Stranger Things (Season 5)

Creators: The Duffer Brothers
Starring: Winona Ryder, David Harbour, Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Brett Gelman, Priah Ferguson, Linda Hamilton, Jamie Campbell Bower, Nell Fisher, Jake Connelly, Cara Buono, Joe Chrest, Randy Havens, Linnea Berthelsen
Original Airdate: 2025

**This Review Contains Major Plot Spoilers**

★★★ ½ (out of ★★★★) 

Just as an experiment, it would be fun to show Stranger Things' fifth and final season to viewers who only watched the series' first eight episodes back in 2016 and log their reactions. Before fully processing those lengthy gaps between seasons, all the main characters still being alive and how much older the actors look, they'd probably be most surprised by the sheer size of it. And what roles all these new faces play in serving a story that's now exponentially larger in scope, with many more moving parts. But as inevitable as some of these developments look in hindsight, it wasn't always that way. 

The rare series about kids also aimed at adults, the Duffer Brothers creation hit every key demographic, possessing the kind of broad appeal most networks and streaming services only dream of tapping into. While captivating tween and teen audiences with its high stakes adventure, it simultaneously provided a huge dose of 80's nostalgia for Gen Xers who quickly found themselves hooked. As the foundation on which Netflix was built and the impetus for an enormously successful Broadway stage play, the show could seemingly do no wrong. 

Unfortunately, with massive popularity comes the pressure and expectation of topping yourself, regardless of how much time you're afforded to write and plan. If anything, it ups the ante, giving showrunners more opportunities to change their minds multiple times before filming. When this happens, pressure mounts to be bigger and better than before as we've seen this Spielbergian coming-of-age mystery/adventure in the vein of The Goonies and Explorers evolve into a full blown sci-fi spectacle that features twice the amount of heroes we started with. 

In a fifth season that gifts us the two best cast additions imaginable, the lack of subtraction still manages to stir debate up until the series' final minutes. If killing off characters raises the stakes, risks also accompany who goes and when, which helps shed light on the Duffers' decision making process. But it can still get unwieldly when overlapping storylines collide with an increasingly convoluted supernatural plot, leaving only a certain amount of space for character beats and moments. So if Season 4 proved to be a critical turning point for the series with longer episodes, deeper mythology and the Big Bad's reveal, this is the main event, as the team prepares to do battle for the last time. And it's a wild ride.  

It's fall 1987 and after Vecna/Henry Kreel (Jamie Campbell Bower) opened the rifts in Hawkins, Eleven (Millie Bobby Brown) finds herself being hunted by the U.S. military, who quarantine the town and set up base in the Upside Down under the directive of Dr. Kay (Linda Hamilton). As Hopper (David Harbour) and Joyce (Winona Ryder) train Eleven in hiding, Will (Noah Schnapp), Lucas (Caleb McLaughlin) and Mike (Finn Wolfhard) try to stop a distraught Dustin (Gaten Matarazzo) from provoking fights with the school's jocks over Eddie's memory. 

Meanwhile, Steve (Joe Keery), Robin (Maya Hawke), Jonathan (Charlie Heaton) and Nancy (Natalia Dyer) are working at local radio station WSQK, organizing "crawls" with Murray (Brett Gelman) and the rest of the team to sneak Hopper into the Upside Down and locate Vecna. But he has other plans, appearing in human form as Mike and Nancy's little sister Holly's (Nell Fisher) imaginary friend, "Mr. Whatsit."

When Henry takes Holly, it's clear this is only the first step of his master plan involving the kids of Hawkins. But help comes in the form of a still comatose Max (Sadie Sink), who's trapped alongside Holly within Henry's memories. As the pair attempt to navigate their way out of the Upside Down, Eleven readies herself for a showdown with Vecna while Will summons the strength and courage to do the same, unlocking the powers he's possessed since his November 6, 1983 vanishing breached the barrier between worlds.

It's a strong start, with the writers laying the groundwork for everything to converge as the group splits into various factions, but remains unified in achieving the primary goals of rescuing Holly and destroying Vecna for good. Of course, that's assuming he doesn't get to them first. Despite a dizzying amount of cutting back-and-forth between locations, the pacing remains perfect throughout the first few episodes, which balance huge action set pieces with smaller character building moments. 

Will, who was relegated to the sidelines for the past few seasons, is again front and center, the ramifications of his first season disappearance finally being exploited as the series' inciting event, haunting him in ways that weren't fully addressed until now. It's also a relief to have the old Mike back, resuming the leadership role he used to occupy, even as Eddie's death continues to take its toll on an angry, inconsolable Dustin, whose feud with former best friend Steve leads to one of the season's better payoffs. 

For Jonathan, Steve's presence is only putting a further strain on his already fractured relationship with Nancy while DJ "Rockin'" Robin finds renewed purpose with their challenge ahead. And for the overprotective Hopper, he'll have to learn to trust El and loosen the reigns a little if she's to have a chance at defeating Vecna. But chapters two ("The Vanishing of Holly Wheeler") and three ("The Turnbow Trap") is when business really starts to pick up. 

The decision to recast and age up Mike and Nancy's baby sister Holly proves crucial, mainly due to Nell Fisher's breakthrough performance as the youngest Wheeler, conveying a mix of poise, fear and vulnerability when Holly's abducted after watching mom Karen (Cara Buono) get mauled by a Demogorgan. 

This leads to part one's strongest stretch, while also introducing us to the season's most entertainingly hilarious addition in Holly's school bully, "Dipshit" Derek Turnbow, played by Jake Connelly. Complete with Transformers bed sheets, his G.I. Joe lunchbox and unmatched comedic timing, he kills every line like foul-mouthed, live action Eric Cartman. 

The group using Vecna target Derek and his dysfunctional family as bait leads to that spectacularly funny dinner table scene where a no-nonsense Erica (Priah Ferguson) proudly drugs them all, enabling the team to use their Nightmare on Elm Street inspired booby traps. Both Derek's reaction to the unfolding chaos and his enthusiasm in going undercover to help save his classmates completes his "Delightful" transformation into our new favorite character. But like so many of this season's best laid plans, that rescue mission goes sideways, or rather Upside Down. 

Held captive by Henry at the Kreel residence, Holly's journey is part A Wrinkle in Time, part Alice in Wonderland with even a dash of Little Red Riding Hood as she ventures into the forbidden woods and encounters Max. This bond forms the crux of the whole season, with Sink and Fisher emerging as its co-MVPs when their characters unite to escape, discovering horrifying details about Henry's past in the process. With Lucas continuing to keep vigil at Max's bedside in the real world, she'll realize it's him making all the difference rather than Kate Bush, who doesn't hurt either. 

The somewhat controversial return of El's "sister" Kali (Linnea Berthelsen) has been predicted for a while, giving the Duffers a second chance to potentially close this creative loop, making sense of her overall purpose in the story. And they do, with Kali exposing Dr. Kay's intentions to restart Brenner's program, with El as the centerpiece.  

While Hopper can't trust Kali and she rarely gives him reason to, El does, even if her sister's proposed suicide pact sets off all sorts of alarms. But it isn't until the final episode that we fully appreciate the predicament El's in. There was always a suspicion she might make the ultimate sacrifice, and now that they've gone down that road, it's obvious the strain it's puts on her relationship with Hopper, whose own history losing a daughter informs his every action and emotion. 

If El is to defeat Vecna, it won't be alone, as "Will The Wise" harnesses the full extent of his telekinetic abilities, at least partially due to an emotional talk with Robin. With Will snapping Demogorgin limbs and killing them with his telekinetic powers, the spectacularly staged military base scene provides the ideal cliffhanger heading into part two. In battling the combined forces of El, Mike, and the rest of the team, Henry's biggest liability is his own tortured past. 

Various plans are made, discussed and abandoned in the last four episodes, sometimes creating repetitively awkward pacing issues and jarring transitions. While Jonathan's "un-proposal" to Nancy in the melting room is a clever conceit that honestly addresses their incompatibility, it's overlong. Dustin and Steve's reconciliation hits harder, with Gaten Matarazzo's work effectively charting his character's evolution from resentful, self destructiveness to eventual acceptance upon realizing he can't bare to lose another best friend. 

Dustin's explanation of how the Upside Down functions as a wormhole to the "Abyss" actually makes sense without contradicting any of the other information we've previously gotten. Once Vecna's intentions to use the 12 kidnapped children to merge worlds comes into view, his ability to capitalize on anyone's worst fears is bad news for Will, whose big secret can easily be exploited as a weakness. While it won't come as news to anyone watching that he's gay, the Duffers do manage to make his coming out feel somewhat jarring and unexpected, at least in terms of the execution. At first, it looks as if Will's preparing to tell just Joyce and maybe Mike before pouring his heart out to the entire cast of characters. 

You could argue all day whether a moment like that would take place in 1987, but if it did, there's little doubt those in that room would support him without question. That's why this needs to be viewed as sort of wish fulfillment for how its creators and fans would want Will's confession to play out in the eighties. But the focus on Will's fear of being abandoned by his friends, Noah Schnapp's performance, and those reaction shots of Jonathan and Robin overcome the speech's sappier elements, preventing it from becoming a public service announcement.

Everything involving Max and Holly's attempts to evade Henry and exit the Upside Down doesn't miss, especially their trip through his past, which contains elements from The First Shadow stage play. Wisely though, the writers avoid going too far down that rabbit hole, instead using it as a jumping off point to deepen his story without alienating the uninitiated. 

That all culminates in Max's movingly motivational speech to "Holly The Heroic," who must find her own way out while not feeling all that courageous. Further establishing all Fisher's done with her role and why Sink is still the show's biggest breakout, the rug gets pulled out when Max escapes and Holly again falls into Vecna's clutches, bringing him closer to his ultimate goal. 

Steve's radio tower plan is no crazier than anything else we've seen in these eight episodes, but filled with numerous obstacles, twists and unforeseen complications that diminish its chances of success. With Eleven, Kali, Max and Will all infiltrating Henry's mind to varying degrees, we get the big answer as to how exactly he acquired his powers and why he fears the cave. Like Will, he was merely a vessel, with the key difference being that only one of them chose evil.

Jamie Campbell Bower's chilling turn is one of the finale's biggest strengths, as Henry wages a battle within himself and the Mind Flayer, who doesn't want him seeing how he was manipulated. But his ugly desire for control is what finally pushes him into that cave and past Will's best efforts to get through to him. Whatever remained of that young, scared boy scout was already long gone. They'll be no Vader-like redemption arc for Henry, as it should be.  

An even more consequential conflict exists between Hopper, El and Kali once Vecna gives him a frightening glimpse of El's suicidal intentions to stop Dr. Kay or anyone else from continuing what Brenner started. Now Hopper will need to trust El enough to make a choice his late daughter Sara never had. And that longstanding criticism this series doesn't kill off enough characters is front of mind when Kali dies protecting El, who rejoins the team to take down Vecna and a super sized kaiju Mind Flayer. 

As the only season to take place almost entirely in the Upside Down, everything in "Chapter Eight: The Rightside Up" feels bigger, including the effects, which have rarely looked as impressive than in this closing fight. Punctuated by Rambo Nancy leading the charge with some serious fire power and a pissed, ax wielding Joyce taking her frustrations out on Vecna, the finale's first hour fires on all cylinders.

Exciting and breathlessly paced, the episode reaches its initial climax when El makes her choice to stay in the Upside Down as it explodes, apparently giving her own life to ensure a better future for Hawkins and her friends. And while saying her goodbyes to an apoplectic Mike, we hear Prince's "Purple Rain," marking the song's first officially licensed use in a TV series or film, joining Tiffany's "I Think We're Alone Now" and David Bowie's "Heroes" among the season's definitive needle drops.    

The 45 minute epilogue that catches up with everyone 18 months later could have been tighter, and even if you understand the temptation to give them all an extended goodbye, that rooftop scene with Nancy, Jonathan, Steve and Robin drags on forever. 

This isn't to say there aren't worthwhile moments, like seeing Steve as the Hawkins High baseball coach or Mike being consoled by (Sheriff?) Hopper, who seems at peace with El's decision, unwilling to let anger engulf him again. His advice to Mike hits a touching chord, as does valedictorian Dustin's graduation speech, or at least the part where he pays tribute to Eddie with a clever callback. 

If there's a reason to go hard on some of the Duffers' creative choices, it's because they delay an incredible closing scene that not only feels earned, but brings the story back to where it began and belongs. Seeing Mike, Will, Dustin, Lucas and Max reconvening in the basement to complete their Dungeons & Dragons campaign as Mike envisions their futures feels perfect. Will puts his trauma behind him, college student Dustin reunites with Steve, Lucas and Max get their movie date while Mike embarks on a writing career. 

In saving the biggest reveal for last, Mike spins his theory as to how El could have survived the explosion when we see her arrive at the waterfalls, presumably settling into a more peaceful, isolated existence away from her friends, but no longer fearing for their safety. Whether that's the story he tells himself to accept her death or a credible account of what actually happened, we'll never know. Like these characters, fans are free to believe whatever they want, with the writers leaving that door cracked open just a little, like the best finales do.

When the kids tearfully close their binders for the last time and put them on the shelf, they're saying goodbye to their childhoods just as these actors are. But the real kicker comes when Holly, Derek and friends come storming down the basement stairs to replace them, beginning their campaign and reminding us what the show was truly about the entire time. And with Mike proudly watching on, the realization hits that we've come full circle.    

Two things can be true at once. Episodes can have flaws and you can still love the series for what it is, mainly because we've never seen anything quite like this. It felt like a huge deal going in but somehow seems even bigger when those illustrated end credits start to roll. And while no one wants to hear it, basically every season but the first falls within a similar realm of quality, including the suddenly respected fourth, which was mocked by fans when it first premiered. Given some time and distance, the dust will settle again, freeing this from the constraints of recency bias so it can age on its own merits. A worldwide phenomenon, Stranger Things is sure to enjoy a long shelf life, but also leaves behind an undeniable cultural footprint that guarantees it'll be rewatched and appreciated for years to come.                            

Maestro

Director: Bradley Cooper
Starring: Carey Mulligan, Bradley Cooper, Matt Bomer, Vincenzo Amato, Greg Hildreth, Michael Urie, Brian Klugman, Nick Blaemire, Mallory Portnoy, Sarah Silverman, Zachary Booth, Maya Hawke, Gideon Glick, Josh Hamilton
Running Time: 129 min.
Rating: R

**The Following Review Contains Major Plot Details For 'Maestro' **

★★★ ½ (out of ★★★★)

Mocked by some for being calculated Oscar bait, actor/director Bradley Cooper's long gestating dream project covering the life of legendary composer Leonard Bernstein does share certain similarities with traditionally familiar biopics. But in condensing the essence of this towering, troubled figure into barely over two hours, Maestro also takes some big swings that will probably rattle purists only interested in Bernstein's process as an artist. This focuses more on the moments, as Cooper and co-writer Josh Singer cleverly forego the nuts and bolts of the man's career to focus entirely on his rocky marriage.

Spanning decades, Cooper's selective in what's covered, displaying an incredible grasp of time and place when exploring the challenges of being caught in the orbit of a conflicted, complicated talent who never feels satisfied. After a deliberate start, it only gets better, building momentum before landing a devastatingly painful and realistic final blow. There's a Kane-like quality to how this all unfolds that extends past its monochrome opening, as Cooper makes adventurous creative choices both in front of and behind the camera. Held up by Matthew Libatique's astounding cinematography, the makeup, costuming and production design, the film's a marvel to look at, and for all the jokes about Cooper's self serious intentions, it's the results onscreen that speak loudest.

It's 1943 when 25-year-old assistant conductor of the New York Philharmonic Leonard Bernstein (Cooper) fills in for an ill Bruno Walter, with the performance earning strong enough accolades to launch the young talent to considerable fame. While still in a casual relationship with clarinetist David Oppenheim (Matt Bomer), he soon meets aspiring actress Felicia Montealagre (Mulligan) at a party, eventually leaving him to date and marry her. 

Together the couple have three children, with Leonard composing several successful Broadway musicals as Felicia's stage career flourishes. With the 60's wearing on, his affairs with men and dependency on drugs and alcohol become impossible for her to ignore, taking a toll on their marriage and tearing the family apart. But after finally rediscovering his love for Felicia and his work, unimaginable tragedy strikes, altering the remainder of Leonard's life.  

The story kicks off in black and white with an energetic opening sequence that sees Leonard jumping out of bed and sprinting to Carnegie Hall as the strains of his On the Waterfront score blast over the soundtrack. It grabs you right away, moving a mile a minute before settling into a slightly more predictable rhythm when he first meets Felicia. The first of the film's visually spectacular sequences comes with a rehearsal for On the Town where he all but announces his bisexuality to Felicia, even as it's clear she's fallen too hard to take the hint. Headstrong as Felicia is, her naivete lies in believing her future husband's vices won't matter if she can just keep him in line. 

Cooper plants the seeds early that Lenny's a man constantly craving the presence of others, to the point he can't even be in a bathroom without the door open. For him, the solitary nature of composing is a struggle compared to the satisfaction he gets conducting, which comfortably places him at the center of attention. Part egomaniac and insecure basket case, Cooper conveys these contradictions while also physically capturing Bernstein in eerily accurate ways, such as his nasally vocal inflection. As for the prosthetic nose, it's a lot of fuss about something that would hardly get a second look if not for all the manufactured controversy. 

Kazu Hiro and his makeup team deserve credit for flawlessly aging Cooper into the 70-year-old Bernstein who appears in the bookending scenes. And true to the period, get ready to see enough cigarette smoking for the film to justify its own Surgeon General's warning, which is almost comical considering how the notoriously safe and family friendly Steven Spielberg co-produced. 

The shift from black-and-white to 60's and 70's Technicolor accompanies the dramatic momentum when Lenny and Felicia's marriage crashes amidst his addictions and infidelity. Mulligan's sensational in this section, portraying the pain of a woman unable to continue standing on the sidelines as he flaunts his escapades in her face. When they eventually have it out in a Thanksgiving screaming match at their New York City Dakota apartment, their argument ends with a brilliantly surreal cameo from a cartoon icon that speaks to Cooper's directorial talents and his understanding of the absurdity found in everyday life. 

That showdown and Lenny lying straight to college-aged daughter Jamie's (Maya Hawke) face about his infidelities hit in powerfully different ways, but his conducting of Mahler's second symphony at England's Ely Cathedral is the picture's pinnacle. It's a euphoric and moving six-minute sequence that sees Cooper enthrallingly recreate the maestro's sweaty 1973 performance with tireless physicality, hypnotizing us as the sensation of pure cinema courses through our veins.

If it's hard to buy the claim this is Felicia's story when she's rarely given a scene without him, Carey Mulligan still makes a great case for her being his equal, adding depth and dimension to a thoughtfully written part. That it comes in support of someone else is fine since Lenny's supposed to suck up all the air in the room as she laments his inability to change, or rather a refusal to. The script doesn't evade Lenny's moral shortcomings, but gives him the redemption of being there when needed most, as Mulligan owns the last act with her heartbreaking portrayal. The grim cancer diagnosis is unflinchingly difficult to watch, with the actress continuing to display the character's same grit and stubbornness, even as she fades away in her family's arms. 

There's no mistaking this is a showcase for Cooper, but it's also his career best, touching on more than a few elements that run parallel to the star's own career. Directing this as if he really has something to prove, it's an intriguing quasi-prequel to 2022's Tár, which centered around another embattled conductor, albeit a fictional one. And now her idolization of Bernstein strangely makes even more sense after this. If that film had the market cornered on provoking debate, Maestro is all about feelings and vibes, giving viewers a peek into the tormented genius whose life seemed to flash before everyone's eyes.                                                                               

Asteroid City

Director: Wes Anderson
Starring: Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Tilda Swinton, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Grace Edwards, Aristou Meehan, Sophia Lillis, Ethan Josh Lee, Jeff Goldblum
Running Time: 105 min.
Rating: PG-13

★★★ ½ (out of ★★★★) 

The style vs. substance debate that's followed Wes Anderson throughout his career again rears its head with Asteroid City, an ambitious effort from a very distinctive filmmaker sure to split critics and audiences down the middle. He must be used to it by now, considering how each new release is accompanied by conversations about how Andersonian it really is. For rabid devotees, there's no such thing as too much, whereas just a couple of minutes is more than enough for the harshest detractors. But even as his singular aesthetic still prompts accusations of superficial repetitiveness, few contemporary directors have amassed a body of work so instantly recognizable. No matter what you think of it.  

For all the SNL skits or viral video spoofs, making a Wes Anderson picture is a market he'll always have cornered because there's an underlying sincerity to what he does that no one's been able to duplicate. Even when the execution seems like a parody of itself, there's more there. It's especially true of his best efforts like Rushmore and The Royal Tenenbaums, where style and substance overlap in character-driven stories that go to deeper, rawer places many feel he hasn't returned to since. The jury's still out on where this one lands, but it's definitely a departure of sorts. Or at least as much of a departure as we've gotten from the divisive director in a long time. 

The film's retro futuristic desert setting is a hugely impressive visual achievement brought to surreal life by Robert Yeoman's cinematography and Adam Stockhausen's production design. But there's also a meta layer that distinguishes it, as a stacked cast pulls double duty in both a black-and-white TV documentary special of a play and the play's events, presented in vibrant color. It's also a pastiche of postwar Americana, UFO paranoia and old Hollywood moviemaking that further explores the themes of grief and ostracization constantly present in Anderson's output. In other words, there's a lot to unpack.

The film opens in black-and-white as a TV host (Bryan Cranston) introduces renowned playwright Conrad Earp's (Edward Norton) production of "Asteroid City," a play that takes place in a fictional 1955 desert town of the same name. In it, war photographer Augie Steenbeck (Jason Schwartzman) arrives with his intellectual teen son Woodrow (Jake Ryan) and three daughters at the Junior Stargazer convention where Woodrow is being honored. But Augie's inability to tell the kids of their mother's recent death complicates his already fragile relationship with curmudgeonly father-in-law Stanley (Tom Hanks). 

Also in town is Midge Campbell (Scarlett Johansson), a famous, melancholy actress whose teen daughter Dinah (Grace Edwards) is also being recognized at the convention. Among the other attendees are elementary school teacher June Douglas (Maya Hawke) and her class, a cowboy band led by a singer named Montana (Rupert Friend), the brilliant but eccentric astronomer Dr. Hickenlooper (Tilda Swinton) and five star General Grif Gibson (Jeffrey Wright). 

When a major extraterrestrial event inexplicably occurs during the awards presentation, the U.S. government frantically intervenes to contain the site and quarantine witnesses in town. We're also shown glimpses of the TV special detailing the play's evolution, as the actors struggle to make sense of their roles, most notably Schwartzman's Jones Hall, who helplessly turns to director Schubert Green (Adrien Brody) for creative guidance.

It isn't clear where the story's going for much of the first forty minutes, or even if it's headed in a direction that would set it apart from what we've already seen from Anderson. And despite his penchant for attracting huge names, the involvement of Hanks and Johansson doesn't necessarily signify we're in for something especially unique, as sometimes even the biggest stars have taken back seats to the framing and visual presentation of his pictures. And this one is mind-blowing, shot by Yeoman with a bright, oversaturated artificiality that recalls 50's Westerns like Bad Day at Black Rock. 

As usual with Anderson, the actors dryly deliver their lines with a kind of detached bemusement that almost implies they're playing imitations or mockeries of themselves. Only the real kicker this time is that they actually are. The "play within a play" conceit allow the actors to carry aspects of their performer's uncertainty toward the material into the actual roles, adding an important contextual layer. This works especially well with Schwartzman and Johansson, who delicately depict Augie and Midge's ambivalence toward each another, dancing around their feelings before eventually connecting on a deeper level. Schwartzman's nuanced turn has you wondering why he isn't cast more often as a lead while Johansson perfectly captures this moody, morose Hollywood starlet with an edge. 

Once the UFO event unfolds with the appearance of a wacky looking alien, the script's characters really start to wrestle with various forms of loneliness and uncertainty. And like many Anderson films, it celebrates the quirky outsider, as the Junior Stargazers are far more tuned in and observant than any of their parents, scientists and especially government officials. Those Moonrise Kingdom vibes are definitely present in Woodrow and Dinah's relationship, while the film still manages to incorporate an endless parade of well known faces without it coming across as a stunt.

Hanks, Hawke and Swinton make the most impact with what they're handed and even the smaller parts occupied by Hope Davis, Liev Schreiber and Willem Dafoe humorously fill out the corners of this bizarre world. If there's a true highlight, it's Margot Robbie's sensational single scene opposite Schwartzman, which ties the movie's metaverse in knots to gain invaluably greater insight into Augie and the actor who plays him. Most assumed Hanks' cranky part was originally intended for Bill Murray, but the latter was actually cast as Steve Carell's motel manager before having to pull out. Regardless, Hanks puts his own spin on Stanley and Carell's tiny role would likely be a waste of Murray anyway. 

From the moment an entertainingly deadpan Cranston appears on screen channeling Rod Serling in a Playhouse 90-style special, it's apparent we're in for a rarer breed of nostalgic escape than Anderson usually delivers. A single viewing of Asteroid City won't determine its ranking in his filmography or win over doubters, but much of what the trailer hinted at pans out with Anderson flair, again making it difficult to separate the filmmaker from his creation. But like these characters, we'll just have to accept that understanding everything isn't the goal, or really even necessary at all.

Stranger Things: Season 4 (Volume Two)

Creators: The Duffer Brothers
Starring: Winona Ryder, David Harbour, Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Brett Gelman, Priah Ferguson, Matthew Modine, Paul Reiser, Jamie Campbell Bower, Joseph Quinn, Eduardo Franco, Mason Dye, Thomas Wlaschiha, Nikola Ðuričko, Sherman Augustus
Original Airdate: 2022

**The following review contains major 'Stranger Things' spoilers for all of Season 4 **

★★★ ½ (out of ★★★★)

Whatever your opinion of Stranger Things' two-part supersized fourth season, there's no denying its been the series' most ambitious yet, and for good reason. Wrapping up with two extended episodes and a finale that runs almost two and a half hours long, it's clear the Duffer Brothers were given free reign to run amok, with Netflix setting no creative boundaries. Or, what if they did? It's entirely possible what we've just seen is the result of exhaustive compromises and multiple edits that don't even reflect the complete scope of their vision. That's a scary thought.

All this becomes important to consider as the show readies for its last lap, amidst the looming possibility that things could get even bigger and crazier from here. So while this definitely could have been shortened with little lost, "Chapter 8: Papa" and "Chapter 9: The Piggyback" are far from a slog. Neither are what anyone would categorize as traditional TV episodes due to their running times, but judged as the full-length features they are, it's a massive success.

The penultimate episode is tighter with an explosive finish that helps set the stage for one of the busier, messier action-packed conclusions the series has seen yet. But what makes it work are all the emotional character moments and mystery concerning who makes it out alive, reaching a fever pitch when Eleven collides with Vecna in the ultimate battle of good and evil, with the soul of Hawkins, Indiana hanging in the balance. 

Given everything that could go wrong, it's amazing how much doesn't, largely because the Duffers find a way to keep all the factions of characters simultaneously involved and connected with the same goal despite being geographically separated. There's a lot of cutting back and forth, but it's done really well, leading to an ending with serious ramifications and more than enough juice to carry the story into its fifth and final season, whenever that should come.

With Volume One revealing Vecna (Jamie Campbell Bower) as both Henry Creel and 001, the splintered groups prepare for battle as Eleven (Millie Bobby Brown) is torn between the increasingly divergent philosophies and methods of Brenner (Matthew Modine) and Owens (Paul Reiser). El's powers are returning thanks to the NINA project, but getting back to Hawkins to stop the carnage will be a challenge, especially with Lt. Colonel Sullivan (Sherman Augustus) still determined to find and eliminate her.  

As Mike (Finn Wolfhard), Will (Noah Schnapp), Jonathan (Charlie Heaton) and Argyle (Eduardo Franco) continue their search for El, Dustin (Gaten Matarazzo) out west, Lucas (Caleb McLaughlin), Steve (Joe Keery), Nancy (Natalia Dyer), Robin (Maya Hawke), Eddie (Joseph Quinn) and Erica (Priah Ferguson) are all still in Hawkins, formulating a plan to infiltrate the Upside Down and vanquish Vecna for good. But they'll need to use Max (Sadie Sink) as bait, on the heels of her barely surviving her last frightening near-death encounter with the mind controlling creature. 

With the grandfather clock literally ticking away until Vecna can open the gates to the Upside Down and destroy Hawkins, the gang continues to face danger from every direction as Jason (Mason Dye) and the basketball team are still after the Hellfire Club "cult" they blame for Vecna's brutal murders. Meanwhile in Russia, Joyce (Winona Ryder) and Hopper (David Harbour) are finally reunited, but before they can return home there's some Demogorgon business that needs taking care of.

As its title implies,"Chapter 8: Papa" further fleshes out the emotionally complicated love/hate relationship El has with Brenner, not to mention her role in Henry's monstrous transformation, which was arguably well underway before she sent him spiraling into the Upside Down. And now after appearing to see the light in aiding Owens, mad scientist Dr. Brenner is back in full control freak mode, claiming El isn't yet "ready"for Vecna. It's the latest game being played by a psychotically twisted father figure whose cruel manipulation nurtured and created this monster, who then killed the children he bullied and exploited for years. 

El and Henry were unfortunately the most gifted of Brenner's test subjects, earning them the full brunt of his time and attention, with disastrous consequences. When El takes a stand and tells him off, it's a cold, but short-lived dose of reality, as Sullivan's troops arrive to extinguish them both. Of course, they're no match for a now fully powered El, who telepathically crashes their military chopper in  awesome, Vader-like fashion. 

Considering the Duffer's reluctance to kill off characters, it's somewhat of a breakthrough that Brenner  finally get his, or so it appears. Here's hoping his death sticks this time since backtracking on this would undo everything that's been accomplished in having El grow and mature enough to break from "Papa" for good. As usual, Brenner only shows a conscience or remorse when things go horribly wrong...for him. It's only when he's clinging to life and drawing his final breath that he realizes it might be time to let her go, and even then, he seems more motivated by being forgiven for the unforgivable. El doesn't seem interested, as he slips away, his lifeless body lying in the desert when she escapes into the Surfer Boy Pizza van, reunited with Mike and crew.

A lot of credit should go to Matthew Modine, whose performance took Brenner to another level, bringing shades of humanity to the series' most diabolical character. And that viewers are actually left contemplating how much of his concern was genuine or manufactured is a testament to the mark he left. Going into the final season without him feels right, if El is to move forward, not to mention this also facilitates Owens' inevitable return.

It isn't exactly a secret that Jonathan and younger brother Will were given the short shrift all season, possibly because the entire original group were separated across state lines, only to reconnect in the finale's last 30 minutes. How much of that plot arose from scheduling difficulties or some other considerations we'll never know, but the show makes the most of it, even if the dynamic could be inconvenient at times. Jonathan (whose triangle with Nancy and Steve seems pushed to the next season) and new addition Argyle are mostly used for stoner comic relief while the bigger question revolves around figuring out what Will's deal is. 

Assumptions about Will's sexuality have been simmering since the series' start, but for a character they've done less and less with since Season 1, the writers sure have turned him into a bigger discussion point upon Mike's arrival in California. Will's apparent jealousy over Mike's feelings for El and his emotional outburst in the van (noticed only by concerned older brother Jonathan) over that painting has seemed to only increase that speculation. 

Considering how frustrated diehard fans get over ambiguity and unresolved plot threads, there's likely there's a plan for Will, even if it's probably truer to the era for him to fear coming out at all. While an understandably oblivious Mike misses cues of his best friend's crush on him, it's worth remembering that a similar situation with Robin permanently altered her relationship with Steve, and not necessarily for the better (see this season's clumsily handled Robin sub-plot with the Molly Ringwald dressalike). So, the Duffers will probably need to tread carefully here, doing something that feels authentic to both the character and period, while still complimenting the overall story.

Anyone still wondering where Netflix's budget goes,"Chapter 9: The Piggyback" basically confirms how much of it gets poured into Stranger Things' visual effects, as most of the episode takes place in the Upside Down. While you could argue maybe a little too much time is spent there, it's definitely exciting, with the series again striking soundtrack gold with Eddie having his Metallica moment with the "Master of Puppets" guitar solo and El entering Max's mind to get at Vecna via the makeshift pizza tank, getting around the logistical impossibility of having the entire gang back in Hawkins in time. 

While Mike professing his love for El as she's on the heels of defeat could have come off as corny, it works, mainly because it was a big point in Volume 1 and he provides that extra jolt of motivation for her to get over the hump and win this fight against the big bad of the Upside Down. And by facing a monster in a world she unintentionally helped shape and open, it makes this a lot more personal than her previous season ending battles.

With a bigger than ever cast, the series finds its loophole in killing off key characters by introducing enough compelling new ones that the impact of their deaths feel equally important. Such is the case for Joseph Quinn's delightfully crazed, big-hearted metal head Eddie, who goes through the entire season misunderstood, on the run and hunted like an animal by townsfolk fingering him as a murderer. 

Targeted in what was the very definition of a witch hunt, Eddie's sacrifice and eventual demise give him a hero's exit that recalls Steve's selfless actions at the end of the first season. The emotional moment Dustin shares with Eddie's uncle is one of the series' most moving, enabling Matarazzo to go places with his character he often isn't asked to, providing fitting closure to a brief but impactful friendship that emerged as one of the show's true highlights.

If Wolfhard, Schnapp and Heaton's characters fell somewhat off the radar in these nine episodes, it did allow some other supporting faces to shine through, such as Modine's Brenner and Brett Gelman's Murray. Whether it needed to take nine episodes for Joyce and Murray to bust Hopper out of that prison (and back in again) will be up for debate, but all the hijinks involving Yuri (Nikola Ðuričko) and Enzo (Thomas Wlaschiha) do lead to a satisfying payoff. You could probably bet on not seeing either again, but at least the finale finds the trimmer, samurai-sword wielding Hopper back in full ass-kicking mode, ready to head back home where he belongs.    

Few could have guessed Vecna would again come so close to killing Max that, by all intent and purposes, he does. The blame for that largely falls on psycho jock Jason, as his breaking of the Walkman ensured there would be no Kate Bush to save Max this time. Only Lucas, who puts up a hell of a fight against Jason, and El, who eventually resurrects her. But the sight of Max floating in the air, this time with arms and legs twisting and breaking as blood drips down her face is easily the finale's most jarring moment, further solidifying this as Sadie Sink's season. 

It's usually bad form in entertainment for anyone to use their superpowers to bring back the dead but the Duffers get a pass on this since Max is not only in a coma by episode's end, but the price Hawkins pays couldn't be any steeper. The gates open anyway, Vecna's probably still alive, and what's reported to be an "earthquake" is clearly just beginning. Everyone's reunited (most notably El and Hopper), but they're all in a very bad spot, making this a far cry from the El victories we've become accustomed to.

Closing on a cliffhanger that requires the action to pick up exactly where it left off is a first, leaving unfinished business that seems to require immediate attention when the show returns. Another years-long wait for the remaining episodes might not be feasible this time so the pressure's on for the remaining episodes to have a far faster turnaround. Rather than betting on viewers being as tolerant for another season that equals this in length, you have to think that a return to the tighter, hour-long, seven to nine episode format is the best way to close things out.

Notwithstanding any potential spin-offs, when the book of Stranger Things is written, this could be the season that's most remembered, discussed and argued over. The open-ending appears to take any sizable time jump off the table for the fifth season premiere, but I still contend it would be fascinating for the series' final minutes to take place in present day, but with different actors playing older versions of the surviving characters. But they need to get there first and these two volumes may have helped build a bridge that brings them closer. Until then, this continues defying the odds as Netflix's only long-running series left with true cross-generational appeal. All that's left is sticking the landing.  

Stranger Things: Season 4 (Volume One)

Creators: The Duffer Brothers
Starring: Winona Ryder, David Harbour, Millie Bobby Brown, Finn Wolfhard, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Joe Keery, Maya Hawke, Brett Gelman, Priah Ferguson, Matthew Modine, Paul Reiser, Jamie Campbell Bower, Joseph Quinn, Eduardo Franco, Thomas Wlaschiha, Nikola Ðuričko, Gabriella Pizollo, Mason Dye
Original Airdate: 2022

**The following review contains major 'Stranger Things' spoilers **

★★★ ½ (out of ★★★★)

If it seems like years ago since Stranger Things' last season, that's because it was. Three to be exact. While that's a long time for any series to just pick up where it left off without some kind of decline, this would be affected more than most. Given how rapidly its young cast have matured since the show premiered, it's become a popular joke that when these episodes finally dropped the kids would be entering retirement. A break this long definitely doesn't help the series and Netflix's decision to sit on it after completion only compounds the problem. Making matters worse, the streamer somehow managed to shift complaints about the delay to their unusual delivery method, with this half season of episodes spanning as long as an hour and a half before the remaining two episodes (one of which will be 2 hours and 31 minutes) premiere in July. 

Despite all of that practically priming this season to result in an overstuffed mess, it somehow, someway remains Stranger Things, every bit as thrillingly addictive as it's ever been. It takes only about an episode to get reacclimated, but once you do, the Duffer Brothers step on the gas and don't let up. The extended episodes don't "feel" too long and the pacing rarely lags, so while it may be an inconvenience budgeting them out time-wise, that minor obstacle shouldn't impede too much on anyone's binging habits. And as rumored, the season is considerably darker, but deeper, going to places both familiar and sometimes entirely unexpected. 

So heavily influenced by A Nightmare on Elm Street series it may as well double as a modern-day reboot, criticism that younger viewers should just watch the originals instead is noted, but it's an homage done well, and if it prompts the uninitiated to seek those movies out, that's a win-win. It also features some of the series' best performances, most specifically from Millie Bobby Brown and Sadie Sink, both of whom are given some emotionally heavier material to work with this time around. 

A consistently gripping storyline involving her past returns Eleven to first season highs as a protagonist, making us appreciate just how much Brown brings to the table after maybe taking the talented young actress for granted at times. There's also another outstanding performance so pivotal to the plot it can't even be safely discussed without entering spoiler territory. The whole thing just feels larger in scope, but in a good way, setting the stage for the remainder of this season and beyond.

It's 1986 and nine months after the battle inside Starcourt Mall, as Joyce (Winona Ryder), Will (Noah Schnapp) and Jonathan (Charlie Heaton)have moved to California with Eleven (Millie Bobby Brown), who's being bullied at a new school while trying to accept the loss of her powers. This despite writing letters to boyfriend Mike (Finn Wolfhard) back home that imply everything's fine.

Meanwhile, Mike and Dustin (Gaten Matarazzo) are immersing themselves in Hawkins High's "Hellfire Club," a Dungeons and Dragons role playing club led by likable manic metal head named Eddie Munson (Joseph Quinn). Key member Lucas (Caleb McLaughlin) is now preoccupied with his emerging popularity as the school's star basketball player, separating himself from the rest of the group, including Max (Sadie Sink), who's still mourning her brother Billy's (Dacre Montgomery) death at the hands of the Mind Flayer. 

Soon, the gang must put their heads together when cheerleader Chrissy Cunningham (Grace Van Dien) is haunted by supernatural visions and gruesomely murdered under mysterious circumstances, with the the blame being placed on a fleeing Eddie. But as the group sees signs it could be the work of a creature from the Upside Down, they again join forces with Steve (Joe Keery), Robin (Maya Hawke) and Nancy (Natalia Dyer), to investigate. Meanwhile, Joyce receives a package in California that points toward Hopper (David Harbour) having survived the mall explosion and being held captive in a Russian prison camp. 

As Joyce and Murray (Brett Gelman) plan to retrieve Hopper, Eleven must rely on Owens (Paul Reiser) for protection from an onslaught of U.S. Army agents blaming her for the latest deaths. But now given the opportunity to possibly restore her powers, she'll have to face a painful past, and an unwelcome familiar face, as the monster known as Vecna continues collecting victims in Hawkins.

The distinction between this and previous seasons isn't the episode length or pacing so much as how many stories are simultaneously unfolding over separate locations with various factions of characters. The time jump may only be under a year in show chronology but everyone's in a different place than when we last left them, at least geographically. And where they're all at emotionally is commensurate with how you'd expect these teens to be evolving and maturing as high school students, reflecting our initial amazement at how much older they physically look compared to three years ago. 

Mike, Dustin and Lucas couldn't remain outcast nerds forever so it's fitting they find a pocket of social acceptance without sacrificing any of the quirks or qualities that initially defined their characters. The Hellfire Club is the ideal way to go about this, introducing a compelling new character in Eddie, who brings a new and welcome crazy element that represents a the type of fun 80's archetype that rarely gets old, especially when played this entertainingly by British actor Joseph Quinn. 

From the first season, Dungeons & Dragons has functioned as sort of background wallpaper to the series, with the classic RPG serving as a vehicle for establishing the kids' personalities and status as outsiders. Here it takes center stage, as the Hawkins community is in full satanic panic, looking to pin the recent killings on the harmless misfits who play it, mirroring manufactured hysteria of that time. But even as Mike and Dustin find a friend in Eddie and an outlet for their nerdiness, Lucas starts aligning with the school's jocks as the lure of possible popularity proves too much. He has a choice to make, and how he struggles with it is one of the more effective sub-plots in a half-season stacked with plenty. 

As Lucas' loyalty to the group faces it biggest challenge, Max is psychologically deteriorating before everyone's eyes, remaining sullen, withdrawn and angry following the loss of Billy, making her the perfect mark for Vecna. When hallucinatory visions of doomsday clocks, bloody noses and headaches start to materialize, Max realizes what she's experiencing is far more than teen angst or even a mental breakdown, despite her symptoms functioning as a frightening manifestation of both. She's the next intended victim on Vecna's kill list and only her friends can save her.

The race to rescue Max from the clutches of Vecna in "Chapter Four: Dear Billy" is surprisingly moving and full of enough action and backstory to serve as a de facto finale only a few episodes in. But by this point we're barely halfway there and a series that's been known for its masterful selection of music adds Kate Bush's"Running Up That Hill (A Deal with God)" to its playlist, as the 1985 song's themes and lyrics not only prove central to Max's story, but vitally organic to the actual plot. 

Bush purists will scoff at so many discovering her music for the first time through this, but it's unlikely the long underrated English artist minds a hefty paycheck along with the added bonus of introducing a new generation of fans to her work. And considering Sadie Sink has probably experienced the biggest career boost since last season, the Duffers were wise to showcase Max in a big way, letting the actress carry many of the early episodes after being somewhat sidelined last season. And Sink really delivers, standing out amongst a more crowded cast than usual. 

If there was any doubt just how far the Elm Street influence extends, the presence of Freddy Krueger himself, Robert Englund, only solidifies this. His performance as Victor Creel, a survivor whose family may have been killed by the same supernatural force terrorizing Hawkins decades later, is brief but memorable. His accompanying flashback is part of what provides the literal and figurative gateway to the answers the group's searching for. Nancy, Robin and Steve are in full investigative mode, and if there's any problem with the season it's that it ends up being so dark that the comedic hijinks don't land quite as seamlessly as we're accustomed.

While the revelations and 50's flashback that come from Nancy and Robin's meeting with Creel is creepy and enthralling, their means of the interview is a bit silly in execution. Of course, the same accusation could be thrown at Jonathan's character, who spends the seven episodes pretty much stoned out of his mind with equally dazed pizza delivery buddy Argyle (Eduardo Franco). 

With Nancy and Jonathan in separate states, there's an attempt to gain some mileage from their fractured long distance relationship being on the ropes, but Steve's become such a popular, dependable character that even the writers have given up presenting Jonathan as a viable option for her. The most successful comedic relief comes from Lucas' spunky sister Erica (Priah Ferguson), an impromptu road trip to hacker Suzie's (Gabriella Pizollo) chaotic house and Joyce and Murray's multi-episode spanning journey to retrieve Hopper, which is ripe with all sorts of complications. 

In some ways it's a compliment that humor takes a backseat to what's a far more insidious central story than we're used to, as the very first image we see is the bloody aftermath to a massacre of children at Hawkins Lab that earns one of the more justified Netflix content warnings. There's so much narrative business to deal with that the only episodes that seem long are the ones trying to squeeze some of the lighter stuff in. But "light" is the last word you'd use to describe Eleven's situation, which is the season's most involving plot by a landslide. Mainly because it's everyone's, regardless of whether the other characters know it yet. Living in California with the Byers as Jane Hopper, the loss of her powers combined with cruel, constant bullying exposes a vulnerability in our protagonist we haven't seen since the initial season. 

The Duffers wisely exploit viewers' misplaced confidence that El's grown enough over the past few years that she'd have minimal problems readjusting to life in a new school and interacting with peers. It's not as if she hasn't evolved by leaps and bounds in Hawkins, but through Brown's performance and the writing, we're harshly reminded Eleven will never be "normal." It's not possible because she isn't, and the sudden loss of her powers (as well as her separation from Mike) has led to a sense of hopelessness just as she's needed most. Paul Reiser's returning Sam Owens has a plan to restore her psychokinetic gifts, but only if she's willing to go to some painfully traumatizing places that have been long buried.

Utilizing a specialized isolation tank called "NINA" El can access memories of her time with the other children at Hawkins Laboratory. Unfortunately for her, the mastermind of this experiment is the surprisingly still alive Dr. Martin Brenner (Matthew Modine) aka "Papa." And she'll need to accept, and maybe even embrace or harness, his cruel manipulation for this project to work. Going down the rabbit hole that is Hawkins Lab circa 1979, it's revealed that ostracization and bullying isn't exactly something unfamiliar to her. 

Continuing to believe she's responsible for the deaths of those children and fellow test subjects, El's unnerving trip down memory lane exposes these students as jealous and spiteful, threatened by her abilities while fiercely competing for Brenner's attention and praise. There's a lot of interesting stuff going on here, with Modine afforded the opportunity to add extra layers and dimensions to Brenner that arguably surpasses what he did in the first season, causing us to view the character in a new, more complicated light. 

Whether Brenner can even be partially trusted is another matter altogether, as are his motivations for using these kids as guinea pigs for his immoral experiments. But there's still a threat far worse he can no longer contain and control. These disturbingly hypnotizing flashbacks reveal much about El's history under his care while some impressive de-aging technology is used to depict her younger years. Stepping into her own memories to get answers and possibly reclaim her powers within this dizzying dreamscape, El's helped by an orderly named Peter Ballard (Jamie Campbell Bower), who may provide the clarification she's looking for. 

Volume One's finale ("Chapter Seven: The Massacre at Hawkins Lab") might be the series' finest hour, or hour and a half to be precise. Given how much was jammed into this first volume, there were legitimate doubt surrounding whether the Duffers could pull this all off and have it make sense. But you have to appreciate any twist where the answer was right in front of our faces the entire time, though just out of reach, superficially insignificant enough to go overlooked. 

Bowers' performance as Peter is calm and creepy throughout but intentionally not substantial enough to send up red flags until the final two episodes. And when it does, we're still unsure of his exact intentions and too preoccupied with his relationship to El to consider how he fits into a far larger picture. That's why when Ballard not only reveals himself as "001," but Henry, the disturbed son of Victor Creel, responsible for his family's death and the lab massacre years later, it works. The bread crumbs were all there, even as the pieces didn't completely fit together until the end. El being a pawn in his game to break free from Brenner's control leads to the season's ultimate showdown, as El sends him spiraling into what we now know as the Upside Down, where he becomes Vecna. Origin story complete, with more details sure to follow, as it's possible the writers could have planted other clues far earlier. 

It's a lot to take in, but holds together, tying up some loose ends and explaining some of the more questionable developments in these seven episodes. With El having now faced her past trauma in the  and realizing she's more superhero than monster, it's reasonable to expect her powers will be restored at full force when Mike and company head to Nevada to retrieve her. And they really conjure up some first season vibes when Dustin, Lucas and Erica communicate via Liter-Brite with Steve and company in the Upside Down. 

With Hopper evading the Demogorgon and reuniting with Joyce in Russia, you have to figure he'll be also be reconnecting with El sooner than later. Ironically enough, the bigger mysteries might revolve around Nancy and Steve, considering the former is in Vecna's clutches while the latter's still pretty seriously injured, his fate in doubt. But all roads seem to be leading to a final battle where Vecna gets his rematch with the rehabilitated Eleven.

As far as shockers go, this season features its most noteworthy yet, with multiple story arcs converging in one revelatory moment, whetting our appetites for where the remainder of the show could be going. That our trust in the Duffers' storytelling has been rewarded to such an extent is a big deal considering long game twists aren't something the series has been known to dabble in until now. In the face of seemingly insurmountable expectations, Stranger Things came to play, alleviating all concerns that a long layoff and extended episodes would prevent the series from again matching the lofty standards it's already set. 

Fear Street Part One: 1994

Director: Leigh Janiak
Starring: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Hechinger, Ashley Zukerman, Darrell Britt-Gibson, Maya Hawke, Jordana Spiro, Jordyn DiNatale, David w. Thompson, Elizabeth Scopel, Gillian Jacobs
Running Time: 107 min.
Rating: R 

★★★ (out of ★★★★) 

It's almost impossible to watch Netflix's Fear Street Part One: 1994 without wondering if the project would have existed in this incarnation without the success of Stranger Things. Despite being based on YA horror author R.L. Stine's Fear Street series of books that began in 1989 and being earmarked for an adaptation for years, you wouldn't be wrong to assume it was really The Duffer Brothers' achievement in mixing supernatural horror with Goonies-like nostalgia that really pushed this through. 

Drawing upon that series for far more than just mere inspiration, director Leigh Janiak employs a tone and style that will seem very familar to anyone who's even seen so much as a minute of that show. While she's hardly the first to borrow the template and it can be either good or bad depending on the execution, there's no question the bubble will have to burst at some point, even if we're not there yet. But as far as Stranger Things disciples go, it still ranks as one of the stronger efforts by managing to walk the very thin line of appealing to the younger demographic with its story and placating older horror fans by not cutting corners on the gore and violence.

Even as someone who wouldn't be a part of Netflix's target audience for this three-part series of films released over consecutive weeks, they've kind of made it impossible not to have a great time with it anyway. With familarly likeable, throwback characters, clever dialogue and a decent enough premise, it's also a giant mess of sorts, but one that has the noblest of intentions. So even if the MTV meets Riverdale aesthetic is starting to wear a little thin in pop culture of late, this makes as good a case as any that it can be partially overcome with the right approach. 

The name "R.L. Stine" isn't exactly synonomous with graphic violence, sex or murder, so that Janiak is  able to push things in this direction in a way that doesn't feel forced is impressive, even managing to secure an 'R' rating. Certain aspects are weird, flawed and occasionally cringeworthy, but you definitely won't be bored. Whether it has enough creative gas in the tank for two sequels and beyond remains to be seen, but even when the material goes overboard, it has a compulsively watchable quality that should suck most viewers in.

It's 1994 when mall bookstore employee Heather (Maya Hawke) is murdered by her friend Ryan (David W. Thompson), who's shot to death by authorities, marking the latest in a long line of murders plaguing the town of Shadyside. Many teens believe the source of these troubles stem from a witch named Sara Fier who was executed in 1666, shortly after allegedly placing a curse on the town, even if Sheriff Nick Goode (Ashley Zukerman) remains skeptical. 

Deena Johnson (Kiana Madeira) also has doubts, despite her brother Josh's (Benjamin Flores Jr.) obsession with collecting newspaper clippings of the murders, frequenting AOL chatrooms and researching the town's sordid history to confirm the witch theory. But when Deena's closeted girlfriend, Sam (Olivia Scott Welch) moves to the rich neighboring town of Sunnyvale, her drug-dealing friends Simon (Fred Hechinger) and Kate (Julia Rehwald) get involved in a brawl with the Sunnyvale teens during a vigil. When the fight leads to a terrible accident, Sam sees a vision of the Fier witch, forcing the four teens to band together to stop the murderous rampage that's descending upon Shadyside.

The film's opening might be its best overall sequence, with Maya Hawke playing a quirky B. Dalton employee being hunted after hours in the mall by a skeleton-costumed killer. Even if the Stranger Things vibes are heavily present due to the setting and actress, it's really meant to echo the opening of Scream, with Hawke's character and performance paying homage to Drew Barrymore's role in that film. And it does so successfully, with Janiak making it clear right away that she's come to play, delivering a payoff a whole lot more violent and atmospheric than expected given Stine's scholastic roots. And from there things really hit the ground running with an onslaught of action and exposition that rarely pauses for us to take a breath, introducing all the characters and setting the stage for the overarching mythology that follows. 

We're also inundated with a plethora of 90's music and cultural signposts that leave absolutely no doubt as to what decade we're in. With Nine Inch Nails, Bus, White Zombie and other era-specific hits all making soundtrack appearances within the film's first half hour, it wouldn't be unusual to hear complaints about nostalgic overkill. Since 1994 is pretty much my favorite period in music, I can handle being hammered with it, especially since the soundtrack is spectacular and Netflix didn't cheap out, securing the rights to original versions of these songs rather than inferior covers.

Thankfully, the breakneck pace slows down some when the horror plot begins unraveling and we settle in with the characters, who are suprisingly compelling considering each are very much fulfilling a specific 90's movie horror "type." The relationship between Deena and Sam bucks this trend a bit, as both have enough to them that they defy categorization while confidence-challenged underdog Josh (played really well by Flores, who was so good in Showtime's Your Honor) is the easiest to get behind. The screenplay gets a good amount of mileage out of his crush on the popular, but outwardly cold Kate while Fred Hechinger brings the same unhinged, off-the-wall eccentricity and charisma to Simon as he did to the recent The Woman in the Window, with loony mannerisms that at times recall a young Joaquin Phoenix.

The supernatural mythology involving the Fier witch, her ties to the multiple Shadyside killers and what's necessary to break this curse isn't where the film most excels. It's possible this changes in the next two installments when more layers of explanation are added, but right now it seems convoluted and too dependent on "rules" not yet fully established. The plot's fine for what it is, but where the picture's bread is really buttered is in its 90's setting and Janiak's willingness to not hold back on the violence when its story unquestionably calls for it. 

One particular killing toward the end is a brual shock considering Stine's reputation and the genre of books this is based on, so give Netflix credit for doing the opposite of watering things down. As a property, Fear Street was always going to be a cash grab, and while it's presentation doesn't exactly contradict that, it's at least done with some dignity and respect for the new audience it's aimed toward. But more importantly, it's just plain fun. It may also be one of the few times where a "To Be Continued" title card makes sense instead of causing viewers' to roll their eyes in frustration.

Occupying this strange content space that resides somewhere between an anthology horror series and a feature film trilogy, Netflix was the only feasible fit for this experiment. That the following entry takes place in 1978 and will supposedly be patterned after Friday The 13th and other camp slashers of that era would seem to carry even more promise on paper. Having it tangentially related to this but still existing independently as its own entity is probably a wise idea, even as all of them still share the same director. Fear Street's an intriguing concept, but also one that can get tired very quickly if each doesn't distinguish itself enough or gets all tangled in knots trying to sort out the mythology. If it can void that, 1994 has a promising enough start to believe Netflix might have another mini-franchise on its hands.          

Stranger Things 3

Creators: The Duffer Brothers
Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Noah Schnapp, Sadie Sink, Natalia Dyer, Charlie Heaton, Joe Keery, Dacre Montgomery, Maya Hawke, Priah Ferguson, Cara Buono, Andrey Ivchenko, Brett Gelman, Cary Elwes, Jake Busey, Alec Utgoff
Original Airdate: 2019

★★★ ½ (out of ★★★★) 

If we needed additional evidence of just how many variables and complications face the writers of a series spanning years in the lives of its young characters, the trailer for Netflix's Stranger Things 3 provided it. What jumps out is how much older they look, an issue bound to impact this show more than others. Rarely has a series been as steeped in the nostalgia of a specific era, focusing primarily on youthful protagonists who, quite literally, have grown up in front of our eyes. More than a mere backdrop, the era and age of the kids seem to inform every decision the Duffer Brothers make,"getting" the way they talk and behave in a way unseen since Spielberg mastered it.

In harnessing adults' memories of being a kid while simultaneously crafting a pulse-pounding sci-fi story that that appeals to both, Netflix delivered a cross-generational hit worthy of all its praise. But kids grow up fast and one look at the cast now confirms they're nearly teens whose characters may have outgrown some of the hijinx that first captured our attention. Or rather, some of the challenges they've faced may have forced them to. How would the show handle this? Luckily for us, head on.

By not only acknowledging the obvious, but leaning into this seismic change, the show's able to explore a dynamic between its characters the two other seasons couldn't, making it an essential entry on par with both, if not better. Ads hinted at what the first episode makes clear right away: Stranger Things hasn't lost a step, committed to evolving its story, while twisting and turning some of its more familiar elements to fit in a whole new way. One of the smartest things they did was set the series early enough in the 80's that the kids could be a few years older while remaining firmly entrenched in the middle part of that decade. And now this season manages to squeeze whatever it can out of this time period, and then some.

1985 was a big year for pop culture, and even for show known to revel in its every aspect, they really turn it up with film and TV references, not to mention an even more period-loaded soundtrack than usual. It's an onslaught of homages that could be considered too much under any other circumstance, but Stranger Things gets a pass with the sheer earnestness and sincerity in which it's delivered. And while it's pushing the nostalgia button even harder than before, most will likely be too absorbed and invested in its many intersecting storylines and characters to notice. Capped an enormously satisfying, emotional finale that closes old doors while simultaneously opening new ones, it's a season that dares to be different by making some bold, creative choices, silencing the scepticism that we'd just be in for more of the same.  

It's summer '85 and change is afoot in Hawkins, Indiana, as residents are flocking to the newly opened Starcourt Mall, a project sheperded by sleazy, corrupt Mayor Kline (Cary Elwes) that's led to the closing of many of the town's smaller stores and businesses. This heavily affects Joyce (Winona Ryder), who's still mourning the death of boyfriend Bob Newby (Sean Astin) and considering a move out of Hawkins. But when Will (Noah Schnapp) gets uneasy feelings that something's wrong despite the portal to the Upside Down being closed a year ago, he finds himself on the outside looking in, with his friends having moved on from Dungeons and Dragons to dating.

Eleven's (Millie Bobby Brown) now in a full-fledged relationship with Mike (Finn Wolfhard) and while she may have been able to give her powers a rest after a while, her biggest challenge is fending off an angry, overprotective dad, as the Magnum PI-obsessed Hopper (David Harbour) tries to split them up. Lucas (Caleb McLaughlin) and Max (Sadie Sink) are together and Dustin (Gaten Matarazzo) is returning from "Camp Know Where '85" with news of a mystery girlfriend that may or may not exist.

Dustin's been hanging out with old buddy Steve (Joe Keery), who's been working with former classmate Robin (Maya Hawke) at Starcourt's nautically-themed ice cream shop, "Scoops Ahoy!" While there, they pick up a transmission from the Russians who have enlisted enlisted a group of scientists to re-open the portal to the Upside-Down, confirming Will's worst suspicions and leading Hawkins Gazette interns Nancy (Natalya Dyer) and Jonathan (Charlie Heaton) to investigate. But now with the Mind Flayer having already posessed Max's brother, Billy (Dacre Montgomery), and now setting its sights on the rest of the town's residents, Eleven and the gang must band together again to do battle.

So much of what makes this season click is how meticulously it's mapped out, with many of the characters grouped off on their own adventure that ultimately lead them all back together to fight off this unstoppable force of evil that's now stronger and more powerful than ever. The mall setting and plot it takes a lot of cues from Dawn of the Dead, while also heavily drawing from other classic sci-fi influences like Invasion of the Body Snatchers and Scanners. We also find the gang drifting apart as they struggle with emerging adolescent problems, making for an excellent backdrop to the turmoil brewing within a rapidly changing Hawkins, at least partially brought on by Elwes' arrogant, cigar-chomping mayor.

Combining all this with the Mind Flayer getting his hooks into an already dangerous Billy, and the Russians somehow gaining access to the portal technology, it makes for an exhilarating run of episodes that rarely allows viewers to come up for air. And not only do these subplots and excursions manage to logically connect in the end, but each holds up equally well in their own right, deepening every character.

Hopper is crankier than ever and bickering with Joyce, seeming to crack under the pressure of having to now be the father of a rebellious tween. Their kidnapping of non-English speaking Russian scientist Alexei (a season-stealing Alec Utgoff) and alliance with the returning eccentric conspiracy theorist Murray (Brett Gelman) provides a lot of laughs, but even that carries serious stakes as they're hunted by a Soviet "Terminator" named Grigori (Andry Ivchanko) who's out for blood.

A vast majority of the season's enjoyment comes from the "Scoops Ahoy!" gang, as Steve, Robin and Lucas attempt to get the bottom of what's going on with some unexpected help from Lucas' little sister, Erica (Priah Ferguson). Their adventure could be a show unto itself, and feels like it is, with Joe Keery turing in his best work his yet at Steve while being matched completely by a revelatory Maya Hawke as Robin, a smart, quirky new character who definitely marches to the beat of her own drum.

The chemistry between Robin and Steve is comedic gold, with the latter put through the physical and emotional wringer in ways that surprisingly deconstruct his character. Their love-hate friendship builds to the point that you're completely sure where that's going, until it doesn't. While I'm still not in completete agreement with the writers' eventual choice for them, it was definitely an unexpected one that flies in the face of expectations, How satisfying you find it will depend on whether the major "revelation" feels as organic as everything else involving the two. I'm not sure it did.

They're also involved in the sole Back to the Future shout-out, which we knew would be coming at some point, and eventually does, to no one's disappointment. This, and the most memorable needle drop in the show's history, involving a spontaneous sing-along to a certain ubiquitous 80's movie soundtrack hit are the season's two biggest pop culture moments, invoking nostalgia for the audience while also managing to fit really well into the story.

The Starcourt Mall ends up being the centerpiece setting that all eight of these episodes revolve around, and when you consider the work that must have gone into transforming a vacant mall in Georgia into an exact recreation of a functional, period accurate 1980's-era shopping center in Indiana bustling with teen activity, it's pretty astounding. It's probably the show's most fun setting thus far in that the audience who grew up going to these malls will have a blast spotting the many defunct brands and old school storefronts visible in every scene. An almost equal production achievement is the Hawkins' Independence Day fair, which perfectly captures the look and feel of the era's traveling amusement carnivals, utilizing many retro rides in a memorable action sequence involving Hopper. 

It's of little suprise that the mall takes a beating in the finale battle between The Thing-like Mind Flayer and the kids, which ends up topping the previous two season-closers by more deeply exploring and challenging the true extent of Eleven's powers, as well as the emotional and physical toll they've taken on her. But to say the season ends on a cliffhanger would probably be stretching it as far as the that episode's running time since it's unlikely anyone will believe that the writers would actually go through with what was heavily implied in the final minutes. Still, there's no denying the intrigue surrounding how they'll eventually explain their way out of it. And that's the hook, as what's ahead will have questions sorrounding it as big as the series has faced. Where the characters leave off in "The Battle of Starcourt" spells out that the end may soon be in sight, regardless of whether viewers are ready for it.