Sunday, March 15, 2026

A Second Look: Gigantor

 

Welcome back for another edition of A Second Look with Jeff Stockton! In this segment I will take a "second look" at a past LRF release with a fresh set of eyes. 

When Gigantor first arrived in Season 21 as the debut film from writer Joshua Collins, I remember being less irritated by any one specific flaw than by the film’s total uncertainty about what it wanted to be. The story follows Jimmy Sparks (Finn Wolfhard), an awkward freshman sent to live with his eccentric scientist uncle Dr. Bob Brilliant (Paul Rudd), where he discovers he can mentally bond with the giant robot Gigantor, originally built by his supposedly dead father Robert Sparks (Colin Hanks). What starts as a bullied-kid-meets-giant-robot adventure gradually turns into a family melodrama and super-sized city-smashing showdown, as Robert returns, steals back Gigantor with Jimmy’s jealous cousin Johnny (Jack Dylan Grazer) as an accomplice, and tries to use the machine for world domination before Jimmy reclaims control. Back then, my reaction was basically that the film felt stranded between audiences: too garish, broad, and cheesy to work for older anime fans, but too tonally odd and old-fashioned to fully connect with younger viewers who had no attachment to Gigantor in the first place. It reminded me a lot of Speed Racer in that way - another Wachowski project with visual ambition and cult sincerity, but one that seemed weirdly calibrated for nobody. I felt it probably would have worked better as animation, where the sillier elements might have come off as charming instead of awkward.

Revisiting it now, I more or less feel exactly the same. The tonal and audience-level whiplash is still the defining problem: the film wants the innocence of a kid-friendly robot adventure, the melodrama of a fractured-family story, and the candy-colored maximalism of a hyper-stylized sci-fi fantasy, but it never finds a stable mode to hold those things together. The goofy material is not inherently a problem - Gigantor should have some goofiness - but the movie never figures out how to modulate it, so scenes that should feel fun or emotionally big just land with a thud. Wachowski’s direction sinks into the same quicksand that trapped Speed Racer: visual busyness, uncertain tone, and a persistent sense that the filmmakers are making the movie for an audience that only exists in theory. There are bits of charm in Wolfhard and Rudd, and the premise still has some old-school appeal, but the adaptation never solves the most basic question of who it is for.

Original Grade: C-

New Grade: C-


Release: The Friend Zone

 
The Friend Zone
Genre: Fantasy/Comedy
Director: Michel Gondry
Writer: Joshua Collins
Cast: Chris Pratt, Anna Kendrick, Kiefer Sutherland, Dakota Fanning






Budget: $65,000,000
Domestic Box Office: $54,124,947
Foreign Box Office: $40,221,034
Total Profit: -$25,000,113

Reaction: Marketing seems to be one of the issues here. Writer Joshua Collins has called the film a romantic comedy, but it was never presented to the studio to market it as such. Genre selection - and how a film matches that selection - is an important aspect of the marketing for LRF.



“The Friend Zone has a funny premise, turning a rom-com clichĂ© into a literal dystopia, but the execution quickly wears thin. The satire leans too hard on skits and gags, often telling us the joke instead of letting it land. Pratt does his familiar routine without much depth, Kendrick brings some warmth, and Sutherland feels wasted in a cartoon villain role. The worldbuilding is fun at first, but the middle drags and the climax collapses onto itself.” - Billy Laken, The Washington World



"Michel Gondry’s The Friend Zone takes a familiar romantic frustration and turns it into a surreal fantasy satire. The film has clever ideas about insecurity, emotional self-punishment, and the absurd rituals of modern dating, although its satire sometimes becomes repetitive. Still, the story’s gentle humor and heartfelt romance give it a satisfying emotional center." - Reggie Dunn, Sacramento Bee




"The Friend Zone has a killer premise—a dystopian town where people are literally trapped obsessing over the person who rejected them—but frustratingly never pushes the idea as far as it should.Chris Pratt is charming as the lovesick Dale, and Anna Kendrick carries the emotional weight as Corrine, yet the film feels like it’s constantly flirting with something much stranger than it actually becomes. It’s all funny and occasionally clever, but I do wish the film would have gone more all-in on the surreal nightmare the concept is capable of." - Michael Van Patten, Slant Magazine









Rated PG-13 for sexual references, thematic elements, and language.





Saturday, March 14, 2026

Last Resort Films Jukebox: The Friend Zone

 


Now Showing: The Friend Zone

 
The Friend Zone
Genre: Fantasy/Comedy
Director: Michel Gondry
Writer: Joshua Collins
Cast: Chris Pratt, Anna Kendrick, Kiefer Sutherland, Dakota Fanning

Plot: Dale Rivers (Chris Pratt) is hopelessly looking for love, enduring a series of bad dates. When his longtime friend Rebecca (Dakota Fanning) breaks up with her boyfriend, Dale finally gets his chance. They have a great date and spend the night together, but in the morning, Rebecca’s ex calls and proposes. Elated, she agrees to marry him, leaving Dale heartbroken as she thanks him for always being her “best friend.”

Walking through the city, Dale sees couples everywhere, from kids holding hands to lovers proposing, intensifying his sense of loneliness. At a bus stop, he reluctantly agrees to take a picture of a couple. When the bus arrives, he boards, not noticing that its destination reads "The Friend Zone." Onboard, he sees other sad, lonely passengers, including a guy on the phone who loudly insists he’s “definitely not in the Friend Zone, saying its for losers who can’t accept a girl they like doesn’t like them back.”

When the bus stops, Dale finds himself in a strange town. Confused, he meets a homeless man who tells him he’s now in the Friend Zone, where leaving isn’t an option. As Dale wanders, he’s approached by Corrine (Anna Kendrick), a “Match Maker,” who bluntly explains that he’s here because he’s a classic “rebounder.” She takes him to his new home on “Platonic Blvd.” The house is covered in wallpaper from roof to floor of pictures of Rebecca. and gives him a list of strict rules, including no physical affection, mundane conversations only, and limitations on proximity. She even has a contract for him to sign, agreeing that he can only love Rebecca from afar, forever.

Dale protests the absurdity of these rules, comparing it to mental torture, but Corrine just laughs and hands him a recruitment card, suggesting he consider becoming a Match Maker. Before leaving, she reminds him to follow all the rules, mentioning that “hidden cameras” ensure compliance. She tells him he needs to complete the video training for the Friend Zone. Dale sits at the computer and boots up the orientation website. Led by a hyper-cheerful robot or guide, he watches a series of overly cheerful videos explaining the rules, complete with exaggerated warnings about breaking them. This orientation could include ridiculous tips for “safe” interactions, like keeping “emotional guardrails” and “pre-approved phrases” handy.

That night, Dale tries to relax but is shocked when the TV blares out an announcement about Rebecca’s wedding. In his frustration, he attempts to tear down a poster of Rebecca, but a disembodied voice warns him that tampering with his “Wall of Affection” could lead to eviction. As he stares at his bed’s decor—Rebecca’s face on both sides of him—he realizes the Friend Zone is more stifling than he’d imagined. His bedroom has a “Birth of Man” style painting of Dale and Rebecca as God and Adam.

In the morning, a robotic announcement from a bedside device wakes him, cheerfully reminding him that Rebecca is still his “best friend.” His TV switches on with details of Rebecca’s night with her fiancĂ©(going into details about they sex they had that Dale isn’t having). Disgusted, Dale rushes outside to explore, discovering more of the town’s bizarre restrictions. Tape lines on the sidewalk enforce “safe” distances, and signs forbid displays of affection or only allowing mundane conversations. He overhears others delusionally waiting for their crushes to notice them, and begins to grasp just how deeply trapped he is.

At the Friend Zone Town Hall, Dale is granted an interview with Mayor Cuffman (Kiefer Sutherland), a strict, intimidating figure who monitors residents’ behaviors closely through security cameras. Cuffman says he knows all about Dale. “Your Zoner: Rebecca Allen. Friends since preschool. You’ve grown up together, ‘like siblings,’ Cuffman chuckles to himself. Dale says, “You’ve seen my Twitter profile, eh?” Cuffman explains that the Friend Zone is a place of strict emotional “discipline.” that not everyone can be a Matchmaker. Dale reluctantly accepts the job, despite his doubts, and Cuffman assigns Corrine to train him as a Match Maker.

Corrine takes him on patrol, explaining that they must enforce the town’s rules at all times. They find themselves just outside of the Compliance Center. Dale asks about it, Corrine says its a place rule breakers go if they happen to step out of line. They go inside and have a look around. It’s a bleak creepy lab that has people strapped to chairs, being forced to watch their person on a big screen enjoying themselves and looking sexy in model poses and dancing sexy as a way to make rule breakers fall in love with their Zoner again. Dale sees one person shouting painfully as he’s watching his Zoner cook food in a bikini. She drops a spatula and bends over to pick it up.

During their patrol, they respond to a “code 564” at a cafe, where a resident is reprimanded for asking a waitress for her number. Dale is horrified when another Match Maker uses a cattle prod to subdue the man, but Corrine dismisses his shock, saying it’s just part of the job, but a glimmer of guilt appears on her face.

That night, Dale lies in bed, unsettled by his first day on the job and the grim realization that he’s now part of this oppressive system. Across town, Match Makers drag a woman into Cuffman’s office; she’s been caught violating the rules and is terrified. Cuffman learns she’s pregnant, a major violation, and pressures her to name the father. She refuses, and Cuffman threatens to send her to the “Compliance Center.”

Meanwhile, Dale is awoken by a commotion as Match Makers raid his neighbor Paul’s house. They tell Dale that Paul broke the Friend Zone’s rules by “cheating” on his Friendzoner. Cuffman drags Paul to the Compliance Center for “recalibration,” Clockwork Orange style, where he’s forced to watch images of his Friendzoner, Kristen, looking and being sexy, in a psychologically punishing sequence until he breaks down and “recommits” to his assigned obsession. 

On their daily patrol, Matchmakers Corrine and Dale navigate the rigid "Friend Zone" where citizens remain trapped in unrequited love, unable to move on. As they interact, Dale questions the rules, lamenting, "a place that forces you to handcuff yourself to someone who won’t love you back." Corrine explains the structure: residents are kept fixated on those they can't have, and Mayor Cuffman’s oppressive rules prevent any genuine relationships. Dale wonders if there's an escape, but Corrine reveals that the only exit is reciprocated love—rare and nearly impossible under Cuffman's iron grip.

The Friend Zone citizens have required weekly group sessions where the people discuss their stories of unrequited infatuation with their Zoners. Some people share how they got to the friend zone. Therapists often give unhelpful advice to the group, only filling their minds with false hopes that their Zoner will love them. Corrine is in one of the group sessions, she explains how she’s a Friend with Benefits with her Zoner. She loves him, but he only wants her for free sex. She says she was almost sent to the compliance center for violating her wall of affection, but Cuffman gave her a job as a Matchmaker.

Despite strict prohibitions, Dale asks Corrine on a date. Shes reluctant to break the rules but Dale says they can work around it. They share "dates" where they sit near but not beside each other, savoring brief moments that bend the rules without breaking them. Their connection deepens in private moments on Corinne's apartment rooftop, the only place free from surveillance, where they laugh, share stories, and, eventually, share a passionate kiss that leads to implying they have sex. Corinne reveals her true name to Dale, a rare personal disclosure that solidifies their bond.

Their newfound happiness catches Cuffman's attention. During a lineup, Cuffman warns his Matchmakers to stay emotionally vigilant, emphasizing the importance of keeping residents in their "tunnel vision of love." Suspicious of Dale and Corinne’s closeness, he has them under increased surveillance. Under pressure, the two continue to act distant in public but secretly meet to reaffirm their feelings, straining under Cuffman's watchful eyes.

Eventually, Dale can no longer hide his love, exclaiming to Corinne on the rooftop, "This suppression of my feelings is driving me crazy!" Their forbidden romance is confirmed as they share another kiss—one caught by Cuffman's surveillance team. Enraged, he orders their capture.

A comedic yet tense chase ensues as Dale and Corinne flee on their segways, pursued by other Matchmakers. Citizens watch in confusion as they’re pursued through the streets, and in the chaos, both are eventually captured. Cuffman confronts Corinne, revealing his motivation for creating the Friend Zone: he too was once in unrequited love and built this world as a place where others would suffer as he did. He admits his feelings for Corinne, hoping she’ll join him as his partner and help him control the Friend Zone.

Feigning interest, Corinne plays along, calling him “like a brother” just as Dale sneaks up and knocks Cuffman out with a cattle prod. They escape as Cuffman’s world begins to collapse, and the ground shakes. Matchmakers try to chase Dale and Corrine out of city hall. Buildings crumbling in the distance, other citizens run for cover. Dale and Corrine retreat to the rooftop where they first connected, sharing a kiss and saying “I love you,” to each other as the Friend Zone implodes around them.

In an epilogue, Dale wakes up in the real world. When Rebecca calls asking him why he hasn’t RSVP’d to their wedding, Corinne takes the phone and tells Rebecca “they may be too busy” with Rebecca on the other line asking “who the heck is that?!”

Spacehog Cruel to be Kind plays us out over the credits..

In a mid-credits scene, Cuffman is seen in his room, now plastered with images of Corinne, as his daily affirmation device reminds him of the unlikely odds of her ever loving him back. The TV turns on, giving Cuffman an update on Corrine and Dale’s sex life, not sparing the details. Cuffman holds his head and screams.



Friday, March 13, 2026

Top 10 Bella Thorne Films

 

Sherman J. Pearson here for another Top 10. A surprising talent has hit 10 films this round... Bella Thorne. To commemorate the occasion, I've take a look at her filmography - including Vultures, which just came out this round. I'll warn you, LRF has not been particularly kind to Ms. Thorne until recent seasons.

Top 10 Bella Thorne Films
10. Columbine
9. Eye of the Scarecrow
8. Happy Birthday
7. ID
6. The Vegan Movie 2: Tariq Goes to Sarah Lawrence
5. Damned Ship
4. The Vegan Movie
3. Bigfoot
2. Vultures
1. Suburban

Release: Vultures

 
Vultures
Genre: Horror
Director: Rob Zombie
Writer: Clive Steinbeck
Cast: Sheri Moon Zombie, Bella Thorne, Richard Brake, Chloe Cherry, Naturi Naughton, Scout Taylor-Compton, Danny Trejo, Jeff Daniel Phillips, Fairuza Balk, Daeg Faerch, Lew Temple, Bill Moseley





Budget: $13,000,000
Domestic Box Office: $17,614,946
Foreign Box Office: $11,894,445
Total Profit: $7,320,090

Reaction: While not a hit, Vultures was a nice low-risk profitable project. Make this a second profitable collaboration in a row for writer Clive Steinbeck and director Rob Zombie.





"Vultures is Rob Zombie going full desert-grindhouse: sadistic bikers take over a rundown strip club near the Salton Sea, only for the dancers to fight back in a messy, blood-soaked survival showdown. It’s mean, sleazy, and absolutely committed to its vibe. Not for everyone, but if you like your horror rough and nasty, it hits the spot." - Zeke Browning, Dread Central



"A Western-style horror that swaps horses for motorcycles and delivers exactly the kind of chaos you’d expect from Rob Zombie. The Vultures MC are unflinchingly violent. The women fight back with savage ingenuity. It’s not subtle, and it’s certainly not for the faint of heart. If you're a fan clamoring for Rob Zombie's return to his Firely series, you'll be in for a treat." - Dexter Quinn, Cinematic Observer Newsletter 



"Rob Zombie’s Vultures is a grim little desert horror story that traps a group of dancers in a strip club with a gang of murderous bikers. Zombie has a knack for atmosphere, but overcommits to ugliness and brutality at times. Zombie clearly knows the exploitation tradition he’s drawing from, but Vultures spends so much time wallowing in cruelty that it occasionally forgets to rise above it." - Pierre Herbert, Chicago Sun-Times








Rated R for strong bloody violence, sexual content/nudity, language, and some drug use.