REVIEW: Stranger Things 4 Volume 1

The newest season of Stranger Things find our players scattered geographically, battered emotionally. Almost a year after the battle of Starcourt mall, Joyce moves her kids, including newly orphaned El, to California, away from the site of her grief. Meanwhile, those left in Hawkins get to try and put the pieces back together, and across the sea, Hopper fights to stay alive in the hopes that he might see his family again one day. It's not an ideal time for Hawkins to come under attack from the forces of the Upside Down, but when the Mind Flayer unleashes his newest threat, the cancerous Vecna, our heroes are all that stand between their home town and bottomless evil.

I'll acknowledge I miss the levity of the ten-year old players, but maturity looks really good on this cast. (The emotional depth, that is. I will never get used to Noah Schnapp's booming tones.) The best parts of this season feature our characters finally sowing wisdom from their experiences. They're not just getting older, they're growing up, and not just the kids. It's nice to know that all this time we've spent raking them across the monsters has given them some perspective. (Most of them, I guess. They apparently couldn't think up a better storyline for Nancy, one of their strongest characters, than to have her regress back to her sophomore love triangle.)

It's a token of the series' writing that the tension runs rich even when the monsters are nowhere in sight. While less graphic than last season, which literally saw human bodies being melted into flesh puddles, the monster violence plays more sadistically than seen with previous agents of the Upside Down.

Speaking of which, this arc devotes more time to worldbuilding than any season past. Questions we might have had about the Mind Flayer and the terrifying hellscape he reigns over all the way back in 2016 are beginning to be answered. In doing so, the series risks taking away what was arguably its funnest story element. One thing that separated this show from other fantasy shows was that there was no ambassador of the Underworld springing up to outline the terms and conditions, allowing the characters, and the audience with it, to take real ownership over the fantasy.

But even as various facets are finally defined and mapped, and even as its child stars begin to move past their grade school years, the show preserves its unique whimsy, a loyalty to a mindset that champions a childlike methodology. Gamers and nerds will stay standing long after the rest of us are gone.

A lot of the dialogue leading up to this season's premiere has centered around simply how big it is. The available episodes come in at about nine hours, and we haven't even hit the two-and-a-half hour finale yet. What's interesting is that the extra volume actually feels well-spent during the early half of the volume (the first third of the season overall). The extra time helps carve out the emotional intricacies of our heroes, which helps tether the action to a place that feels vulnerable. The latter-half, admittedly, feels a little bloated. Three episodes go by and you realize you've been spinning tires trying to break through problems that surely shouldn't be taking this long to resolve. From this side of the pay-off, it's difficult to say with much confidence whether the setup has been well-spent.

And yet, despite the darkness and despite the extra stuffing, the show remains loyally dedicated to the heart which has always set it apart. Episode 4 in particular culminates in a sequence which ranks as emotionally charged as anything else we've seen from this series.

With the season's final two episodes still hanging over us, much of this season's impact and success is still up in the air. With all the seeds this first batch of episodes has planted, it's not like that golden peak isn't within reach.

--The Professor

Comments

We're Back! a Dinosaur's Story - Getting Lost in the "Last Frontier of Imagination"

Last month, Variety ran a piece observing, “Hollywood Can’t Survive Without Animation. So Why Won’t the Industry Respect It?” by Clayton Davis, who reported , “In the nearly five decades that domestic grosses have been tracked, an animated film has finished the year as the No. 1 release just seven times, beginning with Disney’s “Aladdin” in 1992. Now the medium is having an unprecedented run, with “Inside Out 2” and “Zootopia 2” topping the last two calendar years (a first for animated movies to lead the box office for two consecutive years) and the latter becoming the highest-grossing animated film ever domestically. “The Super Mario Galaxy Movie” is leading 2026 so far and is the only film to cross $1 billion. Setting aside the 2020 and 2021 pandemic seasons, which emptied theaters of family films, animated features have made up about 20% of the year’s 10 top-grossing releases over the past decade. And yet, the artists who make these movies have rarely felt less valued: In May 2024, ...

REVIEW: Spider-Man - Brand New Day

Somewhere in the multiverse, there's an opening chord of a review where I celebrate Spiderman: Brand New Day as some kind of welcome "return to basics" for the MCU, but that's not more than partially true. This movie is a lot more straightforward than cohesive than most Marvel pics from the early stretch of the decade. Feige finally feels confident that, yes, we know that there's a multiverse, and we don't need more reminders. But this is also not a budget Marvel movie. The film still designs an elaborate fireworks show for Peter Parker to dance around. There is also definite signaling for future Marvel adventures. Sadie Sink's stealth role in this movie (a sizzling introduction into the MCU) teases the integration of a new family of superheroes set to join the ranks of The New Avengers. But these sneak peeks feel like just that, and unlike sloppier Marvel pics, they aren't made to bear the weight of the e...

My Criminal Father Surrogate: Masculinity in A Perfect World

I've been wanting to tackle the subject of "masculinity" in film for quite some time now, but I hadn't quite known how best to do that. There's a certain buzzword, "toxic masculinity," that especially elicits a lot of strong feelings from a lot of different angles. While a post-#MeToo world has exposed some very disturbing truths about the way masculinity has historically performed, I'm not here to roast 50% of the world population. Actually, I really want to talk about a man's capacity for good. Ted Lasso (2020) There’s certainly a lot of discussion to be had for newer media celebrating men for possessing attributes not historically coded as "manly." But what's even more fascinating to me are the attempts to bridge the gap between traditional masculinity and new age expectations--to reframe an older vision of manhood within our modern context. Which brings me to Clint Eastwood’s 1993 film, A Perfect World. ...

REVIEW: The End of Oak Street

There's something vaguely Spielberg about The End of Oak Street , and I don't really even mean the dinosaurs, which look quite a bit different from the CG masterworks of the seminal '93 film. The Platts are a conventional American family living in 1980s suburbia who are caught in a bizarre time anomaly that sends their entire neighborhood back to the prehistoric age. What follows plays like a more visceral rendition of '95 Jumanji . There's a very PG13 level of blood onscreen. But most of the anxiety derives from just how unceremoniously the dinosaurs are seen snacking on the neighbors. Without ever feeling like it's trying to outsmart the audience, the film drives home the idea that, yeah, if your street was sucked into a wormhole, the dinos would get you too--and probably without even needing to try hard. Among many other things, the movie is a masterclass in filmmaking tension. Amidst a stampede of gigantic fang...

REVIEW: The Rivals of Amziah King

The first note I made for this film is that I knew a bunch of cowboys growing up. But I regretfully did not know any who were just so willing to burst into song. I thought then that I knew what I was getting into with this movie. But I could not anticipate what this story would try to feed me. The movie sees Amziah King, a good-natured beekeeper, smalltown musician, and all-around good dude, sorting through some business deals as he happens to reunite with his former foster-daughter, Kateri. Crossing paths again allows them to mutually rediscover what they gave to each other as two people who lifted each other up. But when King's entire stock is stolen at the worst possible moment, Kateri gets to step-up and defend what is theirs. Amziah King is McConaughey at his most endearing. His ability to put the viewer at ease is the film's greatest trick. I've heard some buzz about this being his best performance ever. I'd...

Thawing Disney's Frozen Heart

As a millennial Disney fan and film student in utero, I often thought about what it would have been like to be there when Aladdin or The Little Mermaid , or even “Snow White” or The Jungle Book , premiered to the culture. It’s one thing to grow up and realize you have a piece of film history with you here in your living room. It’s another to get to watch the culture transform as it engages for the first time with something And I have this envy for a great many cinematic works. Like, what I would give to go back to 1946 and tell those losers who dismissed It's a Wonderful Life how they had no idea what they were sleeping on. But the Disney canon’s place within the culture is also specific. Their commitment to delivering hopeful stories to an audience that believes itself beyond such frailties as faith or kindness is unparalleled, and that makes their contributions worth studying and celebrating. And so I didn’t take it for granted during that period in late 2013/early ...

The Banshees of Inisherin: The Death Knell of Male Friendship

I’m going to go out on a limb today and put out the idea that our society is kind of obsessed with romance. In popular storytelling, t he topic has two whole genres to itself (romantic-comedy, romantic-drama), which gives it a huge slice of the media pie. Yet even in narratives where romance is not the focus, it still has this standing invitation to weave itself onto basically any kind of story. It’s almost more worth remarking upon when a story doesn’t feature some subplot with the main character getting the guy or the girl. Annie Hall (1977) And it’s also not just the romantic happy ending that we’re obsessed with. Some of the most cathartic stories of romance see the main couple breaking up or falling apart, and there’s something to be gained from seeing that playing out on screen as well. But what’s interesting is that it is assumed that a person has a singular “one and only” romantic partner. By contras...

An Earnest Defense of Passengers

I've heard a lot of back and forth over what the purpose of film is and what we should ask from it. Film as a social amenity kind of has a dual purpose. It's supposed to give the population common ground and find things that people of varying backgrounds and beliefs can unify around. On the other hand, film also creates this detached simulated reality through which we can explore complex and even testing ideas about the contradictions in human existence. In theory, a film can fulfill both functions, but movies exist in a turbulent landscape. It's very rare for a film to try to walk both lanes, and it's even rarer for a film to be embraced upon entry for attempting to do so. Let me explain by describing the premise of one of my favorite movies, Morten Tyldum's 2016 film, Passengers . A key piece of this film ’s plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who premat...

Hating Disney Princesses Has Never Been Feminist pt. 1

Because the consumption of art, even in a capitalist society, is such a personal experience, it can be difficult to quantify exactly how an individual interprets and internalizes the films they are participating in. We filter our artistic interpretations through our own personal biases and viewpoints, and this can sometimes lead to a person or groups assigning a reading to a work that the author did not design and may not even accurately reflect the nature of the work they are interacting with (e.g. the alt-right seeing Mel Brooks’ The Producers as somehow affirming their disregard for political correctness when the film is very much lampooning bigotry and Nazis specifically). We often learn as much or more about a culture by the way they react to a piece of media as we do from the media itself. Anyways, you know where this is going. Let’s talk about Disney Princesses. Pinning down exactly when Disney Princesses entered the picture is a hard thi...

Butch Cassidy and the Sundance Kid: Westerns Riding off into the Sunset

In both my Les Miserables and Moulin Rouge! pieces, I made some comment about the musical as the genre that receives the least love in the modern era. I stand by that, but I acknowledge there is one other genre for which you could potentially make a similar case. I am referring of course to the western film. See, musicals at least have Disney keeping them on life support, and maybe one day we’ll get the Wicked movie Universal has been promising us for fifteen years [FUTURE EDIT: All good things, folks ]. But westerns don’t really have a place in the modern film world. Occasionally we’ll get films like No Country for Old Men, which use similar aesthetics and themes, but they are heavily modified from the gun-blazing-horseback-racing-wide-open-desert w esterns of old. Those died, oddly enough, around the same time musicals fell out of fashion. Professors Susan Kord and El...

Films and Feelings

Search This Blog