Podcasts about box office flops

If you’ve ever wondered what would happen if Charles Bronson had to hunt a werewolf and decided to play detective instead of hanging from Torino’s rooftops, “12 to Midnight” is here to answer that question with all the subtlety of a silver bullet to the jaw. Robert Bronzi leans so hard into his Charles Bronson impersonation you half expect him to growl “Don’t pull that stunt on me, pal” at every suspect. His trademark scowl is in full force, but the script seems to recognize that Bronzi can’t quite nail the dialogue—so he just stands there, arms crossed, delivering each line in unintelligible monosyllables until everyone else on screen tries and fails to fill in the blanks. It’s stoicism by requirement, and Bronzi owns it. Plot coherence? Forget it. “12 to Midnight” is a glorious fever dream of mismatched clues, midnight stakeouts that last five minutes, and villains who apparently transform more for the camera than for the storyline. Somehow, this budget brawler doubles as a werewolf vs. detective flick: one moment Bronzi’s trench-coated gumshoe is dusting for prints, the next he’s running down bad guys in a front-end loader. It’s utterly nonsensical—and that’s exactly the point.   But oh, the cheesy goodness from the effects department! Clunky prosthetics that wobble when the werewolf snarls, practical blood squibs that spray like party poppers, $1 store eyeballs and an epic moonlit finale complete with teleporting characters and poorly timed howls. If you’re in it for goofy action set pieces and unintentional laughs, “12 to Midnight” delivers a full-throated howl. This is cult cinema at its best—so bad it’s howling good fun.

If you've ever wondered what happens when you strap an entire B‑movie budget to a shaky cam and christen it with Ice‑T's name—then promptly hand the lead role to someone who isn't him—congratulations: you've discovered 2001's airborne atrocity Air Rage (or, as I like to call it, “Fly‑Hard But Wrong”). It's exactly the kind of gleefully clueless cheese you'd expect from a Fred Olen Ray slash Jim Wynorski double feature, and that's precisely why you'll fall in love with its every misguided moment. From the opening explosions in a different movie—where our villain dreams of explosions in HIS movie—to the big reveal that Ice‑T only pops up about 45 minutes into the movie (playing a black ops infiltrator with the emotional range of a traffic cone), the movie instantly subverts expectations. You think you're signing up for a hardcore, Ice‑T‑led thriller? Nope. Our real hero is...someone else (no spoilers). Plot? It's basically “terrorists on a plane” meets “hey, why not throw in a top secret CD-ROM just for kicks?” And of course the whole scheme unravels thanks to dialogue so cheesily literal (“You're one dumb SOB, Sykes.” Sykes: "Yeah I know.") that you'll swear the screenwriters were scribbling in crayon. The action scenes bounce along with the grace of a kangaroo on Red Bull: fists connect both when they should and should not, explosions happen in the background just to remind you they owned the footage, and the stunts range from “did they even plan that?” to “wait, a plane tube?” But the pièce de résistance is the physics—or, more accurately, the complete absence thereof. Gravity politely excuses itself for the runtime. Bullets seem to curve around heads. Planes nosedive, bank, and somehow still manage to land on runway-sized targets with millimeter precision. It's like someone chucked Newton's laws out the emergency exit hatch and never looked back. All of this adds up to a riotous, unintentional joyride. If you're a fan of Fred Olen Ray's gleeful disregard for coherence or Jim Wynorski's unapologetic embrace of “that'll do” effects, Air Rage is your new cult classic. Bad? Oh, undeniably. But in the grand tradition of so‑bad‑it's‑good cinema, it's a glorious, gloriously dumb flight you won't regret taking.

These five films sent shockwaves across cinema. Unfortunately, they were shockwaves of financial loss and in some cases even bankruptcy. Has time shown these movies to be under-appreciated gems or did they deserve their fate?Join us as we "Weak and on Fleek" these films:John CarterThe Lone RangerThe 13th WarriorMortal EnginesCutthroat Island

A film that manages to accomplish nothing, makes us dislike the mains, but still makes us like the movie.... "Harley Davidson and the Marlboro Man" is one wild, misguided ride that desperately tries—and fails—to turn its two lead dirtballs into lovable scoundrels. Instead of evolving into charming antiheroes, they remain gloriously repulsive, wallowing in a sea of their own filth, which only adds to the film's bizarre, unintentional humor. The movie seems to have tossed the rulebook out the window. Physics takes a permanent vacation when bulletproof trench-coats, which resemble oversized garbage bags, inexplicably defy every law of nature. And let's not even get started on the leads pulling off the 15-story jump, landing in a pool as if gravity were a mere suggestion. The relationship between the two HD and MM is as shallow as it is unconvincing—they barely share a shred of genuine care, leaving audiences to wonder if they even notice the people who care about them. Their nonchalant attitude toward life and each other underlines the film's overarching failure to deliver the kind of dynamic, heartfelt camaraderie that makes buddy-adventure movies worth watching. Then there's the so-called "Great Bank" and its cadre of villains. These bad guys are a mess of drug-dealing side-hustles and a squad of armed assassins who, in a twist that's almost as puzzling as it is amusing, seem like kind of folks who jam out to Kraftwerk. Their quirky, half-baked villainy adds yet another layer of absurdity to a movie already drowning in its own incompetence. In the end, "Harley Davidson and the Marlboro Man" is a complete failure as a buddy-adventure movie. Yet, in its relentless pursuit of over-the-top, ludicrous action and its blatant disregard for reality, it manages to stink it up just enough to be oddly enjoyable—a cult classic for fans of bad movies who appreciate a film that knows exactly how to be magnificently, laughably bad.

We really were losing a war to vending machines? Electric State might just be one of the most staggering wastes of resources and talent to hit the screen in years. Armed with a ludicrous budget and an all-star cast, this movie squanders every ounce of its potential in a messy, juvenile attempt at sci-fi storytelling that only children—or perhaps the most forgiving of viewers—could enjoy. Let's start with the plot, or lack thereof. It's riddled with holes so large they could swallow entire scenes whole. Characters make inexplicable choices, key events seem to happen out of nowhere, and the emotional beats the film desperately tries to hit fall flat because nothing is earned. There's no weight, no coherence, just a loose string of visuals pretending to be a story. But hey, why write a decent script when you can drown everything in licensed music? Electric State goes full “James Gunn cosplay,” stuffing every scene with pop tracks that feel completely out of place. Instead of enhancing the emotion or tension, these needle drops undercut every serious moment and reek of desperation—like the filmmakers thought if they just played enough familiar songs, we wouldn't notice the soulless narrative underneath. Visually, yes, it's slick—but when you spend what this film spent, that's the bare minimum. The sad part is that behind the camera and in front of it are incredibly talented people. Directors, VFX artists, and A-list actors who should've known better are left adrift in a project that seems to have been greenlit purely based on aesthetics and IP potential rather than substance.   In the end, Electric State feels like the cinematic equivalent of handing a child the keys to a spaceship and hoping for the best. It's loud, shallow, and directionless, a bloated mess that burns money like rocket fuel and goes absolutely nowhere.

On this special episode the three of us sit down for a serious intervention - from bad movies! We discuss the Oscars winners that none of us saw. Wicked makes Jackie throw up. Sam praises Slow Horses and Gary Oldman's farting. We get an old staple of Pop Quiz, Hotshot. Sam complains about the supreme lack of Jello in our lives and Justin brings in a FilmStory about a dead director - WHO DUN IT!?   Enjoy and see you in a couple weeks!

Ah, Turbulence 3: Heavy Metal. A film so magnificently, obliviously ridiculous that it could only exist in the pre-9/11 era, where the greatest threat to air travel wasn't terrorism, but satanic heavy metal concerts broadcast live from a 747. Yes, that's the plot. And no, it does not get any smarter from there. Let's start with the hero we never asked for: Slade Craven (yes, that's his real name), a Marilyn Manson knockoff who looks like Hot Topic threw up on a scarecrow. This man struts onto the plane in full goth-rock regalia, sneering at everyone like he just walked out of a badly lit music video, but give him 30 minutes and he transforms from a moody poser into an airborne action hero, karate-kicking terrorists and saving the day with all the grace of a drunk dad at a Slipknot concert. Watching him go from “edgy Rockstar” to “Die Hard protagonist” is like watching Ozzy Osbourne suddenly pilot a space shuttle. It makes no sense, and that's why it's beautiful. The cast, if you can call them that, behaves less like humans and more like malfunctioning AI programmed by someone who thinks they understand human emotions. Dialogue is delivered with all the enthusiasm of a hostage video, and nobody reacts to anything with the appropriate level of concern. At one point, a terrorist hijacks the plane, and the reaction from the crew is roughly equivalent to someone realizing they forgot to pay their internet bill. And then there's Joe Mantegna, who spends every scene looking like he wandered onto the wrong set and refused to leave. His job is to play an FBI agent trying to make sense of the madness, but he mostly just stares into the abyss, radiating the same exhausted energy as a substitute teacher dealing with a class that just discovered energy drinks. You can feel him asking himself, Why am I here? The answer: we don't know, Joe. We really don't. The villains? Well, they think they're terrorists, but their actual motivation is so incoherent that by the time their master plan is revealed (summoning Satan via airplane concert???), you'll have given up on logic entirely. There's hacking, plane fights, a shockingly high number of fake Slade Cravens, and an ending so abrupt it feels like the film itself decided it had suffered enough. Turbulence 3: Heavy Metal is cinematic junk food at its absolute worst—and most entertaining. It's a movie that doesn't just jump the shark; it hijacks the shark midair, flies it into a storm, and then fights Satan on top of it. If you love bad movies, this one deserves a place on your shelf, right next to a can of expired Monster Energy and a broken Playstation 2 controller.

Fact: Real ninjas throughout history used jazz hands to assassinate their targets. "Dancing Ninja" might not be everyone's cup of tea, but if you're into a movie that revels in its own absurdity, you'll find a lot to love here. The film's corny jokes hit just the right note, and its satire—though subtle at times—adds a clever twist that keeps you on your toes. Every member of the cast and crew clearly put a tremendous amount of effort into the project, infusing each scene with passion and a genuine commitment to the film’s offbeat vision. And then there's David Hasselhoff—majestic, as always. His performance is a standout, lending the movie an unexpected layer of charm and gravitas amidst all the wild, no-holds-barred antics. "Dancing Ninja" isn’t afraid to take risks; it brings big old balls to the table and holds nothing back, making for a refreshingly bold viewing experience. In short, while this movie may not be for everyone, its unapologetic style and relentless energy are exactly what make it such a cult favorite. If you're in the mood for a film that dares to be different, "Dancing Ninja" is definitely worth a watch. Special Interview! with Harry Medved and Harry Pallenberg from "Locationland" on PBSSocal Harry and Harry have a great show in which they search out some of the hidden and forgotten locations and sets used in some of our favorite movies. Stinker Madness royalty Joe Dante and genius of the century Dana Gould guest on some of their episodes, among others. Be sure to check out their new episode about Plan Nine from Outer Space! Find all their content on YouTube:

A Murder of Time - The old "write a best-selling novel and give it to your enemy for revenge" caper "A Murder of Crows" is a nonsensical thriller that manages to take an interesting premise and turn it into a complete mess. The plot centers around a "corrupt" lawyer named Lawson, played by Cuba Gooding Jr., who, after being framed for a murder he didn't commit, goes down a rabbit hole of trying to find out who did it. Rather than doing the smart thing—turning the evidence over to the authorities—he decides to get involved in a ridiculous scheme to clear his name. What follows is a convoluted, poorly paced disaster that defies logic at every turn. First off, the characters are flat and unconvincing. Lawson, somehow manages to look both confused and smug throughout the entire movie. The villain is so dubious, it's hard to take the stakes seriously. There's no sense of tension or urgency in the narrative—just a series of random, out-of-place events that feel forced and contrived. The dialogue is clunky, and the attempts at deep philosophical musings on fate and justice come off as completely hollow. The plot twists? They're ridiculous. Rather than being suspenseful, they're more likely to make you roll your eyes and wonder how the filmmakers managed to stretch such a thin idea into a feature-length film. The whole premise is absurd. From the moment the movie starts, it feels like the writers took a random collection of crime clichés and decided to throw them together without any real thought. It's hard to understand who this film was made for—perhaps the genre's most diehard fans who are willing to suspend all reason, but for anyone else, it's a frustrating and pointless experience. "A Murder of Crows" is a poorly executed thriller that doesn't deserve your time. Save yourself the trouble and skip it.

Ever wondered what would happen if a group therapy session for people afraid of flying turned into a hostage situation? Neither did I, but Turbulence 2: Fear of Flying takes off with that premise and crashes it gloriously into the realm of “so bad it's amazing.” The Plot (LOL): The movie starts with a group of nervous fliers boarding a fancy plane to conquer their aerophobia. But mid-flight, surprise! Hijackers reveal their master plan: not only to take over the plane but also unleash a deadly chemical weapon for… reasons? A ragtag group of passengers—including a guy who conquered his fear of flying just in time—must outwit the hijackers, survive turbulence (the metaphorical kind too), and prevent the worst-case scenario. The Cast: Craig Sheffer plays the reluctant everyman hero, Ryan Weaver, who, let's face it, spends the whole movie with a mix of confusion and mild constipation. Jennifer Beals is the love interest-slash-voice of reason, adding just enough gravitas to remind us this movie had a budget. The villain? A generic, vaguely Eastern European bad guy whose motivations are so nonsensical you'll forget them halfway through the film. But hey, he's got a leather jacket and a bad attitude, so that's something! The Very Stupid Ending: Oh, the villain's "brilliant" plan? It unravels with 30 minutes left. Turns out, unleashing chemical weapons while on the same plane wasn't exactly a stroke of genius. The plot holes are large enough to fly a 747 through. By the time Ryan literally punches his way to victory (because in-flight security is no match for his fist), you'll be rooting for the plane to land just so everyone can go home and think about their life choices. Why It's So Good: The dialogue is so cheesy you'll get calcium poisoning. The special effects—mainly shaky cameras and stock footage of planes—make you nostalgic for middle school PowerPoint transitions. And the stakes? Well, let's just say the characters might survive, but logic didn't even make it through the opening credits. Final Verdict: Turbulence 2 is a disaster movie for people who love disasters—in every sense of the word. It's the cinematic equivalent of finding out your in-flight meal is a microwaved ham sandwich: disappointing, weirdly satisfying, and undeniably hilarious when you're at 30,000 feet. Grab some popcorn, and let this plane crash land straight into your guilty pleasure watchlist.

Grumpy Old Men but they can fart fire! In theory, Supervized could have been a quirky, heartfelt exploration of aging superheroes grappling with retirement, purpose, and the loss of their glory days. In practice, it's a tedious, joyless slog that squanders its promising premise on cheap gags, uninspired storytelling, and a finale so absurd it feels like the filmmakers gave up trying to make sense of their own plot. The story follows a group of retired superheroes living in a nursing home, a setting rife with potential for meaningful commentary or even genuinely funny moments. Instead, we're treated to a series of groan-worthy jokes about old age that feel like they were ripped from a 1990s sitcom. The humor never rises above the most obvious low-hanging fruit: people forgetting things, struggling with bodily functions, and being generally "out of touch." It's like the writers typed "old people jokes" into a search engine and just pasted the results into the script. The cast—featuring the likes of Tom Berenger, Beau Bridges, and Fionnula Flanagan—does its best to bring some life to the flat material, but even seasoned actors can only do so much with dialogue this uninspired. Berenger's attempt to imbue his character with gravitas falls flat amidst the ham-fisted writing, while Bridges is left to play the clichéd role of the wacky sidekick who barely lands a laugh. As the film stumbles through its predictable and uninspired first two acts, you might hope for a twist or some emotional payoff to salvage the experience. Unfortunately, what you get instead is a third act so spectacularly stupid it feels like a parody of itself. The plot collapses into a nonsensical mess involving a villainous conspiracy and a half-baked action sequence that looks cheaper than your average cosplay convention. Supervized is a movie for no one. It takes an almost-interesting concept and smothers it with tired jokes, clunky dialogue, and an insulting lack of imagination. If you want to feel crappy about getting old, there are better options—watch About Schmidt or even The Bucket List. At least those films respect their audience enough to deliver something resembling insight or emotional depth. Avoid Supervized at all costs. It's not just a bad superhero movie; it's an affront to anyone who was hoping for even the faintest spark of creativity.

In 2019, Todd Phillips' Joker, though divisive, received heaps of praise and a box office shattering $1 billion+ take. Joker: Folie à Deux, however, received none of that acclaim or success. That is for good reason. Joker: Folie à Deux is a meandering mess of a film — one that features impromptu musical segments. Those songs, shockingly, are not at all the issue. Instead of carrying on Arthur Fleck's story, Folie à Deux just sort of castrates the character. Certainly, it can be argued that Fleck never intended to become the Joker. But he did. Going back on that in every conceivable way makes for a film with no identity. It honestly feels as if Phillips did not want to make this movie. Their is a palpable disdain that can be felt throughout its trudging two hours. Which begs the question: Why, aside from the potential for a big theatrical haul, was it ever greenlit? The script, like Fleck, is empty. Now, sit back, feed your psychoses with a Psychedelic Rabbit from New Realm Brewing, and stop harassing poor Mr. Puddles! The Thunderous Wizard (@WriterTLK), Chumpzilla, and Bling Blake are gonna build a mountain! This Week's Segments: Introduction/Plot Breakdown – The world is a stage! (0:00) Lingering Questions – What the hell happened? (18:56) The "Mr. Puddles" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (35:42) Recommendations – We offer our picks for the week and next up: We kickoff the pod's seventh season with sequels to billion dollar hits that flopped with The Marvels! () And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

Give that Joe guy a raise! Everything else though.... Fanatic, released in 1982 and later distributed by Troma under the title The Last Horror Film, is an ambitious yet confused attempt at blending psychological thriller, horror, satire, and social commentary. Directed by David Winters, the film follows Vinny Durand (Joe Spinell), a socially awkward taxi driver in New York who dreams of becoming a Hollywood filmmaker. Vinny's obsession with horror star Jana Bates (Caroline Munro) takes a dark turn when he follows her to the Cannes Film Festival, believing he can convince her to star in his debut film. Soon, people connected to Jana begin to disappear, leaving the audience to wonder if Vinny's fantasies have turned murderous. On the surface, Fanatic has all the trappings of a Taxi Driver knockoff, with Spinell's Vinny bearing eerie similarities to De Niro's Travis Bickle: a lonely man whose delusions of grandeur lead to a disturbing descent into obsession. However, where Taxi Driver offers a focused character study and searing critique of urban decay, Fanatic meanders between tones, never quite deciding what it wants to be. Is it a darkly comedic jab at the absurdity of the film industry, with its over-the-top Cannes sequences and caricatured players? A horror film dissecting the dangers of unchecked fandom? Or a social critique of anti-horror activists and censorship? The movie flirts with all these ideas but fails to commit to any, leaving the audience in a muddled state of uncertainty. There's undeniable charm in its chaotic ambition, but the result is a mishmash of clashing themes and tonal inconsistencies. What Fanatic does have, however, is Joe Spinell. His performance is nothing short of extraordinary, especially given the film's modest budget. Spinell imbues Vinny with a mix of vulnerability, creepiness, and manic energy that is utterly captivating. His ability to oscillate between pitiable and menacing elevates the film far beyond what one might expect from a low-budget production, especially one released by Troma. Spinell's portrayal is a masterclass in character work, showing what can be achieved even in a film with clear limitations. Despite its flaws, Fanatic has its moments of intrigue and campy fun. The Cannes backdrop offers a unique setting for a horror film, and there's an undeniable novelty in watching Spinell and Munro share the screen again after Maniac. But for all its ambition, Fanatic ultimately bites off more than it can chew. It's a film that tries to be everything and ends up being little more than a curiosity piece—worth watching for Spinell's mesmerizing performance, but a frustrating experience for those hoping for cohesion or a clear narrative purpose.

"Fair Game" is the cinematic equivalent of a rollercoaster ride designed by someone who forgot to include safety measures, plot coherence, or the laws of physics—and somehow, it’s a blast to watch. Starring William Baldwin as Miami cop Max Kirkpatrick and Cindy Crawford as Kate McQuean, a sexy lawyer who becomes the inexplicable target of a rogue KGB faction, this movie is a glorious 90 minutes of car chases, explosions, and dialogue so wooden it could be used to build a log cabin. The Plot (If You Can Call It That) Kate McQuean, a lawyer who apparently moonlights as a fashion model (judging by her perpetual runway-ready appearance), files a lawsuit involving a derelict freighter owned by the bad guys. Naturally, this lawsuit sets off a chain reaction where the Russian mafia—consisting of the most cartoonishly evil ex-KGB agents imaginable—decides she must die at all costs. Why? Because, apparently, the freighter is tied to their secret cyber-criminal empire. Enter Max Kirkpatrick, a Miami cop with a perpetually bemused expression and an impressive ability to dodge bullets and logic. After an initial attack on Kate’s life, Max takes her on the run in a series of increasingly absurd scenarios involving exploding cars, shootouts, and moments that seem ripped from a B-grade romance novel. Along the way, they grow inexplicably closer—because nothing says “true love” like dodging RPGs and trading awkward one-liners. The Stupidity of the Plot (An Ode to Roger Ebert's "The Idiot Plot") According to Roger Ebert, the "Idiot Plot" is a story that would be resolved in five minutes if everyone involved weren't complete idiots. Fair Game not only adheres to this definition—it raises it to an art form. Why Is Kate Still Alive?The bad guys spend the entire movie trying to kill her with the kind of overcomplicated schemes that would make a Bond villain cringe. Why not just, you know, shoot her during the first attack? Or during any of the many opportunities when she’s standing perfectly still? Because then the movie would be 10 minutes long, and we wouldn’t get to see Cindy Crawford clinging to a speeding train in a crop top. The Villains’ PlanThese are supposed to be elite ex-KGB agents, yet their plan revolves around a freighter, some random lawsuit, and an incomprehensible desire to destroy a woman who poses zero actual threat to their operations. Did these guys miss the "Espionage 101" class? Or did they just want an excuse to blow up every car in Miami? The RomanceMax and Kate’s relationship is the kind of thing you’d expect from a bad fanfiction. They go from mutual disdain to making out amidst a hail of bullets, because apparently surviving death traps is the ultimate aphrodisiac. Their chemistry is nonexistent, but who cares? The movie is too busy exploding everything in sight to notice. Physics Be DamnedFrom cars defying gravity to bulletproof mattresses, Fair Game operates in a universe where physics is optional. It’s like a live-action cartoon, but with more cleavage and sweat. The Verdict Fair Game is a masterpiece of unintentional hilarity. It’s a movie so inept that it loops back around to being entertaining. Baldwin looks confused, Crawford delivers every line like she’s reading a menu, and the plot...well, the plot is just an excuse for things to go BOOM. And honestly? We wouldn’t have it any other way. Grab some popcorn, suspend every ounce of disbelief you have, and enjoy the absurd chaos. Just don’t try to make sense of it. That way lies madness.

Don't have enough plot to get to 3 hours? Just restate the plot of the movie 3 times and give your movie an hour of free time. "Happy New Year" has all the makings of an enjoyable Bollywood blockbuster—a promising story, decent acting, likable characters, and a handful of genuinely fun sequences. On paper, this sounds like a surefire recipe for entertainment. However, the film quickly falls prey to the worst habits of Bollywood: unnecessary bloat, juvenile execution, and a lifeless narrative that seems more concerned with padding out its 3-hour runtime than telling a compelling story. The plot, while intriguing in concept, drags at a snail's pace, feeling like it's perpetually stuck in quicksand. Every time the story starts to gain momentum, it's bogged down by excessive filler, cheesy humor, or melodramatic detours that add nothing to the overall experience. The immaturity of the film's tone further undercuts its potential, making even its heartfelt moments feel contrived and insincere. At its core, "Happy New Year" feels like a hollow vehicle designed to sell records of its overhyped soundtrack. Any spark of originality or excitement is sucked out in favor of cookie-cutter dance numbers and uninspired montages. The result is a film that overstays its welcome, exhausting the viewer long before the credits roll. It's a shame because there are glimmers of a much better movie buried underneath the excess. Unfortunately, this could have been an entertaining caper but ended up being a tedious slog instead. Bollywood can do better, and audiences deserve better.

It's really no wonder the Nazis lost the war. They are just too stupid. Antichristmas! If you've ever wondered what would happen if a department store Santa got tangled up in a Nazi plot involving an evil elf, virgin sacrifice, and the Fourth Reich, then boy, do I have the movie for you. Elves (1989) isn't just a bad movie—it's a certifiable fever dream of absurdity, incompetence, and the kind of misguided ambition that makes it impossible to look away. Strap in, folks, because this isn't your average Christmas horror flick; it's a trainwreck wrapped in tinsel and doused in eggnog-flavored LSD. The Elf: Discount Gremlin in the Clearance Bin Let's start with the titular "elf." If you're expecting some sinister, well-designed creature, think again. The elf in Elves looks like it was cobbled together with paper mâché, a glue gun, and leftover Halloween masks from a garage sale. It's about as mobile as a garden gnome and spends most of its time menacingly staring—or, more accurately, just sitting there while the actors pretend to be scared. This thing couldn't terrorize a toddler, let alone usher in the apocalypse. The Plot: A Nazi Conspiracy, But Make It Festive You know a movie is destined for greatness when the plot hinges on Nazis breeding an elf to create the Antichrist. And the plan? Have said elf mate with a virgin before midnight on Christmas Eve. Because, of course, that's the logical way to bring about the Fourth Reich. Never mind that this plan relies entirely on the elf being both horny and punctual. The sheer stupidity of it all is chef's kiss. It's like someone spun a wheel of bad ideas and just ran with everything it landed on. The plot holes are big enough to fly a sleigh through. For instance, how is this elaborate Nazi elf scheme thwarted? Mostly by the combined incompetence of everyone involved. It's almost laughable how easily the heroes stumble into foiling it—imagine if someone like, I don't know, the mall cop had been paying attention. They'd have wrapped this whole thing up in ten minutes. Dan Haggerty: Santa's Hungover Cousin Dan Haggerty stars as Mike, a chain-smoking ex-detective who looks like Santa's cousin who didn't make the Nice List. Haggerty spends the entire movie sleepwalking through his lines with the charisma of a wet sock. His delivery is so wooden it's a miracle he doesn't spontaneously combust near the Christmas tree. And drunk? Oh, you bet. Whether he actually was or he's just an acting savant, there's an undeniable “boozy uncle” energy that only adds to the film's charm. Watching him go toe-to-toe with Nazi elves is a gift that keeps on giving. The Scenes: Bonkers with a Bow On Top Every scene in Elves feels like it was conceived in a vacuum of logic and coherence. Highlights include: A little boy staring at his sister's nude body and then getting into a tickle fight with her. Yipes! The icy cold mom getting electrocuted in the tub and teaching Ben Kingsley about death scenes. The elf randomly stabbing people, despite having no visible motor skills. Dan Haggerty barging into a Christmas dinner only to have the dad explain the Nazi/Virgin/Elf/Impregnate scheme in front of his family. By the time the movie wraps up, you'll be questioning your life choices but also kind of thankful for the chaos you just witnessed. Final Thoughts: The Christmas Catastrophe You Didn't Know You Needed Elves is a rare gem that transcends badness and loops back around into brilliance. It's not a movie; it's an experience. From the laughable special effects to the sheer audacity of its plot, to Dan Haggerty looking like he'd rather be anywhere else, Elves is the gift that keeps on giving. Gather your friends, crack open some drinks, and bask in the glow of a movie so insane it's practically a holiday tradition waiting to happen. Merry Christmas, you filthy animals. ⯑⯑

Red One is a big budget Christmas action film with an array of stars to make it shine; it is also a mindless hunk of studio schlock. In it, Santa Claus has been kidnapped by a malevolent holiday witch. It is up to the Rock's Callum Drift (yes, that is his name) to get him back in time for the big day. What follows is a paint-by-numbers blockbuster that is crammed with enough CGI and bad one-liners to rip the seams of even the largest stocking. This thing is a jingle bell mess from start to finish. Hence why it sits at 30% on Rotten Tomatoes and was given a lump of coal at the box office. Red One couldn't even muster enough holiday cheer to break even with its asinine $250 million budget. Now, sit back, get into the spirit with a glass of Evan Williams' Bourbon-infused Eggnog, and rip off some snowmen noses! The Thunderous Wizard (@WriterTLK), Chumpzilla, and Bling Blake are hacking into Santa's secret lair to blow the whistle on his elf sweatshop! This Week's Segments: Introduction/Plot Breakdown – Enforcement, logistics and fortification! (0:00) Lingering Questions – Did this silly Rock em' Sock em' Christmas Film work for us? (32:48) The "Kavalame" Trivia Challenge – Bling Blake challenges the field to trivia about the movie. (56:59) Recommendations – We offer our picks for the week and next up: We conclude our season with the mother of all 2024 flops, Kraven: The Hunter! (1:07:42) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

It's definitely not "garbage day" at Kim's place. Get a broom, woman! Oh, Silent Night, Deadly Night 4: Initiation. Where do I even begin with this glorious, messy fever dream of a movie? This isn't just bad—it's transcendentally bad. The kind of bad that rockets past mere mediocrity into the stratosphere of so-bizarre-you-can't-look-away. It's like a snowglobe filled with pure nonsense, shaken up, and dumped all over the screen. Let's start with the story—or whatever approximation of a story this is. Something about witchcraft? Reincarnation? Slugs? And Christmas? The plot (if you can call it that) unravels like a stream-of-consciousness poem written by someone halfway through a mushroom trip. Every scene feels like it was written in isolation, handed off to a new writer, and then smashed together without a second glance. It's the cinematic equivalent of someone trying to explain their nightmare to you: incoherent, surreal, and yet, oddly captivating. Each moment begs the question: "What the heck am I even watching?" And honestly, I'm not sure if the world's greatest philosophers, theologians, and Reddit theorists combined could figure it out. And oh, the acting. Special mention goes to our lead actress, whose performance is... something else. She delivers her lines with the charisma of a day-old bagel, and her reactions to the increasingly absurd situations around her are so wooden they could give Pinocchio a run for his money. Yet somehow, this adds to the film's charm. Her complete inability to sell the madness she's surrounded by only amplifies the chaos, like she herself wandered onto set accidentally and decided to just roll with it. Now let's talk about the gross-out factor. This movie is disgustingly, gleefully out of place with its grotesque visuals. Slugs. Melted corpses. Weird ritual goo. It's like someone decided to combine The Fly with Rosemary's Baby but threw in some festive tinsel as a last-minute afterthought. And yet...it's fascinating. You can't help but marvel at the sheer audacity of it all. Christmas horror should not involve this much slime, and yet here we are, neck-deep in it. But truly, the crowning jewel of Initiation is its sheer unintelligibility. You will laugh. You will cry (out of confusion). You will desperately wish for a panel of scientists to explain why there's a scene where giant bugs crawl out of a man's stomach. And still, you'll love every nonsensical moment because it's so unabashedly weird and earnest in its ridiculousness. If you're looking for a holiday classic that's as delightfully deranged as a fruitcake filled with live eels, Silent Night, Deadly Night 4 is your movie. It's the perfect trainwreck to watch with friends, preferably with a few spiked eggnogs, as you collectively try to figure out just how this movie ever got made. Spoiler alert: you won't. But the fun is in the attempt.

Based on a 1980s television show of the same name, The Fall Guy seemed to be on course to be the summer season's first hit. Screening more than a month before its release at South by Southwest, the buzz (reviews included) for the Ryan Gosling/Emily Blunt film was strong. And with Gosling—who plays the titular character Colt Seavers—coming off of Barbie, his movie star bonafides had never been stronger. Yet, despite all that momentum, The Fall Guy failed to break the bank. It grossed just north of $181 million. Its budget was rumored to be around $150 million—resulting in a break even point of roughly $275 million. The Fall Guy deserved so much better during its theatrical run, especially considering the hell all the stunt people went through to deliver this delightful gem. Now, sit back, take the liquid courage leap after a Long Leash from Sleepy Dog Brewing, and attaque! The Thunderous Wizard (@WriterTLK), Chumpzilla, Bling Blake, and a special guest are crying in our car listening to T. Swift! This Week's Segments: Introduction/Plot Breakdown – Fall hard! (0:00) Lingering Questions – How on earth did this flop!? (19:04) The "Metalstorm" Trivia Challenge – The Thunderous Wizard challenges the field to trivia about the movie. (41:49) Recommendations – We offer our picks for the week and next up: We continue our series of 2024 flops with Ghostbusters: Frozen Empire! (53:30) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

So the kaiju is a half-turkey/half-shopper hybrid. That helps.... a little. Black Friday had the potential to be a fun and memorable addition to the horror-comedy genre. The premise of retail workers battling zombified Black Friday shoppers is clever, relatable, and ripe for satirical commentary on consumer culture. Unfortunately, the execution leaves much to be desired, resulting in a film that struggles to rise above mediocrity. While the movie isn't outright terrible, it's glaringly uncreative. From the predictable character archetypes to the formulaic progression of the plot, it feels like a patchwork of familiar tropes we've seen countless times before. There's the disgruntled manager, the plucky misfit hero, and the obligatory chaos of people turning into monsters, but none of it is done in a way that feels fresh or inventive. The humor, which should have been the film's saving grace, rarely lands. It relies on stale, low-hanging jokes rather than sharp wit or clever dialogue. Even the horror elements fall flat, with generic creature designs and uninspired set pieces that fail to leave an impression. The film tries to balance comedy and scares but ends up doing neither particularly well. That's not to say Black Friday is without merit. The cast, which includes horror veteran Bruce Campbell, brings some charm to the proceedings, and there are a few fleeting moments of entertainment. But these highlights aren't enough to compensate for the lackluster script and lack of originality. In the end, Black Friday is a forgettable experience. It's not a bad movie, but it's far from memorable. With its promising concept, it could have been so much more, but as it stands, it's just another derivative entry in a genre filled with better alternatives. Watch it if you're bored, but don't expect to be wowed.

What is the point of any of this??? What does life even mean anymore?!?! Watching Alone in the Dark is like stepping into a surreal nightmare where logic, talent, and coherence take a permanent vacation. Directed by Uwe Boll, the film somehow manages to turn a moderately creepy video game series into a cinematic trainwreck so inexplicably bad it's almost mesmerizing. Let's start with Tara Reid, whose performance as "Dr. Aline Cedrac" is the kind of thing you'd expect from someone who Googled “archaeologist” five minutes before arriving on set. Reid delivers lines like she's trying to remember if she left the oven on, her scientist character less "Indiana Jones" and more "lost intern who wandered into the wrong set." Her chemistry with Christian Slater is nonexistent—though to be fair, Slater himself looks like he's plotting his escape mid-scene. The plot is the cinematic equivalent of dumping puzzle pieces from three different games onto the floor and calling it "art." Something about ancient artifacts, a secret government agency, monsters from another dimension, and the unexplained disappearance of common sense. Characters reference backstories and motivations that the movie never bothers to show or explain, leaving viewers wondering if they accidentally skipped an hour. But don't worry—it wouldn't make sense even if you had the context. Nothing in this world adheres to any internal logic. The creatures are impervious to bullets until they suddenly aren't, characters forget their own objectives, and physics behaves like it's being controlled by a drunken toddler with a dartboard. There's a moment when flashlights become pivotal to survival, except the characters don't seem particularly invested in keeping them working. Why? Who knows! Consistency is for amateurs. Then there's the action, if you can call it that. Imagine someone yelling, “Action!” and the cast collectively deciding to flop around and fire guns into the dark. The choreography is stilted, the editing is headache-inducing, and the monster effects are so bad they look like rejected renders from a 90s PC game. Somehow, Uwe Boll takes things that should be inherently exciting—gunfights, explosions, and supernatural horror—and makes them as thrilling as watching beige paint dry. And yet, in its complete and utter failure at being a movie, Alone in the Dark achieves a kind of perverse charm. It's like a black hole of quality so dense it warps reality into something entertaining. You can't help but laugh at the absurdity of it all—the wooden acting, the nonsensical dialogue, the budget-bin special effects. It's a film you watch with friends, drinks, and the understanding that you're witnessing a masterpiece of mediocrity. Verdict: Alone in the Dark is not just bad—it's spectacularly, gloriously, hilariously bad. For aficionados of cinematic disasters, it's a must-watch. For everyone else? Save yourself.

What happens when a B-list horror film tackles small town romance, anthropology, and…vampire bureacracy? This movie takes us to a vampire-infested Salem's Lot, where the acting is about as wooden as the stakes they should be driving into these vamps' chests. The lead actors deliver their lines with the enthusiasm of someone half-listening to a bad knock-knock joke, and I swear the child actor spent more time looking at the camera than playing a convincing kid. But it doesn't matter, because that's part of the charm. The vampires in A Return to Salem's Lot redefine what it means to be bloodsucking undead. First, they feel the need to sit you down for a full-blown vampire lecture series, explaining their origins and why they drink blood as if they're some misunderstood subculture rather than, you know, predators of the night. The amount of time they spend philosophizing about vampirism makes you wonder if they're vying for tenure at the local community college rather than dominating the human race. They're so bad at being vampires, it almost seems like they're on a trial period—experimenting with their nocturnal lifestyle, second-guessing their fangs, and generally acting like vampires who accidentally got bitten and are just trying to make the best of it. Then, out of nowhere, comes Van Meer—the anthropologist-turned-vampire-slayer who actually gives this movie a reason to exist. The man is a total badass, with the wisdom of Gandalf and the "not here for this nonsense" energy of every grumpy old man who has ever lived. Van Meer doesn't just kick vampire ass—he clobbers it, struts into scenes like he's about to win an award for "Best Scene Stealer in a Horror Flick" and delivers lines with such unearned gravitas that you can't help but root for him. So, is A Return to Salem's Lot a good movie? No. But is it an awesome movie? You bet your fangs it is. If you're in the mood for vampires who suck at being vampires and a hero who looks like he walked in from an entirely different (better) movie, this one's worth sinking your teeth into.

When Hollywood spends big bucks on a movie, it expects a decent return. But, what happens when a movie flops? Joining Seán to discuss is Tim Robey, Film critic with the Daily Telegraph and author of ‘Box Office Poison: Hollywood's Story in a Century of Flops'...Image: Disney

Maybe the "safety bar" is the problem with your death machine. If you're looking for a horror movie that makes you laugh, wince, and question your own sanity, The Mangler is an absolute gem. Based on Stephen King's short story, this 1995 film takes a wild swing at horror and lands somewhere deep in the realm of “so bad it's good.” At its core, The Mangler has one of the most baffling plots imaginable. The villain? A haunted, soul-sucking industrial laundry press. Yes, you read that right—a laundry press that inexplicably develops a bloodlust. It's so absurd that you can't help but be intrigued. How do you make a piece of machinery terrifying? You'll just have to watch and see, but let's just say the movie's plot twists somehow take this ridiculous concept and push it even further, to dizzying, laugh-inducing extremes. The dialogue is a beautiful mess, filled with lines that are equal parts stilted and unintentionally hilarious. The characters often sound as if they're making things up on the spot, adding to the overall bewilderment as you try to understand what's going on in the film's world. Then, of course, we have Robert Englund and Ted Levine giving some of the most over-the-top performances you'll ever see. Englund, clad in makeup that makes him look like a human-machine hybrid nightmare, completely commits to his role as the evil factory owner with a sadistic glee that's infectious. Levine, as the grizzled cop, is both confused and determined, delivering every line with a mixture of desperation and bemusement that's just... amazing to watch. You get the sense he might be wondering what's going on as much as the audience is. Together, these elements make The Mangler a fascinating train wreck, a "what the heck is going on" rollercoaster that's perfect for fans of unintentionally funny horror. It's a riotously bizarre film experience that you simply have to see to believe. Whether you're a horror fan or just someone who enjoys the absurd, The Mangler is the perfect bad-good movie for a night of laughs and confusion. Grab some popcorn, suspend all disbelief, and enjoy the twisted, baffling spectacle that is The Mangler.

Sting is a nasty little creature feature that came and went to little notice. Released on under 1,000 screens, this tale of a cosmic spider running amok is sure to make the hairs of any arachnophobe stand up. It's lean; it's mean; and it's got enough gross gore to unsettle even the least squeamish of us. It's like Alien—if the Xenomorph was an eight-legged freak who enjoyed dining on birds, babies, and pups. Now, sit back, drown the ick with a West Bestern IPA from Belching Beaver, and don't you dare whistle! The Thunderous Wizard (@WriterTLK), Chumpzilla, and Bling Blake are washing ourselves with mothball water to keep Sting away! This Week's Segments: Introduction/Plot Breakdown – Your biggest fear just got bigger! (0:00) Lingering Questions – How quickly to we flee a building being menaced by a giant arachnid? (21:41) The "Bug Brothers" Trivia Challenge – The Thunderous Wizard challenges the field to trivia about the movie. (40:31) Recommendations – We offer our picks for the week and next up: We kick off our series of 2024 flops with The Ministry of Ungentlemanly Warfare! (51:12) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

Gee, I don't know. Who could it be...? Could it be....SATAN???? Look, if you're going to watch Split Second, leave logic at the door, forget everything you know about biology, physics, or coherent storytelling, and just hold on for one wild, wonderfully ludicrous ride. This movie is a masterclass in "so bad it's good" cinema, a staggering tribute to neon-lit nonsense where none of it makes sense, but you'll be too busy laughing, cringing, and cheering to care. The plot? A near-future London suffering from the Great Flood of Questionable Sets, where a grizzled Rutger Hauer, rocking sunglasses indoors and some of the best action-movie hair around, plays a detective haunted by a shadowy, possibly-mutant killer that may or may not be Satan himself. Or is he a mutant? Or some kind of sewer-dwelling rat-beast with demonic tendencies? We never really figure it out, and that only adds to the glorious nonsense. Hauer's character, Stone, has the personality of a rabid bulldog and the caffeine intake to match, which, let's be real, might be the best part of the entire movie. Every scene sees him grinding through his lines like he's auditioning for Die Hard meets Mad Max, and his chemistry with his awkward partner, Dick Durkin (Neil Duncan), feels like it was lifted from a buddy cop fever dream. The scenes where Durkin goes from bumbling sidekick to gun-toting maniac after his own rapid-fire character development are cinematic gems that feel like they belong in an entirely different movie—and yet, they're perfect. As for the villain, well, if there were a Golden Globe for “Most Bizarre, Undefined Movie Monster,” this one would win it. The creature's appearance is equal parts Venom and religious cyborg, and its motives? Who cares! Sometimes it's better not to ask questions. All we know is that it's drawn to hearts (as in, literally ripping them out) and seems to have an unhealthy obsession with Hauer's character, for reasons the movie wisely decides not to explain. Is the movie dumb? Absolutely. Is it chaotic? You bet. But if you're looking for a good time, Split Second delivers the kind of gleeful, cheesy absurdity that's just begging for a midnight viewing with friends. So grab your popcorn, turn off your brain, and embrace the gloriously baffling thrill ride that is Split Second.

Oddity, a small Irish film, is one of the better horror movies of 2024. It centers on Darcy, whose twin sister Dani was brutally murdered alone in the remote house she was renovating with her husband. Darcy, who is blind, is a medium. When she touches an object, she can peer into its experiences. She, still unsure of what truly happened to her sister, takes it upon herself to unravel the mystery of Dani's murder. A slow burn, Oddity is full of creepy visuals and uses its setting to maximum effect. Horror fans should not sleep on this one. Now, sit back, peer into the memories of the deceased with a Hop Chowda Hazy IPA from Goldwater Brewing, and don't ring for the bellhop! The Thunderous Wizard (@WriterTLK) and Bling Blake are using Olin Boole's glass eye to track down the real killer! This Week's Segments: Introduction/Plot Breakdown – Every murder lives on! (0:00) Lingering Questions – Best weapon to take down a wood golem? (22:38) Recommendations – We offer our picks for the week and next up: We continue our month-long series dedicated to torturing poor Bling Blake with gross little creature feature, Sting! (38:34) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

Well, you could always just lock the door that contains aliens hell-bent on destroying lives, MacCready. Hobgoblins (1988) is the kind of classic cinematic disaster that bad movie connoisseurs dream of. It's a true gem in the "so-bad-it's-good" genre, serving up every ridiculous trope you could hope for with a straight face. The budget is, to put it kindly, non-existent. You can almost hear the coins jingling in the director's pocket as they make every possible corner-cut. The "hobgoblins" themselves—clearly puppets—are so laughably bad that you can't help but wonder if they were purchased at a yard sale. They wobble, flop, and seem to be more interested in starring in a middle school production than in wreaking havoc. The acting? Let's just say the cast appears to have been picked up from a local mall food court. The dialogue delivery is awkward at best and painful at worst, with a cast that seems genuinely confused as to whether they're in a horror film or a comedy. But therein lies part of its charm: this is a movie that doesn't know what it's doing, and it's doing it with complete sincerity. The plot is a fever dream that barely holds together. Some sort of government warehouse holds dangerous creatures (because of course it does), and these hobgoblins have the power to make people's fantasies come true—though how or why is a question the film couldn't be bothered to answer. The rules of the film's universe break constantly, which somehow adds to the chaos and comedy, especially when you stop trying to make sense of it. Why are the hobgoblins doing any of this? Who cares! This is all about the ride. If you're into riffing, Hobgoblins is a riffer's paradise. The unintentional humor is endless, and every scene begs to be torn apart by a quick wit. Between the atrocious puppetry, nonsensical plot twists, and wooden performances, you're in for a treat if your idea of fun is mercilessly mocking a film. To be clear, Hobgoblins is not for everyone. It's the cinematic equivalent of a dumpster fire: fascinating to watch, but only for those who appreciate the beauty of the burn. For the advanced class of bad movie lovers, though, this is a must-watch. It's a perfect storm of everything you love to hate about bad movies, and it will leave you grinning at its sheer ineptitude.

Sure, it's super budget and leads with a crazy murder theme but that's not enough to stay in the game. "Splatter University" starts with a flash of promise, diving right into the action with a bloody opening scene that hints at a thrilling ride ahead. Unfortunately, that promise quickly fizzles out, and what follows is an hour and a half of filler material that seems thrown in just to pad the runtime. The film struggles to build any real momentum, relying on scenes that add little or nothing to the central plot. Instead of ratcheting up the tension or developing the mystery, it meanders through pointless side plots and unengaging character moments that make it tough to stay invested. For a movie in the slasher genre, you'd expect more focus on building suspense or delivering scares, but instead, "Splatter University" leaves you counting down the minutes until it's over. Ultimately, this film falls short of delivering the thrills it promises and ends up a slog. With plenty of superior slasher flicks from the same era, "Splatter University" is an easy one to skip.

Terrifier 2 ups the ante of the first film in nearly every way. It is brutal, shocking, and repugnant. Despite that, it is hard not to appreciate the practical effect work of Damien Leone—the film's writer, director, editor, and producer. This is a carnival of splatter. And Art the Clown, the principal antagonist of the Terrifier franchise, is quite creepy. Where the movie fails is in creating a narrative tension. It is disturbing to watch, and the kills only get more grotesque as the movie meanders across its lengthy 138-minute runtime. There is just a distinct lack of pathos to balance out the mayhem. Too often, Terrifier 2 just feels like an endurance exercise. How long can the viewer survive before they've seen enough mutilation? A person's mileage on that may vary. It just does not make for a compelling movie experience.  Now, sit back, keep your dinner down with a Smashed Pumpkin from Shipyard Brewing, and remember: there is now why! The Thunderous Wizard (@WriterTLK), Bling Blake, Mayor McCheese and Chumpzilla are waving our white flags because we've had all the viscera we can handle! This Week's Segments: Introduction/Plot Breakdown – Who's laughing now? (0:00) Lingering Questions – Will we still Terrifier 3 in theaters or did this one sate our appetite for the deranged? (33:32) The "Art the Clown" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (59:02) Recommendations – We offer our picks for the week and next up: We continue our month-long series dedicated to torturing poor Bling Blake with In a Violent Nature! (1:09:40) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

If you've ever wanted to have a bunch of random stuff coming at you, well this is for you. Not so much for anyone else though. "Comin' At Ya!" is an odd entry into the world of Spaghetti Westerns, one that leans heavily on its 3D gimmicks to differentiate itself from the pack. However, once you strip away the over-the-top, in-your-face 3D stunts, what’s left is a fairly standard, if not forgettable, Western. The plot is basic, the characters serviceable, and while it checks off most of the genre’s boxes—dusty landscapes, gunfights, and a revenge story—it doesn't bring anything particularly new or exciting to the table. The real selling point is the 3D, but even that feels more egregious than entertaining. Spears, snakes, and babies fly at you in a barrage of visual tricks, but the novelty wears thin quickly. Instead of making the movie so bad it's good, the 3D elements just end up feeling like a desperate attempt to spice up an otherwise average film. It’s a fun time capsule of early 80s gimmick cinema, but beyond that, "Comin' At Ya!" is more of a curious footnote in Western history than a must-watch cult classic.

Grieco didn't need sticky spy shoes. He could have just used his hair gel to stick to any wall. "If Looks Could Kill" starring Richard Grieco is a delightful surprise that defies expectations in the best way possible. Known for his more serious and brooding roles, Grieco takes a refreshing turn in this zany action-comedy, delivering a performance that's as energetic as it is unexpected. This movie is the epitome of early '90s charm: it's corny, it's cheesy, and it's packed with jokes that initially might make you roll your eyes, but stick around, because much like someone with an unstoppable case of bad gas, it soon becomes a riot of laughs. The first few jokes might make you groan, but before you know it, you're giggling at every ridiculous quip and over-the-top stunt. It's almost like the movie dares you to not take it seriously—and that's where the fun really begins. The plot is absurdly entertaining, following Grieco's character, Michael Corben, a high school student who accidentally gets mistaken for a secret agent while on a school trip to France. The ensuing chaos is a roller coaster of wild car chases, explosive gadgets, and villainous plots that seem like they were pulled straight from a comic book. The humor is relentless, with each scene seemingly trying to outdo the last in terms of sheer goofiness. The villains are over-the-top caricatures, the action sequences are delightfully exaggerated, and Grieco's transformation from clueless teenager to accidental hero is a joy to watch. The film doesn't shy away from leaning into its own silliness, and that's exactly what makes it so endearing. "If Looks Could Kill" might not win any awards for subtlety, but it's an absolute blast if you're in the mood for something lighthearted and fun. It's the kind of movie that you start watching with a skeptical smile, and by the end, you're laughing out loud, appreciating the fact that sometimes it's okay to just enjoy a film for its pure, unabashed absurdity. It's a cult classic for anyone who loves their action comedies with a hefty dose of cheese.

Before Bill Cosby was a serial sex offender (well, concurrently really), he was just an unfunny comedian. And Leonard Part Six is his magnum opus of unfunny. Leonard Parker is a secret agent, like a moronic James Bond of sorts. This is technically his sixth adventure. The other five are classified! That latter bit you should be happy about. Why? Because number six is as dumb as humanly possible. It centers on Leonard's battle with the evil Medusa Johnson. Johnson uses animals to enact her nefarious plots, as well as a team of half-naked vegans. Yes, all of this comes into play in a myriad of idiotic scenarios.  It's all dumb. None of it is charming, witty, or remotely hilarious. And, by the end, you will try to drown yourself in a vat of Jell-O pudding to escape the madness. Now, sit back, cure your rabbit bites with a Bell's Hazy Hearted, and prepare to ride an ostrich! The Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are smiting murderous veggie-loving terrorists with thawed magic meat! This Week's Segments: Introduction/Plot Breakdown – America's best-dressed super spy! (0:00) Lingering Questions – In a film starving for comedic moments, were any of the gags funny? (29:50) The "Ipso Facto" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (46:54) Recommendations – We offer our picks for the week and next up: We do the first of two special episodes covering Zack Snyder's space opera, Rebel Moon – Part One Director's Cut: Chalice of Blood! (57:51) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

They put commercials on this platform and we then give us this garbage? Maybe time to switch to cable.... "Jackpot" (2024) is an absolute disaster from the get-go. The plot is so implausible that it feels like it couldn't exist in any universe, let alone ours. Nothing about it makes sense, and from the opening scenes, you're left scratching your head, wondering why the writers even bothered. The jokes? If you can call them that—seem unfinished, like someone wrote the setup and forgot to add the punchline. You're constantly waiting for a laugh that never comes. It's awkward, and the humor falls completely flat. The core premise of Jackpot (2024) is so utterly absurd that it crumbles under the weight of its own illogic within the first few minutes. The entire film revolves around the idea that if you win a massive lottery, you are immediately hunted by the entire state of California. Yes, you read that right—if you're lucky enough to hit the jackpot, your life instantly turns into a non-stop manhunt, where literally everyone is out to kill you. So, naturally, the question that comes to mind is: Why in the world would anyone buy a lottery ticket? Think about it—nobody in their right mind would want to win, because the moment they do, their life is effectively over. Instead, the incentive in this ridiculous world is to not win, but to track down and kill the unlucky winner. This bizarre twist undermines the entire concept of a lottery in the first place. Lotteries exist because people want to win huge amounts of money. In Jackpot, the goal seems to be the opposite—everyone is actively rooting for someone else to win so they can hunt them down. This paradox creates a plot that is fundamentally impossible. If no one wants to win, the lottery can't work. It's like creating a race where the objective is to lose but expecting everyone to keep competing. The action sequences are equally frustrating. They're so vague and poorly choreographed that it's nearly impossible to tell what's going on. It feels like you're watching someone play a video game with the brightness turned down and no clear objectives. And then, they go ahead and kill Sean William Scott in the first ten minutes. Seriously? That's an instant walk-away moment for me. If you're going to take out one of the few redeeming qualities of a movie so early on, what's even the point? "Jackpot" is an absolute failure, and I wouldn't recommend it to anyone looking for a coherent story, solid laughs, or even enjoyable action. Skip it.

You can't put lipstick on a pig but you can wear its eyebrows and escape the law! *"Thunder" (1984) is one of those films that's so bad it's almost good. From the over-the-top acting to the bizarre plot, it's a movie that knows how to entertain, even if it's not in the way it intended. The acting is hilariously exaggerated, with characters delivering lines in a way that makes you wonder if they were trying to win an award for the most awkward performance. It's hard not to chuckle at the sheer silliness of it all. The plot is a strange mishmash of clichés, with twists that come out of nowhere and leave you scratching your head. It's like the filmmakers threw every idea they had into a blender and hoped for the best. The result? A weirdly captivating story that keeps you watching, if only to see what ridiculous thing happens next. The action sequences aren't exactly top-tier but are great. The choreography is clunky and poorly executed, the stunts are dangerous, and the explosions are way too big. But, honestly, that's part of the charm. There's something fun about watching a chase scene where the car crashes look like everyone died but the characters have little injury. Sure, the movie can drag at times, especially when it takes itself a little too seriously. But the unintentionally funny moments more than make up for the slow patches. If you're in the mood for a laugh and don't mind a bit of 80s cheese, "Thunder" is definitely worth a watch. Just don't expect anything Hall of Fame-worthy!

Dana Carvey is an immensely talented and funny comedian. Sadly, Master of Disguise fails in almost every conceivable way to showcase that. It is loaded with one-note jokes and costumes that range from idiotic to absurdly racist. Thus, despite being a mild success financially, it failed to launch his career to the next level. Worse, Master of Disguise was despised by critics, narrowly avoiding a 0% on Rotten Tomatoes by the slimmest of margins—it's a 1%. Audiences were also not in on the gags. And who can blame them? Most of the jokes far extend their welcome, and most of the absurd disguises do too. You'll barely laugh, you may cry, and you'll certainly never think of turtles the same. Now, sit back, blend in with an Oktoberfest from Reformation Brewery, and prepare to steal the Liberty Bell! The Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are open-hand slapping evil doers and screaming, "Who's your Daddy?"! This Week's Segments: Introduction/Plot Breakdown – 1,000 Faces... And Not A Single Clue! (0:00) Lingering Questions – For a movie centered around elaborate costumes, most of them are stupid. But which is the worst? (37:22) The "Turtle Club" Trivia Challenge – Bling Blake challenges the field to trivia about the movie. (52:05) Recommendations – We offer our picks for the week and next up: We conclude Notorious Flops with an all-time stinker Leonard Part Six! (1:03:57) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

You think you can take me? Well go ahead on and watch this stinker from Greydon Clark. "Final Justice" (1984) is a film that occupies a peculiar space in the action genre, and how much you'll enjoy it hinges heavily on your tolerance for low-budget absurdity. At the center of this bizarre movie is Joe Don Baker's portrayal of Thomas Jefferson Geronimo, a tough-as-nails Texas cop who, unfortunately, ends up being more laughable than intimidating. Baker's Geronimo feels like a caricature of every 1980s action hero, but without the charisma or the compelling edge needed to pull it off. Instead, we're left with a character that stumbles through the movie with more groans than grins. The action sequences, intended to be thrilling, often border on the ridiculous, with character decisions that are so baffling they verge on parody. Whether it's Geronimo's relentless pursuit of criminals across Europe or the frequent and illogical shootouts, the film constantly challenges the suspension of disbelief. And yet, these moments might be where some viewers find their entertainment—if you're into movies that are so bad they're good, this could be your thing. Unfortunately, much of the film is bogged down by long stretches of tedium, where plot elements are repeated to the point of exhaustion. What might have been intended as humorous instead feels like a never-ending loop of dullness. The narrative itself is a mess, a baffling mix of cop clichés and bizarre plot twists that don't seem to lead anywhere meaningful. In the end, "Final Justice" is a movie that might appeal to a niche audience who enjoys dissecting and mocking bad cinema. But for most, it's likely to be an exercise in patience. If you have a taste for the absurdly bad and can appreciate it for its sheer ridiculousness, there might be something here for you. Otherwise, you may find yourself wishing for a more competent action flick.

Highlander II: The Quickening takes everything you loved about the original and throws it in the dumpster. A sequel in title only, the film is an utter travesty from start to finish. Why? Well, instead of the general premise of them simply being immortals, they are now beings from a different planet. They were sent to Earth as punishment for treason, but also inexplicably granted immortality. It only gets worse from there. Sean Connery returns as Ramirez. Yes, he died in the first one. That doesn't matter here. And, as viewers, it's best not to ask questions. He's charming and famous damnit! Plus, one can't simply expect Highlander II to just coast on bizarre alley sex scenes with Christopher Lambert! But, I digress, Highlander was a cool genre flick with an interesting premise. Sadly, when forced to flesh out their lore, the writers penned some of the dumbest shit to ever grace the screen. It flopped hard, and it deserved to. It also has the distinction of holding a 0% on Rotten Tomatoes. There couldn't even be one reviewer that liked it. Now, sit back, drink to your immortal health with a Kilt Lifter from Four Peaks Brewing, and tear down the Shield! The Thunderous Wizard (@WriterTLK), Bling Blake, Capt. Cash, and Chumpzilla are plotting a coup on our home planet, Zeist! This Week's Segments: Introduction/Plot Breakdown – In all their centuries on Earth, nothing could prepare them for...! (0:00) Lingering Questions – In a movie full of stupid scenes, which was the dumbest? (34:26) The "Quickening" Trivia Challenge – The Thunderous Wizard challenges the field to trivia about the movie. (58:12) Recommendations – We offer our picks for the week and next up: We continue Notorious Flops with Master of Disguise! (1:11:22) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

A great movie if you're part of the "under the sweater/over the bra" crowd, but even they won't remember that they saw it. Tarot (2024) is an absolute masterclass in how not to make a horror movie unless you are just providing background noise for teenagers to make out. If you ever wondered what happens when you throw every horror cliché, plot hole, and half-baked character motivation into a blender, this is it. The result is a film so dumb and poorly thought out that it almost circles back around to being entertaining—for all the wrong reasons. From the get-go, Tarot feels like a checklist of horror tropes. Creepy old woman? Check. Spooky house? Check. Jump scares every five minutes? Double check. It's as if the writers Googled "horror clichés" and decided to use every single one, especially stealing from Evil Dead and Final Destination. But that's not even the worst of it. The plot is an incoherent mess, with gaping holes large enough to drive a truck through. Characters make baffling decisions with motivations that seem to change depending on the scene—or, more likely, on the whims of whoever was holding the pen that day. The acting? Let's just say that calling it appalling might be too kind. Every line is delivered with the enthusiasm of someone who just realized they left the oven on at home. The humor, if you can call it that, is cringeworthy at best. It feels like the movie is trying desperately to be self-aware, but instead, it comes off as painfully awkward. And yet... there's something about Tarot that makes it oddly watchable, at least for certain audiences. If you're a fan of bad movies, you'll probably find some enjoyment in how ridiculous it all is. It's also the perfect flick for teenagers looking for an excuse to make out in the back row of the theater while pretending to watch the screen. In short, Tarot is a trainwreck of a horror film, but if you enjoy watching a disaster unfold, you might just find yourself entertained—for all the wrong reasons.

Saturn 3 is, quite frankly, just a bizarre film. It focuses on essentially three characters—played by just Kirk Douglas, Farah Fawcett, and Harvey Keitel—as well as a corny looking robot named Hector. Douglas and Fawcett, as Major Adam and his assistant Alex, work on one of the moon's of Saturn, striving to find solutions to Earth's hunger problem. Keitel, as the menacing Benson, shows up to bring chaos and terror to their lives. Well, really he's just weird, but his robot companion—fueled by his worst traits—becomes a murderous psychopath. That is essentially the movie. It has odd sex scenes, a dearth of tension, some supremely bad ADR over Keitel's voice, and some of the worst practical effects this side of Uranus. Hence why it is hailed as one of the worst movies of all-time, crashing and burning with critics and at the box office. Now, sit back, question your life choices with a tumbler of tequila, and monitor our hydroponics! The Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are feeding our worst impulses into Hector's collection of baby brains! This Week's Segments: Introduction/Plot Breakdown – Trapped between unnatural love and inhuman desire! (0:00) Lingering Questions – How dumb is Hector's design? (34:13) The "Blue Dreamers" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (51:02) Recommendations – We offer our picks for the week and next up: We continue Notorious Flops with Highlander II: The Quickening! (1:00:14) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

The Lucio Fulci movie that more people should be talking about may just be so weird its good? "Conquest" is one of those bizarre gems that defies logic, reason, and possibly all known laws of filmmaking. From the opening frame, you're catapulted into a world where absolutely nothing makes sense—and that's the beauty of it. The plot (if you can call it that) revolves around two warriors, Mace and Ilias, who embark on a quest to stop an evil, topless sorceress who wears a metal mask and is clearly compensating for something. Why? Who knows! The movie doesn't bother to explain, and honestly, it doesn't matter. The action scenes are a special kind of weird. Imagine slow-motion combat sequences where everyone moves like they're underwater, yet somehow, limbs are still getting chopped off left and right. The gore is gratuitous, and I mean gratuity with a capital G. There's blood spraying everywhere, heads getting smashed for no reason, and enough fake entrails to make you wonder if they bought out an entire Halloween store. The nudity? Oh, it's there—just about every 10 minutes, the film throws in a random naked person for no discernible reason other than, well, why not? If you're looking for plot relevance, you're in the wrong movie. The special effects and costumes are so corny and cheesy that you almost feel like you're watching a live-action cartoon—except way more violent. The monsters look like they were assembled out of leftover Muppets, and the villain's henchmen wear masks that make them look like rejected extras from a bad '70s sci-fi show. And the music? Imagine a synth-heavy score that somehow makes everything feel both epic and hilariously out of place, like if someone played a disco track during a gladiator battle. It's that level of weirdness. In the end, "Conquest" is like a fever dream wrapped in a bad acid trip dipped in melted cheese. It's one of those rare films where everything is so bizarrely wrong that it becomes impossibly right. If you love movies that make you question your life choices, while also making you laugh at how absurdly terrible they are, "Conquest" is your golden ticket. Enjoy the ride—you'll never forget it, no matter how hard you try.

Deadpool & Wolverine is a comic nerd's dream. It's a love letter to the superhero cinema that paved the path to this current generation, while also celebrating the iconic performances of Hugh Jackman as Wolverine. It's bloody, vulgar, and just a really f$%^ing great time. It also helps to reset the course for a fledgling MCU. Unlike many of the Phase 4/5 films and shows before it, you will leave Deadpool & Wolverine excited for the potential of the future. Will Jackman return for the next two Avengers movies? What the hell was that tease with Thor and Deadpool? Those answers will obviously come, but what made the MCU so brilliant throughout its decades+ reign as box office kings was its ability to hold the viewers interest. That stranglehold has more than just slackened in recent years. But, rest assured, Deadpool & Wolverine reaffirms that grasp with pair of Hulk hands. At $900 million and counting, it is a runaway success; and that success is well deserved. You'll laugh; you'll cry; you'll scream, "Holy shit!"; and you'll definitely have the time of your life (or at least summer) Now, sit back, peer into the clouded future of the MCU with a Stone Delicious Hazy IPA, and don't desecrate any graves! The Thunderous Wizard (@WriterTLK) and Chumpzilla are eating our feelings and driving through the void in a sweet Honda Odyssey! This Week's Segments: Introduction/Plot Breakdown – Everyone deserves a happy ending! (0:00) Lingering Questions – Is Hugh Jackman the GOAT of comic book actors? (40:36) Recommendations – We offer our picks for the week and next up: We kick off Notorious Flops with Saturn 3! (1:06:43) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

Drafting the best box office flops. Become a Patron! Join to gain access to exclusive perks like Discord access, giveaways, & more: https://www.patreon.com/reeltokpodcast Grab some ReelTok merch: https://reeltokpodcast.com/ Follow ReelTok everywhere: ReelTok Podcast YouTube: https://www.youtube.com/@reeltokpodcast TikTok: https://www.tiktok.com/@reeltokpodcast Instagram: https://www.instagram.com/reeltokpodcast/ Twitter: https://twitter.com/reeltokpodcast Letterboxd: https://letterboxd.com/reeltokpodcast/ Patreon: https://www.patreon.com/reeltokpodcast Listen and Rate Us 5 Stars on Spotify and Apple Podcasts: Spotify: https://open.spotify.com/show/3V214vWwkO823aa4OaeDrO Apple Podcasts: https://podcasts.apple.com/us/podcast/reeltok-podcast/id1644680412 George Carmi Letterboxd: https://letterboxd.com/georgecarmi/ TikTok: https://www.tiktok.com/@moviesandstuff14 YouTube: https://www.youtube.com/@moviesandstuff14 Instagram: https://www.instagram.com/georgecarmi/ Twitter: https://twitter.com/georgecarmi Tyler Whitmore Letterboxd: https://letterboxd.com/TylerCWhitmore/ TikTok: https://www.tiktok.com/@tylercwhitmore YouTube: https://www.youtube.com/@tylercwhitmore Instagram: https://www.instagram.com/tylercwhitmore/ Twitter: https://twitter.com/TylerCWhitmore Seth's Film Reviews Letterboxd: https://letterboxd.com/sethsreviews/ TikTok: https://www.tiktok.com/@sethsfilmreviews YouTube: https://www.youtube.com/@Sethsfilmreviews Instagram: https://www.instagram.com/sethsfilmreviews/ Twitter: https://twitter.com/sethsfilmreview Cam Walsh Letterboxd: https://letterboxd.com/cjwalsh27/ TikTok: https://www.tiktok.com/@camwalsh27 Instagram: https://www.instagram.com/camwalsh/ Twitter: https://twitter.com/CamWalsh27 YouTube: https://www.youtube.com/@camwalsh27 Twitch: https://www.twitch.tv/camwalsh27 New episodes every Monday reviewing the latest movie releases and covering the most recent movie trailers and industry news. Reviews, rankings, deep-dives, drafts, movie trivia, and so much more. The ReelTok Podcast is co-hosted by 4 of the largest film social media content creators, George, Seth, Tyler, and Cam. Bonus episodes every Thursday doing a movie-related draft, ranking, or game, and more bonus episodes every Friday reviewing a movie recommended by our viewers. Make sure to follow us as you have now found your new favorite podcast. #movies #moviereviews #podcast #moviepodcast #reeltok #reeltokpodcast Help us become the #1 movie podcast in the entire world! --- Support this podcast: https://podcasters.spotify.com/pod/show/reeltokpodcast/support

Stick around or don't move, but Reb Brown is gonna give you the laughs. "Robowar" (1988) is a cinematic masterpiece of unintentional hilarity. This unapologetic rip-off of "Predator" is an absolute must-watch for fans of 'so bad it's good' cinema. From the moment Reb Brown graces the screen with his over-the-top action antics and unintentionally comedic acting, you'll be hooked. Brown's performance is a perfect blend of earnestness and absurdity, making every scene he's in a joy to watch. The plot, if you can call it that, is a shameless copy of "Predator." However, instead of being an edge-of-your-seat thriller, "Robowar" delivers non-stop laughs. The antagonist, "The Hunter," is a laughably awful attempt at creating a menacing villain. With a costume that looks like it was thrown together from spare parts and a performance that can only be described as cartoonish, "The Hunter" is more likely to make you chuckle than cower in fear. Let's not forget the music. Oh, the music! It's so fantastically bad that it deserves its own standing ovation. The soundtrack seems to be perpetually stuck in the 80s, complete with synth-heavy tracks that feel out of place and add an extra layer of comedy to the film's already ridiculous scenes. Every moment of "Robowar" is filled with something that will make you laugh out loud, whether it's the wooden dialogue, the nonsensical plot twists, or the sheer audacity of its "Predator" mimicry. This is a movie that fully embraces its B-movie status and offers a viewing experience that's as entertaining as it is unintentionally funny. If you're in the mood for a film that's so bad it's good, "Robowar" is the perfect choice. Grab some popcorn, gather your friends, and get ready for a night of side-splitting laughter at this gloriously awful gem.

Just because it doesn't have a story or characters or any basis in reality doesn't mean its bad, right? "Twisters" (2024) is a whirlwind of nostalgic fun that takes you back to the golden era of 90's blockbusters. While it may lack a compelling story, character depth, and a meaningful journey, it's a film that embraces its cheesy charm with gusto. From the first gust of wind to the last dramatic tornado scene, "Twisters" is an exhilarating ride that doesn't take itself too seriously. The visual effects are stunning, with the twisters themselves serving as the true stars of the show. Each tornado scene is more breathtaking than the last, making you feel like you're right in the middle of the storm. The action sequences are over-the-top in the best possible way, providing plenty of edge-of-your-seat moments that are perfect for popcorn munching. The film's cast does a commendable job with what they're given, adding to the overall campy appeal. Their performances, coupled with the tongue-in-cheek dialogue, keep the film light and entertaining. It's clear that "Twisters" is meant to be enjoyed for its sheer spectacle and fun factor rather than for any deep, thought-provoking narrative. In a world where many blockbusters strive for gritty realism and complex plots, "Twisters" is a refreshing throwback to simpler times. It's a love letter to the disaster movies of the 90's, delivering pure cinematic escapism that fans of the genre will adore. If you're looking for a film that's all about high-octane action and nostalgic thrills, "Twisters" is the perfect storm.

Forgive the brevity, as we're at comic con, butBoy Kills World is a bloody good time, and you should watch it! Now, sit back, prepare to fight with an Atomic Slam Hazy Double IPA from Paperback Brewing, and don't be a f$%# puppet! I, the Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are laying the smackdown to sugary cereal mascots at the Culling! This Week's Segments: Introduction/Plot Breakdown – Gear up for an action fever dream! (0:00) Lingering Questions – Who did dystopian death TV better this or The Running Man? (23:27) The "Frosty Puffs" Trivia Challenge – I challenge the field to trivia about the movie. (43:31) Recommendations – We offer our picks for the week and next up: We kick off Notorious Flops with Saturn 3! (53:15) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

The Running Man, starring Arnold Schwarzenegger, resembles the Richard Bachman (Stephen King) novel it was based on in name only. Naturally, since its lead is the "Austrian Oak," it is a testosterone-fueled action movie with a light sprinkling of dystopian allegories. That said, it crushes both of those elements. Certainly, The Running Man's dire warnings may feel satirical, but viewed through a contemporary lens, they are wildly prescient. Deep fake technology, live executions being fed to the masses in the form of a game show, and an America run by corporate greed are not just plausible, we're living through most of it. In the 1980s, when the country was high on Reaganomics, The Running Man's themes sadly failed to resonate with audiences. On a budget of nearly $30 million, it grossed just north of $38 million. That, unlike Cadre Cola, does not hit the spot. Now, sit back, get energized with a Hazing Arizona from Walter Station Brewery, and let's start running! I, the Thunderous Wizard (@WriterTLK), Bling Blake, Capt. Cash, and Chumpzilla love this saw. It's a part of us, and now we're gonna make it a part of you! This Week's Segments: Introduction/Plot Breakdown – The year is 2019. The finest men in America don't run for President. They run for their lives! (0:00) Lingering Questions – We need one kill. Which Stalker do we pick for the job? (35:03) The "Captain Freedom's Workout" Trivia Challenge – I challenge the field to trivia about the movie. (55:18) Recommendations – We offer our picks for the week and next up: We continue Dystopian Flops with some B-grade Gun-Fu in Equilibrium! (1:05:24) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

When it was released in 1982, few could've predicted Blade Runner would become the cultural landmark that it did. Sure, it was well reviewed at the time and remains so, but it was generally slept on by audiences. Time has only seen the appreciation for it grow. Its cult status is well deserved. Blade Runner is a masterpiece of the genre—a truly seminal science fiction film. Buoyed by Rutger Hauer's masterful performance as replicant Roy Batty, it is a film that engrosses you in its post-apocalyptic world. And, like all essential science fiction, it poses important questions about what makes us human. If you haven't seen it, there is no better time than the present. Now, sit back, dull your guilt with a Tsingtao, and don't question the impending end of your existence! I, the Thunderous Wizard (@WriterTLK), Bling Blake, Capt. Cash, and Chumpzilla are "retiring"replicants who dare question their masters! This Week's Segments: Introduction/Plot Breakdown – Man has made his match. Now, it's his problem! (0:00) Lingering Questions – From flop to cult classic. How do we feel about the legacy of Blade Runner? (41:05) The "Tyrell Corporation" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (1:09:29) Recommendations – We offer our picks for the week and next up: We continue Dystopian Flops with Arnold's other 1987 sci-fi classic, The Running Man! (1:22:13) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, Amazon Music, and more!

Jury Duty was one of the last gasps in the fading stardom of Pauly Shore. Son of the legendary Mitzi Shore, Pauly was briefly—and inexplicably—a Hollywood thing in the 90s. With his dopey, laissez-faire  chic, he headlined a string of movies, most of which weren't very good. Jury Duty falls into the unfortunate section of his filmography. A riff on 12 Angry Men, the movie centers on one dipshit juror, who refuses to render a verdict because the $5 they're making per day is too sweet a deal. As one could imagine, flat jokes, racist impressions, a romantic subplot, and our moronic lead actually doing the right thing all follow. It's obnoxious, unfunny, off putting, and seems far longer than 87 minutes. Hence why critics and audiences found Jury Duty guilty on all charges, sentencing it to 0% on Rotten Tomatoes and purchasing far less tickets than the movie cost to make. Now, sit back drown out the annoyance of Pauly Shore's voice with a Harpoon IPA, and never bet against Peanut's Jeopardy skills! I, the Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are sharing a burrito with Judge Ito! This Week's Segments: Introduction/Plot Breakdown – For truth. For justice. For five bucks a day! (0:00) Lingering Questions – Why was Pauly Shore a thing? (32:52) The "The Fast Food Killer" Trivia Challenge – Bling Blake challenges the field to trivia about the movie. (52:00) Recommendations – We offer our picks for the week and next up: We kick off Dystopian Flops with a sci-fi masterpiece, Blade Runner! (1:03:18) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, Amazon Music, and more!

Discerning time as a missionary & the rise of young people volunteering their time. (1:19) The Box Office faces the lowest Memorial Day opening in 29 Years. Why have the latest movies been a flop?  What is the audience looking for? (16:41) Faithfulness and generosity – 12 Fruits of the Holy Spirit series (40:40)