers as the lights suddenly go out. He hears Mike’s voice in the distance and starts tracking him menacingly into the sauna. When he approaches, he realizes Mike is a decoy lifeguard doll with a radio strapped onto it. Eleven pushes Billy into the Sauna and the kids lock the door from behind. Will cranks the temperature up high knowing the flayed hate the heat. Billy asks Max to please help him.
At that same exact moment, Nancy visits Mrs. Driscoll at the hospital. Mrs. Driscoll’s heart rate begins to spike, and she shows symptoms similar to Will Byers last year when he was possessed.
Meanwhile, Steve and the gang open one of the packaged boxes being carefully delivered by Russians. Steve says he’s down to open it and tells the others to step back; however, Dustin refuses to, and in a cute moment, says, “No if you die, I die.” They pull it out and find a large and encased vial of a green chemical.
Suddenly, the room vibrates, and they try to open the door but none of the buttons work. They try and push a green button and suddenly the floor drops down a long shaft via an elevator.
Back at the pool angry and upset, Billy yells at the kids to open the door. He starts to cry, and Max approaches the door to the Sauna. Billy confesses that it’s not his fault. He says he did things he didn’t mean to and tried to stop it — that this weird giant shadow made him do it. Will feels something in the back of his neck and tells Mike, who relays to Max to get away from the door. Just then, Billy grabs a piece of debris on the floor and rushes the door and breaks down the window to the room. Lucas fires a stone from his sling to hit him back. Angry, Billy gets possessed by the Mindflayer, his voice taking on a modulated deeper sound, and body taking on an ashy darker tone, as the lights flicker on-and-off all throughout Hawkins.
At that same moment, at Hawkin’s hospital, Mrs. Driscoll begins to freak out, her voice also modulated the same as Billy’s, both reacting in a similar angry fashion.
Back at the Sauna at epic battle ensues. Billy breaks down the door. He immediately looks at Eleven and the kids all hide behind her as she raises a bench press with weights and shoves it telekinetically at Billy who is slammed into the wall struggle as he struggles to push the weights off. Eventually, he throws it off and then grabs and chokes Eleven, all while looking at the kids in an evil fashion, showing he has every intent to murder her right in front of them. Stunned at this the children don’t know what to do, when suddenly, Mike uses a metal weight bar to beat Billy upside the head, knocking him down temporarily, before he recovers and approaches Mike. Using the moment as an opportunity, Eleven struggles but manages to raise Billy telekinetically, and then throws him hard through a brick wall, collapsing into Mike’s arms. The two slow to get up, they look outside and see Billy rise and runoff into the darkness.
“We’ll Meet Again” by Vera Lynn plays as Heather talks to a recovering Billy, acknowledging that it was indeed ‘her’. He says she could’ve killed him. Heather tells him yes but ‘Not them. Not us’.
The camera zooms out to show a small group of Hawkins residents and the creature — now forming a small army.
Chapter Five: The Flayed
Steve, Robin, Dustin, and Erica scream as they continue falling down the elevator as it descends. Once they land, they argue until Dustin points out the roof saying maybe they can climb out. When he and Steve go atop, they see the shaft goes up for miles.
Hopper drives Joyce to the next stop at Hess farm. They enter a house and hear an odd pulsing noise coming in from the bedroom. Joyce lowers her ear to the floor, finding a secret entrance beneath the bed. Outside, riding a motorcycle, the Russian who looks like the terminator arrives at the house. Below, Hopper finds two Russians, one of whom, is the scientist from the very beginning of the season. The Terminator-looking Russian arrives with a large machine gun and finds the door open, descending into the lab, where he finds a leg on the floor. He approaches the leg and finds a muzzled Russian, as Hopper sneaks behind him, gun barrel pointed behind the big man’s head as he pulls the hammer back. He threatens the Terminator-looking-man to put his gun down, but the man ignores the threat, saying Hopper is a man of the law and won’t kill him. Hopper counts to three. Then shoots. The man dodges the shot at the last second and the two enter a struggle. Easily outfought, Hopper grabs a nearby wrench and gets the edge by hitting the man in the knee. Joyce, trying to help, tosses Hopper his gun but misses and delivers it directly to the terminator man.
The terminator fires away until empty as Hopper runs and grabs the scientist, cuffs him to his wrist, and runs away with Joyce just as the terminator picks up his dropped machine gun. He then fires a storm of bullets at them as they escape the lab and head upstairs. As they get above the bed, Hopper shuts the door closed and throws a loose drawer on top of it, barring the path — albeit temporarily, as the man uses brute force to try and breakthrough.
As the three reach outside, Hopper tosses Joyce the keys, but misthrows as well, as Joyce struggles to pick them up from the ground but gets them and drives off. Terminator-man breaks out and starts walking onto the front lawn, firing away at the car as the group drive away from a hail of bullets.
Meanwhile, Jonathan answers the blue house phone. Getting call from Nancy about Driscoll, asking if Will is safe — which confuses Jonathan, as why would Will not be safe?
Outside of Forrest, Hopper tries to fix his car, now overheated and broken down. Joyce asks the Russian scientist if magnetism machine is why her magnets had stopped, though all they can confirm is that he’s a Russian scientist working for Starcourt. While Hopper tries to fix car, he tells Joyce to floor the gas, just as the scientist asks them to stop but it’s too late: the car blows-up. Hopper decides they’re going to Illinois.
At that moment, Eleven sees Hopper through her sensory blindfold abilities and relays that they’ve left. With Dustin gone, things are too suspiciously isolated for Mike’s tastes, and so the anxious kid talks with Will and Lucas about how they can stop the Mindflayer for good.
Back in the elevator shaft, at the roof of the elevator, Dustin tries reaching out to no avail via radio. Steve was also unable to find a way out after having spent the night with Robin looking which Dustin says is a good thing. Having to pee, Steve goes on the wall. Erica tries hard to bust open the green tube, as it’s encased in a metal coating, and when Robin asks why she’s doing it, Erica says it’s in case they need to drink something instead of dying of thirst.
Suddenly, a whirring sound occurs, and Robin tells the group that they have company. Two Russians open the door to the elevator room, one of whom smells Steve’s urine. The hour of them hides atop the elevator roof access and Erica has the green item in hand, which gives Steve an idea. He grabs it and then jumps down after the Russians leave, and then uses the item to lodge the door open just long enough for the entire party to crawl under. As the vial busts open, it melts through the bottom of the floor. Dustin looks down the coordinator which seemingly stretches for miles.
At Mike’s house, Nancy goes over all the events so far, saying the same thing that happened to Will last year is happening again with Mrs. Driscoll, then shows her lowering body temperature logs to prove it. The kids share that they did their Sauna test with Billy at around 9pm the same time Mrs. Driscoll was having her episodes. Eleven shares she believes Heather must be one as well, who Nancy immediately realizes is Heather Holloway, her boss’s daughter. The gang gathers in Nancy’s car and drives off together.
Terminator-man finds Hooper’s car in the woods, then picks-up their trail to track them. Meanwhile, Hopper and Joyce bicker in the woods, exhausted and walking for miles, as Alexi, revealed to be the name of the scientist, starts running. Hopper chases after him only to realize Alexi was leading them towards the road. They find a 711 and eat immediately. After, Hopper finds a sleazy looking man in shades and blazer and commandeers his nice-looking convertible, saying it’s for official police business and that Alexi was a child murderer. Joyce calls to check up on Will and her kids but hangs up to check on Hopper and aid in the charade.
Steve’s group figures out they use the mall as a front to bring in supplies, then ship it through the underground long tunnels. They deduce that they must use the green fluid to power something — though why Hawkins is beyond the reasoning of both girls. Dustin and Steve sidebar, thinking it can’t be a coincidence that they choose Hawkins and that maybe, the Russians know about the portal. As they continue, the Russian code starts playing on their walkie, implying it must be coming in from close, meaning they should be able to be in radio range soon.
After nobody answers the front door, Eleven opens the door into the Holloway residence. Together they pull clues together finding chemicals on the counter, broken bottle, and bloodstains on the carpet. Nancy deduces they need to find the source of where the Mindflayer is controlling people. Will suggests the group let Mrs. Driscoll out to return and so they can follow her.
The terminator-Russian ends up in the 711, and begins rough handling the cashier, wanting info about the psycho who stole the convertible from the man filing a police report outside (Hopper). Meanwhile, Hopper and crew arrive at Illinois and arrive at Murray’s house, the eccentric conspiracy reporter who feared communists in season two. The three stare at the camera looking at them from the entrance, telling Murray to open the damn door, which he does, while pointing a shotgun in Alexi’s face. As they enter, Murray uses a metal detector on Alexi but stops the antagonizing once Joyce gets on his case.
In the secret underground laboratory, a car travels down the long corridor narrowly, narrowly avoiding detecting Steve and the crew. The group closes in and carefully peeks, seeing that the area is full of soldiers and scientists and crews. Erica mentions she saw the comms room, which after debate, they decide to sneak into fast and low according to Steve. Once they get in, they find a single communications officer who stares at them, shocked by their presence.
Robin starts talking in Russian but can only utter phrases she knows from the code. Steve screams and bum rushes the officer, and after a quick scuffle, beats the guard. Dustin congratulates him on finally winning a fight. As they continue on, Robin sees something and the four look through a door and at a giant electric drill being powered by the green vials — evidently digging a hole into the upside-down.
At the hospital, Nancy brings all the kids but is told by nurse two visitors at a time. Nancy goes with Jonathan, then apologizes in the elevator just as Jonathan admits he was wrong — the two easily reconciling.
At the hospital lobby, Mike tries getting food from a vending machine and Eleven shakes it using telekinesis. Lucas tells Mike this was his olive branch chance, and that he’ll distract Max so Mike can talk with El.
Nancy and Jonathan arrive at Mrs. Driscoll’s hospital room but don’t find her. Instead, they find an obviously possessed Tom, who threatens that ‘they’ were hoping they would come back. Jonathan shatters a vase on Tom’s face and runs away with Nancy only to be cut off by Bruce, who is also there, likewise feeling Tom’s pain and showcasing that they’re all psychically connected.
Nancy and Jonathan run past the wing’s dead bodies on the floor — victims of Bruce and Tom. Nancy tries calling emergency services but the phones busy due to the night nurse wasting it on personal calls. Suddenly, Bruce approaches and beats up and then tosses Jonathan, bashing his head with a metal plate. Nancy stabs Bruce with some scissors and which he pulls out as he goes after her.
She rushes out to the Hospital halls, and while being chased by Bruce, Jonathan struggles to stand but is kicked out from under him by Tom. The camera cuts back and forth between the two. As Nancy hides in a different room, behind a patient’s curtain and Jonathan is tossed and beaten by Tom. Finally, Tom raises the scissors Nancy used up high and is about to deliver the deathblow to Jonathan, just as Nancy surprises Bruce from behind and beats him with a fire extinguisher. At that same moment, Tom feels Bruce’s pain and flinches, just enough where Jonathan can take the scissors and stab Tom. The two dying simultaneously. Yet just below, Will Byers feels something amiss given his connection with the Mindflayer.
Back above, Tom and Bruce’s bodies grotesquely melt into blobs of goo that then crawl away into the hallway. Nancy and Jonathan follow and see the two assembles into a hideous and grotesque creature.
THOUGHTS ABOUT THE EPISODES:
These were the episodes that really set-up the midseason conflict. I enjoyed how episode three set-up the good (Eleven) versus bad (Billy) dilemma and the budding relationships that are building. Max and Eleven was sweet as was Hopper’s desperate attempts at Joyce affection is his own tough yet squishy dad way.
This season is all about body horror. The creatures are something straight out of a Jon Carpenter film. Very invasion of the body snatchers or Romero zombie movie.
This season features also about a lot of product placement, which very much reminded us of the 80s.
The 80s callbacks. I’ve seen so many references to tropes and items and movies.
Hello and Happy Friday, everyone, and welcome to Weekend Movie Brawls!
Here, we take an in-depth look at films with similar themes or stories and we pit them against each other in a competition based on their merits. For example, it can be two animated films of the same type, two films which take place during a certain time period, two films with similar plots or an original film versus its remake.
The reason we make this a weekend thing is because when else might you have the time and energy to relax and see something you haven’t seen before?
It’s summer…and have we got a special fight for you today: a four-way slugfest between four of the “Predator” films! Le
In this corner…
1) PREDATOR (1987)
THE PLOT
A team of Army Commandos storm the jungles of Central America to break up the corrupt gangs and guerillas that run things…but they end up attracting the attention of someone — or something — that isn’t of this planet: a large alien being that’s on Earth solely to hunt humans like wild game, no matter who they are, what they do or who they serve. Directed by John McTiernan who is Hall of Fame material solely because of “Die Hard”.
…and, in this corner…
2) PREDATOR 2 (1990)
THE PLOT
A decade after an alien hunter nearly wiped out a team of commandos, another hunter lands on Earth and finds itself in the middle of a target-rich environment: a war between the L.A.P.D. and several gangs who looks to rule the streets of the city. But as the cops and gangs begin losing people in the same, cold, efficient fashion, Lieutenant Mike Harrigan (Danny Glover) catches on to the hunter’s antics and begins to hunt him in return. Directed by Stephen Hopkins.
…and in the third corner…
3) PREDATORS (2010)
THE PLOT
A group of strangers with various violent, military and medical backgrounds find themselves stranded on another planet — and being hunted for sport by a race of hostile beings. Directed by Nimrod Antal.
…and, in the final corner…
4) THE PREDATOR (2018)
THE PLOT
A young boy accidentally brings a race of alien hunters to Earth — and, yes, a bunch of Army bros are the only thing that stand in the way of it and the mass destruction it’s capable of causing. Written and directed by the great Shane Black.
SCORING
The scoring in Weekend Movie Brawls is simple. There are five categories: music, casting, writing, production (which includes design, costumes, make-up, etc), and direction. Each of these will be awarded a letter grade, from A to F. As in school, each of these letter grades has a number associated to it. An “A” is worth 4 points, “B” is 3 points, “C” is 2 points, “D” is 1 point and “F” is worth nothing. At the end, the final score will be average total of each of the 5 categories. For instance, if the score at the end of a round is “20”, this will be divided by five, the number of categories, for a final score of “4”.
The final scoring will not be revealed until the end of the contest.
In the event of a tie at the end of a brawl, the winner will be decided via a playoff round at a later date.
And, as always, THERE MIGHT BE SPOILERS, so if you haven’t seen these films, get out of here while you still can.
If you’re still game for this, read on!
MUSIC
PREDATOR (1987)
Alan Silvestri composed the score for this film. It’s a great little action score with militaristic drums and horns, which perfectly match the action we see — but feels like leftovers from his “Back to the Future” score just two years prior when it becomes as bombastic as it does. Silvestri would use this same style with much of what he composed in the next ten years. You can hear it in “Who Framed Roger Rabbit?”, “The Abyss”, “Mac & Me” (YES, MAC & ME), and his various television themes such as the theme for “Amazing Stories”. Still, this is the score everyone associates with the film series and what every composer build on.
PREDATOR 2 (1990)
I can’t really say much about the score here except it’s more of the same from Silvestri. That’s fine…but it’s a touch cheap to basically copy a score and plaster it over the sequel.
PREDATORS (2010)
Veteran composer John Debney takes the reigns from Alan Silvestri…and it just feels slightly upgraded, removing the tribal drums Silvestri added into the sequel score and adding some guitar riffs. Still, Debney just takes a lot of what Silvestri did and calls it “new”. Sure, it has some stuff inspired by other composers (Zimmer and Goldsmith come to mind) but it’s pretty forgettable.
THE PREDATOR (2018)
I know the popular opinion is to say that the 2nd “Predator” film has the worst score, what with the addition of the tribal drums…but, it’s not. The drums fit. Even if you don’t factor in the comics, this is a monster that travels in a tribe, according to the second movie. There’s a reason they’re there. But, I digress…Henry Jackman takes over here…and it’s more of the same with some shrieking horror-flick hits added to overall tapestry. Like the film, it doesn’t quite work and the rest of the score (a good three-quarters of it) ends up being a complete rip-off of Silvestri’s original. Easily, the worst of the scores.
CASTING
PREDATOR (1987)
We have Arnold Schwarzenegger in his prime and Carl Weathers who never ages. Both make convincing heroes. They look like guys who’d be in this platoon. They sound like it. Schwarzenegger is surprisingly effective. The cast is nicely rounded out by Jesse Ventura (yes, Jesse “The Body” Ventura of WWE and that goofball conspiracy TV show he did a few years back), Bill Duke, Sonny Landham, RIchard Chaves and Shane Black. Black, who would go on to write his first big screenplay, “Lethal Weapon”, delivers some nicely-timed comic relief — even if it feels unnecessary.
PREDATOR 2 (1990)
This time around, it’s an entirely different story and cast. Danny Glover takes the reigns and that’s a curious choice. He was fresh off “Lethal Weapon 2” and it was hard to buy him as anything other than an aging man who could barely keep up with a partner. Even here, he fights drug lords while wearing a polo, slacks and loafers. Miami Vice, this isn’t. Even still, Glover does have the acting chops and the experience to convince us that he’s a cop even if he’s not quite the “tough-as-nails” cop the film seems to be trying to convince us he is. He does a decent job here, especially when he interacts his partners and colleagues who are played by veteran actors Ruben Blades, Maria Conchita Alonso, and the late Bill Paxton. Unfortunately, these interactions aren’t given the chance to breathe and all three bite it too soon, leaving Glover alone to deal with the Predator. Gary Busey is here as “Peter Keyes”, a smarmy asshole of a government agent who knows more about the Predator than he letting on. Robert Davi is Glover’s captain in the film and he’s reduced to a cameo, which is fine, but he’s too good an actor to have such little screen time. Morton Downey, Jr. is also here. more or less playing himself, a trashy, sensationalist shit disturber who pushes his audiences buttons, with regard to how out of control the crime is in L.A., in order to get ratings. So much potential was wasted, even though Glover turns out to be pretty good.
PREDATORS (2010)
Adrien Brody leads the cast as “Royce”, a mysterious military commando who threateningly growls or whispers each line like he’s Dirty Harry. He’s another odd choice for a leading man in an action film and he’s not entirely convincing but, much like Glover in “Predator 2”, he’s fine. He has a nice supporting cast that spans the globe in Topher Grace, who plays “Edwin”, a doctor, Alice Braga who plays an IDF sniper, Walton Goggins who plays a prison inmate, Oleg Taktarov who plays a Russian special forces solider, Danny Trejo who plays a Mexican drug cartel enforcer, Mahershala Ali as a Revolutionary United Front officer and Louis Ozawa Changchien as an enforcer for the Yakuza. Thankfully, the film doesn’t mow through the cast like a cheap horror film, which provides the audience with some great interactions between the different cast members and gives us an idea of what each of their specialties are, which has the pleasant side effect of giving us some great action sequences. Laurence Fishburne appears in the second act as a U.S. Army Air Cavalry officer who has been on the Predators’ gaming planet for quite some time, before the rest arrived, rounding out the cast, beautifully. Everyone involved is good, if not wholly compelling, but you still end up rooting for some of them.
THE PREDATOR (2018)
Boyd Holbrook (who played Pierce in “Logan”) is the lead as “Quinn McKenna”…and he’s just ok. In “Logan”, he was ruthless and you wanted his head. Here, he’s a plain old meathead. There’s nothing remarkable about him or his performance. Olivia Munn is also here, playing a biologist, and she would have been better than Holbrook. The rest of the cast is a lot of fun in Trevante Rhodes, Thomas Jane, Augusto Aguilera, Alfie Allen, and Keegan Michael-Key as a group of government captives who are all imprisoned for various reasons. Sterling K. Brown brings a nice intensity to the cast as Traeger, a government agent whose loyalties aren’t quite clear and who ends up standing in McKenna and his team’s way. Yvonne Strahovski (“Serena Joy” in “The Handmaid’s Tale”) plays McKenna’s wife while Jacob Tremblay plays Rory, McKenna’s son and he’s the best part of the cast, next to the rag-tag team of government prisoners.
WRITING
PREDATOR (1987)
The Thomas Brothers, John and Jim, wrote the original film and it’s insanely well-written for an action film. Taking inspiration from the notion that man is the most violent animal in the universe, the Thomas Brothers wrote a script about alien hunters hunting some of the most dangerous men on Earth. What remains of what the Thomas Brothers actually wrote is anyone’s guess as David Peoples came in for re-writes after Arnold Schwarzenegger delayed filming due to outside commitments. Regardless, what’s seen here is absolutely tight with a thrilling concept (seasoned soldiers in the jungle playing cat and mouse with an alien who seems to have their number) with some classic lines and banter between the soldiers. It’s a lot of fun.
PREDATOR 2 (1990)
The Thomas Brothers return here with a script which sets the action in what they called “an urban jungle”, which is basically a futuristic crime-ridden Los Angeles during a massive heat wave and a huge gang war. It takes the original concept and turns it up to 11. Also nice is the slight expansion of the Predator mythos: the visits we’ve seen them make aren’t the first. The inclusion of the Predator’s trophy room, which includes the skulls of various beings from around the universe (including the Alien from the “Alien” films) is a nice touch. The dialogue is mostly forgettable but the pacing of the script is pitch-perfect.
PREDATORS (2010)
Robert Rodriguez (“El Mariachi”, “Desperado”, “Sin City”) wrote a script for a third film EONS ago. Fox turned him down because they thought the budget would go through the roof. Years later, they contacted him to use his treatment and said they wanted him for the third film. For whatever reason, Rodriguez only ended up producing the film instead of writing and directing like he should have. The script duties were handed over to (checks notes) Alex Litvak and Michael Finch, two screenwriters who have written about a dozen films between the two of them. Oh, sorry. That’s the amount of films they’ve written following this feature. “Predators” was their first script. Luckily, it’s based on Rodriguez’s original idea, so the concept, at the very least, is interesting. The rest of it, however, is by-the-numbers and the pacing isn’t nearly as good as the first two films with some fairly flat dialogue. It’s really odd that the studio had Rodriguez, put him on as a producer and ultimately hired two no-name writers who went on to author some straight-to-video messes and a director whose only major credit was the so-so horror film, “Vacancy”.
THE PREDATOR (2018)
The legendary Shane Black (who appeared in the original “Predator” film as the soldier with a penchant for vagina jokes) wrote the film along with his long-time colleague, Fred Dekker. Back in the 80’s, the two collaborated to write “The Monster Squad”, which was a wonderful, if campy, love letter to the old Universal movie monster set. Black would go on to write classic action pieces like the original “Lethal Weapon”, “The Long Kiss Goodnight”, “Kiss Kiss, Bang Bang” and the recent buddy cop film, “The Nice Guys”. With “The Predator”, Black hasn’t lost his trademark snark (though he DOES ditch the expected Christmas setting and sets this one during Halloween instead) with some great banter between the characters (the bit about why the Predator is called “The Predator” is great and Rory’s response to Traeger’s condescending attitude made me laugh) but it’s aggravating just how sophomoric it gets. Plus the action set pieces are just so-so and the pacing isn’t exactly as strong as the prior films. That, and there are hints of outright sexism which permeate things.
PRODUCTION
PREDATOR (1987)
Nothing about this feels cheap. Everything works, from the suspenseful game between Arnold and the Predator, to the big, brash Silvestri musical score, to the big, sweaty jungle setting. The Predator’s design isn’t at all hokey. The design of the creature is insanely convincing. The thing looks real. Also, getting to watch the Predator spy on its prey and learning and mimicking their speech patterns (and using that against them later) is as creepy as it is cool. It’s a genius stroke. Director John McTiernan does nothing half-assed, giving us big bangs with a nice amount of quiet, hushed set-up.
PREDATOR 2 (1990)
Another big, bold production that’s a little heavier on the grittiness than the first film. The entire first sequence (the battle against the drug lords all the way up to the aftermath) is a test. It remains almost inaccessible in its gratuitousness and, if you can get past that, this is the movie for you. The movie is a big budget monster-fest that exhausts you with some expert pacing. The hunt and the climatic battle inside the Predator ship is really awesome. Here, Harrigan and the Predator find themselves on near equal-footing at times and it’s fun to see the two duel. This remains one of my most favorite sequels.
PREDATORS (2010)
A big, murky film shot mostly in a jungle environment. The effects team does a nice job with the monsters as well as the setting. Most of this was shot in Hawaii and it manages to look alien and not of this world. Despite this, there’s a supreme lack of suspense in the film and with several Predators hunting multiple good guys, it feels less like an action piece and more like a glorified reality game show. This movie just feels mechanical.
THE PREDATOR (2018)
“The Predator” has a bit more of a small town feel to it. It definitely doesn’t feel as big as the last three films and the film feels like we’re getting this story from the point of view of a miscreant rather than an honest recap. The film has a supreme lack of suspense to it. There aren’t any scares and the Predator Dog thing is just so awful, it deserves a Raspberry Award for worst effect or character or what have you. Shane Black attempts to make up for these weaknesses with witty dialogue and snarky exchanges but this movie, while not the absolute bomb people have made it out to be, is pretty weak.
DIRECTING
PREDATOR (1987)
John McTiernan is a top action director with the awful remake of “Rollerball” being his one and only flaw. I mean, aside from being a legend for having directed the original “Die Hard” film (and “With a Vengeance” which I believe to be just a notch below the original but still great), he’s responsible for “The Hunt for Red October”, the badass, underrated meta-cop film “The Last Action Hero”, and the severely underrated “The 13th Warrior”. “Predator” was a walk in the park for McTiernan as he applies the same expert blocking he used for “Die Hard”, providing us with a suspenseful chess game of a brawl between man and alien.
PREDATOR 2 (1990)
Stephen Hopkins gives us a nice sequel — even if it feels over-the-top with the violence level and the goofball satire and silliness that director Paul Verhoeven might have approved of. Hopkins, however, does a nice job and once the movie starts, it’s a thrill ride. It doesn’t stop and leaves you breathless.
PREDATORS (2010)
Robert Rodriguez was slated to direct this movie. Instead, director Nimrod Antal does the directing. There’s no real style evident here. Antal was apparently chosen because “he handled large ensemble casts well” which is like choosing your alcoholic uncle to direct “Leaving Las Vegas” because he “knows a lot of about alcohol”. The film has a great cast but the action sequences are sub-par and the film is just outright boring. Additionally, there aren’t any real stakes to the whole game and the final battle is pure crap with a resolution that isn’t very satisfying. The jungle setting is also monotonous. We’ve been there and done that. Points, though, for having a fairly diverse cast and exploring various cultures.
THE PREDATOR (2018)
I have a soft spot for Shane Black. He’s one of my all-time favorite writers. He’s good-humored and he loves what he does. his films are also so fun. That said, his direction is hit-or-miss. This is one of the “misses”. Black eschews everything that came before this film and attempts to return to the feel of the first one by injecting the old school machismo that made the first one so successful. Unfortunately, he makes a movie that doesn’t take itself seriously and gives us a creature that isn’t so much a hunter as it is a big horror movie monster. You might laugh at some of what’s written and cheer for Black’s penchant for noir, but nothing can cover the fact that Black made a major miscalculation here.
THE WINNER
SCORING:
MUSIC
CASTING
WRITING
PRODUCTION
DIRECTION
TOTAL
AVERAGE
PREDATOR
A- (4)
A (4)
B+ (3)
A (4)
A (4)
19
3.8
PREDATOR 2
B- (3)
B (3)
B (3)
B (3)
B (3)
15
3
PREDATORS
C (2)
B (3)
C- (2)
C (2)
D (1)
9
1.8
THE PREDATOR
D (1)
B- (3)
C+ (2)
C (2)
C- (2)
10
2
POST-GAME THOUGHTS
Once again, the original classic beats all comers. John McTiernan’s sure-footed direction, a suspenseful action script, late 1980’s Arnold in his element and Alan Silvestri’s memorable score make for one hell of a film. “Predator 2” comes so close to matching the original but is handcuffed by a cast which vanishes too quickly. Surprisingly, both Robert Rodriguez and Shane Black couldn’t return the franchise to glory, despite the familiarity they have with it. “Predator” is the best of the “Predator” films.
NEXT WEEK: It’s still Summer and we’re still on our blockbuster kick. It’s part 1 of 2 of the Batman v. Superman as we pit Batman (1966) against Batman (1989)…against Batman Begins (2005). Join us next week! Same Bat-time! Same Bat-channel!
Hello and Happy Friday, everyone, and welcome to Weekend Movie Brawls!
Here, we take an in-depth look at films with similar themes or stories and we pit them against each other in a competition based on their merits. For example, it can be two animated films of the same type, two films which take place during a certain time period, two films with similar plots or an original film versus its remake.
The reason we make this a weekend thing is because when else might you have the time and energy to relax and see something you haven’t seen before?
This week’s match-up is between two pulp-style crime films. While they’re not so much forgotten, I feel they might have been slightly underappreciated.
Let’s meet our competitors…
In this corner…
1) POINT BREAK (1991)
THE PLOT
A team of sophisticated bank robbers called “The Ex-Presidents” (they wear rubber masks with the likenesses of Presidents Reagan, Carter, Nixon, and Johnson during their robberies) are suspected by the FBI to be local surfers. So they send in former All-Conference college football star-turned-FBI Agent Johnny Utah (Keanu Reeves), undercover, because he’s a dude’s dude and he’ll fit right in…and I wish I could tell that I just made that last sentence up to fuck with you. Unfortunately, he ends up building an unexpected friendship with Bodhi (Patrick Swayze), the leader of the gang — and nearly gets in too deep with Brody’s on-again, off-again girlfriend, Tyler (Lori Petty), in the process. Directed by Oscar winning director (for “The Hurt Locker”) Kathryn Bigelow.
And, in this corner…
2) POINT BREAK (2015)
THE PLOT
Luke Bracey is “Utah”! That’s it. Just “Utah”. He’s a former extreme sports nut who joined the FBI after one of his extreme bike stunts went awry and killed a colleague. So, of course, the FBI tasks him to follow a bunch of extreme sports nuts who they suspect are robbing everyone all over the world using various extreme stunts like shoving whole crates of cash off a random plane and then parachuting after it like we’re in a 1991 Mountain Dew ad. This one’s helmed by Ericson Core whose only other film directing credit was Disney’s sports film, “Invincible”.
SCORING
The scoring in Weekend Movie Brawls is simple. There are five categories: music, casting, writing, production (which includes design, costumes, make-up, etc), and direction. Each of these will be awarded a letter grade, from A to F. As in school, each of these letter grades has a number associated to it. An “A” is worth 4 points, “B” is 3 points, “C” is 2 points, “D” is 1 point and “F” is worth nothing. At the end, the final score will be average total of each of the 5 categories. For instance, if the score at the end of a round is “20”, this will be divided by five, the number of categories, for a final score of “4”.
The final scoring will not be revealed until the end of the contest.
In the event of a tie at the end of a brawl, the winner will be decided via a playoff round at a later date.
And, as always, THERE MIGHT BE SPOILERS, so if you haven’t seen these films, get out of here while you still can.
If you’re still game for this, read on!
MUSIC
POINT BREAK (1991)
Mark Isham is one of those “under the radar” composers. With nearly 200 composer credits to his name and almost 50 years of experience, the dude is a workhorse. He has some decent cuts in “Point Break” (when the early 90’s alternative rock soundtrack isn’t busting your eardrums) but the score is largely your typical action score. The nice thing is that Isham alternates between big, blaring brass and heavy drums to electronic, soulful stuff which works because surfing and skydiving are, by nature, both as nerve-wracking and intense as they are beautiful and relaxing to watch.
POINT BREAK (2015)
Tom Holkenborg (AKA “Junkie XL”, pictured above) is the composer of choice for the remake…and he does about the same job as Isham does. Junkie was responsible for the scores for “Mad Max: Fury Road” and “Batman v. Superman: Dawn of Justice”. I mention those because they’re prime examples of Junkie ranging from absolute legend to “WTF mate”. Here, he lands somewhere right in the middle, I guess, ditching any idea of a soul and adding in dudes hitting giant drums on nearly every single track. Even an FBI briefing gets heavy drums like Junkie’s providing hype music for two sumo wrestlers who are about to crash into one another. It’s big, brash and not memorable. Isham is the winner here by a nose.
CASTING
POINT BREAK (1991)
Let’s get this out of the way now: Keanu Reeves (pictured above, left) is in this movie. It’s 2019 and the dude has become the new Betty White due to legendary (and largely uncorroborated) stories of his heroism and penchant for being a really nice guy…er, dude. He’s totally miscast in this, just like he was in roughly a little more than half of what he’s starred in. Do I sound like I’m slamming the dude? I am NOT slamming the dude. He’s great here as Johnny because he fits the character type…and, yet, he’s still delightfully miscast, too. That’s The Ballad of Keanu Reeves. The late Patrick Swayze (ugh, I hate typing that; he feels like he should still be alive) plays Bodhi, the leader of “The Ex-Presidents” and I’m of the opinion that this was his best role. In fact, I bought him as Bodhi more than I bought Reeves as Utah. Swayze’s always been cast as the rebel (eg: “Dirty Dancing”, “Road House”, etc.) so his wild-man/good ol’ boy dichotomy works well with his soulful thrill-seeker character. Lori Petty (pictured above, right) is great as Tyler, Bodhi’s kinda-love interest. She’s a tough-as-nails beach chick which works two ways: she doesn’t take any shit from the beach bums around her or from Bodhi. Rounding out the cast is pre-insane Gary Busey who plays Pappas, Reeves’ partner.
POINT BREAK (2015)
I’m gonna preface this by saying that I LOVE this cast and I LOVE what the filmmakers were going for. Edgar Ramirez plays Bodhi here and Luke Bracey is Utah. Both guys look like they could really do what their film counterparts do before the film CGI’s it all for us. They’re gritty. They’re seasoned. They don’t look or feel like actors — and this is to the film’s ultimate detriment. The pair remind me of Colin Farrell and Jamie Foxx in 2006’s “Miami Vice”: they both have the look but they mumble or flatly recite their lines which just kills any chemistry the filmmakers were hoping for. Teresa Palmer plays “Samsara” who is, more or less, the “Tyler” character from the original film. Palmer’s just ok, mainly because the film doesn’t include her most of the time which renders the later plot twist involving her character’s death both unnecessary and ineffectual. Ray Winstone plays Pappas here and…what a waste. Winstone is clearly here to collect a paycheck, playing Pappas like a cranky old man who objects to Utah’s every move, no matter what it is.
WRITING
POINT BREAK (1991)
W. Peter Iliff wrote this movie. He also wrote “Varsity Blues” and “Patriot Games”…and that’s really the only three major writing credits on his watch. I don’t understand that. The script for “Point Break” isn’t perfection by any means, but it’s beautifully paced at the very least and, at times, gets Shane Black-ish with the buddy pair formula (turned on its head, somewhat) and the insane action sequences which plain wear you out. The story and concept is very clever and Bodhi’s gang will go down in history as one of the greatest movie bank robber gangs in all of cinema. And I love the idea that Utah came so close to the edge, that he ends up ditching his badge simply because there won’t be another case more thrilling than chasing down Bodhi. I also love the pairing of Utah and Tyler and how that plays into the relationship with Bodhi and Utah.
POINT BREAK (2015)
I wish I could say the same of Kurt Wimmer’s script for the remake. Wimmer (pictured above) doesn’t so much write a script as he’s written a list of stunts for his audience to check off once they happen. In his version, we get lines about “respect for nature” and a gang who is anti-corruption and wants to give back to the poor people who are getting ripped off but this is really more of an idea than what actually happens. Also (I mentioned this in “Casting”), there’s no real chemistry between anyone. Bodhi and Utah have a slight mistrust of one another but never do you really buy their “bond”. And Samsara is so vapid that her untimely death doesn’t properly resonate simply because she and Utah went swimming for about three minutes, slept together…and that’s it, folks. You don’t see her again until she’s literally gunned down by Utah. And that’s the difference between the two films in a nutshell: you care about the characters in the original film, but not here.
PRODUCTION
POINT BREAK (1991)
It’s a big production by 20th Century Fox with gorgeous shots of Southern California locales which presents us with multiple trips to the beach, and several sequences involving surfing, sky-diving, and breathless chase scenes, courtesy of Donald Peterman, who did exquisite work on “Star Trek IV: The Voyage Home”, “Flashdance”, and “She’s Having a Baby”. The footage used in the film is authentic and real and isn’t the victim of the CGI machine that the 2015 version was passed through. Additionally, as noted, the film is nicely cast with actors who understand who they’re playing and live it up, as silly as it all might sound to them. It has a fairly tight action script and the film feels like an epic worthy of the big screen.
POINT BREAK (2015)
The remake’s saving grace is the cinematography. It’s the best part of the film. The surfing, skydiving and base-jumping sequences are all beautifully shot. The colors really pop and you feel like you’re there. Director Ericson Core is both director and cinematographer here and he was also responsible for the Mel Gibson film, “Payback”, so try to picture that gritty look applied to the outdoor scenes and you have a good idea of what everything looks like. Everything else about the film? Sigh…I really wish it was better. It’s like watching the original film if a rough draft of the story outline was used instead of an actual script and the result is like watching a 2-hour block on the Atmosphere app.
DIRECTION
POINT BREAK (1991)
Kathryn Bigelow would go on to direct better films but that isn’t to say that Point Break is one of her career B-sides. Point Break is one of my favorite action pictures of all-time. It’s up there with “Near Dark” and “Strange Days”. Just like those two, it’s a touch over-the-top in its ambition but Bigelow controls everything beautifully and delivers a breathless action film that never lets up once it gets going.
POINT BREAK (2015)
Ericson Core makes the film look good — but that’s about it. His lack of film direction experience shows as a lot of potential is squandered what with the original source material and a sexy cast at his fingertips. Everyone seems to be going through the motions. Even the extreme sports scenes feel arbitrary. The action scenes are robotic and lack suspense partly because of some roughshod editing and poor CGI and green-screening techniques but also because it’s impossible to care about anyone.
THE WINNER
SCORING:
POINT BREAK (1991)
Music: C (2 points)
Cast: B+ (3 points)
Writing: B- (3 point)
Production: B (3 points)
Direction: B+ (3 points)
POINT BREAK (1991): 14 points (2.8 Average)
POINT BREAK (2015): 7 points (1.4 Average)
POST-GAME THOUGHTS
I don’t think this was any real surprise to anyone. All films have the burden of proving their worth at the movies. Remakes of films have double duty in that there are fans and viewers of the original film and they’re already skeptical. 2015’s “Point Break” was an unfortunate mess, despite Core being a seemingly talented director. With excellent direction, beautiful and authentic photography, a tight script, memorable characters, and a cast anchored by an uber-charismatic Patrick Swayze and unshakable Keanu Reeves, 1991’s, “Point Break” is far superior to the 2015 version.
NEXT WEEK: We have some leftover fireworks we still have to set off…so what better way to do that than to pit some alien warriors against one another…in a FOUR-WAY FIGHT TO THE DEATH!!! It’s “Predator” vs. “Predator 2” vs. “Predators” vs. “The Predator”! Join us next week for this big throwdown!
As a special treat for the next few weeks, I’ll be recapping all of ‘Stranger Things Season 3’ using a good amount of screenwriting prose and a large amount of detail, in what’s arguably the most extensive scene-by-scene recap you’ll be able to find, online. For entertainment purposes, I’ve also linked our new podcast below for the Month of July, as the Workprint Staff try and explain the new season of ‘Stranger Things’ to Jen, who hasn’t followed the show in years.
All for a very Stranger Things midsummer themed Workprint.
You Can Listen to the staff of TheWorkprint Hilariously try and explain Season Three of Stranger Things on a new podcast: ‘Confused Things With Stranger Friends’. Downloadable via TheWorkprint Podcast and available right here and on iTunes and GooglePlay.
RECAPS
Chapter One: Suzie, Do You Copy
The season opens in a mysterious laboratory on June 28th, 1984. Two Russians scientists nod and turn keys a set of keys simultaneously, jumpstarting a powerful electromagnetic drill which punches a hole into a wall, seemingly digging into the upside down. After a few brief moments, the drill starts to fail and ignites, disintegrating all the scientists in the controlled room.
An authoritative Russian, addressed to by his subordinates as the Comrade-General, reprimands one of the two scientists. Next to him is an intimidating man who looks like the spitting image of Arnold Schwarzenegger from the movie: Terminator. The intimidating man strangles the scientist to death. The comrade-general tells the other scientist that he has one year. They depart and head outside, revealing that they are indeed in Soviet Russia.
Begin Opening Credits.
Back in the US, ‘Never Surrender’, by Corey Heart, is playing on the radio. The camera shifts revealing Mike (Finn Wolfhard) and Eleven (Millie Bobby Brown) are making out. Mike is very much into the song. Eleven is not. Meanwhile, just outside the door, Jim Hopper (David Harbour) eats a bag of chips and watches Tom Sellick in an episode of Magnum P.I. He inches the chair backward, peeping in at the gap to Eleven’s room, and catches her and Mike kissing. Startled, Eleven shuts the door closed using telekinesis. Jim, now officially the angry protective dad to Eleven this season, tells them to keep the door open three inches. He immediately swings open the door and finds the couple sitting on opposite sides of the bed, flawlessly playing it off and pretending that they don’t know what Jim is talking about.
Moments later, Mike and Eleven laugh about it over walkie-talkies as Mike bikes away to meet with the Gang. The episode then transitions to the Starcourt mall, where a now late Mike, meets with Lucas (Caleb McLaughlin), Max (Sadie Sink), and Will (Noah Schnapp). We instantly notice that the children have grown, as puberty hit some of them hard; especially the height differences, as the kids are much taller and lankier. Lucas teases Mike over his obsession with Eleven: how the couple always makes out and how Mike always ignores his friends. Max, who has been dating Lucas since season two, takes notice and is visibly upset at her ignorant choice of a boyfriend.
The kids move across the crowded mall interiors, showcasing various stores and fashions of the 80s, as Lucas bumps into his younger sister. The two tease each other in an acerbic way that only siblings can and the kids eventually reach the ‘Scoops Ahoy Ice Cream Parlor’, a sailor themed ice cream shop, where Steve Harrington (Joe Keery), dressed in tiny blue shorts and sailor hat, is working. Robin (Maya Hawke), the freckled girl working the counter, also in a matching sailor outfit, calls Steve from the back. He regretfully asks the kids, “Again?!” then allows them through the back employee hallways. From there, the kids sneak into the Movie Theatre to watch the R-rated movie Day of The Dead. But just as the movie is seconds in, the power starts to die, throughout the mall and also all throughout the town.
An aerial shot zooms away from the mall and pans across town, showcasing the blackout affecting all of Hawkins. We brush past some outer forest areas and then close into an abandoned steelworks building, where a small host of rats scurries about. Suddenly, a cloud of dust assembles into a mysterious figure, which then flies straight into the camera. At that same moment, the power returns and Will Byers touches the back of his neck at the movie theatre. He has flashbacks and feels a strange sense of Déjà Vu with the Mindflayer, as horrific images of his time with the creature from season two flash before his eyes. In front of him, a series of hands punch through the wall in the Day of The Dead Movie.
“Shit”
Says Nancy (Natalia Dyer), as we transition into the next scene. She wakes up in Jonathan’s bedroom. The two had forgotten to reset the clocks after the power outage the previous night. Immediately, they get dressed as Nancy sneaks out of Jonathan’s bedroom window. The Gentlemen Afterdark’s song ‘Open The Door’ plays as Jonathan (Charlie Heaton) tries to head out, but Joyce (Winona Ryder) stops him and wipes the lipstick from his cheek before leaving. Will, who is eating breakfast with his mom, says Jonathan is gross. His mother tells him he won’t think so when he falls in love. Soon after, Joyce notices a series of magnets that fell off the refrigerator. She puts them and the fallen image they were holding back up, a drawing of Bob Newby from Season Two, Joyce’s former boyfriend who was eaten by Demodogs.
Jonathan drives Nancy to their shared job. Nancy complains to him that the men at their job don’t respect her and only see her as a coffee runner. While this is happening, the couple passes Dustin (Gaten Matarazzo) on the road, who is being driven home by his mom from Summer Camp. We shift focus and now follow Dustin, who is calling, “Gold Leader to base” over his walkie-talkie, but none of his friends are responding.
When he arrives home, Dustin unpacks and soon finds his toys eerily begin to come to life like something straight out of the movie Toy Story. Dustin grabs an aerosol can (which upon closer look, is the Farrah Fawcett spray Steve recommended for his hair last season) and looks on at his creepy toys. It’s revealed that Eleven is moving the toys with her mind and the gang surprises Dustin with a welcome back banner from behind. Startled, Dustin shrieks, showcasing a toothless grin and continuously sprays Lucas in the face with the spray.
At the Hawking town community pool, all of the moms get hot and heavy as they sunbathe and eagerly await to see Billy (Dacre Montgomery), with his six-pack, aviators, and mullet, walk out as the sexy new lifeguard. He interrupts his own sexy, slow-motion entrance, by calling out a fat kid running alongside the pool, viciously calling him lardass, and threatens to ban him for life all while the entire community watches — reminding us that Billy is still the bully we remember from last season. Once the scene resumes, the moms greet him enthusiastically and Billy compliments Mrs. Wheeler (Cara Buono) on her bathing suit. The two exchange longingful looks of attraction towards each other.
Joyce sets up a banner for a special sale at the general store she works in, obviously losing out to the nearby mall competition from the looks of her store. Soon after, Hopper arrives and asks Joyce for advice about Eleven, as Mike is over almost every day, and he’s very worried. Joyce tells him to try to be reasonable. She recommends he has a heart-to-heart with the kids and actually talk to them and set boundaries, reminding Hopper that above all else, to not lose his temper. She then helps him in drafting a letter/speech for Hopper to say to them.
Rushing past the window of the general store as Joyce helps Jim draft a letter is Nancy. She is fetching lunch on a run for her job, revealed to be at the local newspaper: The Hawkin’s Post. We follow Nancy inside and see that Jonathan works as a photographer there. Nancy, as a runner. She uses the opportunity of delivering lunch to pitch a story, asking the writers if they could cover the Starcourt Mall and how it’s ruining local small businesses. In return, the men in the office laugh and make fun of her, calling her Nancy Drew.
Lucas wipes the Farra Faucet fluid off of his eyes with the help of Max. Once his vision comes to, he asks her if she has a new zit on his face. Max drags Lucas’s face back under the sink. Meanwhile, Dustin shows off some new inventions he created off in science camp. One of which, is a long distance, battery-powered radio tower he wants to try out to contact his girlfriend: Suzie. This surprises the gang. According to Dustin, Suzie is from Utah, they met in science camp, and she is a hotter version of Phoebe Cates.
Meanwhile, Steve tries impressing some ladies at his ice cream parlor job. He awkwardly fumbles and tries hyping up his experiences working instead of attending college, and almost immediately strikes out. His coworker, Robin, who is tallying Steve’s score with the ladies on a whiteboard, marks that was his sixth rejection of the day. Steve says it’s because of the stupid sailor hat which hides his best feature (his hair). Robin mentions that maybe Steve should just tell the truth. Steve rejects the notion, recounting that he couldn’t get into any sort of college, his dad is trying to teach him a lesson, he makes three dollars an hour, and has no real future, so he’ll pass on being himself. Afterward, Steve tries to impress the next set of ladies with a false sense of confidence now that his hair is loose. He fails.
Hopper goes over his speech with Joyce and gets frustrated. She reassures him he’s doing fine and grabs hold of his hand. Jim smiles and asks Joyce if she’d grab dinner with him tonight. Joyce pulls away and says that she has plans. Just then, a customer enters the store pulling Joyce away. Hopper longingly looks at Joyce, as a romantic rendition of Patsy Cline’s ‘She’s Got You’ plays, showcasing that Jim is obviously in love with Joyce.
We cut back to Dustin, who hikes up a hill with the gang to set up his long wave radio tower, nicknamed Cerebro, in order to talk with Susie, his alleged girlfriend. He mentions that she’s Mormon so he has to communicate via radio as he can’t call her. Mike tells Dustin he has to head home with Eleven, despite it being only 4 pm. Mike suddenly gets an odd tingling feeling on the back of his neck, as just below him, a series of mice walk across a line in the field. We cut away to show a bevy of mice recall to the Erimborn Steelworks building. They spontaneously combust into goop, screaming as each one pops to death one-by-one.
Back at the community pool, Billy watches Mrs. Wheeler back stroking, as Foreigner’s ‘Hot Blooded’ plays in the background. He compliments her perfect form. Says he has excellent form as well. He says he knows all the styles, really emphasizing his knowledge of the ‘breaststroke’. Billy offers to meet her at a motel 6 at 8pm in the pool for “private lessons”. She denies she needs lessons but Billy reassures her it’ll be the “Workout of her life.”
Meanwhile, back at the hill hike, Lucas finishes all of the water much to Max’s annoyance. Together, Dustin, Lucas, Max, and Will, set-up Cerebro. But when Dustin reaches out to Suzie, nobody replies. He continues reaching out as the sun starts to set.
Joyce returns home to find her house empty. She microwaves a quick dinner and pops a bottle of wine, showing that she really had no plans and was simply rejecting Hopper’s advances. Putting on an episode on Cheers, she remembers fond memories of her time watching the show with Bob (Sean Astin), together. At that moment, all the magnets fall off the refrigerator again.
While cleaning the offices at the Hawkin’s Post, Nancy receives an urgent phone call and takes down a note: a Doris Driscoll, who leaves her home address as she’s calling about diseased rats.
Back in Elven’s bedroom, REO Speedwagon’s ‘Can’t Fight This Feeling Anymore’ plays as Mike and Eleven continue to make out yet again. Hopper, still struggling and smoking in his bed, rehearsing the speech he’d written with Joyce, tries to talk to Mike and Eleven and share his feelings. When they allow Jim into the room, he tries but struggles to talk with both of them; which Mike disrespectfully jokes about and then whispers sweet things into Eleven’s ear. Upset, Hopper lies and says something is wrong with Mike’s grandma.
We cut to the two of them getting in Jim’s car as Mike questions what’s wrong with his Nana. Hopper admits there’s nothing wrong but that he believes there is something wrong with Mike’s relationship with Eleven. Angry, Mike calls Hopper a piece of shit and tries leaving the car but Jim locks the door. Repeatedly. Mike calls him crazy. Jim tells Mike what’s crazy, is if he ever disrespects him again. He then tells Mike that he’s going to drive him home and that the boy will listen to what if he has to say, and if Mike’s lucky, he will allow him to continue to date his daughter. Mike reluctantly agrees, having no choice in the matter.
Much later into the evening, Dustin continues trying to reach out to Suzie. The group starts to doubt Dustin and Cerebro and then proceeds to call it a night and leaves him. Shortly after, Dustin receives an odd transmission, something in the Russian language. It is revealed to be transmitted by Russian scientists sending a message via communication relay in an underground laboratory. We also see the surviving Russian scientist from the opening scene, who is evidently at this new laboratory.
Afterward, we cut away to show Mrs. Wheeler dollying up to Cutting Crew’s ‘I Just Died in Your Arms Tonight’ as she readies to leave, but soon finds her husband on the couch, cuddling with their daughter. She has a change of heart and decides not to meet Billy that evening.
Billy, excited about his potential romantic encounter and rehearsing calling Mrs. Wheeler by her first name, Karen — crashes his car on the way to the motel six. He’s just outside the steelworks building and notices something hit his windshield. He’s soon pulled by the leg into the steelmill by a creature, as Billy protests and screams as he’s horrifyingly dragged into the lower levels of the mill.
THOUGHTS ABOUT EPISODE ONE:
Kudos to the special effects crew as this season goes all out. The machine at the beginning looks like something taken straight out of Watchmen and Doctor Manhattan. Also, after having watched the season in full already, I’ll admit this is an excellent episode in seeing how well things turn full circle.
A lot of this episode sets up for the season and you appreciate it a lot more second time around.
Chapter Two: The Mall Rats
Billy retreats back to his car and then rushes to his payphone. His perspective quickly switches into the upside-down world, where he finds of all things… himself.
Eleven paces back and forth at her home at Jim’s Shack. She calls the Wheeler residence, asking Mike where is as it’s 9:32. Mike tells Eleven he can’t see her today, and reasons that his Nana is hurt. Confused, Eleven tells him that she thought Hopper said that she wasn’t (he apparently clarified with her the night before), but Mike lies and says that she’s actually very sick. This surprises Mike’s eavesdropping mother Mrs. Wheeler, who is shocked Nana sick, as Mike yells at her to, “Get off the phone!” in a hilarious homage to old shared landlines. Eleven asks Mike if he is lying. Mike denies it. When Hopper asks what’s going on Eleven just hangs up the phone receiver and slams the door on him as she goes into her room.
Ecstatic that Mike listened to his orders and kept distant, Hopper rocks out to Jim Croce’s ‘You Don’t Mess Around With Jim’ on his way to work. He drops by Joyce’s general store and thanks her, as the plan she recommended succeeded. He then asks her out to dinner at Enzo’s but emphasizes that it’s not a date. She’s surprised he even mentioned it. Cutting the tension, Jim gets called into the work, as the townsfolk are picketing against the new mall. As Hopper leaves, Joyce sees more magnets fall at the general store and gets a suspicious look on her face.
Nancy asks Tom, her boss at Hawkin’s Post, if somebody else can do the lunch runs today as she needs to visit the doctor for ‘Girl problems’. She uses the time to drag Jonathan with her to chase a lead and visit the lady who reported the diseased rats. Nancy thinks it’ll be a big story and is worth the risk. Jonathan is reluctant and worried about getting fired.
After yet another 80s mall montage panoramic, we cut-back to the Scoops Ahoy where Dustin visits Steve. The two greet each other in an incredibly dorky fashion. Dustin shares with Steve that he has a girlfriend now. One who believes kissing is “Even better without teeth” which makes Steve a little skeptical. Over free ice cream which Steve is more than generous in sharing, Dustin shares that the group had ditched him the previous night. However, he also tells Steve that he has intercepted a secret Russian communication, promising his friend that they could both be heroes (which to Steve, is a great way to win over some ladies) if Steve could help him in translating the Russian broadcast to English, and pulls out a translation dictionary.
Eleven finds Max skateboarding outside her house and comes over to ask for advice. She tells Max what happened with Mike this morning and Max tells her Mike is obviously lying. At that same moment, the camera cuts away to a nervous Mike, who freaks out and repeatedly tells Lucas that he knows Eleven knows he’s lying. Lucas asks why he is even lying, to begin with? Mike says it’s because Hopper threatened him. Lucas admits he’s in deep shit. Max meanwhile, tells Eleven to ignore Mike to give him a taste of his own medicine — that if Mike doesn’t honestly explain himself today, to dump his ass. Lucas meanwhile, shares with Mike that despite Max breaking up with him many times, he’s won her back each time it happens, and offers Mike to see how to win a girl back. At the same time, Will, who has been with Mike and Lucas the whole time, is disappointed as he just wants to play Dungeons and Dragons.
At the community pool, Mrs. Wheeler goes to find Billy in a storage closet inside the building by the community pool. He looks very sickly. She apologizes that she can’t cheat. Billy slams her head into the wall. We cut back to reality, and realize Billy only dreamed about slamming her head in. He tells Karen to stay away and walks back outside, severely disoriented by the heat and suffering obvious effects from his last night encounter.
At the ice cream shop, Robin gives free samples to Lucas’ sister who is asking for far too many. She’s obviously tired of working the counter. In the backroom, Steve tries to help Dustin but mostly notices that the background jingle in the message sounds awfully familiar. The two have made little progress. Soon after, Robin joins them in the back asking Steve to tag in — she also reveals that she knows exactly what the two are doing, as the two have been loud and not subtle at all about the secret, often neglecting that she’s even in the room. Robin offers to translate for free, and even though she doesn’t know the language, she speaks French, Italian, and Spanish, plus can play music rather well, boasting that she has a naturally talented ear.
Nancy and Jonathan arrive at Mrs. Driscoll’s place, where they find an eaten bag of fertilizer and one of the alleged diseased rats, frenzied and locked in a cage.
Jim arrives at the Mayor’s office walking past a line of angry picketers. He talks with Mayor Larry (Cary Elwes) who wants him to get rid of the people talking trash about the mall outside of his office, especially because they never got a permit from Hopper’s office. Mayor Larry mentions he’s going to throw a big Independence Day celebration for the town to stay popular for his reelection campaign.
Eleven goes with Max to the mall and together, they go shopping. A montage ensues. Eleven asks Max how does one know what they like? Max teaches her to find what you like, find something that resonates with you and only you.
Joyce visits her son’s former science teacher, Mr. Clarke (Handy Ravens), and brings books on electromagnetism in hand from the store. She finds Mr. Clarke working in the garage listening to Weird Al Yankovich’s ‘My Bologna’.
Jonathan meanwhile, tries taking pictures of the angry rat in the basement but it won’t stay still. Nancy makes cold calls looking for leads, finding an ad for the Blackburn Farm Supplies. She goes back into the basement and pulls Jonathan away, just as he was noticing something seriously wrong with the rat. Moments after they leave the basement, the rat explodes. It’s entrails and goop slowly crawl away.
We return to the beginning of the episode, where Billy speaks to himself form the upside down. He asks him what he wants. His doppelganger replies: “To Build What You See”. Billy wakes up again in a pool area with his arm severely sunburnt (a sign that he’s infected as learned from Mike in Season Two). Billy agonizes in pain and drenches himself in one of the showers. One of the young lifeguard girls checks up on him and Billy hallucinates: the same girl, begging him in a deep distorted voice, “Take me to him.” When Billy comes back to reality and the girl asks if he needs an ambulance, he curls his hand into a fist on his knee and we see a quick, jerky, body motion, and the distant sound of a girl screaming…
Meanwhile, the kids continue a fun mall montage to the tune of Madonna’s ‘Material Girl’. As Eleven and Max try on clothes while the boys look for a gift for Eleven. At the Scoops Ahoy, Robin deciphers the first sentence just as Steve goes to deliver some ice cream cones to none-other-than Eleven and Max. As the girls leave after having a wonderful day at the mall, they run into the boys just outside. Immediately, Eleven questions Mike and catches him in the lie. Unable to tell her why, she dumps Mike, with Foreigner’s ‘Cold as Ice’ playing in the background.
Back outside the Mayor’s office, Jim arrests a protestor who claims he’s just exercising his right to protest the mall that ruined his family business. Soon after, Jim gets a special delivery for a shirt to wear for his date that night with Joyce (One like what Tom Sellick wears in Magnum P.I. in a nod to what he was watching in Episode One). Hopper arrives early to his date and orders himself a scotch and a bottle of Chiante, which he horribly mispronounces, for the two of them.
At that moment, Joyce is still out late talking to Mr. Clarke, learning about solenoids and electromagnetic fields. They simulate a small EM field. Joyce asks how could this is happening at her house. Though skeptical, Mr. Clarke explains that theoretically, a large version of the AC transformer could exist causing a large electromagnetic field, though the device would cost tens of millions of dollars to make.
Late into the night, Robin, Dustin, and Steve decipher the Russian translation but don’t know what it means. Robin discusses it with Dustin and agrees, that this is not an insane theory and it, in fact, must be a secret Russian code, proving Dustin right. While the two exchange their thoughts about it, Steve stops dead in his tracks in front of a Children’s Indiana Flyer-Horse ride. He calls Robin and Dustin over, drops in a quarter, and plays the ride, realizing that the jingle is the exact same sound in the recording. He realizes that the code didn’t come from Russia. It came from right there in the mall.
A very drunk Hopper drinks alone, regretting that Joyce has stood him up. He takes the bottle of wine and goes off-premise when threatened with a call from the authorities by his waiter, Jim claims rubs it in his face that he’s the chief of police. On his way out, he bumps into a very intimidating Russian. The man from before who looks like The Terminator.
Finally, Billy returns to the Steelmill and carries the body of the lifeguard below. When she comes to her senses, she wakes tied up and struggling. Billy lowers closer to her and whispers into her ear: “Don’t be afraid. It’ll be over soon. Just stay very still.”
Suddenly, the leg of a sizable creature emerges as the girl screams.
THOUGHTS ABOUT EPISODE TWO:
Billy has a very creepy vibe for this season.
The mall scenes and 80s references are also noticeably heavier than ever before and this episode showcases that very well.
This season does a very excellent job juggling its large ensemble cast.
Hope you enjoyed the recaps and podcast. Next week, we’ll be doing the same for episodes 3+4.
Why the strange DC Universe show Deserves a Second Season
If you haven’t heard by now, DC Universe is in an interesting spot. With the streaming service’s Swamp Thing being canceled after its first episode, many are curious to what the future will hold to the company’s ambitious foray into its very own entertainment platform.
The service seems to be creating new content and has even renewed its flagship show, Titans. Yet, one show remains in limbo, the widely popular and refreshingly unique Doom Patrol.
This, quite frankly, is a travesty that needs to be rectified immediately. When the misfit gang of “superheroes” were introduced in episode 4 of Titans (serving as a backdoor pilot), they served as a welcome departure from the stagnant, grayscale aesthetic anchoring the show in gritty realism. So, naturally, when Doom Patrol was announced as its own series, I was ecstatic and curious.
Titans felt a chore at times to watch, with some interesting story progressions, but it would have been more beneficial as a series to binge, instead of the week by week episode drop. Doom Patrol not only captivated me, but it made me anxious about when the next episode would come. The 15-week journey took me along for the ride.
When I watched the pilot episode, I found myself trying to articulate to friends what the show was. I would say things like “It is weird but in a good way. It seems like a much better attempt at what Suicide Squad was trying to do. It has a crazy cast; just watch it!” As the weeks progressed, the writers truly flexed their story muscles by tackling head on the seemingly Herculean balance of strange goofiness and serious life-altering dilemmas. I went back to those same friends and said: “This is some of the best TV out there right now, and you need to watch.” Many laughed and were puzzled, but I stand by what I said: Doom Patrol is one of the best TV shows of 2019.
Wow, what a claim, right? Wrong. Look at what this show boosts.
A Stellar Cast:
Two major characters that are in conflict throughout the show’s run are Dr. Niles Culter aka “The Chief” and Eric Morden aka “Mr. Nobody,” played by Timothy Dalton and Alan Tudyk, respectively. JAMES BOND and WASH, people.
Not to mention the career resurgence of everyone’s favorite 90’s action star, Brendon Fraser. Yes, the man is back in action and gives a stellar performance that balances an over-the-top performance and a subtle emotional presentation as Cliff Steele, the former race car driver but now Robotman. No, you aren’t mistaken, you read that right. No, it’s not a mistake (my editor can verify). Brendon Fraser voices a robot. A robot! (Riley Shanahan does the physical work of Robotman, and he nails it).
Plus, the rest of the cast delivers consistently solid performances that really flesh out the squad.
Diana Guerrero plays “Crazy Jane,” a woman living with 64 distinct personalities that provide her with an array of superpowers. With the concept seeming ridiculous, Guerrero grounds each character and succeeds in shifting fluidly through the different personalities, which is rewarded by the writers the more you follow her journey.
April Bowlby puts in a stunning performance of Rita Farr, an actress from the 1950s that encountered a toxin that turned her into an elastic plastic. This gives her the “ability” to shapeshift her body, but it mostly turns her into a horrible looking blob. Balancing the characteristics and personality of someone from the 1950s interacting with the modern world is a joy to watch. This is supplemented with the development of her character underneath a shallow exterior.
Matt Bomer, working in conjunction with the physical work of Matthew Zuk, delivered on a performance that exceeds expectations when presented with the character of Larry Trainor aka “Negative Man.” A former pilot that bonds with a Negative spirit during a horrible accident, Boomer takes us on an emotional journey as we are clued on the layers underneath his bandaged exterior.
To round out the Doom Patrol, Joivan Wade gives the audience a shining performance of Vic Stone, known to all of us as “Cyborg.” With the character’s recent introduction in the Justice League movie in 2017, the Cyborg Doom Patrol gives us is an excellent interpretation: funny, determined, conflicted, and the character with arguably the most heart on the show. His introduction on the show solidifies his place as the glue of the band of “heroes,” and his ongoing relationship with his father adds an intriguing development to accompany the main story.
The Story
The show, which is developed by Jeremy Carver and written with a plethora of writers, hits the mark with establishing a unique voice and tone for the show. To try to incorporate all the decisions and choices they make within the show would be a fool’s errand, but I am partial a fool. Doom Patrol utilizes narration, which allows them to break the fourth wall; a healthy dose of humor; tropes that include portals, different dimensions, and time manipulation; and narrative jumps along different decades that chronicle the character’s lives.
The writing does a phenomenal job of providing depth and careful character development for each character, and it rewards us with significant time to sit with each one. A recurring theme for Doom Patrol is that every member is extremely flawed and must choose whether to look past these flaws to become better or let the flaws continue to hold them back. With Mr. Nobody playing the antagonist to the gang, he makes it clear to them (and the audience) that he will expose any weakness he can to have it his way.
The depth and thematic elements do not just stop with the main characters; the show makes it clear that Doom Patrol is about finding one’s identity and gaining control over it. We see this throughout each character and their relationship with each other and their surroundings. Because of this, the writers are able to carefully navigate through topics like abuse, negligence, lies, adultery, discovering who you are with examples of sexuality and gender, and hiding who you are when influenced by the world you live in. One of the greatest things to come from this is the introduction of Danny the Street, a “sentient, genderqueer street” that appears where it pleases while not disrupting the world around it. Danny is home to those that feel estranged from the world and allows its residents to live their lives freely. This show is like Chicken Noodle Soup for the soul, but the chicken noodles look weird, and the broth smells a bit off, but it still tastes good . . . . .
Final Thoughts
I can’t stress how much I love this show. In a time where superhero media can be oversaturating, Doom Patrol gives a breath of fresh air, coupled with a fantastic color palette and narrative substance. We need a second season, and this show needs to continue to live and breathe.
In a world where we are getting bombarded with stress, hate, fear, and a scary world, Doom Patrol is our little Danny the Street.
Hello and Happy Friday, everyone, and welcome to Weekend Movie Brawls!
Here, we take an in-depth look at films with similar themes or stories and we pit them against each other in a competition based on their merits. For example, it can be two animated films of the same type, two films which take place during a certain time period, two films with similar plots or an original film versus its remake.
The reason we make this a weekend thing is because when else might you have the time and energy to relax and see something you haven’t seen before?
This week’s match-up is between two pulp-style crime films. While they’re not so much forgotten, I feel they might have been slightly underappreciated.
Let’s meet our competitors…
In this corner…
1) ARMAGEDDON (1998)
THE PLOT
An asteroid (termed a “Global Killer” by NASA’s meteor-watching team) is headed for Earth. It will hit in a few days. It will kill everyone on the planet..but, wait: Earth has one last hope: industrial oil drill specialist Harry Stamper (Bruce Willis) who leads a team of drillers into space in order to drill into the comet so that they can implant a nuclear device that will split it in half and send it around Earth.
And, in this corner…
2) INDEPENDENCE DAY (1996)
THE PLOT
Alien ships come to Earth and then just sit there and wait for something. As suspicion and paranoia mounts, your local cable guy (and computer nerd), David Levinson (Jeff Goldblum) figures out the ships are gonna attack and cause mass casualties all over the world. Once they do, America and the rest of the world is forced to fight back or face the extinction of the entire human race.
SCORING
The scoring in Weekend Movie Brawls is simple. There are five categories: music, casting, writing, production (which includes design, costumes, make-up, etc), and direction. Each of these will be awarded a letter grade, from A to F. As in school, each of these letter grades has a number associated to it. An “A” is worth 4 points, “B” is 3 points, “C” is 2 points, “D” is 1 point and “F” is worth nothing. At the end, the final score will be average total of each of the 5 categories. For instance, if the score at the end of a round is “20”, this will be divided by five, the number of categories, for a final score of “4”.
The final scoring will not be revealed until the end of the contest.
In the event of a tie at the end of a brawl, the winner will be decided via a playoff round at a later date.
And, as always, THERE MIGHT BE SPOILERS, so if you haven’t seen these films, get out of here while you still can.
If you’re still game for this, read on!
MUSIC
ARMAGEDDON
Trevor Rabin composes the score for “Armageddon”. It’s all right. It’s an action score and it features Rabin imitating Hans Zimmer (which was basically what each composer did later in Jerry Bruckheimer’s producing career) by providing the listener with overblown orchestral movements punctuated by whiny electric guitar and the occasional classic guitar before testing your subwoofer’s limits with big, brash bass hits. The issue here is that this isn’t new, sounding and feeling like recycled material and outtakes from Zimmer’s score for “The Rock” just two years earlier. Still, it does fit the mood and the film.
INDEPENDENCE DAY
David Arnold’s score for “Independence Day” is wonderful. As director Roland Emmerich once said of Arnold (pictured above), “Leave it to a Brit to compose some of the most patriotic music I’ve ever heard.” Here, Arnold departs slightly from “Stargate” and which sounds as bombastic as Zimmer’s stuff but doesn’t sound as synthetic. Arnold adds his own flavor, providing us with music that illustrates the dangers the characters face and the ultimate destruction they endure — but there’s also notes of hope and the feeling of triumph in the face of overwhelming odds, driven home by solo forlorn horns which lurk in the back of Arnold’s auditorium. It’s uplifting and inspiring at times — if still a bit schlocky.
CASTING
ARMAGEDDON
Bruce Willis is fine here because he’s used to playing the role of the likable lunkhead. He has a great cast that surrounds him in Owen Wilson, Steve Buscemi, the late Michael Clarke Duncan, Will Patton, Liv Tyler, Billy Bob Thornton and Ben Affleck. How could one go wrong? Wilson, Duncan and Patton are barely used, Steve Buscemi is irrelevant once the action gets to space, Thornton is basically a poor man’s Ed Harris in “Apollo 13”, and Ben Affleck makes you crazy as he improvises and stutters like Shia LeBouf on Prozac. All the actors involved have seen better and done better.
INDEPENDENCE DAY
Roland Emmerich casts this sucker well, providing us with some believable characters. Will Smith (in a role that, along with “Bad Boys”, would propel him to becoming one of the biggest stars in the known universe) is great as Captain Steven Hiller, a cocky flyboy, a’la HanSolo, who can fly just about anything and do it well. Jeff Goldblum plays a perfect counterpart to him in David, the nerdy, insecure, dorky guy who not only manages to save America from full on chaos, he also helps Hiller save the planet. Bill Pullman plays President Thomas Whitmore, a tough, fair politician who also gears up for battle along with the military he commands (imagine that). The rest of the cast is nicely rounded with veteran actor Robert Loggia playing the President’s military chief, Judd Hirsch playing David’s dad, Julius, who loves his son, Randy Quaid, a paranoid alien abductee, Vivica A. Fox as Hiller’s wife, an exotic dancer who is stronger than her character type, and Mary McDonnell who is slightly wasted as Whitmore’s wife and the First Lady.
WRITING
ARMAGEDDON
I’ll just say it now: it’s crap. I mean, forgiving the outrageous concept (landing on a comet, walking around, drilling into it and planting a nuke to blow it up — then taking off, no harm, no foul), this is Vince McMahon-level shit here. Like just about every single film Michael Bay and Bruckheimer team up to produce, the script is mostly a mess. Stuff like this worked with “Bad Boys” and “The Rock”. It doesn’t here. Every other character is a ridiculous stereotype or a complete fucking idiot and the dialogue is terrible. Additionally, it’s riddled with situations which, even if you suspended your disbelief, are highly convoluted and ridiculous. In other words, this is practically something Asylum would produce today.
INDEPENDENCE DAY
While not nearly as ridiculous as “Armageddon” (it doesn’t take itself seriously and it’s far tighter), “Independence Day” comes across as hokey, the least of which stems from its rah-rah patriotism (the aliens are attacking the world but, still, MURICA!). The situational stuff is impressive and the dialogue is fairly believable but it has its share of convoluted moments…such as the aliens attacking famous landmarks, much like the meteors in “Armageddon” destroying famous cities and landmarks. It’s also odd that the U.S. would put all their eggs in one basket and only utilize one type of jet fighter in the F-16 or that Hiller would be getting rejection letters from NASA — just like Stanford. And it’s laughable how everyone just comes to Area 51 as if to mecca — and easily, too. That, and let’s face it: it pretty much rips off the very first “Star Wars” flick with the overall plot hook. It’s silly stuff, albeit punctuated by one of the greatest movie speeches ever given by a sitting movie President ever. It’s not nearly as obnoxious as “Armageddon”, though.
PRODUCTION
ARMAGEDDON
One thing I will say about Bay’s stuff: it’s beautiful to look at. His use of color pallets is second to none. He’s king of slow-mo shots of people doing just about anything and making it look great. The cinematography in just about everything he does is gorgeous, with blue, mechanical hues and sun-drenched meadows. Everything on screen looks great, a result of Bruckheimer tossing kabillions of dollars at Michael Bay and ordering him to make four times that amount with another McMovie. And That’s really all the good stuff I can say about this movie because everything else lacks substance. The cast is mostly wasted, the script is shit, and the soundtrack is just big and loud. This is your typical Bruckheimer/Bay overcompensation piece.
INDEPENDENCE DAY
The visual effects are impressive for the budget the filmmakers had, utilizing practical techniques instead of CGI. The cinematography isn’t wholly impressive as it was in Emmerich’s “Stargate” but the filmmakers make up for that with some beautifully-paced action scenes which suck you in and keep you in suspense. The actors are all likable — if only the villains (the aliens, not the sniveling James Rebhorn) were as memorable and not so generic. It’s a handsome production and an example of how to do a summer blockbuster the right way.
DIRECTION
ARMAGEDDON
Michael Bay is a much-maligned director, essentially thought of as the guy who blows stuff up for box office returns. He’s a pariah among movie snobs. I’m sorry to say that he deserves a lot of that moniker. Bay has had his critical successes. “Bad Boys” was a fun action flick. “The Rock” is a modern action classic. The first Transformers film is a LOT of fun. “The Island” is a film I have a soft spot for despite it being a rip-off of “The Clonus Horror”. There’s good Bay and there’s bad Bay. “Armageddon” is “bad Bay”. It’s so overblown, it’s almost a parody of itself.
INDEPENDENCE DAY
Roland Emmerich (pictured above) is like Bay’s spirit animal. Emmerich cut his teeth on OK sci-fi fare like “Moon 44”, “Universal Soldier”, and “Stargate”. Then he got his Big Bang on. He destroyed the planet with this film, destroyed New York with his remake of “Godzilla”, destroyed Earth two more times with “The Day After Tomorrow” and “2012” and then destroyed the White House in “White House Down”. Look at that grin. He’s the child who said “There’s a lot of fine china in this place…would be a shame if it all got BROKEN…” “Independence Day”, however, is once of his triumphs. “Independence Day” turned heads and provided him with enough street credit for ten directors…which immediately went to shit and cratered the moment he touched “Godzilla”. His direction on “Independence Day” is ENOUGH. It’s not great. There’s no real “trademark” or “style”. It’s Emmerich being Emmerich and destroying all the fine china in your home with a baseball bat because the destruction, while irritating and unwanted, is so spectacular, you can’t look away.
In the end, “Independence Day” was the right amount of loud and the right amount of silly in terms of a summer July 4th blockbuster showdown. Had this been a showdown of 1996’s “The Rock”, it might have been a much tougher competition but we needed two films of about the same theme and this was what we came up with. The ironic thing is that Bay is a much more successful director than Emmerich who has had mixed success with just about everything he’s produced. Even still, everyone has their duds and Bay had “Armageddon”.
NEXT WEEK: We’re still in summer mode and it’s time to take a trip to the ocean with the Internet’s boyfriend, Keanu Reeves. It’s “Point Break” versus…its remake, “Point Break”. Should be a fun contest! Join us then!
It’s been a long year for Wynonna Earp fans. After the popular Syfy series went on hiatus in early 2019 because of financial issues at IDW, Earpers quite literally took to the streets to rally support for the beloved show. Convention after convention saw Earpers with signs and apparel covered in the slogan, “#FightforWynonna” and despite production being halted, fans and cast alike came together to continue supporting any opportunity to bring back the much needed gun-slinging sass. And now, after far too many months in limbo, Wynnona Earp is back.
Emily Andras commented in an interview: “The Earpers, this is all thanks to them. The movement they have built on kindness and inclusivity is legendary, but what I admire most is their determination to fight not only for what they want, but what they deserve. The fans showed up right when we needed them most — but then, they always do.”
To get into the nitty gritty details that kept Wynnona Earp from actively being on our screens at this very moment, IDW has partnered with Cineflix Studios, who will handle all of Wynnona Earp’s international rights (a struggle that has kept Wynonna Earp’s third season from moving to streaming service Netflix in the past). With seasons 4 and 5 already renewed by Syfy back in the summer of 2018, Wynonna Earp should now, hopefully, be good to go for the next few years. Syfy has reaffirmed its dedication to the series by stating:
“Syfy has never wavered in its support of Wynonna Earp, a unique and important series with some of the most passionate fans anywhere. To our Earper friends: Thank you for your patience and faith as we worked with our partners to ensure that Wynonna can get back to where it belongs…on Syfy.”
Which means that Earpers can now enjoy more of this:
Not only does the new Spider-Man deliver, it exceeds expectations.
I’ve been a Spider-Man fan ever since I was a little kid. I had everything Spidey: toys, clothing, games, and movies. Spider-Man has always been the face of Marvel, and every child growing up loved him. The point I’m getting at is that, as a Webhead, I take my Spider-Man seriously.
We covered ‘Spider-Man: Into the Spider-Verse’, ‘Spider-Man PS4’, and ‘Spider-Man: Far From Home’ on TheWorkprint podcast. Available on iTunes and GooglePlay.
With the success of Homecoming, the weight of Endgame, and capping off Phase 3 of the Marvel Cinematic Universe, Far from Home had a lot riding on it, and it lived up to the great responsibility it had.
I’ve said this before and will continue to do so, Tom Holland is the best and perfect Peter Parker/Spider-Man. His tremendous acting brings the genius of Chris McKenna’s and Erik Sommers’ writing to spectacular levels. The movie also succeeds in balance all the aspects of what a Spider-Man story needs: the excitement of the hero and the humanity of the boy. The movie had a great mix of serious tones and the lighthearted comedy that makes generations fall in love with the character over and over again. The narrative throughout the movie’s 2 hours and 9-minute run-time was extremely well-paced with a tight, focused framing device. I also applaud the writers, who made bold choices in the movie.
The rest of the cast, whether a major player or minor, delivered and helped flesh out the world. People that truly stood out, just to name a few, was Zendaya, Jake Gyllenhaal, and Jon Favreau. Zendaya’s layered Mary Jane in particular works extremely well opposite Holland’s quirky Parker.
Technically speaking, the movie was beautifully shot, making use of creative camera angles, interesting set pieces, and a unique color pallet with costumes and overall feel. The CGI and special effects were stunning and speak to the progress Marvel movies have made.
I think it’s safe to say that this movie was an absolute home run and helped reassure the fan base that Marvel movies are in good hands moving forward.
My parting thought is this: Go see this movie as soon as possible.
You can watch Spider-Man: Far From Home in theatres right now
Hello and Happy Friday, everyone, and welcome to Weekend Movie Brawls!
Here, we take an in-depth look at films with similar themes or stories and we pit them against each other in a competition based on their merits. For example, it can be two animated films of the same type, two films which take place during a certain time period, two films with similar plots or an original film versus its remake.
The reason we make this a weekend thing is because when else might you have the time and energy to relax and see something you haven’t seen before?
This week’s match-up is between two pulp-style crime films. While they’re not so much forgotten, I feel they might have been slightly underappreciated.
Let’s meet our competitors…
In this corner…
1) JACKIE BROWN (1997)
PLOT
Based on the novel “Rum Punch”, by the late Elmore Leonard, the film tells the story of a woman named “Jackie Brown” (veteran actress Pam Grier) whose uses her job as a flight attendant as a cover to help smuggle money into the United States for an illegal arms dealer named Ordell Robbie (Samuel L. Jackson). One day, she runs into two ATF agents (Michael Keaton and Michael Bowen) who arrest her on suspicion of money laundering. The ATF, however, doesn’t want Jackie, they want to bring down Ordell and they offer Jackie a deal: her freedom for Ordell. At first, she rejects it, but after Ordell nearly ends her life, she decides to take the deal — but things just aren’t that simple. Written and directed by Quentin Tarantino.
And, in this corner…
2) THE KILLING (1956)
PLOT
After serving five years in prison, Johnny Clay (Sterling Hayden) realizes that he’s had just about enough of living a life of crime and the prison time he just served as a result. He plans “one last heist” so that he can get rich quick, retire, and marry his sweetheart, Fay (Coleen Grey) who has been nothing if not patient with him. The plan (robbing a horse racetrack of $2 million dollars in broad daylight during racing hours) is foolproof, with a team comprised of people who don’t have a criminal background and who are sworn to silence about the robbery…but, once again, things just aren’t that simple. Written and directed by the late Stanley Kubrick.
SCORING
The scoring in Weekend Movie Brawls is simple. There are five categories: music, casting, writing, production (which includes design, costumes, make-up, etc), and direction. Each of these will be awarded a letter grade, from A to F. As in school, each of these letter grades has a number associated to it. An “A” is worth 4 points, “B” is 3 points, “C” is 2 points, “D” is 1 point and “F” is worth nothing. At the end, the final score will be average total of each of the 5 categories. For instance, if the score at the end of a round is “20”, this will be divided by five, the number of categories, for a final score of “4”. In the event of a tie at the end of a brawl, the winner will be decided via a playoff round at a later date.
And, as always, THERE MIGHT BE SPOILERS, so if you haven’t seen these films, get out of here while you still can.
If you’re still game for this, read on!
MUSIC
JACKIE BROWN
As is the case with every film Tarantino did up until “The Hateful Eight”, Jackie Brown didn’t have a score. What it DID have was Tarantino’s penchant for setting the mood through the use of songs from his old record collection. Every song on the soundtrack is beautifully utilized. Bobby Womack’s “Across 110th Street” introduces us to Jackie at the beginning of the film and also sends her off into the sunset. “Natural High” serenades the audience the first time Max Cherry (Robert Forster) lays eyes on Jackie. Jackie has a thing for The Delfonics to the point where Max goes and buys a greatest hits album, which later surprises Samuel L. Jackson. The bouncy soul hit, “Strawberry Letter 23” by The Brothers Johnson provides the background for Ordell’s first murder. Jermaine Jackson and Minnie Riperton provide a laid-back atmosphere for Ordell’s favorite retro neighborhood bar and grill. Randy Crawford’s “Street Life” further establishes Jackie’s already unshakable confidence as she walks through the Del Amo Fashion Center. For most filmmakers, the use of music is a bit of a lost art, especially when it’s the use of a pop song or radio favorite. Quentin Tarantino has turned it into an art form. GRADE: A
THE KILLING
Gerald Fried had the scoring duties for “The Killing”…and it sounds like just about every piece of incidental music you heard in 50’s cinema or television. Fried is considered to be a pioneer in his field. He’s known, the world over, for producing some memorable television scores as well as the main theme for “Roots”. However, (and please don’t hate me for this) there’s nothing remotely special about the music for “The Killing”. The music fits the film, attacking the audience with a series of horns and drums which are meant to give a sense of intensity to the proceedings, but it’s difficult to get into the action near the end when it sounds like a marching band is scoring everything. One could argue that this was “new” and it does remind me of Brian Eno’s “Force Marker” used during the big robbery in the movie “Heat”, but, beyond that, the score’s just kinda there. Fried would do better later on. GRADE: C-
CASTING
JACKIE BROWN
Everyone in the cast is spot-on. Pam Grier plays Jackie as an independent woman To look at her, one might get the sense that she’s a pushover, but she’s a fighter and watching her weave in and out of trouble is pure bliss. She’s complimented nicely by veteran actor Robert Forster who plays Max Cherry, a bail bondsman who is insanely good at what he does…but he’s also tired of it. Aging and somewhat lonely, his need to escape the system is a trait he shares with Jackie and it’s a joy to watch the two together. They have an amazing chemistry that fuels this entire film. Samuel L. Jackson plays Ordell Robbie, a gun runner who’s cool as ice — but also oozes evil from his pores. He smolders each time he’s on screen. The supporting cast is also nicely rounded with Robert DeNiro who plays Luis, an ex-con who hangs out with Ordell in order to get well after prison, a role that goes against type for a guy who usually plays the “large and in charge” types as he did in Michael Mann’s “Heat” just two years prior. Bridget Fonda plays Ordell’s arm candy, Melanie, a somewhat stereotypical beach blonde bunny whose only wardrobe choices seem to be denim shorts and a tank top. But even she’s a necessary cog in the machine and plays her part well. Michael Keaton’s outstanding as Ray Nicolette (a role he’d reprise in Steven Soderbergh’s “Out of Sight”, also based on Elmore Leonard’s novel), a cocky ATF agent who is incorruptible (despite his shady personal life in “Out of Sight”) and serves as the other half of Jackie’s conscience. This is one impeccably casted film. Everyone gives a career-worthy performance here because they make these characters seem GENUINE. GRADE: A
THE KILLING
The same goes for “The Killing” — with a couple caveats. Sterling Hayden is perfection as Johnny Clay, playing him as imposing and confident in the Clooney vein, the perfect noir anti-hero, which runs contrary to Coleen Gray who plays Fay as a submissive wimp who not only waited for Johnny to get out of prison for five years, she still trusts him to pull off a heist that will make the both of them rich. The femme fatale here is Sherry, played by the great Marie Windsor who could play this role in her sleep. Unlike Johnny and Fay, she’s in complete control of her relationship to her husband, George, played here by Elisha Cooke Jr., who is also excellent. Cooke is a cuckold, his wife Sherry the cuckoldress, as she fools around on the side with Val Cannon, played by Vince Edwards, who is as sadistic and conniving as she is, only a touch more violent. The rest of the cast is fine, with Jay C. Flippen, Ted de Corsia, Timothy Carey, and Kora Kwarlani as Johnny’s gang. The latter pair are standouts. Carey is excellent as Nikki, a violent gun-nut who provides Johnny with his weaponry and who Carey plays with vicious intensity (his racist exchange with the parking attendant played by James Edwards still makes me bristle to this day). Russian pro-wrestler Kola Kwarlani is plain outstanding as Maurice solely for the soulful talk he and Johnny have near the middle of the film. The former pair of the aforementioned quartet of actors seem a bit extraneous, even if they’re necessary. GRADE: B+
WRITING
JACKIE BROWN
As has already been mentioned, Tarantino adapted Elmore Leonard’s novel “Rum Punch” and it’s near-verbatim from the source material, which I’ve had the pleasure of reading three times. It’s one of my favorite books. Tarantino famously changed Jackie’s last name (which was “Burke” in the novel) to “Brown” which Leonard seemingly didn’t have an issue with. Much of the Leonard’s trademark dialogue remains intact, which is huge because, as talented as Tarantino is writing dialogue, Leonard has a style all his own and is arguably better at writing it. The result is the perfect fusion between the two and the cast nails each line with perfection. It’s as much Leonard’s film as it is Tarantino’s and that’s just nirvana for film geeks. It must be said that Jackie Brown’s format is somewhat non-linear, which is heavily inspired by “The Killing”. Here, the audience learns that Jackie was able to obtain a gun to protect herself from Ordell, a moment that’s revealed at the same time Max discovers that his gun is missing — because Jackie stole it when he wasn’t looking. The two moments are revealed via split-screen. Later on, much like “The Killing”, the big, climatic switch-of-the-bag caper plays out from the viewpoints of Jackie, Max, and Ordell’s pair of Luis and Melanie, which is fairly clever, if not wholly original. Yet, the style doesn’t dominate the entire film as it does in “The Killing” and Tarantino can be credited for improving upon things…more on that in a moment. GRADE: A-
THE KILLING
Stanley Kubrick and hard-boiled pulp novelist Jim Thompson adapted Lionel White’s novel, “Clean Break”, which was originally destined to be a Frank Sinatra vehicle. Hayden, of course, would go on to win the lead role, much to United Artists’ chagrin. The screenplay used non-linear storytelling, which was fairly ahead of its time. When you saw two people talking, the action might shift to “2 hours ago” when a related event might be taking place. The only thing wrong with this is the lack of subtitles and the unfortunate use of a very loud and annoying narrator who yells at the audience every five minutes to describe what’s going on or to tell them what time it is. Additionally, like most of what Kubrick produces, the script is fairly cold and robotic. There’s a lot of caper planning and not much humanity to be had with a final twist you might see coming a mile away. Still, it’s a well-written caper. GRADE: B+
PRODUCTION
JACKIE BROWN
Tarantino (being Tarantino) fashioned “Jackie Brown” into a homage to the “Blaxploitation” films of the 1970’s, which include such famous films, among others, as “Shaft”, “Super Fly”, “Sweet Sweetback’s Badasssss Song” and “Foxy Brown”, the last of which the film gets half its title. As such, the film excels at giving us a fabulous shot of Jackie on an airport conveyor belt, on the way to her job, the tiled wall behind her changing colors as the title of the film flashes on-screen to Bobby Womack’s “Across 110th Street” (which is from the film of the same name), in a glorious 70’s-style font. This is what Tarantino was born to do. The film also does a great job at showing us the more seedy side of the Southern California suburbs which is photographed in loving fashion by Cinematographer Guillermo Navarro who had also collaborated with Tarantino and director Robert Rodriguez on “From Dusk ‘Till Dawn” and with director Guillermo Del Toro on “Pan’s Labyrinth”. The use of locations is perfect, with particular emphasis on the famous Del Amo Fashion Center, who once screened the film as part of the Alamo Texas Roadhouse’s traveling movie exhibitions. They’re as much a part of the movie as the characters, as is the use of music, which I have already mentioned. GRADE: A
THE KILLING
It’s Crime Film Noir. What’s not to like here? Stanley Kubrick utilized actors from past films of that genre and each of them are good in their roles. The use of light and shadow in certain scenes (particularly the planning scenes) is excellent and Lucien Ballard provides some great photography, providing us with some incredible shots (the sequence where a fatally-injured George finally confronts his wife and guns her down is haunting). The racetrack robbery is nicely executed and the finale at the airport is authentic as it is jaw-dropping. The only downside is the editing and narration, which sometimes reduces the action to procedural monotony and provides for a slightly clunky experience. GRADE: B+
DIRECTION
JACKIE BROWN
Tarantino has an ear for dialogue and a talent for casting and pulling the best from all of his actors. “Jackie Brown” is no exception. It’s possibly Tarantino’s most underrated film in his career and a sleeper. His love for film lore shows in everything he puts on screen. GRADE: A
THE KILLING
This is one of Stanley Kubrick’s lesser efforts — and even with lesser Kubrick, you’re getting an interesting, thought-provoking film even if it isn’t perfection. Kubrick’s penchant for shooting his film with the events out of order inspired films like “Jackie Brown” and “Pulp Fiction”. It’s well-shot and well-acted and it has a hell of an ending — and this is up-and-coming Kubrick. He’ll be back. GRADE: B+
FINAL SCORE:
JACKIE BROWN: 20 (4.0 Average)
THE KILLING: 14 (2.8 Average)
THE WINNER
POST-MATCH
This one was hard for me to write about. I love both directors equally. Say what you want about Tarantino. The dude is one of the greatest writers and directors ever and, aside from maybe “The Hateful Eight”, he’s produced nothing but greatness. When I decided to do this match-up, I seriously thought my bias for Kubrick would get in the way of my final rating. I’m just Joe Blow Nobody but “Jackie Brown” is a near-perfect film. “The Killing”, as much as I adore the film, does have flaws that stand out. Keep in mind, however, that the majority of the body of Kubrick’s work contain probably over a half dozen of the greatest films EVER MADE…and I can only say that of maybe two or three of Tarantino’s films. For me, Kubrick didn’t truly blossom until “Paths of Glory” and “Spartacus”, the latter of which he disowned completely. He would come into his own with “Lolita” and then make four straight masterpieces right after that with “Dr. Strangelove”, “2001: a space odyssey”, “A Clockwork Orange” and “Barry Lyndon”. The fact remains that “Jackie Brown” won this particular contest — but Kubrick will soon see his day.
Do you agree? Disagree? Sound off in the comments!
NEXT WEEK: It’s summer and we need some great big blockbusters to do battle! It’s “Independence Day” vs. “Armageddon”! See you next week!
COBRA KAI Season 2, Episode 10
“No Mercy”
Available on YouTube Premium
GRADE: A-
“Almost perfect Kung-Fu film that forgets about plot and concentrates on mind-boggling action.” — Leonard Maltin’s capsule review of ENTER THE DRAGON
Last year, Cobra Kai won bragging rights at the All-Valley Karate Tournament, seeing Miguel (Xolo Maridueña) win the honors for the dojo by using questionable tactics against Robby (Tanner Buchanan). This year, thanks in most part to Kreese (Martin Kove), a full summer’s worth of hostility and bad blood has been added to the already bitter fallout between the two sides.
And a tournament isn’t the thing that resolves it this time.
It’s been a ten-week countdown to this very moment. If you’ve binged the series, hey, thanks for sticking with me. I am happy to report that “No Mercy”, the second season finale of YouTube’s “Cobra Kai”, not only delivers the goods to every single loyal viewer and fan, but they also inject a couple surprises for the long-time vets like myself.
“No Mercy” doesn’t take long to get going. As we saw in “Pulpo”, the powder keg was already set to explode when Robby brought a drunk Sam (Mary Mouser) to his dad’s apartment following a wild party which involved the cops busting down the door to arrest minors under the influence, much like Daniel (Ralph Macchio) does to Johnny William Zabka). Their big fight is beautifully choreographed and edited, the kicks and punches interspersed with shots of their fight over 30 years ago at the All-Valley Karate Championship. The only negative thing I can say here is that it ends far too soon but I suppose it’s just precursor to a bigger, badder fight next season.
From there, the action moves to the first day of high school for the students of Miyagi-Do and Cobra Kai. This being “Cobra Kai”, of course, there isn’t much needed to set off a major war between the two factions. All Sam needed to do, in Tory’s (Peyton List) eyes, is kiss Miguel. The moment where Tory tells Sam that it’s on between the two of them is SO melodramatic (she hijacks the P.A. system in the school’s main office out of the blue like the antagonist in a horror film) but that’s just part of the fun. What follows is 10 full minutes of pure anarchistic insanity that any martial arts fan would be at home with.
“There are no rules,” Tory tells Sam, wrapping her fist in an elastic bracelet laced with sharp metal studs, while Miguel and Robby fight each other as a misguided, macho attempt to stop the fight on their terms. The entire sequence is a third of the episode’s run-time and everyone we’ve seen in Cobra Kai and Miyagi-Do gets their moment to shine. The two physically small, geeky underdogs, Bert (Owen Morgan) and Nathaniel (Nathaniel Oh) go at it; the gentle giant Chris (Khalil Everage) and Mitch (Aedin Mincks) fight as well; “Hawk” (Jacob Bertrand) and Demetri (Gianni Decenzo) finally get their shot at one another (a fight Demetri actually wins — but apologizes for doing so, in true Demetri fashion); “Stingray” (Paul Walter Hauser), interviewing for a job as “school security guard”, attempts to rough up some of the students to show the principal how great he is…and then there’s Robby, Miguel, Tory and Sam.
While the big fight, itself, may be satisfying, it’s the fallout that matters. A couple episodes back, Kreese (Martin Kove) told Daniel that a “war was coming” and, whether or not you may agree, the entire second season of “Cobra Kai” has been a metaphor for war and conflict. Here, Miyagi-Do comes away the clear victor, with Nathaniel, Chris, Demetri, Sam and Robby all winning their respective fights — but it’s a Pyrrhic victory, largely due to the fact that Miguel is nearly killed by Robby after Robby kicks him over the railing of the second floor, and sends him hurtling, spine-first, into the first floor stair railing. The moment is as horrifying as it should be and, much like Robert Lewis, one of the pilots who helped drop the Atomic Bomb on Hiroshima, you can almost hear Robby thinking “What have I done?” as he looks on at Miguel’s unconscious body.
Here, “Cobra Kai” manages to hit every emotional bucket it’s given. For far too long, Johnny and Daniel believe they’ve been running the world in which everyone else lives. All of their smack talk and, proxy fights and intimidation games have left Miguel hospitalized with a massive neck and spinal injury, something which angers Carmen (Vanessa Rubio) and also pits Daniel’s wife, Amanda (Courtney Henggeler), against her husband. The irony of the situation is that Carmen blames Johnny for Miguel’s behavior — despite the fact that Miguel showed Robby mercy during the fight, something Robby took advantage of. The revelation of Miguel’s honorable actions and his subsequent return to innocence is further hammered home in an emotional scene in the hospital where Johnny stands outside Miguel’s hospital room and suddenly gets a voicemail that Miguel left earlier for him, describing his recent “girl troubles”, asking Johnny if he’ll go out for a burger to discuss this stuff, man to man, a side of Miguel we haven’t seen in quite some time.
“No Mercy” is outstanding TV, if just a little muddled with its overall message. On the one hand, it’s great to see the students of Miyagi-Do besting their polar opposites in the big school fight. The mood, in the moment, is one of triumph and exalted fervor.. On the other, the episode doesn’t let us get too comfortable with that, leaving us with an ending that will have us counting the days until the third season is upon us..
OTHER THINGS THAT EXIST IN THIS DOJO
There’s a lot to unpack after this episode. Let’s discuss the ending. (SPOILERS, CLICK AND SWIPE TO READ): Amanda has told Daniel that there isn’t going to be anymore Cobra Kai or karate rivalry between him and Johnny, much to Daniel’s chagrin. Johnny, meanwhile, goes back to his dojo to discover that Kreese is there with his students. One would think the last place they’d be is back at their karate dojo after the violence that went down but, nope, they’re all there. Kreese owns Cobra Kai now. He bought it out from under Johnny, leaving Johnny with nothing. After going drinking at the beach, Johnny tosses his cellphone into the beach sand and leaves…which is too bad, because he just got a friend request from his ex-girlfriend, Ali (absentee Elisabeth Shue). There are some insane fan theories online about this. Shue has HINTED at coming to “Cobra Kai” and I’m pretty sure she’ll end up on the show being that her character’s a surgeon…and Miguel’s in the hospital…see where I’m going here?
I love that Miguel found his conscience and then paid for it at the hands of somebody who ditched his. I love how that might play out as the show goes on. With Miyagi-Do seemingly closing down, does this mean Robby heads to Cobra Kai who is running, full steam ahead?
More evidence that the episode (and show on the whole) was trying to make some sort of sociopolitical statement: there’s a quick shot of a book a student is shoving into their locker, entitled “Violence in America”.
For the record, 1 minute and 20 seconds of the school fight is one, unbroken take. Pretty impressive, considering everyone had to get the choreography right.
Stingray’s interview with the principal is any interview any virtually unqualified, yet hopeful, candidate has with a prospective employer, misplaced confidence and all. It’s a much-needed moment of levity right before the big battle.
That’s it for me and “Cobra Kai”. Thanks for sticking around and reading my reviews week after week! I will be back next season!
This will be a new feature on the site and will be an in-depth look at films with similar themes or stories. It can be two animated films of the same type, two films which take place during a certain time period, two films with similar plots or an original film versus its remake.
The reason I’m making this a weekend thing is because when else might you have the time and energy to relax and see something you haven’t seen before?
The debut match-up is a “Triple Threat Match”…
I call it “The Unofficial Steve Jobs Trilogy”. All three films are about the late Steve Jobs and all of them tell virtually the same story in different ways…
Let’s meet our competitors…
PIRATES OF SILICON VALLEY (1999)
THE PLOT
Steve Jobs (Noah Wyle) and Bill Gates (Anthony Michael Hall) are two electronics geeks, living in a time of sociopolitical strife, something they’re largely unconcerned with because they’re unknowingly about to become the fathers of technological innovation and revolution. Jobs is a college drop-out who starts Apple in his garage while Gates is also a drop-out who gets his start working with Altair. While Jobs sees himself as an artist, attempting to inject cosmopolitan class and flair into everything he produces, Gates is driven by numbers and analytics and sells himself and his product to companies who simply want to be more productive. Eventually, Gates and Jobs become partners and attempt to work together, something which comes back to bite Jobs when Gates reverse engineers the MacOS into something he calls “Windows”. The film is artfully directed (for a TV movie on TNT) by Martyn Burke.
JOBS (2013)
THE PLOT
A simple film which portrays the rise of Steve Jobs (Ashton Kutcher) and his troubles along the way. The film felt like a quick cash-in on Jobs’ demise in 2011. The writing of the script began the moment Jobs was diagnosed with the cancer that took his life. I can’t fault the filmmakers for “attempting to get there first” in typical Jobs fashion. This divisive film was directed by Joshua Michael Stern.
STEVE JOBS (2015)
THE PLOT
It’s about the life and times of Marie Curie, if you haven’t guessed at this point. This big film about Jobs (portrayed here by Michael Fassbender) was slated to be the best Jobs film you’ve ever seen…except Sony was like a computer with a virus at the time and couldn’t get much right. We’ll get into that, though. Directed by Danny Boyle.
SCORING
The scoring in Weekend Movie Brawls is simple. There are five categories: music, casting, writing, production (which includes design, costumes, make-up, etc), and direction. Each of these will be awarded a letter grade, from A to F. As in school, each of these letter grades has a number associated to it. An “A” is worth 4 points, “B” is 3 points, “C” is 2 points, “D” is 1 point and “F” is worth nothing. At the end, the final score will be average total of each of the 5 categories. For instance, if the score at the end of a round is “20”, this will be divided by five, the number of categories, for a final score of “4”. In the event of a tie at the end of a brawl, the winner will be decided via a playoff round at a later date.
Let’s go…
MUSIC
PIRATES OF SILICON VALLEY
Frank Fitzpatrick composed the score here. It’s nothing special. Just various score cues which have this “Hans Zimmer in his Gladiator days” vibe to it.The main attraction is the eclectic soundtrack which featured three big hits from The Moody Blues, The Police classic “Synchronicity I”, some Tears for Fears and Iron Butterfly’s only memorable hit, “In-A-Gadda-Da-Vida”, among others. Director Quentin Tarantino once said that if you use the right song in the right scene…it’s about as cinematic a thing as you can do…and when you do it right…then, the effect is you can never really hear that song again without thinking about that image from the movie.” “Pirates of the Silicon Valley” does it right. “Question” by The Moody Blues is used during a protest gone chaotic on a Bay Area campus as Steve Jobs and Steve Wozniak run for cover in slow-motion. “In-a-Gadda-Da-Vida” features that kick-ass bass solo as Computer Fair customers stroll into the giant hall to check out Apple for the first time. “Everybody Wants to Rule the World” takes place during a food fight between the Apple II developers and the Mac developers as Jobs grins and laughs to himself, amused at what he’s created. It’s impressive that the producers of a TV movie were willing to pay out the nose for the use of the music in the first place. It’s even more impressive that they utilized the songs in the right way. I’m going solid “B” here. GRADE: B
JOBS
The musical score for “Jobs” isn’t much better. Like “Pirates”, it’s just there. And this is a score coming from John Debney who, while he doesn’t exactly produce wholly memorable music, he’s far more accomplished than Frank Fitzpatrick. Basically, it was a thankless job. “Jobs” mostly attempts to go the same route “Pirates” did…which doesn’t really work. The period cuts are largely randomly placed throughout the film and aren’t given any time to breathe before the next scene begins. “D” is appropriate — and generous. GRADE: D
STEVE JOBS
Composer Daniel Pemberton is tasked with creating a score for Danny Boyle and he does — even if he’s the poor man’s Trent Reznor and Atticus Ross. There aren’t any pop hits from the period to be had, so it’s Pemberton’s show all the way. His score is, at once, quirky and synthetic much like when Reznor and Ross’s score for “The Social Network” and not unlike the 80’s scores John Carpenter pumped out for “Escape From New Yorlk and “Big Trouble in Little China” and then transmogrifies into symphonic eloquence in the second act and then ethereal euphoria in the final portion. It’s beautifully constructed if not all that memorable. I’ll go with a “B”. GRADE: B
MUSIC SCORE
PIRATES: 3
JOBS: 1
STEVE JOBS: 3
CASTING
PIRATES OF SILICON VALLEY
Noah Wyle was the hot ticket TV lead at the time, next to George Clooney and since Clooney ain’t gonna play Jobs, lest he melts the camera with that Clooney Smolder, Wyle was the guy holding all the cards. He’s nicely cast as Jobs and he doesn’t do a bad job, although the moments where he yells at lowly employees and people he doesn’t like come across as overwrought. Really, it’s Anthony Michael Hall who steals the show in this movie as Bill Gates precisely because he inhabits the role and doesn’t attempt to overdo it. We all know him from 80’s fare such as “The Breakfast Club” and “Weird Science” and, perhaps, that might be influencing what I’m saying but Hall knows how to play the dork and he channels those experiences here, playing Gates as calculating and shrewd. The rest of the casting is so-so. Joey Slotnick plays Steve Wozniak as a goofball whereas John DiMaggio and Josh Hopkins play Steve Ballmer and Paul Allen (respectively) with such wit and and ease, it outshines everyone on the Apple side of things. The rest of the cast is simply an afterthought. I’ll go “B-” here. GRADE: B
JOBS
You’re gonna hear this from me again in “Production”: this is an impeccably cast film from top to bottom. Everyone in the film looks and nearly sounds like their real-life counterparts. When Ashton Kutcher was cast as Jobs, I remember the giggles he got. The dude did his homework. I mean, everyone did their homework, but Kutcher studied Jobs, copying everything from the way he sat to the way he walked to the way he talked. Josh Gad is the perfect Steve Wozniak (despite Wozniak objecting to this film overall) and everyone supporting the cast is incredible. “A+” from me. GRADE: A+
STEVE JOBS
I may as well get this over with now. Once upon a time, director David Fincher (The Social Network, Zodiac) was tapped to direct this film. He wanted a director’s fee to the tune of $10 million dollars. Sony refused to pay him and went with Danny Boyle instead. That’s fine. Except, hey, no offense, Fincher grew up here, knows his stuff and already churned out the outstanding “Zodiac” and “The Social Network”. Additionally, Christian Bale had been tapped to play Jobs. But he exited because he thought he wasn’t right…for some reason. Reports say that Jobs’ family told him he wasn’t right for the part. I mean, the dude not only already somewhat resembles Jobs, he’s also an Oscar winner who came this close to winning his second for “Vice” if it wasn’t for Rami Malek. Look, Fassbender is awesome, folks. He’s a great Magneto. He was excellent in “Shame”. He’s many things…but he’s NOT Steve Jobs. I don’t care who says what, Fassbender does not look the part. Somebody in my social network circle once told me “So what? Since when does an actor need to look like the person they’re playing?” SINCE FUCKING FOREVER! Do you know why Daniel Day Lewis was cast as Abraham Lincoln? Because Spielberg probably had a short list culled from all the possible candidates he could think of. And I will guaran-goddamn-tee you his brain never said “You know who could play Lincoln? OWEN WILSON!” Fassbender ain’t Jobs. And Seth Rogen isn’t Steve Wozniak either. Folks, I’ve lived in California since the late 70’s. My memory of the area pretty much begins at 1981 or 1982. My Mom worked for Apple. Sony lost their shit casting Fassbender and Rogen, as good as they are here. But do I chalk that up to the actors involved or to Aaron Sorkin’s snappy-ass dialogue? Everyone in this film is great despite the frustrating miscasting of the two leads. Kate Winslet should have won the Oscar for her role as Jobs’ suffering secretary Joanna Hoffman. She was so good, I didn’t even know it was her until I read her name in the credits. Jeff Daniels also leaves his mark as Apple CEO John Sculley. Michael Stuhlbarg is excellent as Mac team member Andy Hertzfeld and Katherine Waterston plays Jobs’ girlfriend Chrisann Brennan to a tee. I just can’t get past the flawed casting of Fassbender and Rogen and that’s a a “B+” from me. GRADE: B+
CASTING SCORE
PIRATES: 3
JOBS: 4
STEVE JOBS: 3
WRITING
PIRATES OF SILICON VALLEY
The movie was written by the director, Martyn Burke, based on a book that’s literally the size of CCIE Certification study manual called “Fire in the Valley: The Making of the Personal Computer”, a book that sounds dry as a bone but is pretty fascinating if you can get past the obvious agenda the authors put forth in making Bill Gates out to be a villain and Jobs out to be a sole visionary. The film basically follows that formula, which isn’t a terrible idea and makes for an entertaining on-screen rivalry between Jobs and Gates as they race toward fame. The script has some incredible one-liners with both Jobs and Gates extolling their wisdom (GATES: “Success is a menace. It fools smart people into thinking they can’t lose.; JOBS: “Good artists copy…great artists STEAL”) and has an outstanding final confrontation between the two men that’s insanely well-acted. The film’s narrative is also delivered by Ballmer and Wozniak (the actors playing them, not the actual real-life people), telling how everything went down from their respective points of view, which requires them breaking The Fourth Wall and directly talking to the viewer, which is very clever and their enthusiasm keeps you interested. The problem is that the editing, at times, reduces everything to a series of dull, sequential events and the doldrums set in when we have to sit through arbitrary business deals with the characters. It’s also missing that overall satirical edge and, perhaps, more pep with regard to the pacing of the dialogue. GRADE: B
JOBS
The same can be said of “Jobs” which goes into a little more detail than “Pirates”, but lacks the wit and pacing of that movie. The script isn’t memorable and you won’t be quoting anything from the film. The actors are the highlight and that elevates the material considerably…but the script still sucks. GRADE: D+
STEVE JOBS
So much to say here. First, Aaron Sorkin’s screenplay is very good if not as tight as the one he produced for “The Social Network”. It’s incredibly talky, too — but that’s Sorkin. The script’s style mimics a three-act play, showcasing the three most important times in Jobs’ life. Yes, the dialogue tends to be fictional snark rather than researched fiction because when you get talky, it’s better to baffle your audience with bullshit — but nobody does it better than Sorkin. Still, this sometimes feels like a half dozen Sorkins arguing with one another. GRADE: A-
WRITING SCORE
PIRATES: 3
JOBS: 1
STEVE JOBS: 3
PRODUCTION
PIRATES OF SILICON VALLEY
It’s fairly straight-forward. focusing more on the rivalry than accuracy. Noah Wyle looks the part. Hall does, too. Slotnick sounds somewhat like Woz but doesn’t exactly look like him. There are times where you wouldn’t know what year you were in if a certain song wasn’t playing or a piece of machinery wasn’t shown. Still, it’s decent production for a TV-movie and hits most of the mythical buckets in the Jobs timeline. GRADE: B
JOBS
Once again, handsome production design. Casting is outstanding. Wardrobe is spot-on. Locations and setting are perfect. The production team apparently did their research and it shows. This is the reason this film is able to run with the other two on this short list. The only downside is that some of it was shot in L.A. rather than the actual Bay Area, despite the external establishing shots of certain locales. GRADE: A-
STEVE JOBS
The setting is beautiful and wardrobe and make-up do what they can despite the miscasting of Fassbender and Rogen. The utilization of the majority of actual Bay Area locales rather than soundstages or substitute locations adds to the authenticity. Still, the Fassbender/Rogen casting just brings it down a notch. GRADE: B+
PRODUCTION SCORE
PIRATES: 3
JOBS: 4
STEVE JOBS: 3
DIRECTION
PIRATES OF SILICON VALLEY
This is Martyn Burke’s best film. He does very well here when he doesn’t let the editing suck the life from the proceedings. GRADE: B
JOBS
There isn’t much style here from Joshua Michael Stern. Color is used nicely but most of this is “point-and-shoot” in what turns out to be a coldly historical piece that was done better by “Pirates”. GRADE: C+
STEVE JOBS
We could have had David Fincher. We got Danny Boyle. I said that already. Boyle is HARDLY a bad substitute and his “you are there” style which originated with his direction on “28 Days Later” works beautifully with Aaron Sorkin’s “walk-and-talk” script. His use of surreal imagery (projections of dialogue and events on walls and on floors as well as beautifully-edited flashbacks) are a thing of beauty. It’s a beautiful movie to look at. GRADE: A-
By a hair. In the end, it was the direction that pushed Danny Boyle’s film over the line. For me, “Pirates” is one of the most important films of all-time because it showcased the war of the geeks who helped shape the world we live in today. Its influence is seen in Fincher’s “The Social Network” (which will rear its head in later installments of WMB’s) and helped shape “Jobs” and “Steve Jobs”. In the end, Danny Boyle did it with style points. Perhaps, in the future, we’ll have a more in-depth contest between “Pirates” and “Steve Jobs” but, for now, “Steve Jobs” is the winner of this weekend’s brawl.
Do you agree? Disagree? Sound off in the comments!
The final season of ‘Jessica Jones’ says goodbye to its titular hero, along with the rest of the Marvel Netflix Universe. Here’s a spoiler-free breakdown of what to expect this season.
Images: Netflix
The Fond Final Season
Jessica Jones has always held a unique place in the superhero mythos. Going for intimate, personal stories, about trauma and rebirth — though usually by utilizing a whole slew of messy coping mechanisms along the way —that put characters first.
What was attractive about the show’s early seasons was how grounded its heroine was. How Jessica Jones, as a private investigator, was down to do the dirty work outside of the spotlight. How she was willing to take on the cases others weren’t. What we got was an intimate story about a woman unafraid of being who she was, stubborn and reckless that maybe, she also refused to back down.
Though it always operated under Alias Investigations. Literally, but also quite figuratively, as Jessica had thrived in the shadows of anonymity. What’s interesting, is that in season two, we see Jessica finally thrown into an open hero role. As every move she makes starts to be followed, and criticized, and judged on social media this season. Testing Jessica’s already murky lines of right-and-wrong. Getting her to wonder just how open to the world she should be.
We covered ‘Jessica Jones’ season three on TheWorkprint podcast under TV TALK. Available on iTunes and GooglePlay. The first six and a half minutes of this podcast are spoiler free.
This season is very much about trust for Jessica. It tests whether Jessica can let others in, and asks her how to trust Trish again, as despite being her sister, she also murdered her very dangerous mother last season. More than anything else, this season tests Jessica’s fear of being vulnerable, both physically, as she needs a reassessment about how she recklessly approaches the job, but also emotionally, as Jessica must relearn how to work with others.
Particularly with Trish, who has a strong arc this season. Trish has officially become superhuman. Yet we soon find her balancing a fake public life with her real one, giving us a most balanced superhero performance that oddly feels more relatable to Jessica’s struggles this season. As this season is all about Jessica and Trish and their different approaches to being superheroes.
Trish is easily noticeable and struggles this season with establishing her secret heroic identity in the shadows. Jessica, conversely, has an easily discernable heroic identity and struggles with establishing her own life, both as a person, and private eye. Something which the normally anonymous Jessica isn’t used to: celebrity status and the judgment that comes hereafter.
This feuding and differences between the two come to a head when we meet in the villain of the season by episode four, Gregory Sallinger. A man who is a somewhat evil genius, and who wants revenge as he considers supers ‘cheaters’ to the good/evil game. Especially, since he has earned the right to become a villain through deeds and horrible works. It’s a role that obviously plays off the idea of entitlement, though is a little stereotypical for a final season.
Likewise, Malcolm is embracing his job with Hogarth, building his career quickly so he can become more independent. He’s got a girlfriend and a life outside of his old days with Jessica, though he still lives next door, and his journey seems to come at a cost. Willing to be Hogarth’s dirty right hand for her various wealthy yet legally sketchy clients, his morality is consistently questioned, testing Malcolm’s most redeeming and endearing attribute: his good-hearted nature.
Finally, Hogarth is here to mess things up this season. As she’s a little inconsistent for the most part. After being diagnosed with ALS last season, in a story that seems somewhat lost, an old flame catches her attention — so she tries to steal her away for herself.
It’s a weird storyline to open on, considering that the series is ending, and there could’ve been a more resolute end to this character who spans various Netflix Marvel shows.
Overall, this season asks what it means to be a superhero? What makes an action right versus wrong, and is morality seen within the public eye and opinion, always right? It’s a decent theme for a series at its end… though it often seems lost at times.
COBRA KAI Season 2, Episode 9
“Pulpo”
Available on YouTube Premium
GRADE: A-
We’re at the penultimate episode of YouTube’s “Cobra Kai”. It’s the calm before the storm before the big blow-off in the finale. Sam (Mary Mouser) and Tory (Peyton List) are hitting the heavy bag hard to “That’s My Girl” by Fifth Harmony before hitting the last party before summer ends and everyone goes back to school. Meanwhile, in adult land, Daniel (Ralph Macchio) and his wife, Amanda (Courtney Henggeler) are on their way to a date night and, what luck! They’re headed to the same place Johnny (William Zabka) and Carmen (Vanessa Rubio) are going!
After three episodes featuring surreal roadtrips with old friends, arbitrary character shifts for the sake of filler, goofy, Survivor-esque wilderness games and Disney Channel-level making out, “Cobra Kai” returns with “Pulpo”, an outstanding episode which, while not breaking any new ground, is a hell of a lot of fun.
About this time last season, “Cobra Kai” gave us “Different But Same”, an episode which saw Johnny and Daniel making a genuine, if not reluctant, attempt to bury the hatchet over drinks at a local dive. Much time and many a misunderstanding has taken place since then. Miguel (Xolo Maridueña) and Cobra Kai won the All-Valley Karate Tournament using questionable tactics, Kreese resurfaced, Cobra Kai attacked and desecrated Miyagi-Do and tried to assault Demetri (Gianni Decenzo) just for publicly outing Cobra Kai as a pit of hell run by psychotic people.
Needless to say, Daniel isn’t exactly up to a second attempt to make peace…but Daniel, having just made amends with his wife, and Johnny, who doesn’t want to make himself look unattractive in the eyes of the woman giving him a chance, don’t have much choice. At first, the meeting is cringe-worthy, with the two enemies slinging potshots and insults at one another like grenades — all while Amanda and Carmen roll their eyes and compliment each other’s evening dress, eventually taking that friendly trip to the bathroom together.
The first part of this sequence is brilliant and serves to expose Johnny and Daniel as two petty people who live in the past and refuse to leave their respective bubbles for greener emotional pastures. While the restaurant plays salsa music and everyone around them is friendly and sucks down Margaritas while inhaling salsa and chips, Daniel and Johnny are silently at war, borne of a mutual hatred which thankfully melts away as the evening progresses, to the point where even Johnny pokes fun at himself. When Carmen asks if they should do another round of drinks, he replies, “I don’t know…the last time I went four rounds with LaRusso, I caught a foot to my face!” Great stuff.
Sharing the same theme is the other story in “Pulpo”: a party hosted by Samantha’s friend, Moon (Hannah Kepple), who, like a few other characters on this series, only seem to exist when the plot calls for it. Here, a perfect storm brews when Sam and Robby (Tanner Buchanan) think they’re showing up to celebrate summer’s end, only to find out that (surprise!) just about every student from Cobra Kai has come to the party as well.
This arc (which is simply montages of binge drinking and kids dancing) would be an absolute waste of time if it weren’t for the scenes between Demetri and his former friend, “Hawk” (Jacob Bertrand). As I’ve said, Bertrand is a godsend as “Hawk”. He constantly smolders, volatile and ready to erupt, as he witnesses Moon, his ex, making out with another girl at the party. At first, Demetri soothes him, bringing him back down to Earth by mentioning the new Doctor Who but as Demetri attempts to get close to his friend again, Hawk dumps his drink all over Demetri’s head as if to remind Demetri that he’s no longer the beta male he perceives Demetri to be.
Despite the sophomoric drinking scenes between Sam and Tory (to prove who can…get drunker, I guess), it does lead Sam, in her drunken stupor, to kiss Miguel for the first time since the first season, setting up a confrontation between Robby and Miguel as well as between Sam and Tory, the latter of which witnesses the kiss through the kitchen window of the house. Sam’s drunken state also forces Robby to bring Sam to his dad’s apartment to hide out from Daniel who he believes would be irate if he found out his little girl was drinking. The handshake between Daniel and Johnny in front of the restaurant doesn’t seem so solid, does it?
Everything presented here not only moves things along nicely, with every single step being believable as well as logical. The performances from all involved are top-notch, especially between Macchio and Zabka whose long history playing these characters make for great television. With “Pulpo”, “Cobra Kai” churns out one of the best episodes of the second season as well as one of the best episodes of the series’ entire run thus far.
OTHER STUFF THAT EXISTS IN THIS DOJO
When asked, by the waitress, if Amanda and Daniel know Johnny, Amanda’s line, in response, is priceless: “Oh, they have warring Karate dojos…I’ll have a Cadillac Margarita.” I still laugh each time I watch it.
“Pulpo” is a term referring to a salsa dancer who “wants to dance with everyone, regardless of their relationship status”. Odd title since it doesn’t really fit here.
And, by the way, that place looks like a converted Chevy’s. When the dancing starts, the dancing takes place in what looks like the area where customers wait to be seated. It’s not convincing in the slightest.
Part of the restaurant sequence is dedicated to poking fun at the waitress for not writing orders down while assuring the four that she will remember everything, even though she eventually gets Carmen’s dish wrong. While cute, I’m not quite sure what the point of this was beyond being a throwaway joke conceived by the writers who felt like they needed to vent about a real-life incident.
The opening montage is beautifully done, with Tory and Sam training separately, set to “That’s My Girl” by Fifth Harmony. It nicely reminds people of the feud between the two while also establishing the “gurl power” theme which seasons this episode from top to bottom.
Men in Black: International is a sheer popcorn movie experience, with little substance outside the strength of its cast and its use of brilliantly placed sci-fi visuals. Featuring an abhorrent plot that often meanders in both reaching objectives and having a coherent direction. Yet the movie does contain a good amount of fun — if you’re in the mood for it.
‘Men in Black: International’ has been critically panned by almost every reviewer out there. It’s projected to be a domestic flop that sets the franchise back several years for Sony — delaying all future MiB related productions for the near future.
Now while I particularly didn’t love this movie, I also didn’t find it as horrible as other reviews have made it out to be. There is an even amount of good and bad about this film that makes it salvageable, if not, entertaining enough as a movie; though it’s more along the lines of mindless popcorn fun — as the film is not meant to be taken all too seriously.
What’s Good?
The chemistry between agents H and M is there, as Chris Hemsworth and Tessa Thompson pickup their chemistry from where they left off in Thor: Ragnarok. In this movie, Hemsworth plays H, who is more Thor-like than agent-like and acts often as a successful action hero. Thompson, meanwhile, plays M, an upstart agent with serious skill — who is driven to be one of the best as MiB’s first-ever female recruit who’d tracked the agency itself, down. Just like Valkyrie in Thor: Ragnarok, M is talented, and it shows. Thompson very much stealing the show with her prowess and ability to prove herself not just as an agent but as a woman in a boy’s MiB world. Together, with the aid of their tiny Pawnee friend played hilariously by Kumail Nanjiani, the trio work together to save the galaxy.
The movie is at best seen as a fun action film… though it often feels like it’s going too far. Especially, for a world filled with secret spies that seem less secret keeping and more action driven. As there are quite the large amount of chase scenes and open shootouts for an organization that’s supposed to be kept secret.
Likewise, MiB expands on the craziness of its own universe, bringing back nostalgic favorites while also expanding upon them. You’ll see aliens, strange cultures, and fun languages that seem childlike and silly. There’ll be showdowns and more than your fair share of alien blasters — including one giant gun that serves as the key for the main plot of the story. In MiB international, you get that this is a fictional world of alien science fiction and are reminded quite often.
What’s Bad?
The strengths of the movie therein lie the problems of this movie. It just double-downs on all the elements you’ve come to expect and does little to expand the story or genre.
Despite being fascinating to watch, nothing you see on screen is new; in fact, the technology can at times be boring. We’ve seen this all before which is a problem for modern science-fiction, as you need to surprise your audience.
When the first MiB came out there were a lot of original concepts we hadn’t grown accustomed to in theatres. Aliens dressed as people in tiny robotic suits, technology such as neutralizers and little red blast away buttons. These were fresh ideas that were slowly delivered to the audience in ways that wowed, yet also, seemed almost real. As more than anything else, the role of K, played by Tommy Lee Jones, was introducing Will Smith’s J into this world of crazy aliens that was evidently already happening within the world in front of him — he just wasn’t looking in the right places.
This is what made the first movie compelling. Whereas in this movie, both characters are thrown into the chaos… and both are successful at it in their own ways. Yet, what’s lost in the glamour of sci-fi is the subtly. The idea that the world in front is secretly aliens underneath. As in this movie, it’s less about secrets and more about action… In fact, we sort of forget that we’re watching a secret organization movie. It’s more just showing off, with little stakes on the line, save in expository subplots that are often explained and not shown.
Much of this has to do with issues within the film regarding the writing. As there were lots of infighting between director, F. Gary Gray, and producer, Walter F. Parkes. It had gotten so terrible, that at one point, almost every single actor, producer, director, and writer — had altered the originally adult themed script. As EVERYTHING ABOUT THIS MOVIE WAS FOUGHT OVER from line deliveries to even coloring. It was so bad, that two final cut versions of the film were presented to Sony. Unsurprisingly, one was Gray’s version and the other, Parkes.
The result is what you had on screen… what was most likely considered the safest option.
The Take:
Overall, I’d put this movie up there with transformers in terms of style. With excellent performances with its cast, and a plot that’s very lacking. However, this isn’t a movie you watch beyond popcorn value.
WATCH: If you’re in the mood for Men in Black, Chris Hemsworth and Tessa Thompson, space aliens, and blaster shooting.
FINAL SCORE: 6/10
You Can Watch ‘Men in Black: International’ in theatres right now
Good Omens has been nothing but good-hearted fun. The show, a surprising love story about two oddball best friends: an angel and a demon, is a pure love story that, along with its Tolkien-esque conclusion for its zany cast of characters, provides a sweet and sincere conclusion in hilarious yet fitting fashion.
You can listen to us talk about episodes 4-6 of Good Omens in detail on The Workprint podcast’s TV Talk. Available on iTunes and Google Play. Warning: This podcast will be filled with spoilers.
RECAP
The second half of ‘Good Omens’ is a race to the apocalypse. As Adam’s powers began manifesting and started influencing all of reality, he causes havoc on the world. Doing things such as raising Atlantis, summoning aliens, and creating the sea Kraken — all of which, are influenced by the spitting images of the magazine covers he’d seen from Anathema — her influence, indirectly responsible for Adam’s destruction.
Likewise, the four horsemen of the apocalypse are summoned to begin the end of all things, just as all the characters are in place to prevent the world from ending.
It kicks off the way most of the story has, with Aziraphale and Crowley. Their friendship is tested as Hell catches wind of their historical failures, particularly, their losing track of the Anti-Christ throughout the past decade and the last-ditch efforts to fix things. With demons on their heels, Crowley asks his best friend to run away together, while Aziraphale tries reasoning with Heaven, in a sincere moment that showcases some of the best of the show’s differences between demon and angel.
Meanwhile, Anathema and Newton fulfill a love prophecy, as the two find each other before the onslaught of a destructive tornado, sharing a moment of passion that also proves to be foretelling, as they come to the realization that Adam is the Anti-Christ.
This leads to a comical assembly of sorts, that culminates in the four horsemen’s riding out to the Tadfield Airforce base to launch all the world’s nuclear warheads. We also get to meet Pollution and Death, the latter of which is a famous Terry Pratchett character, as they partner with War and Famine to meet with Adam.
Meanwhile, Aziraphale encounters Witchfinder Sgt. Shadwell at his bookshop. He is looking for Newton and accidentally, takes Aziraphale for a witch, ruining a ritual that the angel had set out that discorporates Aziraphale and leaves the angel for dead – the bookshop burning all around him.
It’s a beautiful scene that took a long time to shoot, as the reenactment of London’s SoHo Bookshop, required a street was artificially created and the bookstore. Much of the set, including the many books, being literally burnt down.
All seems lost by episode five until our heroes put everything together, Aziraphale embodies Madame Tracy, who is Shadwell’s neighbor, and the three of them ride out to the airforce base. Just as Crawley foils the demon Hastur one last time as he rides off with his Bentley through the M25 highway, which is enveloped in a ring of fire.
By episode six, everyone races to the airforce base to prevent the Apocalypse, including Adam who thanks to the reprimanding from his friends, has had a change of heart. In the grand finale, Adam vanquishes the horsemen, though all is not well, as the forces of Heaven and Hell, led by the angel Gabriel and demon Beelzebub, tell on Adam and summon Satan.
One of my favorite aspects on the show is the strength of its casting. With a surprising gem in episode 6 featuring Benedict Cumberbatch, who was chosen to voice Satan as a result of Francis McDormand’s casting as God.
With Adam’s reality-altering powers, he tells Satan off and claims that he’s not his father, not his real one anyway, resetting the events of the apocalypse.
We then get a conclusion that sees everyone happily ever after, with the exception of Aziraphale an Crowley, who are called for execution for their crimes. In a shocking twist, thanks to an excerpt from Agnes Nutter’s book of prophecies, the best friends switch places and survive their respective executions.
They decide to live their lives on earth, teaming up with the humans for the oncoming eventual attempt to bring about the apocalypse yet again.
THE TAKE
Overall, if you love Good Omens you’ll love Neil Gaiman and Terry Pratchett’s writing styles. It’s definitely an homage to both authors and their friendship, embracing a story of love above all things… in God’s strange ineffable plan.
Score for Episodes 4-6: 9.8/10
https://www.youtube.com/watch?v=2ZSXlNRRoGU
You can watch ‘Good Omens’ streaming on Amazon Video
COBRA KAI Season 2, Episode 8
“Glory of Love”
Available on YouTube Premium
GRADE: C
If last week was “Lull”, then this week’s episode should be called “Lull, Part 2”.
When we last left Southern California, Daniel’s (Ralph Macchio) wife Amanda (Courtney Henggeler) was upset with Daniel for being so into his dojo and not so much into her. Daniel’s daughter Sam (Mary Mouser) was beginning to get hot and heavy with Robby (Tanner Buchanan) and Johnny (William Zabka) kicked Kreese (Martin Kove) out of Cobra Kai, seemingly, for good this time.
So, where are we now?
Daniel is now sleeping on the couch while his wife tells him that any attempts to make things up to her is “like putting a Band-Aid on a headwound”. Jesus Christ in a dojo, that escalated quickly. Meanwhile, all Sam and Robby do is make out whenever they can while vowing to eventually tell Daniel and Amanda about it. And Johnny makes speeches about “honor” and declares that “Cobra Kai needs to change”…while teaching his kids the art of headbutting their opponents.
As you can see, there’s a lot going on in “Glory of Love”. It’s just that hardly any of it is terribly interesting and, the more time we spend on these current character arcs, it also becomes unbelievable to the point of being unintentionally humorous. I’m not even sure why the whole “Daniel in the doghouse” sub-plot is a thing. I mean, it was established in last week’s episode and not before then and I said as much in my review for “Lull”. But there’s Daniel, surprising his wife with take-out sushi at the dealership. That doesn’t work. How about putting all his underage students to work, waxing the dealership’s cars? Nope, that doesn’t work, either. And it’s against child labor laws (for crying outloud, her character points this out) and she simply points out that “I just know all your stunts to fix this are just temporary.”
Thank the Karate Gods that Daniel’s mom, Lucille (Randee Heller, reprising her role from the original films as well as the first season) is conveniently in town to tell Daniel that, sometimes, a guy’s wife just likes to know that a husband is “in it with her, no matter what” after the two of them reminisce about a family trip to Coney Island where Daniel’s father simply hugged Lucille and told her that he loved her. Thankfully, the moment between Daniel and his Mom pulls an otherwise arbitrary and pedestrian plot line from the fire, so I guess this whole thing was worth it. Let’s just never do this again, mm-kay?
And because Robby and Sam have no chemistry, the rest of the episode features more hijinks between them and Cobra Kai’s power couple, Miguel (Xolo Maridueña) and Tory (Peyton List), who are also hot and heavy — except the writers just can’t leave well enough alone so we’re subjected to a love quadrangle on “80’s night at the local roller rink” (I’m not making that up) where Sam and Robby are dressed like the characters from “Pretty in Pink” (a movie that came out at least a decade and a half before they were born and is over 30 years old) and name drop “Don Johnson” (who Robby calls “Dan Johnson” because, suddenly, he has the IQ of a goldfish and misheard the name) as well as “James Spader”.
The best part of the episode belongs to Johnny who goes on a dating spree after being introduced to Tinder, courtesy of Miguel. Predictably, most of his dates go south (he tells one woman that he’s “good with children” before describing a time where he “body-slammed one to a mat and elbowed him in the face”; he tells another that he “hates the Patriots, too” after the woman in question condemns “the patriarchy”), but three interesting things happen to him here: 1) he finds his old girlfriend, Ali (absentee Elisabeth Shue), on Facebook and messages her — albeit, inadvertently. 2) He literally bumps into a woman (Gena Shaw) and ends up having drinks with her (which is ironic since Johnny describes that this is how “cavemen used to do things back in the day”) and 3) he finally comes to terms with his relationship with Miguel’s mom, Carmen (Vanessa Rubio) after he catches her new boyfriend cheating on her at the same bar he’s at.
It’s still not great television by any means, mainly because the interaction and chemistry between Johnny and “Melissa” (I mean, we don’t even get her name; I had to research it) is just awesome — but Johnny just dumps and forgets her because he suddenly likes Carmen a lot. The window for Johnny and Carmen was at its widest last season but nothing was done about it. Carmen hasn’t really had much to do in Season 2, so it’s asking a lot of its audience to just accept that Johnny’s feelings for her are suddenly this strong. And it’s even more dubious when Johnny’s feelings for her all but stem for his sudden need to be “the nice guy”, but I guess it works to further humanize him and not make him into such a jerk, so I’ll take it.
We’re two episodes from the end of this season and, mercifully, it seems like the show has wrapped up the LaRusso’s marital problems and will quit subjecting us to children having 80’s retro parties for the sake of being self-referential and meta. The issue here is that the last few episodes have presented us with some interesting ideas but gives them little room to grow and breathe before axing them altogether and moving on. That mentality works when done right (“Take a Right”) but feels arbitrary and listless when done wrong (“Lull”). “Glory of Love”, at best, is a welcome means to an end.
OTHER STUFF THAT EXISTS IN THIS DOJO
The episode’s name is “Glory of Love” which is, of course, a callback to “The Karate Kid, Part II”. It’s the film’s “love song”, performed by Peter Cetera of Chicago fame — but we get Chicago’s “You’re My Inspiration” during the big lovey-dovey climax instead. That’s awfully odd for a show that hasn’t been shy about soaking us in gratuitous flashbacks and series references.
There was so much potential between “Melissa” and Johnny in this episode. Melissa literally used Johnny’s “move” (bumping into a woman before buying her drinks at a bar), then shared some great banter with him. Carmen and Johnny weren’t even close to being a thing, so I’m at a loss as to why we had to have Melissa leave the show this quick.
It’s nice to see Randee Heller again as Lucille LaRusso. She’s an insanely talented actress and her tear-filled story about her husband had me choking up. It’s also nice to see that the producers of the show have such great attention to detail. Sitting on the couch and interacting like they did, it truly does feel like we’re watching Daniel with his mom after all these years and not two actors playing roles.
Great callback to Season 1: Kylie Delre reprising her role as “Judy”, the woman who got Johnny fired in the very first episode and indirectly kicked off his second stint with Cobra Kai.
The opening dream sequence (set to Whitesnake’s “Here I Go Again”) features Carmen pouring a Coors Banquet all over herself and Johnny. That’s about what Coors Banquet is worth. They should do a follow-up where Johnny’s students dump whole barrels of it into a big dark hole in the forest where it will never be seen again.
Following the extravagant yet guilt-ridden personal life of Sir Elton John, ‘Rocketman’ is going to get a lot of comparisons to ‘Bohemian Rhapsody‘ come next Oscar season. As the movies are quite identical. Both featuring an extravagant British rockstar — who were closeted homosexuals at different points in their lives — and a cast of distinct and loving supporting characters. Who all seek to help their best friend recover from isolation and addiction in the 70s, to rise to the level of greatness that we the audience, know they’ll eventually achieve — given the infamous reputation that precedes them.
‘Rocketman’ is set up the exact same as ‘Bohemian Rhapsody’
Unironically, this is because both movies feature the same director: Dexter Fletcher. Fletcher had taken over directing duties on ‘Bohemian Rhapsody’ for Bryan Singer once Singer’s past abuse scandals came to light. The movies, as a result, became spitting images of each other. The exception being that in an ironic twist, ‘Rhapsody’ was PG-13, while ‘Rocketman’ was rated R (who knew Elton John had a crazier Rockstar life than Freddie Mercury?) In fact, because Fletcher helmed both movies, that were both set around the same time period, there was actually a small chance Rami Malek’s Freddy Mercury could’ve appeared in this movie. As movies based on beloved music icons are having their own renaissance of sorts (Love and Mercy, Miles Ahead, Straight Outta Compton, A Star is Born), and hot ticket cross-overs like the Avengers, are making movies that bridge universes rather financially appealing (Maybe all these Rockstars will perform at the infamous Live-Aid concert?). The decision not to was simply out of the director’s avoidance of cinematic universes as he felt it would be too on the nose (though given the success both film’s have, it wouldn’t surprise me if studios took wind and tried it anyway).
Surprisingly, John Reid is portrayed by two ‘Game of Thrones’ Former Cast Members. Seeing Robb Stark grow up to become Littlefinger
Likewise, a film cross-over would also have been complicated because both movies feature manager John Reid, who unironically also plays a villain of sorts in both stories. In ‘Bohemian Rhapsody’, he is played by Aiden “Littlefinger” Gillen, as a misguided manager who tells Freddie Mercury to go solo — who even negatively comments that a six-minute song (Bohemian Rhapsody) was far too long to ever be successful. In ‘Rocketman’, he is played by Richard “Rob Stark” Madden, a secretly uncaring manager who wooed Elton John and became his lover, though mostly for his own profit.
Both movies focus in on Natural Talent
Regardless of the could have been cross-over or sequel, both films are excellent in their own regard, structured in a very ‘monomythic‘ fashion that focuses on raw talent. Focusing in on both Elton John and Freddie Mercury’s natural gifts at an early age. Freddy Mercury, with abnormal extra teeth leaving ‘alleged’ room for extra octave vocal range, and Elton John with apparent perfect pitch: an ability to listen to any tune and recreate it on the piano. It should be noted that both these performers are technically portrayed to be superhuman, which fits the monomythic structure rather nicely.
Yet ‘Rocketman’ takes it a step further. Whereas Elton John is shown to be a naturally gifted performer, who various times throughout the years could transpose and even improvise a tune or melody, it also delves into his relationship with his co-songwriter who’d written all his lyrics for him throughout the years: Bernie Taupin (Jamie Bell). The movie does a great job showcasing how important Bernie is throughout Elton John’s life, showcasing him as a creative partner, brother, and friend. Which makes sense, given that Elton John served as executive producer for this movie, and Elton John’s husband, David Furnish, had spent over a decade trying to get this movie made — both of whom, knew Bernie personally.
‘Rocketman’ is a much Rawer Film
It should be stressed that this movie is rated R for a reason. As it’s a lot more graphic, and Elton John’s copious drug use and addictions are things he himself didn’t want to shy away from in the movie. Likewise, Rocketman was banned in Samoa over its gay love scenes. Which is surprising, as it’s not a graphic nudity scene, yet still showcases how uncomfortable people even now can be with adult material. Especially, given the parallelisms to the Oscar-winning ‘Bohemian Rhapsody’ and its surprisingly family-friendly nature in comparison.
Likewise, a lot of this is because Taron Egerton, who both acts and sings in this film, excels in giving a performance that’s convincing yet also very vulnerable. As it’s these moments of Elton John’s fragility behind the scenes, that make-up 2/3rds of this movie. Likewise, the climax and conclusions from Taron’s performance portray this as a man who’s come to term with his origins and past, in a very similar story structure to Freddy Mercury’s. With the exception, that Elton John has to find acceptance about who he is in this movie.
Not just with his homosexuality but with himself, his guilt, and his years of avoiding his problems by masking it behind the performance. And although it’s similarly powerful as Rhapsody, It doesn’t hold the same power in the performances, nor does the film stick the ending in my opinion. As I was honestly falling asleep during the end of the movie, given how many times we’ve seen stories about rockstars overcoming addictions.
Final Score: 8.9/10 (Which is what I would’ve also given Bohemian Rhapsody)