Monday, September 28, 2026

Cinema Playground Journal 2026: Week 39 (My Cinema Playground)

Multiplex Madness


Avengers:  Endgame - Encore
⭐️⭐️⭐️1/2
Genre:  Superhero, Science Fiction, Action, Adventure
Director:  Joe Russo, Anthony Russo
Starring:  Robert Downey Jr., Chris Evans, Chris Hemsworth, Josh Brolin, Mark Ruffalo, Scarlett Johansson, Jeremy Renner, Paul Rudd, Bradley Cooper, Karen Gillan, Don Cheadle, Brie Larson, Danai Gurira, Gwenyth Paltrow, Benedict Wong


Oh look.  One of the highest grossing movies of all time is back to make more money.  Oh well.  I earned this money so I could spend it, I guess.  This would be the fifth time I've seen this movie in a theater, which would have tied my old theatrical record of seeing Avengers:  Infinity War and Godzilla Minus One five times each, but that record was already shattered this year when Obsession came out of nowhere and I wound up seeing it seven times.  That was a special case where the movie kept attracting large crowds and I would just keep going to watch people's reactions, and the environment was always pure electricity.  In the case of Avengers and Godzilla, I just really like Avengers and Godzilla and both were damn good Avengers and Godzilla.  Endgame got into the five-time-plus club based on two re-releases that promised bonus material.  The first was in late-summer 2019, where they just had some cobbled together bullshit after the movie was over and I barely remember what it was.  This time offers a "brand new version" that "sets up" this year's Avengers:  Doomsday.  I had no idea what this would be, but based on the last Endgame re-release, it was probably just going to be a sneak preview at the end of the movie of some kind.  I guess that's what it still is, but what Endgame - Encore actually is involves something more bold, yet also slighter.

Technically, Encore is an extended cut, but not in a traditional way.  The added footage is clearly newly filmed.  Part of Doomsday's production, most likely.  Whether they are scenes that are actually going to be in Doomsday or if they're exclusive to Encore, I can't say for certain.  If you're wondering what the full Encore experience is (without spoilers), then just know that Endgame mostly plays out the same way it always has, but the last scene in the movie extends beyond what used to be Endgame's final shot, adding a full bonus sequence in its immediate aftermath.  In addition to that, there is now a mid-credit scene that confirms the current state of a character that some might have questions about.  The final addition, which I will spoil fully because it's a big nothing-burger, is that the very end of the end credits now has small flashes of Doctor Doom.  Whoopty-doo.

(Editing Note:  Since writing this, I found out that there would have been a bonus BONUS scene had I had seen this in "InfinityVision," whatever the fuck that is.  Seems pretty shitty to ship out two separate versions of this movie to sell something you've pulled out of your ass to make up for all the IMAX screens you lost to Dune 3.  Whatever this scene is, I don't know what it is, and I'm not going out my way to see it again just for thirty seconds of whatever.)

To anybody who is wondering if this is worth the price of admission, my advice is that Encore is worth seeing if you love Endgame enough to see it again in a theater, and you'll get some sugar on top at the end.  If you're going for a first look at Doomsday, you might find the anticipated dessert pretty light.  I was happy to see the movie again.  I enjoy it quite a bit.  It's not my favorite Avengers movie, as this failed to top the balance and excitement of Infinity War (I am also an Age of Ultron defender, so eat me).  I had a good experience, and the extra scenes were fun.  I wouldn't have seen this for those alone, though.


Charlie Harper
⭐️⭐️1/2
Genre:  Drama, Romance
Director:  Mac Eldridge, Tom Dean
Starring:  Emilia Jones, Nick Robinson


The movie Charlie Harper is not about anybody named "Charlie Harper."  Instead, it's about two characters named "Charlie" and "Harper" who fall in love, and I'm assuming "Charlie Harper" is their online shipping name.  "Charlie Harper" is also the name of Charlie Sheen's character on Two-and-a-Half Men.  Coincidence?  I don't really care.  Two-and-a-Half Men sucks.  Maybe whoever wrote this really liked it and had to name his characters, and was like "I dunno.  Charlie...and Harper."  Anyway, Charlie and Harper are two people in a relationship, but as Harper's career as a chef begins, Charlie finds his life stagnant and falls deeper into alcoholism.  Despite their best efforts to stay together, they both spiral as they fail to justify why their relationship is worth saving.

This is the second movie in the last month starring Emilia Jones that involves aspiring chefs and struggling romances.  Is this some sort of weird typecasting niche that she has fallen into?  Either way, Jones is very charming, like a young Mary Elizabeth Winstead.  She's in a movie that's only going to be as strong as the leads it has, and they keep the slightly overwritten script in check by playing it with sincerity.  Most of what the movie struggles with has to do with what feels like a touch-and-feel production, which has the vibe of being made by ambitious amateurs who are throwing themselves into a movie, for better and for worse.  The storytelling is a little messy, with some odd non-linear elements that fall flat and make it a little confusing.  The movie has changing aspect ratios, which might reflect mood, but prove to be the most pointless use of such a thing since Michael Bay's dizzying perversion of it in Transformers 5.  There is an earnestness to the movie that is almost endearing, though.  It feels like a movie wanting to be an honest and heartfelt portrayal of a strong bond that wasn't meant to last but is kept sacred by what it meant when it was full of passion.  There is little that's inspired about how it's handled, but there is also very little that's wrong with it.  It's a movie made for people who like melodramas about romantic struggles and blooming lives.  In pandering to that audience, a capable movie was made.


Forgotten Island
⭐️⭐️⭐️
Genre:  Fantasy, Comedy, Adventure
Director:  Joel Crawford, Januel Mercado
Starring:  H.E.R., Liza Soberano, Dave Franco, Jenny Slate, Manny Jacinto, Dolly de Leon, Jo Koy, Ronnie Chieng, Lea Salonga


DreamWorks Animation's latest sees two best friends at the end of high school about to say goodbye to each other as one is about to leave the country.  A magic portal then appears to the magical island of Nakali, where the two wake up without recollection of what transpired the night before.  This, of course, means Hangover shenanigans.  Child friendly, this time.  And oddly more grounded, despite all the fantasy elements.  The pair piece together what they've forgotten, hoping to find a way home, but also there is a vampire who is big mad.  Uh-oh.  It's a lot of nonsense that leans very hard into a random and chaotic narrative.  Normally, I'd claim that as a detraction, but with this particular story, it feeds into the Alice in Wonderland style adventure that's at play.  Most of the film is whimsy designed to feed the emotional state of the character, while the humor is based in their rebellious personalities.  The movie sometimes stutters with its functionality because there is limited focus.  This is enhanced by the fact that there are two separate villains in the movie that have different desires, neither of which have full development and only serve as plot devices.  It's pretty crowded in this movie, but the main focus is on friendship, which is where the movie's soul comes in clutch.  It can be touching when it wants to be, though getting it to sit still long enough to be so can be challenging.  But it's not every day that you see an animated movie that features a clip from Predator.  I dare say that means it did something right.


Ha-Chan, Shake Your Booty!
⭐️⭐️1/2
Genre:  Drama
Director:  Josef Kubota Wladyka
Starring:  Rinko Kikuchi, Alberto Guerra, Alejandro Edda, You, Yoh Yoshida, Damián Alcázar


Ha-chan is a Japanese woman grieving the death of her husband and dance partner.  After spending months wallowing in her own grief, she finds she's sexually attracted to her dance instructor and struggles with the thought of taking a new lover.  This is one of those movies that has a great deal of good qualities but I found myself struggling to be won over by.  That's not for a lack of trying, because everything it does is with gusto.  Its rhythm just falls slightly out of sync with itself.  The movie has little flourishes that are inspired by anime and manga, such as chapter titles and expressionistic fantasy.  I'm not entirely sure this adds anything of value to the movie, but it does give it a vibe that it chases, and sometimes stumbles, after.  Ha-chan's husband appears to her in a giant black bird mascot costume, which brought to mind that Benedict Cumberbatch movie from last year, The Thing with Feathers, which portrayed grief similarly.  I'd say this movie is more successful than that one, but it's also leaning into something cuter and less moody.  That cute nature can feel odd during the film's darker moments, and we watch Ha-chan jump into fantasy and ignore reality when her mind can't comprehend it.  This leads to Ha-chan making several senseless mistakes, which are purposefully portraying a spiral, even when it feels like she's doing things she probably wouldn't even do in this mindset.  The movie stops working when it jumps into these odd corners of its narrative, but it has fun with itself, and hopefully the viewer has fun while it's doing its dance.


Heart of the Beast
⭐️⭐️⭐️
Genre:  Drama, Thriller
Director:  David Ayer
Starring:  PUPPY!!!, Brad Pitt, J.K. Simmons


Survival thriller and pet lover cinema crossbreed as former soldier Brad Pitt crashes his airplane in the woods.  He and his combat trained dog Odin traverse the dangerous wilderness to find medical attention.  I was relieved when I found out the dog's name was "Odin," because so many of the shouting scenes make it sound like his name is "Odie," and to those of us who grew up on Garfield will know that would have been an unfortunate personality to bestow upon this dog.  Odin is smarter than Odie, though just as durable.  The movie is a rather base idea of a man and his dog surviving the elements, with both bond and spirit prevailing as hardship is smothered to death in shmaltz.  But the adversity is tense and the emotion is strong, making the film one to seek out for all the canine lovers in the world.  It's a movie with simple ambitions, and one that succeeds in all of them.


Primetime
⭐️⭐️1/2
Genre:  Drama
Director:  Lance Oppenheim
Starring:  Robert Pattinson (line?), Merritt Weaver, Skylar Gisondo, Phoebe Bridgers


Robert Pattinson plays NBC reporter and To Catch a Predator host Chris Hansen, as it chronicles the show being adopted to as sensationalized entrapment of sexual predators as prime time entertainment.  It's an interesting movie, though sometimes I struggled with whether it was interesting enough.  The film's focus tends to widen out and display the predatory nature of every direction, including Hansen himself, and I'm like...yeah.  Obviously.  This movie doesn't really add anything that wasn't already in the discussion about Hansen and To Catch a Predator.  It's a movie about scummy people exposing scummier people for scummy personal recognition, and it's very on-the-nose with the way it decides to portray this (the movie features a long shot focusing on an ad featuring Jared from Subway, in case you were worried it was going to be too subtle).  The only thing the movie is saying is predators are everywhere, which is a lesson we all should learn at some point.  The movie dresses it up with as a lacking psychological drama that has limited psychological insight.  If the movie has something else to say throughout its runtime, I might cut it more slack, but it seemed insistent on looping the same messages over and over again.  If it ever scratches anything else, it's usually asking for a sliver of sympathy for the people who wound up cornered on Hansen's show.  Sorry, but I don't think I have that in me.  It's like that scene in Rear Window where Raymond Burr has that desperate look in his eyes when he first faces James Stewart.  That look is meant to represent the violation that Stewart did in invading Burr's privacy.  It still didn't change the fact that Burr's character was a murderer.


The Stunt Driver
⭐️⭐️⭐️
Genre:  Comedy, Drama
Director:  Michael Dowse
Starring:  Jay Baruchel, Ed Helms, Ben Foster, Lawrence Leboeuf, Dan Bakkedahl


Jay Baruchel plays Ken Carter, a real-life Canadian "stunt driver" (because he hates the term "daredevil").  He concocts the ultimate stunt to fly a rocket car a full mile over the Saint-Laurent River, which he meticulously plans out over the 1970's.  I need to stress that last part because a lot of this movie is devoted to planning the jump.  It's a little surprising about how much of a slow burn this movie is, as a lot of the time is talking about the jump and hammering out the details.  It makes sense because of how complex it is, but given the film's tone and talent working on it, one almost expects it to be more snappy.  The movie is a pretty chill psychological comedy about a man painstakingly perfecting his artform (complete with footage of the actual stunts being performed).  Art can be frustrating while it's being made, so the film can be equally frustrating.  The important perspective is to trust that the process is leading to somewhere.  It's not a fun movie, nor is it really a rewarding movie.  It's more of movie that asks to be understood.  You're going to sit there and get it or you'll just get sick of it.  I found the character study engaging, which made the effort worthwhile.

Movies Still Playing At My Theater
Coyote vs. Acme ⭐️⭐️⭐️1/2
The Odyssey ⭐️⭐️⭐️⭐️
Practical Magic 2 ⭐️⭐️
Resident Evil ⭐️⭐️
Spider-Man:  Brand New Day ⭐️⭐️⭐️
The Weight ⭐️⭐️⭐️

New To Digital
Ice Cream Man ⭐️1/2
Idiots ⭐️⭐️1/2
The Magic Faraway Tree ⭐️⭐️⭐️
Spa Weekend ⭐️1/2

New To Physical
Evil Dead Burn ⭐️⭐️⭐️
Girls Like Girls ⭐️⭐️
I Love Boosters ⭐️⭐️⭐️
The Secret Agent ⭐️⭐️⭐️
Toy Story 5 ⭐️⭐️⭐️1/2
Young Washington ⭐️⭐️

Coming Soon!

Monday, September 21, 2026

Cinema Playground Journal 2026: Week 38 (My Cinema Playground)

Multiplex Madness


Daniel and the Fiery Furnace
⭐️1/2
Genre:  Drama, Faith
Director:  Daniel Kooman, Matthew Kooman
Starring:  Mena Massoud, Elijah Alexander


God has space lasers!  And an AI generated Jesus pops out of the other side!  That was my main takeaway from this attempt at a biblical epic, based on the story of Daniel, who has his faith tested under the rule of King Nebuchadnezzar, where he is tasked to build a golden statue of the king that he and his comrades fail to worship, desiring to onlyworship their one true God.

This movie is pretty shoddy, but there are things in this movie worth discussing enthusiastically.  It's a faith drama that went out of its way to utilize a Middle Eastern cast to tell its story instead of whitewashing it.  That might seem like a small victory but it's a victory nonetheless.  The movie also has ambition, where it feels like it's reaching out to be like one of the biblical epics of years past crossed with Bollywood over-the-topness.  All of this is countered by the amaterish production, especially the screenplay, which reads like a church group community stage play.  Little of it feels like naturalistic dialogue, as pretty much every scene has the characters relating to the audience how their most remedial of tasks relate to their faith, while our villainous king spends practically every speaking moment mocking the idea of a "one true God."  The script is littered with moments designed for stage theatricality, and it's filmed in an indulgence of presenting every moment as being powerful.  It mixes into a very unique brand of hammy melodrama that wears the viewer down.

Probably the big talking point when the movie ends is it's use of AI for its CGI.  I couldn't find any concrete information about the film's special effects production, but I did find that I wasn't the only one who suspected AI use in the making of this movie, as most reviews I read brought it up.  If one dislikes AI being used to create "art" (quotations used because art, by nature, is designed by human mind and hands and not algorythm), then they'll likely want to avoid this movie.  It's used pretty extensively as a cost-cutting measure for special effects and establishing shots.  My favorite thing to do during this movie was studying all the digital landscapes, intricately detailed at first glance, and then looking at all the people who inhabit it who are just frozen in place or floating forward because the AI couldn't animate it properly.  And then there was the ending with a very plastic looking Jesus, which was probably the funniest thing I've seen all year.

Allowing for full disclosure, I fell asleep for about ten minutes of this movie.  It's not the movie's fault, I just didn't sleep well the night before and fatigue hit me like a bulldozer while watching it.  If that negates anything I have to say about this movie, I understand.  I don't think I missed much.  Daniel was smelting gold in the furnace when I fell asleep and he was smelting gold when I woke up, and there was very little going on that I didn't understand.  I'm not going to go back and watch it again though.  My apologies to the haters.


The Musical
⭐️⭐️
Genre:  Comedy
Director:  Giselle Bonilla
Starring:  Will Brill, Gillian Jacobs, Rob Lowe


Will Brill plays a middle school teacher who has a mental breakdown following his break-up with Gillian Jacobs, who begins dating school principal Rob Lowe.  Pushed past the edge, he turns the school's presentation of West Side Story into an abrasive and offensive portrayal of 9/11, just to make people angry.  Maybe Speilberg's version of West Wide Story would have won more Oscars if it had the same twist.

The Musical is one of those movies that I looked at from a bunch of angles and still had a hard time reading it.  The closest I came to was that this was a men's mental health commentary, about how certain men can be so unhappy that they weaponize their misery and try to make everyone around them suffer, but that's entirely a take I'm projecting onto this movie because I'm not sure I understand it.  This could just as easily be a movie that's just trying to be subversive in very awkward ways without actually being about anything.  Brill's character is played as both the hero and the villain of the movie, as the movie never bothers to make us sympathize with him but it also seems to want us to root for his revenge fantasy.  I'm not entirely sure how successful that latter aspect is since there's really nothing to be excited for except anarchy for the sake of anarchy.  The movie is as fearless as it is aimless, and that's almost charming by itself.  There are things the movie could lean into to make it stronger, like the exploitation and radicalization of children to be raged against the source of one's personal grievances, but the movie doesn't really do as much with the kids' part in this little slice of lunacy as you might hope, and while they are on board with it by the end, it's never clear why.  But I also think there are aspects to this movie that are flying over my head, because certain scenes seem staged in such a particular way that I have to wonder if this movie is a parody of something very specific that I'm not familiar with.  It's also possible that the movie is referencing many things simultaneously and is doing its own spin on them to enhance satire.  The satire isn't particularly strong enough here for that to work, making the film an awkward showcase of awkwardness.


Resident Evil
⭐️⭐️
Genre:  Horror, Comedy
Director:  Zach Cregger
Starring:  Austin Abrams, Paul Walter Hauser, Zach Cherry, Kali Reis


Resident Evil's movie series isn't exactly known for adapting the video games it's based on.  This is the eighth film in the series (not including four boring Japanese CGI animated movies) and thusfar only two of them have actually sourced their stories from the games (Apocalypse and Welcome to Raccoon City).  Most of them have been Paul W.S. Anderson's Mary Sue girl power fantasy about his wife Milla Jovovich, while characters from the games have been sidelined in favor of her.  Resident Evil 2026 is actually the first of these movies since 2002 to not feature any character from the game, unless you consider the character of "Matt" a video game character considering he mutates into Nemesis in the sequel.  Or if zombies, angry dogs, and the Lickers count.  All of this is to say that the Resident Evil fan frustration of getting another movie that sidesteps the source material in favor of an original story is more understandable than some might claim.  It's been a long cycle of history repeating itself with the withering hope of "Maybe this time will be different."

I'm not one to knock Resident Evil's film legacy.  I find most of the movies they've made so far to be a campy good time (Apocalypse is peak on the "fun bullshit" metric).  Maybe I'm the problem because people don't seem to want Resident Evil to be campy, which is weird when you remember this franchise began with a game that delivered the line "You almost became a Jill sandwich."  And I have no particular attachment to the games.  I've played a couple of them, but never finished them.  I do have a fondness for Zach Cregger, who directed this movie, being a big fan of Barbarian and having really enjoyed Weapons.  Mostly, I just wanted the new Resident Evil movie to be a good Zach Cregger movie.  Sadly, it didn't achieve that one goal.

The latest non-adapting adaptation in this franchise sees Austin Abrams playing a medical courier who is tasked to take a package to Raccoon City.  This happens to coincide with the certain event that gamers know happens in Raccoon City, which was chronicled in the video games Resident Evil 2 and Resident Evil 3:  Nemesis, where a contagion reanimates corpses and mutates living beings into beasts.  Cregger said his approach was to make a side-story that felt like video game rather than adapting the game itself.  To this, I find the movie a minor failure.  Most Resident Evil games put us in the shoes of competent characters who are taken aback by the scenario but adapt to the situation.  Abrams' character is not that.  He starts off as a bit of a joke and stays a joke throughout the entire movie.  It's arguable whether or not he's even competent enough to have his courier position because he's not very good at it, while any success he has out of it is simply because he hasn't died yet.  And the movie leans pretty hard into his little brand of silliness.  It often feels more like a slapstick comedy showcase for Abrams than it is a horror movie.  But the Resident Evil franchise used to be a wire-fu high kick showcase for Milla Jovovich, which is a more lateral trade-off than I think most people will want to admit.

To be fair, the movie is funny.  It's also scary.  It gets less funny and scary as it goes, and not for a lack of trying.  Zach Cregger has a very distinctive tone to his horror movies and Resident Evil struggles at balancing it.  Cregger has unique ways of framing a horror shot, and it will successfully create a jolt or a moment of suspense.  And he'll let the surprise of such a moment bleed into creating comedy.  Unlike Barbarian and Weapons, it feels like the movie's desire for levity is taking priority, and while it's not unpleasant, it feels like it's all Abrams exists for in this movie.  I found it hard to genuinely care about what happened to him because he kept fumbling around and had an unreliable sense of alertness.  The movie just becomes an episodic string of scenarios for him to just waffle around in, scream, kick his little feets at, and run away from.  The movie is at it's strongest in the first half when it's fresh and fun, but the more plot that it starts to introduce into itself, the more the movie becomes less creepy and the more distant Abrams feels from it, just having him running around in big visuals because he carries the McGuffin.

I was already starting to feel a little bored by the end (the movie started to lose me once he leaves the farmhouse), but I was ready to give this movie a minor pass.  Then we got to the climax, and the last ten minutes really left me in a sour mood.  The finale to this movie is objectively bad, and it genuinely feels like someone was written into a corner, threw their pen at the wall and said "Fuck it, I'm done."  I could have lived with this movie being a being about a dummy stumbling around in an apocalypse as long as it had a destination.  Since I didn't even get that, a lot of the movie's positive aspects started to dim in my hindsight.  The movie then reached the status of apathy.  Now it has failed as both an adaptation and as an original story.  Congratulations?


Shaun the Sheep:  The Beast of Mossy Bottom
⭐️⭐️⭐️
Genre:  Comedy, Horror
Director:  Steve Cox, Matthew Walker
Starring:  Justin Fletcher, John Sparkes, Kate Harbour


The little Claymation studio Aardman Animations, best known for Wallace & Gromit, is back with another quirky outing, returning for their third feature film based on its sheep flock characters.  This one has Shaun inventing a growth serum to save a destroyed pumpkin patch, only for their farmer to mistake it for hair growth serum.  Growing hair all over his body, the sheep flock mistakes him for a monster that is terrorizing their small town.  Those who are familiar with this animation studio know what quirkiness to expect, and the latest Shaun the Sheep movie continues to deliver the goods.  Like Wallace & Gromit, a little bit of Shaun the Sheep goes a long way, which means I'd have more investment in short films than an eighty minute movie.  But Shaun the Sheep's big distinction from Wallace & Gromit is that it's done in pantomime, which keeps my admiration for a feature film up even if I'm starting to feel a little tired.  And there are some cute little macabre touches that make it fun as a family Halloween movie.  If you or your kids love Shaun the Sheep, this is an easy recommend.  If you don't, you probably skipped reading this and it doesn't matter.


Tiny Fugitives
⭐️⭐️1/2
Genre:  Comedy, Adventure
Director:  Michael Lewen
Starring:  Johnny Knoxville, Benjamin Pajak, Aaron Harris, Isa Bernal Steiner, Jay Saunder, Arrian Kenneth Wu, Alyssa Gervasi


Get ready for one of those movies that gets all of its mileage out of foul-mouthed kids, as Tiny Fugitives tells the story of a group of camp friends who don't want the summer to end, so they run out into the woods and are chased down by camp counselor Johnny Knoxville.  It's a little Ferris Bueller's Day Off, but it primarily reminded me of that episode of The Simpsons where Bart plays hooky and Principal Skinner is chasing him down.

The movie makes sure the audience knows that its favorite joke is children who curse and talk trash.  It's as if all of the Losers from It were just Richie.  The movie can be overbearing on this, but what's interesting about this aspect is how it contrasts this with their realistic childlike innocence.  These characters talk a big game and seem to know a lot about what adults do behind closed doors, but when they're actually in the "intimate" situations of childhood, it's very childlike.  They can play it up in dirty ways, but a first kiss between two characters will be portrayed as a nervous peck instead of any of the extravagant descriptions they'll play it off as.  The movie's tender moments are much cuter than they have any right to be.

But I also feel like I've seen various spins on this type of movie.  The film plays out like one of those rambunctious kid movies we all watched when we were children, but this one is rated R, so it can't have that audience.  It tries to make up ground as a "coming-of-age" story for the adult audience, but it's also not detailed enough to be one.  It exists in this awkward middle ground where it struggles to appeal to either side of the fence, and while it's a decent afternoon killer, it's hard to picture it gaining traction as something that resonates with people.


The Weight
⭐️⭐️⭐️
Genre:  Drama, Thriller
Director:  Padraic McKinley
Starring:  Ethan Hawke, Russell Crowe, Julia Jones


There's gold in them thar hills and Russell Crowe needs a few good men to haul it.  Ethan Hawke is a convict on Crowe's labor crew who has been hired to smuggle gold bars through the woods and keep it safe, though challenges and danger prove to be an inevitability.  Sometimes the movie is a bit too base for its own good, as Hawke's motivation is a slight prologue about being separated from his daughter, which almost feels as if it was written after the rest of the movie to give emotional stakes.  It's an effectively made movie, though.  It's well-directed and tense.  Some of the hurdles in the plot are underdeveloped, but it feels like it just wants to keep our focus within the group, not fully knowing what's going on, just wanting to survive it.  I liked this, and it makes me hope to see the talent behind it go on to do bigger things.

Netflix & Chill


The Last Kiss
⭐️⭐️
Streaming On:  VOD
Genre:  Mystery, Horror, Comedy, Romance
Director:  Yoko Okumura
Starring:  Mckenna Grace, Akira Chantaratananond, Jaden Michael, Riley Davis


Mckeena Grace can see the future deaths of whoever she kisses in this odd little mystery that is conceptually just The Dead Zone but with more tongue.  Upon kissing her new boyfriend, she finds that he dies in a massacre with several classmates at the school dance, and she tries to figure out who the killer is.  By kissing people.  A lot.

I mostly checked this movie out because I was curious as to how well this movie maintained its gimmick, because while it sounds like an interesting idea, it also seems hard to wrap a story around.  I think my skeptism was somewhat justified because the film can struggle to adequately push its story forward based on this chosen plot device.  Kissing is an inherently intimate act, and for Grace to do what needs to be done, the plot requires her character to put on the mask of being a loose woman who is forcing herself onto other people.  Some of her actions brush upon crossing the line into sexual misconduct because she is kissing people for her own needs that she is keeping that private.  The movie does try and avoid the problematic line, but it comes closer that it probably wanted.

Despite this, the movie has a fun, playful vibe to its dark story.  If they had pulled half of this off, this might have been a decent macabre option for a Valentine's Day release.  Its a decent combination of mopey self-absorbed teen dramatics and off-beat anxiety-fueled dark humor tearing through it.  Unfortunately, there is also a small understanding of why this went straight to VOD while watching it because while it has mostly assured directing and a solid cast, there is something about it that just isn't snapping into place.  You can tell there that there was probably a vision for this movie and it's not paying off.  Sometimes you just have to take the swing even if it doesn't connect, though.

Movies Still Playing At My Theater
Buddy ⭐️⭐️⭐️1/2
Cars ⭐️⭐️⭐️
Coyote vs. Acme ⭐️⭐️⭐️1/2
Hope ⭐️⭐️⭐️
The Odyssey ⭐️⭐️⭐️⭐️
Practical Magic 2 ⭐️⭐️
Runner ⭐️1/2
Spider-Man:  Brand New Day ⭐️⭐️⭐️
The Transformers:  The Movie ⭐️⭐️⭐️1/2
The Uprising ⭐️⭐️1/2

New To Digital
The End of Oak Street ⭐️⭐️⭐️
Finding Emily ⭐️⭐️⭐️
It Ends ⭐️⭐️⭐️
Tony ⭐️⭐️⭐️

New To Physical
Stop!  That!  Train! ⭐️⭐️⭐️

Coming Soon!

Monday, September 14, 2026

Cinema Playground Journal 2026: Week 37 (My Cinema Playground)

Multiplex Madness


Don't Move
⭐️1/2
Genre:  Horror
Director:  Maclain Nelson
Starring:  Lindsay Fonseca, Tom Cavanagh, Rob Riggle, Hunter King


I went in knowing very little about this movie except that it was about giant spiders.  When it started, I was greeted with the Impractical Jokers logo presenting itself as a movie studio, and I got this looming sense of unease as to just what the hell I had signed up for.  I'm not entirely sure just how much this crew extends beyond the TV show, but as far as I know, the only other movie I've seen from them was, in case you couldn't guess, Impractical Jokers:  The Movie.  Maybe I shouldn't be too judgemental, because comedians have been transitioning to horror with ease lately, including Jordan Peele, Zach Cregger, and Curry Barker.  I just wasn't prepared to see that particular brand pop up.  It's like going into something like Jackass Presents:  Texas Chainsaw Massacre.

As stated above, Don't Move (not to be confused with the recent Netflix movie, which isn't that great either) has a giant spider.  A church group on goes on a camping trip and winds up in the middle of the arachnid's tangled web.  It's more jump scares than genuine chills, as the movie almost feels like a low budget comedy that a monster jumps into for shock's sake.  The one thing going for the movie is how good the cast is.  They are given a script that is very thinly written, but they're each trying to liven it up and turn lemons into lemonade.  There is not a lot here to latch onto and none of the character arcs go anywhere, but all of the personality is given by performance, and that's very hard to do when you have nothing to work with.  Take our lead, played by Lindsay Fonseca.  She has a theme of coping with survivor's guilt and PTSD, though the event that transpired is pretty silly, down to the fact that her husband blatantly tells her to give up saving her child and save herself, which is oddly selfish for what is portrayed as a selfless act.  While she deals with her trauma, the movie has openings for her to have an arc with it and it oddly chooses none of them, trying for surprise storytelling rather than structured storytelling.  The movie feels like a series of unfortunate events more than anything, with occasionally a cool idea that it never takes advantage of.  Trying to navagate a spider's web in the forrest is a cool idea, but the sequence isn't much of anything.  As a creature feature, there are some jolts and some laughs, but the movie never actually becomes anything.  It's better than Giant Spider Invasion, so there's a small victory for it to claim.


The Fix
⭐️
Genre:  Action
Director:  Guy Moshe
Starring:  Zachary Levi, Liam Neeson, Annette Mehandru, Grant Harvey, Augusto Aguilera, Elnaaz Norouzi


I got out of bed to see this piece of shit.  I don't know if I'm more disappointed in the movie or in myself.

Zachary Levi is now playing a soldier who served in Afghanistan, and is doing his best to look and act like John Krasinski because this type of career shift worked for him.  He and his fellow band of soldiers jump back into the game for a rescue mission that will also include a giant payday for them.  It's all written like a really bad novel that has Tom Clancy's name on it but just to push someone else's work that they couldn't sell by themselves.  The movie's main characters are soldiers who are supposed to be really good at what they do, but their main characterization is that they make a habit out of disobeying orders, and not in a fun "yippy-ki-yay, motherfucker" way.  The movie takes itself too seriously for that.  It's a dour movie about characters who do it because they're trying to look bold but are just incompetent.  The movie wants us to think their judgment is better than anyone else's, which becomes hard when they play by impulse and stupidity.  When we get to know them, their drama is a bunch of gimmicky sympathy plays thrown into a blender and hoping it gives these characters pathos.  All it does is make the film feel empty and shallow despite how much garbage it's throwing at the viewer.  The movie even has them make an NFT joke to endear them to us, which would have been cutting edge seven years ago.

Getting into the meat of the story, the movie is a very dull crossbreed between covert spy mission and soldiers doing an escort mission.  The movie wants to be so many things and does none of them well, introducing drama, personal stakes, and even some romantic tension, and does none of it with any flair, excitement, or resonance.  It's a dull drone through tropes that the movie has no exciting personal take on.  Sometimes it will toss in a plot twist that might be surprising on the surface, only to have you look back at the movie that preceeded it and wonder if it makes sense, and it never does.  It's a movie that wants to be everything and ends up being nothing.

The Fix is very intentionally what it is, which also means it's beyond saving.  The way to make this movie better is to start from scratch and make a movie with sincerity and not cheap ploys designed to pretend the movie has anything compelling to offer.  The best thing I can say about this movie is that I'm assuming the people who worked on it got paid.  Jobs are good, even if the job is bullshit.


Hope
⭐️⭐️⭐️
Genre:  Science Fiction, Acrion, Thriller
Director:  Na Hong-jin
Starring:  Hwang Jung-min, Zo In-sung, Jung Ho-yeon, Taylor Russell, Cameron Britton, Alicia Vikander, Michael Fassbender


South Korea gets attacked by aliens in this indulgently lengthy but adequately crazy sci-fi chase movie, which sees residents of a small harbor town chasing down giant extra-terrestials who are smashing the residents.  This movie has a very interesting act structure, as it opens with a long and wild action scene, then slows down for investigation before delivering more bonkers action for its climax.  The midsection sags as a result of this, but when the movie is in momentum, it's the most lit movie of the year.  Hope's action is always on point.  Well-staged, elaborate, and exciting, as well as impressive long sequences that grow more insane as they build.  Sometimes the CGI for the invaders is a little ropey, but I've never been one to concern myself with how realistic effects are (I grew up on Godzilla movies).  The designs are imaginative, and the film does something interesting with them by bringing them to life with English-speaking actors (including celebrity married couple Michael Fassbender and Alicia Vikander), allowing a disconnect between them and the Korean actors to take effect.  The lore behind them is under-explored, mostly for a reason, leading up to an open ending that has revelations that help frame the movie, but they are also revelations without context.  The idea feels unfinished, though that might also be sequel bait taking effect.  I don't fully know how I feel about that, but I was wildly entertained through most of it.


Practical Magic 2
⭐️⭐️
Genre:  Fantasy, Drama, Romance
Director:  Susanne Bier
Starring:  Sandra Bullock, Nicole Kidman, Joey King, Lee Pace, Maisie Williams, Xolo Maridueña, Dianne Wiest, Stockard Channing


Put the lime in the coconut and something something whatever because the coven of cult fanbase has weaved their magic and conjured a legacy sequel to a box office underperformer.  Practical Magic is not a particularly good movie.  Critics didn't like it and not a lot of people saw it when it came out, and all of this happened because of its not-goodness.  But, if anything can be said in its favor, it was an assured movie that understood an audience niche and eventually those who were in that niche turned the film into a reliable cozy movie with quirky fantasy and a little bit of giggling sex appeal.  The better part of three decades have passed, and now the Owens Sisters are back in another adaptation of the fantasy romance book series.  It's also not very good.  Does it matter?  Meh.  Probably not, and I don't care, so I won't dwell on that.

Sandra Bullock and Nicole Kidman return as a pair of witch sisters who thought they broke a centuries-old curse on their bloodline, which doomed any man who fell in love with them to an untimely death.  Turns out, that curse is not so broken, and Bullock is so mad that she cast a spell erasing the memories of magic from the minds of her daughters.  You would think casually mind altering her loved ones would be a bigger discussion for this movie, but it isn't.  It's just an excuse for a lazy status quo retention to hammer home that a lot of what happened in the last movie didn't matter.  One of the daughters grows up to be Joey King (she was originally played by Evan Rachel Wood, who still is an actress, but was not asked back, which I'm assuming is because they wanted to cast younger) and King professes her love to her boyfriend, who is struck by a car immediately in the aftermath.  That curse wastes no time.  King steals a magic book to try and break the curse and Bullock and Kidman follow her to London, where a new romantic interest for Bullock might be residing.  It's not really that interesting of a story to bring us back to these characters.  The regressive plot points that happen in between the two films are very dismaying and they aren't paid off in satisfactory dramatic engagement.  They're mostly shrugged off in favor of light whimsy and sisterly bonds.  One can't say that they don't deliver on those aspects.

It's hard to picture anybody who adores the first film actively disliking the sequel.  But it's also hard to picture those who find Practical Magic even more vanilla than an episode of Bewitched suddenly susceptible to the franchise's charms now that there is more of it.  This is a movie made specifically for those who are already under the spell.  Whether or not it will be as beloved as the imperfect predecessor is hard to say.  It delivers the same vibe, the same messages, and even a few of the same plot points.  I think it will go down as an accepted companion film but it probably doesn't strike the same chord.  There was a macabre sensibility and a small effort of dark humor in the first film that this one doesn't have, which could be its damnation.  But its more girl power and sisterhood, and that's the heart of it.


Runner
⭐️1/2 
Genre:  Action
Director:  Scott Waugh
Starring:  Alan Ritchson, Owen Wilson, Rodrigo Santoro, Lila George, Adriana Barraza, Sullivan Stapleton, Peta Sergeant, Geraldine Hakewill


I'm sorry.  Angel Studios made an action movie and I am currently failing to stiffle my laughter.

This strange thing stars Alan Ritchson as a paid courier who is hired to deliver Owen Wilson to a hospital, who is carrying a liver transplant for a sick child.  Bad guys want the liver, so they chase them down and take it for their own needs.  The concept is just The Transporter, except they scrubbed it with enough bleach to try and sell it as a family movie.  And it's weird how sterile this film is because so many people die in this movie.  The action isn't the problem, because there is clearly an ingenuity to it that's trying to serve violence without making things too upsetting for Angel's primarily Christian audience.  The way the film utilizes choreography and cinematography to mask most of the film's carnage is actually so creative that I actually low-key admire it.  The problem is that the movie is neither fun nor thrilling because it's so toothless.  The movie's comedy is too pedestrian, the chases and gunplay never have any excitement to them, and while the movie is trying to portray its heroes as good guys trying to do the right thing, they both have several actions that come off as very thoughtless and brazenly careless.  One interesting attribute to the film is that all of the motives in this movie, from both the heroes and the bad guys, are all based in trying to help someone else.  That means that the film's big moral tale is that "Nothing is more badass than compassion."  Superman said it better when he said that trust and kindness was "the real punk rock."


The Uprising
⭐️⭐️1/2
Genre:  Drama, Thriller, Action
Director:  Paul Greengrass
Starring:  Andrew Garfield, Jamie Bell, Stephen Dillane, Tom Hollander, Cosmo Jarvis, Thomasin McKenzie, Johnny Lee Miller, Woody Norman, Katherine Waterston


The second of our Robin Hood myth deconstructions this year, The Uprising is a bit more palatable than the hyper-dour Death of Robin Hood, though the latter arguably has it's eye closer to the ball.  This movie is a dramatization of 1381 revolt against King Richard II, depicting a group of peasants who create a violent mob protesting the taxes of the land.  Andrew Garfield plays a farmer among the mob, who just happens to wear green and brown, keeps his face shrouded, and has an intense sense of justice, who also never says his name.  The movie's depiction of an event in a historical epic fashion while intertwining it with mythology might be a mishap, because Garfield's role and eventual character reveal feels like it's not properly weaved and built within the narrative.  Garfield spends a lot of the film brooding and smoldering for the camera, and while he does get involved, the rage of the people around him often stampede over him.  Also, he headbutts guy with a helmet at one point, which worked out for him but is not the most advisable move.

And honestly, even saying all of this, I kinda really dug this movie.  I actually surprised myself here, because while the film presented its flaws on a platter, I was forgiving them, because the build up of pacing was really rousing and the movie just had a historical epic electricity to it that charged me up.  Because of that, I wound up liking this movie more than I didn't, but while its constant momentum is a virtue, it spends so much time screaming its chaos at the viewer that when it delivers its exposition and plot points with a whisper, they fail to make an impact.  Even when the movie is hitting the chords it aims for, it's still slightly out of tune.  I can't call this one of the movies I recommend the most out of this year, but it might be worth your time if you give it a shot.

Movies Still Playing At My Theater
Buddy ⭐️⭐️⭐️1/2
By Any Means ⭐️⭐️
Cars ⭐️⭐️⭐️
Coyote vs. Acme ⭐️⭐️⭐️1/2
The Dog Stars ⭐️⭐️
The End of Oak Street ⭐️⭐️⭐️
The Odyssey ⭐️⭐️⭐️⭐️
Onslaught ⭐️⭐️
Spider-Man:  Brand New Day ⭐️⭐️⭐️

New To Digital
Moana ⭐️1/2
Mutiny ⭐️1/2
One Night Only ⭐️⭐️

New To Physical
Leviticus ⭐️⭐️⭐️1/2
Minions & Monsters ⭐️⭐️⭐️1/2
Passenger ⭐️⭐️
Supergirl ⭐️⭐️1/2

Coming Soon!

Thursday, September 10, 2026

RT01-Sting of Death

*Since I don't have a proper digital copy of the episode yet, all photos are taken from the trailer

Film Year:  1966
Genre:  Horror
Director:  William Greffé
Starring:  Joe Morrison, Deanna Lund, Valerie Hawkins, John Vella, Jack Nagle
MST Season:  The RiffTrax Experiments

The Movie

I HAVE SURVIVED WATCHING THIS MOVIE UNRIFFED!

Put on your bikini, bend over frontways, and bob your head up and down because it's time to "Do the Jellyfish!"  The YouTube promo for Sting of Death made it look like Catalina Caper meets Horror of Party Beach, so I was kind of hoping this movie would meet the mood that I brought to it.  I had low expectations and somehow Sting of Death still didn't manage to meet any of it.  This movie is neither Catalina Caper nor Party Beach, and has a vibe that's more like Teen-Age Strangler meets Pod People.  So prepare for things to look dirt cheap, sprinkled with disengaged actors, and plotlines that have no clear direction.

The storyline to this movie follows a group of teens throwing a pool party at the home of a marine biologist and his daughter, unaware that there is a humanoid monster on the loose who happens to have a jellyfish for a head, and when I say "Jellyfish for a head" what I really mean is "Giant plastic bubble on top of scuba suit."  This is easily one of the dumbest looking monsters in MST3K history, if not the dumbest.  Some of the twists involving the monster are interesting, as the movie goes inexplicably down a Dr. Z route where it's someone in a cave who happens to have gizmos and devices that mutate him.  The culprit has clear arrows pointing at him in the beginning, but it's revealed halfway through so I don't think it's that much of a spoiler to just bluntly say that it's Egon (no, not Ghostbusters Egon), the Mickey-from-Screaming-Skull-like lab assistant who just creeps around and gives people the willies.  Our villain is a bit of an exhausting character, wanting to garner both sympathy and hatred because he is basically treated like Quasimodo in the Hunchback of Notre Dame.  Quasimodo didn't have a secret laboratory that turned him into even more of a freak to exact revenge on those who mocked him though, so fuck this guy.


The movie can be pretty funny with how cheap its attempts at being harrowing are.  A group of teens escape on a boat, only to find it sabotaged by Egon, and they slowly sink in an extended sequence of panic and are attacked by jellyfish.  And by "attacked by jellyfish" what I mean is "attacked by floating saran wrap" which floats at them as they scream.  It's very Creeping Terror.  Then it shows us the aftermath with the floating bodies like we've witnessed a tragic loss and should be unsettled by what has transpired, which would have been easier if it wasn't so funny.  The movie then just lumbers along, as teenage bikini beauties go missing and nobody seems to care.  The movie eventually climaxes similarly to Creature from the Black Lagoon as Egon drags the not-Julia-Adams-but-still-very-pretty leading lady into his cave lair, professes love to her, only to have boyfriend bust in and save the day.  When the day was saved and the movie ended, I found myself grinning because I was fondly remembering watching Black Lagoon instead.

Was Sting of Death worth anything by itself?  Not a whole lot.  I thought lead actress Valerie Hawkins was very attractive, and the movie's special effects were pretty funny.  Ultimately, the thing that is grilled into my brain is how upsetting the dad's short-shorts were.  I can't take his scientific expertise seriously when he's showing more thigh than the women of that surround him.  That was the true terror of this movie.


The Episode

Mystery Science Theater is back, baby!  Albeit in a form none of us expected.  Since the Season 14 fundraiser floundered, the fate of the series was up in the air for a good long while.  Personally, I really wanted another season with Jonah and Emily.  I think they've earned the keys to the franchise, and were fun to shoot-the-shit with when I attended MST3Kon in 2023, so maybe I'm biased.  Sadly, a lot happened since then.  The crowdfunding bubble burst, Shout Factory went through some changes, Joel Hodgson sold off his stake in the series, and the Gizmoplex had to be shut down as its video server provider closed its doors.  There were a lot of reasons to think the show was dead.  But there is something unique about this show, because it always has a habit of coming back.  For the longest time, what we took as a resurrection of it was RiffTrax, which satisfied our riff lust until the show proper could be revived.  Now, MST is struggling.  RiffTrax seems to be doing just fine though.

Say...here's a thought...what if RiffTrax made MST3K?  It's a wild idea, but it just might work!


Michael J. Nelson, Kevin Murphy, and Bill Corbett are back with the franchise that helped them become who they were destined to be:  three guys who talk over movies.  They've been offered the chance before, and Kevin and Bill cameoed as Bobo and Observer during Season 11, as well as the trio participating in Gizmoplex events (Bill, mostly).  On top of that, the RiffTrax crew invited Joel and Jonah to participate during the MST3K Reunion Live show in 2016.  Contrary to semi-popular belief, there has been a cordial relationship between the two entities.  We just couldn't get Mike to show up for The Christmas Dragon.

In a complete kick to the pants, he returns in the episode directly after that.  What a wild thought.  But getting brand new Mike episodes in the can is a dream come true.  We got three new Joel episodes last season, so this feels right.

Several format changes to note off the bat:  the theater seats have been enlargened, closer to the size of the seats during the 90's run, if slightly smaller.  This could be a nostalgia play, but it also seems likely that they were showing off a new lighting effect on the silhouettes, as light bounces off our riffers to make them look more three-dimensional.  This is not all that different to the way the KTMA episodes where silhouetted, but those seats were so small and fan copies were so rough that it was hard to notice.  It's kinda fun, but it's also a weirdly unnecessary flourish.  It's mostly just notable during darker scenes, which allows the figures to pop against the movie, otherwise it just makes the figures look thin.

.

One thing I will rejoice in is that with the RiffTrax Experiments, physical sets have made a triumphant return.  Thank fucking Christ, because the Flatimation really wasn't tickling my fancy.  There are some light innovations on display, as the set for the series has this giant video screen behind it, making it look ever so slightly higher tech than it used to.  I don't know if this is how "the Volume" works on all those expensive Star Wars shows that I never watch, but it's a big screen providing background.  Based on my rudimentary knowledge, it seems to be a similar thing.  It's an interesting effect that is mostly used for stargazing.  I prefer the handcraft stuff, which was just Christmas lights against a black backdrop, but I won't complain about something just because it's new.  Only when it's bad.  And it isn't.

The new theater doors are an improvement over the Flatimation season, which had a pretty atrocious take on then.  These doors have been designed by MST icon Trace Beaulieu, who had a hand in the production design of the season.  What's interesting about these doors is that they are not the basic, sci-fi set chambers of seasons past, but they're all popular movie inspired.  You go through a theater lobby straight into the space station from 2001:  A Space Odyssey, then into a room that looks to be an archeological dig which may be either Raiders of the Lost Ark or The Mummy (likely the former), and then into a hallway straight from The Shining.  There was also a bonus door at one point that had the Laserblast aliens in it, but I need to watch the episode again to see if it was just the one time.  I don't know what was up with that, but maybe they have a rotating door for Easter eggs.  It's an interesting take on the door sequence.  I don't know if I want it to be permanent, but it has a lot of novelty to it.

Pedantics aside, what most people want to hear about is the episode itself.  The frank answer is that it's lightly above average.  I'm a little middling on this one because the experience was more "I'm smiling because my show is back and not because this is the comeback is nailing it."  It's kinda how I felt about Santo last season.  Sting of Death is a better episode overall than Santo, but I'd say it's still a weaker premiere than Reptilicus or Mac and Me (especially Mac and Me).  If there was a genuine reason to this, it was hard to pin down.  Honestly, I think it's a vibe thing.  The writing can feel a little sparse, as if it lacks variety of what type of joke they're going for.  This is a RiffTrax thing.  Their writing staff is smaller than MST, especially for the last few seasons, so it tends to stick on the little details that they get caught on.  That's not to say they can't be funny, but I do miss the broader range of targets and references.

The first half of the episode is better than the second because it's doing more diverse and surprising stuff.  We follow a daffy group of teens who party and start to realize they're in a horror movie, and the odd reveals of the movie's bad special effects inspires quite excellent laughs.  Part of this is the movie doing the heavy lifting, but also the riffers are having fun with it, including the lengthy "Do the Jellyfish" musical number (which, let's face it, would have been unrightfully cut out had this movie been done by the Season 13 crew, and thankfully we get to see it in all its glory).  The movie gets sluggish the longer it goes on because it has little new to offer except that hilarious creature design.  As it starts to drone, the riffing can drone too.  The laughs don't entirely halt though, and they hit some of the predictable riffing targets with the flair that I had hoped, espcially the dad's tear-inducing choice of wardrobe.

"Is the doctor a baker too, because that is a lot of cake!"

Those who follow RiffTrax will certainly note that there are a couple of RiffTrax nods thrown in.  Their patented running gag of "Golden Corral's New Slogan!" makes an appearance, and there is a reference to Birdemic's "I hear a mountain lion!"  There aren't too many of these, which is good because throwback lines to a completely different series can be off-putting, but this is clearly a RiffTrax product.

Getting into the host segments, one thing that should be noted is that we've dropped a good portion of them.  Those who were upset because Season 12 dropped a host segment are probably going to be less than thrilled to hear that we've scaled back to merely an intermission segment.  I'd assume this might be to appease the performers.  Maybe less on-camera time made shooting faster and easier, or maybe they were just out of practice in writing sketches and didn't want to do too many.  The sample we have here is hammy but enjoyable.  Mike, who apparently hasn't seen Crow or Servo in nearly thirty years (they must have moved out of his apartment real fast), is kidnapped from his job at a cheese factory by Observer, and Pearl has restarted her Mystery Science Theater experiments.  There are no references to Kinga or her experiments, but there is also nothing here that claims that they didn't happen, either.  Like Kinga, Pearl has taken on a sponsor, and S.O.L. no longer simply stands for "Satellite of Love," but also "Syd's Olive Loaf."  Taste the olivy goodness!  The lone intermission segment features Mike and the Bots doing a parody of the "Do the Jellyfish" dance, which has fun costumes, even if it goes on a bit long.  We close out with more fun costumes, as Crow and Servo do cosplay of the monster, while Mike takes the title "Sting of Death" down a different path.  The Mads don't really do much.  Pearl wants to sell these new episodes to "A.I."  I don't think you can sell to A.I. more than it just copies stuff you make, but whatever.  Also, Bobo is wet and it makes me uncomfortable.

One thing that I think eases the lack of host segments is that they have bonus footage playing during the closing credits of this episode.  I, for one, loved this.  It's a huge step-up from the previous few seasons, as their lengthy end credits padded the run-time and were just an elongated wait to see what the stinger was.  In Sting of Death, we have behind the scenes footage of the crew rehearsing the song, followed by Mike and the Bots reading fan letters, then we close off with an extra bit where Mike and Servo parody Taken.  This is a great format.  I hope they keep it.

I'm going to give this episode a recommendation based on the fact that I got some good laughs and the movie is a trashy hoot that definitely deserves an MST3K audience.  I was tickled, and I'm easy to please.  The one nagging feeling in the back of my mind that didn't really hit me until late into the episode was that the episode felt like a very lite MST3K experience to me and I couldn't figure out why.  Then, suddenly it popped into my head that getting this episode felt more like getting a new episode of the Film Crew DVD releases way back in the day than a new episode of MST3K.  That's actually a very bizarre feeling, to be honest.  And I like the Film Crew.  Those were some solid outings with this group.  It was just a derivative project, and it was that feeling of being derivative rather than driving forward that I think was puzzling me, because I'm not used to that with MST3K because it's supposed to be the bar.  This episode doesn't quite reach that bar.  Doesn't matter.  That just means I'm probably going to judge these episodes on the RiffTrax curve rather than the MST3K curve.  And yes, there is a difference.  If I were to judge this based on my standards for the latter, there is an off-chance that I'd go lower, but this was a fun night with some old friends.  I'll treat it as such.

⭐️⭐️⭐️
Good