Tag Archives: Steven Spielberg

STRANGER THINGS (2019) – SEASON 3 – META-BINGO REVIEW

STRANGER THINGS (2019) – SEASON 3 – META-BINGO REVIEW

Created, Written and Directed by: The Duffer Brothers

Produced by: The Duffer Brothers, Shawn Levy, Dan Cohen and Iain Paterson.

Director(s): Shawn Levy, Ute Briesewitz, Duffer Brothers

Writer(s): William Bridges, Kate Trefey, Paul Dichter, Curtis Gwinn

Cast: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Maya Hawke, Cara Buono, Joe Keery, Cary Elwes and many, many more.

Number of episodes: 8

Original Network: Netflix

**CONTAIN MASSIVE SPOILERS**

When Season 1 was released, Netflix’s phenomenally popular sci-fi-rites-of-passage-comedy-adventure-drama proved an excellent nostalgia-fest. Indeed, it evoked the 1980’s perfectly in design, sound and look, wearing Steven Spielberg, Stephen King, John Carpenter and George Lucas influences, not so much on its sleeve, but as a whole darned fashion show.

Written and directed by the Duffer Brothers, it centred on the search for a missing child in (where else) Indiana, an ultra-dimensional netherworld and a telekinetic kid called Eleven, who’s on the run from a nefarious US Government facility. Archetypal characters such as embittered drunken cop (David Harbour), distraught nutty mother (Winona Ryder), Gooniesque geeky teens all try and track down their missing friend during eight episodes containing weird and monstrous moments throughout.

I thought Season 1, while full of great design, style, suspense and mystery, was over-rated. It was still a fine work of entertainment but I found the story seriously padded out and stretched. While Season 2 is more generic it was a marked improvement as we got more pace and action. Season 3, though, is even better in terms of story-lines, pace and humour. Some may lament the move away from the mystery and darkness of Season 1, but Season 3’s humour, action and romantic sub-plots are turned right up to Eleven (pun intended).

Furthermore, amidst all the teenage romance crap, there is some fantastic gore and visceral monster goo on show. The Mind Flayer nemesis is an absolutely fearsome creature creation and way more convincing than the cartoon Russians. So, overall, I think this was my favourite season as it didn’t take itself too seriously. It just went for pure adrenaline and mind-bending chases and fights throughout. I didn’t even mind the John Hughes-style soppy romances.

Lastly, Season 3 isn’t perfect as it often verged on parody. This is notable in Episode 8, where we get a viral-bait version of The Never Ending Story (1984) theme song. Quite frankly, it was tonally inappropriate given the kids were being hunted down by Russian soldiers and an inter-dimensional monster at the time. Aside from this crime against genre occurring Season 3 is great because it featured a cavalcade of film references and homages. Well, let’s be honest, they basically stole a load of ideas from other movies.

So, rather than do a traditional review I will mark Stranger Things (2019)Season 3, and then pick a TOP TEN movie homages or steals that featured prominently as a fun meta-bingo review. Obviously, I’ve probably missed loads out, so, if you care, let me know which ones.

Mark: 9 out of 11


TOP TEN META-REFERENCES IN STRANGER THINGS (2019)


RUSSIAN BADDIE — THE TERMINATOR (1984)


BILLY AND TOWNSFOLK ‘DOUBLES’ — INVASION OF THE BODY SNATCHERS (1956 / 1978)


THE MIND FLAYER – THE BLOB (1958) / ALIEN (1979) / THE THING (1982) / TREMORS (1990)


STEVE AND ROBIN’S “WILL THEY, WON’T THEY ROMANCE?” — ANY JOHN HUGHES FILM!


THE BLACK WATER VOID – UNDER THE SKIN (2013)


USA VERSUS RUSSIA — RED DAWN (1984), RAMBO 2 (1985) & ANY COLD WAR FILM!


BILLY’S DREAMS — DREAMSCAPE (1984) / NIGHTMARE ON ELM STREET (1984)


ELEVEN’S TELEKINETIC POWERS — CARRIE (1976), THE FURY (1978) & SCANNERS (1981) ETC. . .


KIDS ON A MISSION TO SAVE THE TOWN/WORLD (AGAIN) — THE GOONIES (1985)


FANTASY OLDER WOMEN DYNAMIC — RISKY BUSINESS (1983) / WEIRD SCIENCE (1985)


THE GUARDIANS OF THE GALAXY (2014) – FILM REVIEW

THE GUARDIANS OF THE GALAXY (2014) F

**THERE BE SPOILERS AHEAD**

“Hence, once again, pastiche: in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles… means that one of its essential messages is… the failure of the new, the imprisonment in the past.” Frederic Jameson – POSTMODERNISM & CONSUMER SOCIETY (1983)

starwars

I loved this film for so many reasons.  It’s a nostalgic rush and push of music, action, fantastical creatures, space operatics, zinging one-liners, knowing humour, spectacular effects and in Chris Pratt — a new cinema star (lord) for the millennium is born.  Let’s be honest there isn’t an original bone in its body but the fleshy pastiche and meaty cultural references Guardians of the Galaxy wears proudly on its sleeves take the audience on one hell of a journey.

guardians4

Marxist and cultural theorist Frederic Jameson spoke of the rise of the “Nostalgia” film and postmodernist movies such as Star Wars (1977) and American Graffiti (1973) in his seminal essay aforementioned above.  The Nostalgia film harks back and references the past drawing influences not from reality but rather cultural artefacts such as films, comics, radio, TV and music etc.  Guardians of the Galaxy involves an orphaned hero — with mysterious father — who must do battle against an evil empire, save a “damsel” in distress, all the while accompanied by a motley crue of intergalactic misfits.  Sound at all familiar?  Yes, finally the kids of today have their Star Wars. They have a new hope, kind of; a pastiche of a pastiche of a pastiche based solely on the cultural fossils of yesteryear.

guardians1

Watching this film on IMAX 3D at Wimbledon Odeon Screen 4 (my favourite cinema screen by the way) made me feel nostalgic in so many ways. It felt more like the comic books I read as a child than any film I’ve seen recently. Further, I felt a surge of history as the film opened taking me back to 1977 when my Dad took me to see Star Wars (1977).  I recall the massive queues waiting to go see Lucas’ classic and the giddiness and excitement I felt as a youth rushed through me; even more so when the film started and my consciousness was treated to one impressive set-piece after another.  I felt young again and all because of a movie!

In a major ironic twist I too felt nostalgic for my University days and my discovery of postmodern theorists such as Jameson, Baudrillard and Foucault while studying. While it served no purpose in the real world my academic life was a great time for me.  The knowledge of postmodernism I gained enhanced further this funky fusion of comic-book anti-heroes blowing stuff up to a 70s soundtrack. Indeed, I was at peace with the world.  A bomb could have hit the cinema and I would not have cared.  It was cinematic heroin. I was happy.

Guardians is the 10th Marvel Universe movie to be produced and is based on a lesser known product from the uber-comic overlords’ oeuvre. Young Peter Quill is not having the best day. At the beginning he suffers the loss of his mother. As he runs away from the hospital he is then kidnapped by a gigantic spaceship which airlifts him to a life with the Ravagers; a group of space cowboys and outlaws – led by Michael Rooker’s Yondu.  Flash forward some many years to a galaxy far, far far away and an older Quill (effortlessly charismatic Chris Pratt) is on the hunt for a mysterious orb in order to make a few intergalactic dollars.  Quill proves himself a decent dancer and well as fighter as he uses hi-tech weapons to outfox his foes.

guardians6

The opening action sequence is a sheer joy and essentially riffs on the opening of Raiders of The Lost Ark (1981) while using Blue Swede’s funky classic Hooked on a Feeling  also used in Reservoir Dogs (1992). Let’s be honest it is all very silly but I am not watching this as a fortysomething man but rather a young boy living in the warmth of the past bathing in the nostalgia of recalling Star Wars, Raiders, Reservoir Dogs and MIXTAPES!!   I used to do mixtapes and it was such fun before the devilish digital age took over.  Anyway, the orb Quill has stolen turns out to be one of those END OF THE WORLD plot McGuffin thingy’s and a whole host of benign and nefarious characters are after it notably evil Titan Thanos (Josh Brolin), Kree mentalist Ronan (Lee Pace) and the Collector (Benicio Del Toro) etc.

So, Quill consequently finds himself pursued and caught and thrown in prison by the Nova Corps (basically humans with funny hair.) He then unwittingly becomes part of a bunch of misfits including: Rocket (Bradley Cooper) – a feisty raccoon and weapons expert; Groot (Vin Diesel) – a tree-like humanoid; Gamora (Zoe Saldana) – Thanos’s adopted assassin daughter; and finally Drax (Dave Bautista) – a giant blue alien muscle guy. Together these unusual suspects form an uneasy but at times hilarious alliance as they fight and argue and bicker and eventually accept each other and combine to overcome the villains before them.

m7

If The Avengers (2012) was a remake of The Magnificent Seven (1964) then this is a remake of the Dirty Dozen (1967) (minus seven). Moreover, the film follows the successful Marvel template of superheroes (or in this case anti-heroes) saving a very Earth-like world from destruction from said poisoned destructive orb (see Tesseract).  But what makes this Space-Western such fun is the oddball off-centre characters which director James Gunn and his fellow writers clearly gave a lot of time developing. While special effects reign over the production the likes of Quill, Rocket and Groot are given a humanity and humour which adds heart to story.  Indeed the script is full of empathetic backstories and themes including: fatherless, motherless and adopted children, genocide, slaves, nature v. technology, medical experimentation, grief, tyranny of dictatorship; all of which add some depth to the otherwise fluffy frivolity of the script.

Gunn was an interesting choice of director as he had written some mildly successful screenplays and directed two low-budget movies: the hilarious horror Slither (2006) and anti-super-hero oddity Super (2010).  But he marshals the army of cast and crew with a great sense of timing and while Guardians is generic in structure, the delight is in the incredible visuals and action, character detail and witty dialogue splashed throughout. The tone almost tipped over into farce in a dance off scene near the end and Del Toro is disappointing underused as The Collector. Plus Zoe Saldana’s character Gamora is gutsy and kick-ass until she turns to type and is saved by Quill. Although I forgave this stereotype because the scene was so memorably rendered and realised in a kind of space version of Jean Vigo’s poetic classic L’Atalante (1934).

The film finishes with a lovely post-credit kick in the nuts with an appearance of another comic-book-anti-hero. Marvel once again has delivered the goods and their standard template will continue to be a success if they choose off-centre directors such as Gunn, Whedon and the Russo Brothers. These are young (ish) guns like Lucas and Spielberg who while they wear their cultural influences proudly on their sleeves, jackets and underwear they paradoxically retain some originality amidst the pastiche and intertextuality. Thus, Frederic Jameson’s theories seem even more valid today. He himself argued that postmodernist culture was linked to the rise of late capitalism from the 1960s onwards and as the Marvel money-making monopoly marches on who can disagree with him.