Hops and Box Office Flops

We went. We saw. We conquered! Well, sort of. Capt. Cash and I return with the briefest of brief recaps of this year's huge San Diego Comic Con (SDCC), the 50th anniversary of the convention.

We offer our thoughts on Marvel's mic dropping Hall H, HBO's Watchmen trailer, and the new Amazon series The Boys, which is based on the comic of the same name!

This episode, as I stated, is not in depth, but fear not, listeners; we will return with our next episode, Hellboy (2019), in short order.

Did you attend SDCC? Hit us up on our Twitter (@HopsandBOFlops) to discuss your favorite things from this year's show.

If there is one thing that the MCU can be blamed for, it's the rush to build a movie universe. DC tried, mostly failed, and had to soft reset; Universal's monsters went back into the vault only one film in; and now, sadly, Godzilla: King of the Monsters may have taken this burgeoning franchise down that same path.

Unlike its 2014 predecessor, which was heavily criticized for its reluctance to show the titular monster, King of the Monsters doesn't only double down, it essentially quintuples down—stuffing the film with enough Titans (their moniker for the Kaiju) to fill a host of sequels to come. There's only one issue: That presumes there will be many sequels to come.

In that way, it put the cart far ahead of the horse; whether you liked this film or not, it's undeniable that it is a flop. Of the three movies so far in the Monsterverse—2014's Godzilla and Kong: Skull Island being the others—this was the least successful, grossing almost $100 million less domestically than the film it was meant to be bigger and better than. Worldwide, it hasn't fared well either, lagging far behind both Kong and Godzilla (2014).

Even worse, it wasn't just a disappointment financially. It was panned critically. Comparatively, at just 41%, its reviews were exactly 34% less favorable than the other two. Therein lies the problem. In attempting to course correct for 2014's methodical approach, it overshot. And it continued to bungle the other central element that plagued the first—the humans. Why, in a movie filled with incredible CGI creations, do we spend so much time with them?  

Believe me, it pains me to write this. Over a decade of my childhood is deeply intertwined with this character. As I've mentioned on the pod, I owned every VHS through 1995's Godzilla vs Destroyah. I desperately wanted this to work, so we could get the promised—and hopefully more proper—*Godzilla and King Kong showdown. 

Alas, it may not come to pass. If Kong vs Godzilla fares similarly, I fear the franchise is not long for the world. 

But, hey, it's not all doom and gloom. Join us as we take you through all the highs and lows of King of the Monsters, and if you love Godzilla, you may just learn a thing or two. So sit back, grab a Tricerahops Double IPA from Ninkasi Brewing, climb aboard the broad back of Monster Zero, and enjoy as I, the Thunderous Wizard (@WriterTLK), and Chumpzilla flee in terror from a whole host of titanic monsters with an environmental agenda!

This Week's Segments:

• Introduction – We break down this epic monster throw down. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—Godzilla's dust up with Sir Charles, his obsession with caffeinated drinks, and more—from this week’s episode!

*The original Toho version is bad even by people stomping around in rubber suits standards; that's not my Kong.

Summer is known for popcorn entertainment, boasting blockbuster films that are meant to be enjoyed with little thought about their message or theme. Starship Troopers is not one of those films. Though it was billed as a straight forward, science fiction action shoot-em-up (just watch the trailer)—and it certainly works as one—Starship Troopers is much more. It's an evocative take on the dangers of a society fueled by war and a populace indoctrinated by powerful, omnipresent propaganda.

Directed by Paul Verhoeven (RoboCop, Total Recall, Basic Instinct, among others)—who'd grown up in Nazi-occupied Netherlands—the film is a satirical interpretation of Robert Heinlein's pro-war novel of the same name. That fact is an important one. Every bit of this film is intentional.

From the "Would you like to know more?" commercials on state-run TV to the incredibly handsome cast, Verhoeven styled his movie to mirror that of a Nazi propaganda film from the 1930s. And it's brilliant. Unfortunately, that is not how it was received. Upon its release, Verhoeven's message sailed largely over the heads of both audiences and critics, sending the film's box office receipts down "wash out" lane (It grossed roughly $120 million worldwide on a budget of $105).

But that failure does not define it. Since its mediocre theatrical run, it has steadily garnered a following, which, as we discuss, is a great thing. There is no better time to see Starship Troopers than the present. Literally.

So sit back, grab an Elysian's Immortal IPA, prepare to slug it out with hordes of angry alien bugs, and enjoy as I, the Thunderous Wizard (@WriterTLK), Capt. Cash, and Chumpzilla do our parts for the preservation of mankind!

This Week's Segments:

• Introduction – We break down the film's superb satirical take on fascist propaganda. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—Macaulay Culkin's admiration for the film, as well as his foray into professional wrestling, how greedy suits turned RoboCop into a cartoon, and more—from this week’s episode!

In 2000, 20th Century Fox’s original X-Men hit theaters. It wasn’t necessarily the only catalyst in the comic book movie boom to come, but it was an important one. It was a proof of concept and demonstrated that as a medium, comic books could translate well to film.

19 years and 11 films later, Fox’s X-Men series has finally come to an end. Its sendoff—X-Men: Dark Phoenix. Like its titular character, Dark Phoenix is a stark turn for the franchise both in quality and in financial receipts. At 23% on Rotten Tomatoes it's the worst reviewed of the films, even clearing the low bar set by the franchise's previous turkey X-Men Origins: Wolverine (37%).

Monetarily, the X-Men movies have been quite profitable, banking over $6 billion. Dark Phoenix’s contribution to that has been paltry.

In three weekends—the third may have been its last in theaters—it has banked just over $60 million domestically and just shy of $233 million worldwide (That's less than half of the average per film contribution to the above total). For a film with a reported budget of $200 million, those numbers are staggering. As of now, the film is estimated to lose anywhere from $100 to $120 million. That, ladies and gentlemen, is a bomb. 

To put it in an alarming perspective, 2000’s X-Men grossed just over $157 million domestically. If you account for inflation, that would be over $262 million today or $200 million more than Fox’s final film.

What went wrong? Well, a number of things, truth be told. Multiple delays, reshoots, having to redeem Apocalypse, and the specter of Disney’s impending purchase could all account for the lack of enthusiasm. To me, though, Fox's series had just run its course. Creatively it had exhausted itself, and rehashing a storyline that had already been done—2006’s X-Men: The Last Stand—didn’t help matters.

It was time; they just realized it too late. Thus, instead of riding off into the sunset with Logan, more so Days of Future Past for the entire team, they tried to carry the momentum forward. It backfired. These things happen.

All that said, Fox has nothing to be ashamed of. Sure, they stumbled at the end, but they also gave use some of the finest entries in the comic book film universe. And that’s what I will remember most.

So sit back, grab a Two Brothers In the Dark Sour Ale (Somehow, Capt. Cash and I didn’t know there was a tie-in beer for this movie), hop aboard the crazy train with shape-shifting aliens, and enjoy as I, the Thunderous Wizard (@WriterTLK), and Capt. Cash answer an urgent message from space.

This Week's Segments:

• Introduction – Our general reaction to the film, which covers our mutual distaste for its myriad of failings. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—Kinberg’s enlightening interview and more—from this week’s episode!

Tis' the season of big budget movies. The time when theaters play host to all manner of spectacle—featuring films that cost a boatload, but make more in one week than many do in a year. The 13th Warrior is not one of those films. Well, it is and it isn't

Costing over $160 million dollars—a result of extended reshoots and compulsive tinkering—it grossed only $61 million worldwide, earning it the dubious distinction of being one of the worst flops in box office history.

Based on a Michael Crichton novel—which was in its own way an ode to Beowulf—directed by John McTiernan, and boasting a cast of genuine Nordic actors, The 13th Warrior had the makings to be an authentic feeling period piece—one that did its source material justice. Instead, it became a cautionary tale.

Did it deserve its cruel fate? Yes and no. Though the book, titled Eaters of the Dead, wasn't exactly fit for a wide audience, the movie was only meant to cost $85 million. And it's not far-fetched to believe that had the onset bickering and infighting not tarnished it, it would've at least recouped that. The ballooning budget, dreadful test screenings, and an omnipresent power struggle is what truly did it in, even leading the studio to abandon plans of a formal premiere.

So, if nothing else, it's an interesting disaster. It works it parts, lacks in others, and as a viewer, one can't help but wonder where it all went wrong and what could've been different.

So sit back, grab some fine mead from the Superstition Meadery or a Magic Hat Barroom Hero Pub Ale, sharpen your sword and enjoy as I, the Thunderous Wizard (@WriterTLK), and Capt. Cash battle the Wendol to ensure our rightful place in Valhalla!

This Week's Segments:

• Introduction – Our general reaction to the film, including Capt. Cash's borderline obsession with it. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—the chronicling of the on-set discord and more—from this week’s episode!

It’s fitting we end our “Coming-of-Age” month of movies with Can’t Hardly Wait. In every sense of the term, it is a teen cult classic. Oozing with 90s nostalgia, its setting will feel familiar to anyone who grew up in that highly confused and musically challenged decade.

More important, it’s just a heck of a lot of fun. Featuring Jennifer Love Hewitt—who was at the peak of her stardom—an instantly relatable Ethan Embry (Capt. Cash's high school doppelgänger), a dynamo performance from Charlie “Remember me? I was in Hook!” Korsmo, and one of the great all-time cameos from Jerry O’Connell, Can’t Hardly Wait is a must if you’re a child of that era.

And that’s why it has endured. When it was released in 1998, it did ok, grossing around $25 million on a budget about half of that. Through the years, though, it’s blossomed. And if you haven’t had the chance to see it, there’s no better time than the present. If anything, it’ll remind you—maybe more times than you’d like—that Smashmouth was a legitimate thing back then.

So sit back, open your yearbook to the most nostalgic page, crank the Paradise City, grab a Founders All Day IPA, and enjoy as I, the Thunderous Wizard (@WriterTLK), and Capt. Cash reunite Love Burger for this once in a lifetime performance!

This Week's Segments:

• Introduction – Our general reaction to the film, lingering questions, and our impromptu Can’t Hardly Wait-themed drinking game. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—the legend of Charlie Korsmo, the odd Garfield subreddit, and more—from this week’s episode!

From roughly 1997 to 2002, Freddie Prinze, Jr. was a legitimate thing. The peak of that thing, in terms of overall success and his place in the billing, was She's All That, an overtly misogynistic tale of a popular, athletic guy who falls for a not-so popular, nerdy girl. She wears glasses; he wears a letterman's jacket. She enjoys art; he frets about actually getting accepted to great colleges (no, really). That is the depth of this dichotomy.

The catch: He only falls for her after betting his sleazy friend that he can turn her into the prom queen through the strength of his own social status.

It's high school trope after high school trope rolled neatly into a typical "Coming-of-Age" tale that sort of resonates, but not really. That's not to say that the film is without its charms. There are a few; and despite its flaws, I'm unashamed to admit I enjoy the heck out of it. 

Shockingly, for a film that adds little to an already overstuffed genre—and dissimilar to many of the movies we cover—She's All That was a smash hit, grossing over $100 million worldwide on a budget not even a tenth of that. What earned it a spot on the show? Well, like many of our episodes, it wasn't well reviewed, nor does its general concept age particularly well, making for a lot of good podcasting fodder.

So sit back, get nostalgic to some Kiss Me from Six Pence None the Richer—yes, that is the actual name of the band—grab a Hoppy Bitch IPA—shout out to Taylor Vaughn—and enjoy as I, the Thunderous Wizard (@WriterTLK), and Clement Von Franckenstein (aka Wolfgang MacLeod, aka the Irate Lover), part like the Red Sea at prom for an impromptu, yet highly choreographed dance for the ages!

This Week's Segments:

• Introduction – Our general reaction to the film and lingering questions we have. Spoiler: One of us really disliked this movie. (00:00)

And, as always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—the head-scratching script doctor, a malodorous practical joke, and more—from this week’s episode!

Caution: This brief podcast is dark and full of spoilers.

Capt. Cash and I (@Writer: TLK) return for a solemn look at the final episode of Game of Thrones, The Iron Throne. We offer our overall impressions, as well as share our favorite episodes and characters. We also shed light on the things we found to be disappointing as we say goodbye for the last time. Though this season may have underwhelmed, we both agree that this was a tremendous, groundbreaking series, and we will miss it dearly.

Enjoy GoT? Check out all of my reviews for the episodes so far.

• Episode 1 – The Dragon and the Wolf

And be sure to let us know your thoughts on all the happenings in Westeros—who took the throne and who survived—by hitting us up on our twitter, @HopsandBOFlops.

If you would, take a trip with Wolfgang MacLeod and myself (@WriterTLK). Where are we headed? To the magical, whimsical, and musically fantastic era known as the 1980s! Take Me Home Tonight is a tale primarily centered around a guy's last chance to find love with the girl he pined over in high school, but it's also about growing up.

Listen, I know. "Coming-of-Age" movies are not exactly unique. The angst of our teenage years is something that is instantly relatable to a great percentage of the population. That's why they work so well. What separates Take Me Home Tonight is its unabashed admiration for the 80s. Unlike movies that were filmed during the decade, this one had the benefit of time. It is able to incorporate some of the more outlandish elements of the period in a way that is equal parts comical and nostalgic. It also boasts an incredible cast—Topher Grace, Dan Fogler, Michael Biehn, pre-fat Pratt Pratt, and Anna Faris, to name a few—as well as a soundtrack chock full of totally awesome 80s hits. 

Unfortunately, and despite our fervent recommendation, this film was a flop. On a budget of $19 million, it grossed just over $7. As egregious as we may find that, it just never found an audience. Don't be one of the people who missed it. Watch this movie. It's not perfect, but like an ice cold Bartles & Jaymes, it's pretty damn close.

So sit back, pour yourself a Most Excellent IPA, and crank the Duran Duran because its time to go back to a better time! A time when the hair was moussed, the shirts were pastel, and Breakdancing was the purest form of combat!

This Week's Segments:

• Introduction – Our general reaction to the film and lingering questions we have. (00:00)

• *This segment is dark and full of spoilers.

As always, hit us up on Twitter (@HopsandBOFlops) to check out all the interesting factoids—Biff Trump, our beer recommendation, and more—from this week’s episode! And stay tuned for more awkward teen comedies as we journey to the 90s in the coming weeks with She's All That (which, and I found this to be baffling, was a huge hit) and Can't Hardly Wait!

Caution: This brief podcast is dark and full of spoilers.

Capt. Cash and I (@Writer: TLK) break down The Bells, the penultimate episode of Game of Thrones‘ final season and perhaps its most controversial one. We offer our overall impressions, pose lingering questions we may have, and speculate on what should be an absolutely bonkers finale. "Fire is the champion of House Targaryen..."

Enjoy the show? Check out all of my reviews for the episodes so far.

• Episode 1 – The Dragon and the Wolf

And be sure to let us know your thoughts on all the happenings in Westeros—the intrigue, the politicking, and the Red Keep roast—by hitting us up on our twitter, @HopsandBOFlops.