Stranger Things: The Bathtub Season 1, Episode 7; ALT Title: Modine, Evil Modine.


stranger things titles

Cold Open:  Mike cleans off El’s face.  She touches her head where the wig once was; the wig that made her a little normal and not a lab rat.  “Still pretty?” She asks.  Mike, “Really pretty.”  They are about to kiss when Dustin interrupts.  At least it wasn’t because he found a unopened box of Twinkies.  They hear shouting on the walkie talkie.  It’s Lucas.  Lucas has decided F-This.  How did I end up in this situation?! And, how come we never see my or Dustin’s parents? Did the monster eat them?  Lucas is peddling as fast as he can … If he’s smart, to Iowa and away from this horrible situation.  Lucas continues to shout into the walkie and finally warns his friends.  The boys see the Hawkins vans outside of Mike’s house and decide to flee.

El sees her “Papa” Evil Modine approach Mike’s home.  They bike in a hurry to escape and immediately run into Lucas.  They are together and cornered- vans in front, vans behind them.  Pro tip: Nobody puts El in a corner because she will f#cking kill you.  El’s response to being cornered is launching the Hawkings van into the air and hurling it toward the pursuers behind her.  They escape to the junkyard and everyone makes up.

Roll Credits:

Hop and Joyce arrive at the station. Joyce is hysterical.  The deputies tell Hop that they need to show him something.  They show Hop Creeper’s trunk. It is filled with monster hunting stuff.  Hop confronts Creeper and Creeper tries to give Hop some lip.  Really, Creeper?! Really?!  Chief Hopper makes Jason Bourne look like Rick Moranis.  

Mike’s House:  Karen is looking for Mike and finds what looks like a kid’s nest.  Then, she finds a tuft of long blonde hair, which must cause her to wonder- Are all of my kids having sex in my house?!  Doorbell rings.  It’s Modine, Evil Modine!  He proceeds to home invade Karen’s home without a warrant.  Henchlady tries to question Karen and fails.  Nebish Dad uses this time to call his son a wuss.  Evil Modine uses his eeeeeeevil powers of persuasion to get Karen cooperate.  When he says, “Will you trust me?” I got the heebie jeebies.  Shudders.

At the station, Hop learns from Nancy and Creeper that the creature is drawn by blood. The World Smallest Bully’s mom demands an apology.  Hop learns that El is with the boys and is all kinds of superpowered.

Convenience Store: Steve loses his shitty friends and we learn it was his awful guy friend who did the spray painting.

Nancy and Hop are overlooking her home.  She wants to confront Evil Modine.  Hop shows Nancy that the government hasn’t found the boys yet because helicopters are still circling. Creeper tells them that he might be able to communicate with the boys.  They go to Joyce’s house and Nancy is the first to look at the lights and say- WHOA!  Yep, we’re in Crazytown, Indiana.  Hop gets the boys to give up their location.

The Vandalized Movie Theater: Steve’s heart grows three sizes that day and he tries to make amends by cleaning off the marquee his friend defaced.

Junkyard:  Modine’s goons approach the bus that is hiding the boys and El.  Hop quickly dispatches them.

Joyce’s house: The Boys, El, Hop, Joyce, and Creeper are all together discussing their next move as one tribe.  El tries and fails to use her mojo to find Will.  They decide to make a bathtub deprivation tank.

Mr. Clark’s house: He is watching a cinematic masterpiece, The Thing, with a waaaay Hot Asian Lady.  Mr. Clark, I tip my hat to you Sir. You be you.  Dustin calls Mr. Clark- the most patient man alive- pumps him for DIY sensory deprivation tank information and then hangs up.  Dustin, you’re being a dick.

They get the bath ready and El goes into the black world of the Inbetween.  She finds a rotting Barb with monster slugs leaving her.  Dear Everyone in the World, stop asking about Barb.  She’s a rotting incubator for Vampire Monsters.  That is all.  El finds Castle Byers in the upside down.  She comforts Will.

Hop and Joyce go off to Evil Modine’s Government Facility and are rapidly captured.

The Upside Down: The Monster destroys Castle Byers and takes Will to turn him into an incubator for monsters.

ROLL CREDITS!!!!  If you enjoy these, please tell my Boss- Lisa Bowman! Also, suggest other shows or movies that you would like me to review. Cheers!

 

 

The National Board Of Review: I Give Up!


The rather enigmatic National Board of Review announced their selections for the best films of 2010 today.  The NBR is traditionally considered to be the first precursor to how the actual Oscar race will shape up.  Typically, those honored by the NBR are, at the very least, nominated by the Academy.  Strangely, nobody seems to be sure just who exactly makes up the membership of the NBR.  As far as I can tell, it appears to be a collection of film professors and cable tv executives.  It wouldn’t surprise me to discover that the NBR is actually some sort of Illuminati conspiracy or MK-Ultra experiment designed to keep American filmgoers from thinking for themselves.

Anyway, as I look over this year’s award winners, all I can say is that I give up.  If my reaction to Avatar indicated to me that I’m totally out-of-step with mainstream opinion, then the current Pavlovian acclaim of the Social Network proves it.  I will never be a part of the mainstream and it’s not by choice.  It’s just I am apparently thoroughly incapable of understanding how the mainstream brain works. 

So, that’s what the National Board of Review taught me today.  I am destined to always be alone, railing against the dying of the light.  Thank you for the insight, assholes.

Anyway, here’s this year’s award winners:

Best Picture: The Social Network (Don’t get me wrong, the Social Network is a good movie.  It’s just not that good.) 

Best Director: David Fincher, The Social Network

Best Actor: Jesse Eisenberg, The Social Network (I am so sick of hearing that this is Jesse’s “breakthrough” role.  Jesse’s breakthrough was in Adventureland, long before the mainstream ever decided to embrace him.)

Best Actress: Lesley Manville, Another Year (Haven’t seen it yet)

Best Supporting Actor: Christian Bale, The Fighter (Another movie that I will see when it opens later this month.  Still, Bale should have been nominated for American Psycho back in the day.)

Best Supporting Actress: Jacki Weaver for Animal Kingdom (Yay!  This award gives me hope.)

Best Animated Feature: Toy Story 3 (yay!)

Best Documentary: Waiting For Superman (Yes, my favorite movie of the year —Exit Through The Gift Shop — was totally ignored.)

Best Ensemble Cast: The Town (Bleh.  So I guess that would include Jon Hamm, who gave such an amazingly bad performance in this film?)

Breakthrough Performance: Jennifer Lawrence, Winter’s Bone (Another yay but you know all the mainstream is going to offer her is a role in a Twilight rip-off and maybe a Maxim cover shoot.)

Best Adapted Screenplay: Aaron Sorkin for The Social Network (Fuck Aaron Sorkin and his elitist, sexist, technophobic script.)

Best Original Screenplay: Chris Sparling for Buried (which I didn’t see, mostly because I’m claustrophobic and the movie is called Buried.)

Ten Best Films Of The Year (in alphabetical order):

Another Year

The Fighter

Hereafter (which sucked!)

Inception (yay!)

The King’s Speech (I’m actually really looking forward to seeing this)

Shutter Island (kinda bleh but enjoyable)

The Town

Toy Story 3

True Grit (another one I can’t wait to see)

Winter’s Bone (yay!)

Yep, you read that right.  No awards for such presumed favorites as James Franco and 127 Hours, Black Swan, or The Kids Are All Right.  But you better believe they found room to honor a shallow, pandering film like Hereafter.

Finally, here are the Top Ten Independent Films of 2010, according to the toadsuckers at the National Board of Review:

Animal Kingdom (yay!)

Buried (Now I guess I have to see it)

Fish Tank (yay!)

The Ghost Writer (yay — kinda)

Greenberg (bleh)

Let Me In (another kinda yay)

Monsters (shrug)

Please Give (yay!)

Somewhere (going to see it when it opens down here, Sofia Coppola is my role model)

Youth in Revolt (shrug, it’s neither bleh nor yay)

You can read the full list of winners at The Wrap.

Anyway, in order to show just how exactly I feel when confronted with mainstream thought and opinion, here’s an old picture of me with a tampon stuck up my nose.

Banned in Vermont: 6 More Shocking Trailers


The latest installment of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers features trailers that are too intense, too shocking, and too controversial for the new age hippies of Vermont.

1) Axe

This film was originally titled Lisa, Lisa.  Isn’t that just a great title?  Seriously, how can you go wrong with a title like Lisa, Lisa?  Just say it a few times.  Lisa, Lisa.  What a great name.

Anyway, this trailer is just pure exploitation and the narrator really loves saying “Axe” repeatedly.  Still, I think he would have been happier saying, “Lisa, Lisa…”

2) Snuff

“The film that could only be made in South America…where life is cheap!”  I’ve never actually seen Snuff though I’ve read a lot about it.  Apparently, this was originally a film called Slaughter.  It was made by pornographic pioneers Roberta and Mike Findlay.  Anyway, the film was bought by another distributor who tacked on some footage of one of the actresses supposedly being killed on camera.  Snuff was then advertised as being an actual snuff movie and, of course, a bunch of dumbfugs believed that it actually was.

3) Olga’s Girls

This is a movie I’ve been meaning on reviewing for a while.  Olga’s Girls is from 1964 and the trailer — like all good grindhouse trailers — makes the film seem a lot more sordid and explicit than it actually is.  The actual film is almost quaint.

4) The Syndicate: A Death In The Family

“The Underworld touches everyone…even you.”  I love the shameless melodrama of this trailer and the serious tone of the narrator.  I also love the swinging crime music.  This Italian film is apparently not available on DVD.

5) The Weird World of LSD

“To fly a giant bird!”  MK-Ultra much?  This is another film I haven’t actually seen and I’ve had next to no success in tracking down a copy.  Why is LSD always so much more fun in the movies than in real life?  Seriously.

6) Possession

As I said in an earlier post, Europe’s art films are often repackaged as America’s grindhouse and exploitation films.  1981’s Possession is a perfect example of that.  People either love or hate this film.  It gave me nightmares but I still think its one of the best (and most important) films ever made.  Everyday, when faced with adversity, I ask myself — “What would Isabelle Adjani do?”