Stranger Things-Holly, Jolly S1 E3; ALT Title: Joyce seems bonkers!


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Cold Open: Barb wakes in the shadow world, covered in goop, and hunted.  The scene is juxtaposed between Barb being hunted by the Monster and Nancy having awkward relations with Steve.  Barb tries to make it out of the empty pool that is covered in evil mucky vines.  Barb looks like she might make it out, but the monster grabs her legs and yanks her into the doom. Poor Barb.

Roll Credits.

Post-coitus, Nancy can’t wake Steve up and wonders if she is just a notch for him.  Nancy goes home and is confronted by her mom.  Nancy, you are running for sociopath levels of douchebaggery.  

We arrive at Joyce’s house of insanity. Creeper wakes up to his mom talking to herself. Joyce tries to explain to Creeper that it’s fine because she can talk to her dead son through the Christmas lights.  Creeper is truly devoted to his mom.

Basement: The boys prepare to look for Will, with El as their guide.  Lucas brings practical things: compass, knives, and a slingshot. Dustin – the fat kid – brings snacks.  Groan.  They devote a lot of time to Lucas’ wrist rocket; this better payoff later! Dustin emotes that none of their weapons matter because they have El the Jedi with them.  There are a number of great shots in this show of ladies trying to hold back their disbelief- this is no exception.  Dustin tries to make his point how Yoda El is by having her levitate a toy Millennium Falcon. Her expression is priceless!  We see later that levitating a toy is small potatoes for El.

High school:  Nancy is concerned for Barb. No, just kidding; she’s worried people think she’s a skank.

Hop takes his deputies to the Evil Modine’s Government Facility.  He gets some static from the guard, but Hop smooth talks his way through the gates – that’s how it’s done son!

El’s hanging out alone at the house, levitating the Falcon as an afterthought.  She heads upstairs and has a PTSD flashback of Evil Modine having her use her Mojo to crush a coke can.  She does and her nose bleeds.

Joyce heads to her job and gets christmas lights, christmas lights, and more christmas lights.  Donald does his best to not say anything horrible for a moment and mostly succeeds.

Evil Modine’s Government Facility: Hop and his deputies are being shown around.  Hop sees the tunnel that he believes provided ingress for Will.  Hop notices video cameras and asks to see the tapes.  They oblige him with some doctored tapes.  Hop notices immediately that there’s no rain in the background of the video.  This begins Hop’s inexorable journey down a path from which he cannot return.  After Hop and the deputies leave, we push in on the vent that leads down to the basement portal to the shadow dimension.

Mike’s house:  El is exploring Nancy’s room.  A life of a normal girl is laid before her.  A life with girlfriends and music boxes that was stolen from her by Evil Modine.

High school:  The boys are looking for rocks for the sling shot.  They get bullied by the world’s shortest bullies … again.  Mike gets shoved and literally takes it on the chin. Creeper is developing his pervy photographs and gets totally busted by another student photographer.

Joyce’s house: Joyce has finished decorating her home for Insane Homes and Gardens: Christmas Issue.  

Hop goes to the library and we discover that at some point he slept with the librarian and never called back.  She sasses him, but he and the deputy continue researching and discover MK Ultra and a connection to Dr. Brenner.  Side Note: MK Ultra was actually a real thing.  The US Government sought out highly intelligent children and had them exposed to drugs. One of their notable alumni was none other than The Unabomber; they left a lot of wreckage in their wake.  For the budding creatives out there, if you are writing a historical fiction of any kind, tether your story to something that actually happened; it will allow your entire story to ring true.  Hop is convinced that these government people have Will and suspects the boy might not even be dead.   He sees that Brenner is linked to a number of missing children. Hop is gonna lay down a smackdown!  BTW, Hop’s slow arc back to the living is brilliant, brilliant, brilliant!

I am going to make a critique about this scene.  Hop pulls into the library parking lot front-end first; cops and uniformed people don’t do that. It makes egress that much more difficult.  If you’re a director, back the cop cars into the spaces.  Thanks!

Karen shows up at Joyce’s house with a casserole and tries not get too much crazy on herself.  Karen’s toddler sees the lights blink on. She follows them to Will’s room and begins to see the monster push through the wall.  She’s gonna need some therapy!

High school:  Nancy, showing a scintilla of humanity, calls up Barb’s mom and then lies that she saw Barb at school.  Side note: Gentle Readers, if you have a “friend” like Nancy in your life, save yourself some anguish and cut them out like the cancerous tumors that they are. 

Creeper sees the photographer colleague with Steve and his crew.  They mock creeper and take his creepshots.  Nancy arrives to see this.  She watches as Steve breaks Creeper’s camera.  Nancy notices a picture of Barb and shows renewed concern.

El is near power lines waiting for the boys to arrive.  She sees a cat and flashes to when Evil Modine tried to make her kill a cat with her mind because I assume … Evil Modine is a “Dog Person.” He orders goons to drag her into solitary.  El kills one by smashing him against a wall and the other with a neck break that she does with her mind! YIKES. After El dispatches the goons, Evil Modine shows her what appears to be the first real affection that she has ever seen and says, “Incredible.”  CHILLING!!!!  Side note to Mike: Mike, if you ever plan on breaking up with El, DON’T!

High school:  Nancy is hanging with her lame group and decides to try to look for Barb.

El and the boys are walking the woods.  Mike tries to play off his chin wound as an accident, but El gets him to share and Mike teaches her the term “Mouth-breather.”

Nancy finds Barb’s car.  She hears rustling and briefly sees the monster who only kills at night.  Ahem.

Joyce tries to talk to her son through the lights.  Then, she writes the alphabet on the wall in a move that starts 10,00o gifs and communicates with Will Ouija Board style.

Nancy goes to her mom and admits that Barb is missing…. Finally!

Hop is called to the quarry.  They leave in a hurry.

El leads the boys to Will’s house.  She has tracked him there through her mojo, but can’t explain the concept of parallel transdimensional movement and the boys get annoyed. Sirens are spotted and the boys see Will’s body recovered from the quarry.

Joyce is talking Ouija board style to Will and he tells her to R U N!!! Then, the monster with no face pulls its way through the wall and she leaves.

The Quarry:  When the boys see that it is Will’s body, they get pissed at El, because they thought she would be able to find him alive.

We hear Peter Gabriel singing Bowie.  *Sniff*  Creeper arrives home and hugs his mom as the police sirens approach to tell her the grave news.

Cheers!!!!

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I Fell Into A Burning “Lake Of Fire”


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

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Sometimes all that’s necessary for a new project to pique your interest is to see a familiar name in a new and unexpected place, so when I noticed that veteran comics colorist Nathan Fairbairn was going to be writing a new series for Image, my curiosity was sufficiently stoked — doubly so, in fact, given that the first issue of his ongoing title with artist Matt Smith (sorry, Doctor Who fans, not that one), Lake Of Fire, was being solicited as a “double-sized” 44-page comic for only $3.99. Honestly, at that price, they’re practically begging you to give their book a chance — why not take them up on it?

The “pull-quote” featured on the cover from the usually-reliable Comics Bulletin website calling it the “best debut issue to be published by Image Comics in 2016” was high praise indeed considering that said publisher has already given us finely-crafted…

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Listen Close; You’ll never get it out of your head #Earworm


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Writer and Director: Tara Price

Stars: Ernest Thomas

Production: Dirigo Entertainment

Have you ever woken up one morning with a song stuck in your head, just bouncing around, like you can never get it out?

Yeah?….Well, this is not the song you want to wake up to tomorrow!

In Tara Price’s new short film Earworm, that is what it is all about. What can you take? The relentless, unending things on (in) your mind can take everything out of you.

Preview:

For a short film (Thomas)  gives everything, literally, everything. And Tara knows how to write, direct and tell the story she wants!

After watching the trailer, I went to bed with my earholes tightly closed!

If you would like to see a trailer for Earworm movie you can here!

 

“Briggs Land” Is Made-For-TV Comics At Its Best


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

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For as long as I can remember, Brian Wood has been one of those writers who has — to his credit — shared copyright ownership on all of his various projects with the artists involved and, in the case of the just-concluded Image series Starve, even the colorist. So if you’re an indicia-reader like myself, the “Copyright 2016 Brian Wood” in the fine print of the first issue of his new Dark Horse-published title, Briggs Land, is something of a surprise. We’re used to the artists being cut out of the action over at Aftershock, but why was Mack Chater — who does a bang-up job on this book, as you’ll see in the art reproduced below — not given co-creator credit here?

Well, the answer to that is simple : this comic has already been optioned for television and is, in fact, being developed simultaneously on the…

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Scenes that I Love: Edie Sedgwick and Gerald Malanga Dance in Andy Warhol’s Vinyl


Today’s scene that I love comes to use from an underground 1965 film called Vinyl!  Believe it or not, this adaptation of A Clockwork Orange was directed by Andy Warhol and predates the famous Kubrick film by 6 years!

This is a film that I hope to get a chance to review very soon but until then, check this out scene of Edie Sedgwick and Gerald Malanga dancing to Nowhere to Run by Martha and The Vandellas.

Watching her in this scene, it’s sad to think that, in just six years (and at the same time that Stanley Kubrick was releasing his version of A Clockwork Orange), Edie Sedgwick would die at the age of 28.  Like all of us, she deserved much better than what the world was willing to give her.

Edie Sedgwick (1943 -- 1971)

Edie Sedgwick (1943 — 1971)

Who Is “Superwoman,” Anyway?


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

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Way back in the dim and foggy past — as in, less than five years ago — DC rolled out their “New 52” publishing initiative, and while the then-new line was understandably heavy on books that fell under the loosely-defined “Superman Family” and “Batman Family” umbrellas, a certain amount of space was also carved out for “weird” or “offbeat” titles like Dial HFrankenstein, Agent Of SHADEJustice League DarkI, VampireOMACAll-Star Western, and others that trod a path somewhat less beaten. It was something of a gutsy call, and while most of these series were given a pretty short sales leash (with a good many of them biting the bullet sooner rather than later), I gave ’em props for being willing to throw a lot of shit at the wall in order to see what would stick.

And what stuck, of…

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“Providence” #10 : All Is Lost — And Found


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

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It’s no secret :  apocalypse has always loomed large in the works of Alan Moore — from Adrian Veidt’s duplicitous, engineered “brave new world” of Watchmen to the celebratory “wrap party” of all as we know it to be in Promethea, one way or another, as Rorschach himself would almost certainly put it, the end is always nigh. In Dez Vylenz’ documentary feature The Mindscape Of Alan Moore, the author himself opines that, in his considered view, apocalypse is essentially synonymous with revelation, and that it needn’t be feared in the least — but apparently he didn’t pass that memo along to one of his own characters, the ever-hapless (not to mention clueless) Robert Black, who experiences perhaps the most personal Moore-scripted apocalypse to date, yet also the one with the most profound and far-reaching (not to mention harrowing) consequences, as he comes to find out that he…

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Trash Film Guru Vs. The Summer Blockbusters : “Suicide Squad”


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

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If there’s one thing that’s even more pathetic than the “Marvel Guy” vs. “DC Guy” debates that have been raging among comics fans for years, it’s seeing those same arguments steroid-pumped beyond comprehension now that four-color funnybooks have become the go-to “IP source” for multi-million-dollar Hollywood blockbusters. “Marvel movies are the best!” “You take that back, DC movies are the best!” — it’s all so mind-numbingly tedious.

Not to mention fundamentally dishonest. Just as neither publisher deserves to have anyone rooting for them given their sorry ethical histories and largely substandard product of recent vintage, the same is true for both cinematic universes — by and large, they’re entirely unexceptional on their best days, offensively mediocre on their worst. 2016 hasn’t bucked this trend in the least to date, with Marvel’s Captain America : Civil War being yet another bland two-and-a-half hour TV episode with lots of guest stars, and…

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Rockin’ in the Film World #7: The Beatles in A HARD DAY’S NIGHT (United Artists 1964)


gary loggins's avatarcracked rear viewer

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(It’s a Sunday night, February 9, 1964. Everybody’s watching THE ED SULLIVAN SHOW to get a peek at this new phenomenon called Beatlemania. The adults in the room are disgusted, saying things like “They look like a bunch of girls!”, “They must be sissies!”, and “Yeah yeah yeah? What the hell kind of song is that??” They just don’t get it.  But the six-year-old kid watching along does, and a lifelong obsession with rock’n’roll is born…)

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From the opening shot of the Fab 4 being chased down the street by screaming teenyboppers to the final clanging guitar notes of the title tune, A HARD DAY’S NIGHT makes a joyful noise introducing The Beatles to the silver screen. John, Paul, George, and Ringo come off as a mod version of the Marx Brothers with their anarchic antics, guided by the deft hand of director Richard Lester. Shot in cinema verite style, this zany, practically…

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