Series review | Stranger Things (Season 4 Part 2) – Bigger Isn’t Always Better

The original proposal for ‘Stranger things’, as its own creators recall, The Duffer Brothers, described the series “as if Steven Spielberg were directing a lost Stephen King novel”, that is, a kind of apocryphal Holy Grail for those of us who grew up under the protection of Amblin productions and the paperback editions of the god of Maine. For this fourth season, that old description has been nuanced with current trends: especially in these last two episodes, the Duffers have decided to make a fully modern ‘blockbuster’, with all the danger that this may entail. Where before they said Spielbergnow they could say Snyder.

See the duration, clearly excessive, of the last episode: 150 minutes, only half an hour less than ‘Avengers: Endgame’; the longest episode in the history of American television. We must also speak of excess in the use of digital effects, not in the villain (Vecna, a prodigy created almost entirely with traditional makeup effects, based on seven hours a day) but in the general action of the World of Reverse or some catastrophic images as inspired by Roland Emmerich. Also in an accumulation of climaxes in parallel that the Duffers do not handle with the musicality of a Christopher Nolan.

Decisions like this can end distorting the original idea: recovering the essence of an entertainment cinema in which astonishment was sought through more original ways than noise and (literal) explosions. Or also end up excessively dwarfing some characters who, after all, are the true secret of the success of the series. That simple reunion between two men of very different ages, already in the last of the many minutes of the season, charges the screen with more emotional electricity than any infographic display.

Long Mutant Climax

Related news

And this, as Vecna ​​recalls in the series, is only the beginning: the beginning of the end. What in the UCM would be worth as a final game is here a simple putting the cards on the table. To summarize these chapters without ‘spoilers’, we will simply say that, as ‘The Massacre in Hawkins Laboratory’ progressed, Vecna/Uno/Henry (Jamie Campbell Bower) has turned out to be a seminal and integral piece of the Hawkins and Upside Down mythology, the character with whom almost everything begins and everything should end. The 235 minutes of the final stretch of the season focus on a dangerous mission of annihilation to several gangs (and dimensions) in which at least two beloved characters serve as bait and, although Max (Sadie Sink) initially prefers to dismiss it, Kate Bush ends up making an appearance again.

As is to be expected in ‘Stranger things’, even in the middle of a long climax like this, the series can mutate in genre: from (now) pure terror to stoner comedy and from there to an intimate drama about the value of difference, this one led by a Will (Noah Schnapp) on which he plans the imminence of a quite predictable revelation. It is not so much a whim as respect for a cinema of the eighties that was already like that: there was no fear of frightening children; there were no qualms about looking for stimuli from all angles. A time honored sometimes in spirit, sometimes in the form of clear nods to ‘The halloween night’, ‘sixteen candles’ or other hits. This retro-current remix is ​​still enjoyable, but it’s starting to run the risk of being too current: even its main theme comes to sound unnecessarily pompous arrangements this time.

Source link

Leave a Reply

Your email address will not be published.

Back to top button

Adblock Detected

Please consider supporting us by disabling your ad blocker