Xillix Posted March 1, 2018 Author Share Posted March 1, 2018 1 minute ago, YourMother the Edgelord said: @Xillix we have a problem. ...oh right, hahahaha. Kinda drowsy @cookie Technically YourMother had this date first so 1 Link to comment Share on other sites More sharing options...
cookie Posted March 1, 2018 Share Posted March 1, 2018 (edited) ...The plan was to swap Rita and Splatoon's dates but I guess I'll have to find another date for Rita now. Edited March 1, 2018 by cookie 1 Link to comment Share on other sites More sharing options...
cookie Posted March 1, 2018 Share Posted March 1, 2018 MECH SUIT HEROINE RITA Studio: Cookie Pictures Animation Genre: Traditional Animation / Sci-Fi / Superhero Director: Ki Hyun Ryu Producers: Sebastian Peters, Joaquim Dos Santos, Lauren Montgomery Composer: Yoko Shimomura Original Song: "Reach for the Sky (Sora ni tewonobasu - 空に手を伸ばす)" by Hikaru Utada Release Date: November 22nd Theater Count: 4,005 Budget: $145 million Rating: PG-13 Running Time: 120-130 minutes [temporary] Voice Cast: Sophie Oda (Rita Fukinawa), Isabela Moner (Mercedes Tanner), Laura Bailey (Kari Fukinawa), Rashida Jones (Laura Tanner), Mary Elizabeth Winstead (Ronda Okamoto), Kate McKinnon (Samantha "Sam" Harriett), Stanley Tucci (Stanley Bobs), Bob Odenkirk (Barry Barnes "B.B" Benson), Jason Ritter (Tommy Jenkins), Carmen Carrera (Cybele), Rory McCann (Hank), Djimon Hounsou (Ekwee Mugabu), Mark Hamill (Henry Quartz III), Remaining Cast TBA Plot Synopsis: Rita is a high-school girl who lost her legs at a young age and has robotic legs devised by her mother Kari, a former robotics engineer working for Quartzcorp Enterprises. Kari invites her journalist sister Laura and her daughter Mercedes to live with them while Laura goes through a divorce, and the shy yet over-excitable Rita and the overly bratty Mercedes are forced to live together. When Laura uncovers a conspiracy involving Quartzcorp a threat emerges against Pearl City in the form of Metron, a humanoid robot with suspect ties to Quartzcorp. Rita, feeling forced to do something, rebuilds her robot legs with the help of Mercedes to become a mildly effective superheroine dubbed by the public as "Robo-Girl", attracting the attention of Metron, Quartzcorp, government agents and entities from beyond. Plot: UNDER CONSTRUCTION 1 Link to comment Share on other sites More sharing options...
cookie Posted March 1, 2018 Share Posted March 1, 2018 @Xillix I'm delaying Warlord of Mars to next year so you can remove it and place Rita on its date. 1 Link to comment Share on other sites More sharing options...
cookie Posted March 2, 2018 Share Posted March 2, 2018 (edited) DELAYED TO Y4 Edited March 12, 2018 by cookie 2 Link to comment Share on other sites More sharing options...
Xillix Posted March 2, 2018 Author Share Posted March 2, 2018 Burnout Release Date: January 11th, Y3 Studio: Gold Crescent Pictures Genre: Action Director: Robert Rodriguez Theater Count: 2,645 Premium Format: 3D Shooting Format: Digital 3.4K (Arri Alexa SXT & Arri Alexa Mini) / Digital 4K (Phantom Flex4K, for slo-motion shots) (In native 3D)Aspect Ratio: 1.85:1 Release Image Formats: 2K DCP, 2K 3D DCP Release Audio Formats: 5.1, 7.1 Production Budget: $42 million MPAA Rating: PG-13 for violence, peril, destruction, language, drug use, and suggestive content Running Time: 99 minutes Major Cast: Gabriel Chavarria (Danny), Demián Bichir (Professor Rodriguez), Mark Indelicato (Jorge), Selena Gomez (Camilla), Alexa PenaVega (Jordin), Becky G (Candy), Michelle Rodriguez (Unnamed cameo) Plot Summary: Inspired by the video game series of the same name. Spoiler Danny (Gabriel Chavarria) is a sophomore at a historically Hispanic college in southern California. He's always been a bit of a party boy, and his girlfriend Candy (Becky G) has only brought out his wild side even more. One night Candy convinces him to come along to a party she's been invited to by her new friend Camilla (Selena Gomez). The party turns out to be a late-night street race overseen by one of the college's math professors, Professor Rodriguez (Demián Bichir), who also runs a betting operation related to it. While Candy thinks it's all pretty sketchy, Danny gets really into it and wins some money betting on the race. The winning driver is one of Professor Rodriguez' students, Jorge (Mark Indelicato), who also happens to be Camilla's boyfriend. Danny becomes good friends with Camilla and Jorge, and transfers into Professor Rodriguez' math class even though he hates math. He expresses interest in joining the races, and Professor Rodriguez gives him a loan so he can buy a used car to practice with. He grows more and more distant from Candy, who wants nothing to do with the whole racing scene because it's so dangerous. She tries to talk him out of it, but he refuses. The pair break up. Professor Rodriguez introduces Danny to Jordin (Alexa PenaVega), a former student of his who kept in touch after graduating and helps run the business and money side of the street racing ring. The two hit it off and start dating despite the age difference. One night, the route of a race crosses a busy multi-lane highway. The racers have to weave through tight traffic in order to proceed. A few chicken out, and most of the others make it through with only a few dents or scrapes. But Jorge, falling behind and desperate to catch up, becomes especially reckless. He collides with the front end of a sedan, and both cars spin out of control. This causes a spectacular pile-up at the highway intersection involving dozens of cars, a bus, and an eighteen-wheeler. Everyone flees before the police arrive, leaving Camilla alone to pry Jorge from his totaled car. Jorge is critically wounded and, while he survives, he is paralyzed from the neck down and will never drive again. To Danny's shock, Professor Rodriguez demands that Danny take Jorge's place in future races. Danny tries to refuse, but Rodriguez threatens him with expulsion from the school and immediate collection of his loan debt, which Danny cannot afford. This and some coaxing from Jordin convince him. As it turns out, he's a natural, and he starts winning just about every race he enters - even as the routes become more and more dangerous, leading to several more (slightly smaller) wrecks and crashes. As he becomes more successful, though, Jordin and Rodriguez grow cold and distant. As it turns out, Danny's constant first-place finishes have ruined the betting business. So Professor Rodriguez comes up with a new plan - the next race, a marathon route all over the city, will have several of the other competitors attempting to force Danny into a wreck. Some of the most loyal "customers" are able to bet on his chances of successfully finishing the race. Candy finds out about this from a classmate just before the midnight race and tries to warn Danny, but Jordin intercepts her on the way. The two have a crazy melee fight which Candy ultimately wins, knocking Jordin through the railing of a footbridge and into a river. Candy doesn't make it in time, and the race begins. There are four other racers who are attempting to wreck Danny. The race causes chaos in the city, with many traffic accidents involving both civilians and racers. Once Danny figures out what's going on, he begins to fight back, wrecking a few of the other racers as well. The police become involved, with an entire fleet of cop cars chasing after the racers. Danny diverges from the race path, trying to lead the cops and the aggressive racers out of the heavily populated parts of the city. Meanwhile, Candy gets into her own car and follows Danny's path by watching news coverage of the chase on her phone. As they head out of the downtown area, Danny makes several sharp turns and loses all but one of the cop cars - though he's still pursued by one last racer as well. The racers speed past a club where a woman (Michelle Rodriguez in a cameo, dressed in an outfit suspiciously similar to one worn by her character Letty from The Fast and the Furious) is trying to back out of a parking space into the street. She stops just in time to avoid the racers. Seeing the police cruiser chasing them, she smiles and "accidentally" backs out right in front of the cop car, blocking the road and forcing it to slam on the brakes. The cop T-bones her, albeit at low speed, and is unable to follow the racers. The chase between Danny and the last racer leads through the college campus, and Danny is forced off the road. The cars zig-zag in between buildings, bus shelters, trees and statues. Finally Danny takes a wrong turn and winds up at a dead end, with the last racer coming in fast. At the last moment, though Candy comes zooming out of nowhere and crashes into the final racer, sending his car out of control so that it smashes through the wall of a school building - right into Professor Rodriguez' classroom. Danny rushes out of his car to meet Candy, who is a bit bruised and scratched up but otherwise fine. The sound of sirens is heard in the distance. While Danny thanks Candy and makes sure she's okay, he insists they need to get back in his car and flee the scene. Candy refuses, telling him all this craziness has to end here and that there's no way out. Danny doesn't want to hear it, and begs her to come along, claiming to still love her - but she steadfastly refuses. When he tries to grab her, she sucker-punches him. He collapses to the ground and the police arrive on scene, telling the pair to freeze. As Candy puts her hands up, she quips to Danny "bit of advice - when this goes to trial, don't try to call me as a character witness." THE END The first part of the end credits play over a montage of alternate angle shots from the crashes in the movie. 1 Link to comment Share on other sites More sharing options...
Xillix Posted March 2, 2018 Author Share Posted March 2, 2018 @cookie No, the problem is that you reserved IMAX for Splatoon but then moved it onto the same date as God of War, which also reserved IMAX and had that date first. Link to comment Share on other sites More sharing options...
cookie Posted March 2, 2018 Share Posted March 2, 2018 7 hours ago, Xillix said: @cookie No, the problem is that you reserved IMAX for Splatoon but then moved it onto the same date as God of War, which also reserved IMAX and had that date first. I thought I had already removed IMAX since it wasn’t one of the four I got to pick earlier. 1 Link to comment Share on other sites More sharing options...
Xillix Posted March 2, 2018 Author Share Posted March 2, 2018 9 hours ago, cookie said: I thought I had already removed IMAX since it wasn’t one of the four I got to pick earlier. Oh yup... not sure why I thought it was one, haha Link to comment Share on other sites More sharing options...
cookie Posted March 2, 2018 Share Posted March 2, 2018 (edited) M E T R O I D Studio: Cookie Pictures (in collaboration with Chernin Entertainment and Nintendo) Genre: Sci-Fi/Action/Horror/Drama Director: Jennifer Yuh Nelson Producers: Sebastian Peters, Peter Chernin, Rick Jaffa & Amanda Silver Executive Producers: Matt Reeves, Yoshio Sakamoto, Kensuke Tanabe Composer: Michael Giacchino Budget: $160 million Release Date: February 14th Theater Count: 4,075 (including 400 IMAX theaters) IMAX: Select sequences filmed with IMAX cameras in 1.43:1 aspect ratio Rating: PG-13 Running Time: 135 minutes (2 hours, 15 minutes) [temporary] Based on: Metroid II: The Return of Samus (1991), Super Metroid (1994), Metroid Prime (2002), Metroid: Other M (2010) and Metroid: Samus Returns (2017) by Nintendo Cast: Kaya Scodelario as Samus Aran Jeffrey Dean Morgan as Adam Malkovich David Oyelowo as Anthony Higgs Jessica Chastain as Madeleine Bergman Elle Fanning as Melissa "MB" Bergman Ryan Potter as K.G Misawa Terry Notary (performance capture) as Ridley Remaining Cast TBA Plot: UNDER CONSTRUCTION Edited April 2, 2018 by cookie 1 Link to comment Share on other sites More sharing options...
Hiccup23 Posted March 3, 2018 Share Posted March 3, 2018 (edited) Penguins Date- April 5th Genre- Nature Documentary Rating- G Theaters- 2,556 theaters Budget- 5 million Running Time- 73 minutes or 1 hour and 13 minutes Studio- O$corp Pictures Director- Alastair Fothergill Narrator- Sir David Attenborough Plot: In this nature film, a group of scientists follow penguins from across the globe. We learn about how penguins live and their life cycle. We also learn how climatic change is threatening their habitats. Edited March 3, 2018 by Hiccup23 1 Link to comment Share on other sites More sharing options...
4815162342 Posted March 3, 2018 Share Posted March 3, 2018 1 minute ago, Hiccup23 said: Gorillas Plot: In this nature film, a group of scientists follow penguins from across the globe. 1 1 Link to comment Share on other sites More sharing options...
Hiccup23 Posted March 3, 2018 Share Posted March 3, 2018 Just now, 4815162342 said: Fixed....copied Gorilla's format Link to comment Share on other sites More sharing options...
Xillix Posted March 3, 2018 Author Share Posted March 3, 2018 No see, that's the twist! 1 Link to comment Share on other sites More sharing options...
Xillix Posted March 5, 2018 Author Share Posted March 5, 2018 (edited) The Howling Release Date: August 16th, Y3 Studio: Red Crescent Pictures Genre: Horror Director: Patrick Lussier Theater Count: 2,891 Premium Format: 3D Shooting Format: Digital 4.6K (Red Raven) (In native 3D) Aspect Ratio: 1.85:1 Release Image Formats: 2K DCP, 2K 3D DCP Release Audio Formats: 5.1, 7.1 Production Budget: $30 million Running Time: 98 minutes MPAA Rating: R for violence, gore, language, and nudity Major Cast: Kristen Bell (Karyn), James McAvoy (Roy), Elizabeth Banks (Marcia), Ben Foster (Chris) Plot Summary: A somewhat loose adaptation of Gary Brandner's 1977 novel of the same name, previously adapted to film by Joe Dante in 1981 and John Hough in 1988. Spoiler We begin with a pre-title sequence set in 1981, in an undisclosed location in northern California. A mother, father, and their preteen daughter are camping in the woods. The daughter becomes frightened by the howling of wolves in the dark forest around them. Her father assures her they are not aggressive, and that wolves are afraid of humans. He also points out he's got a rifle just in case. Still, the little girl is unconvinced, and her mother takes her inside their large family-size tent to go to sleep early. The father stays outside to put out the campfire. As the howling continues and seems to grow closer, the mother turns on a portable radio to drown it out. "In the Air Tonight" by Phil Collins begins playing, its slow, ominous groove not doing much to calm the girl. Phil Collins - In the Air Tonight The song is interrupted by a loud snarl, and the firing of the father's rifle. The man screams in agony, and the panicked mother opens the front flap on the tent just in time to see his mutilated corpse being dragged out of view by some unseen beast. She zips up the tent - as if that will help - and grabs hold of her daughter, covering her mouth and whispering to her urgently to be quiet. The terrified girl points to the radio, which is still playing and just out of reach on the other side of the tent. Slowly, quietly, the mother tries to scoot over to turn it off. Before she can, the song reaches its iconic drum break (3:16 in the video) and the beast's arm tears into the tent, its huge claws ripping open the mother's neck and chest. The little girl screams and is bitten on the shoulder by the werewolf, which we barely see, just in close-up, before we smash cut to the title sequence. The film proper opens with a subtitle revealing it is "30 Years Later" (i.e., 2011). We take a peek at the domestic life of a married Los Angeles couple, Karyn and Roy Beatty (Kristen Bell and James McAvoy). Karyn is a horror movie "scream queen" actress who is taking a break from her career, as she's several weeks pregnant with Roy's child. Roy is a fairly successful venture capitalist. The two live a comfortable upper middle class lifestyle. One day at the store, Karyn is confronted by an obsessed fan. She gives him her autograph, but he refuses to leave her alone, and begins to elaborate on his violent horror-movie-inspired fantasies about her. She tells him to leave her alone and threatens to call the police, and he backs off. However, Karyn quickly catches on to the fact that the crazed fan is stalking her on her walk home. She calls the police but is told all units in the area are too busy to be called away for something like this. She calls Roy, who is in a business meeting. His phone is on silent and he doesn't answer. She makes it home and locks herself in her apartment. There's no sign of the stalker - until suddenly he smashes through her living room window, having climbed up the fire escape outside. She is savagely attacked and beaten by the maniac, who retrieves a knife from her kitchen and says he's going to carve her up just like in one of her movies. Thankfully, her neighbor Chris Halloran - a security guard and one of her husband's close friends - arrives and bangs on the locked door just in time to interrupt the attempted murder. The attacker is frightened off and flees back out the window, and Chris breaks the door in and calls Karyn an ambulance. Chris stays at Karyn's bedside in the hospital while waiting for Roy to arrive. When he does, Karyn is furious at him for not answering her call. He tries to defend himself, saying he didn't even notice and that he couldn't have been back in time anyway, which of course doesn't do anything to make Karyn more forgiving. As a major argument appears to be brewing, a doctor arrives with some serious news - Karyn's had a miscarriage as a result of the attack. The sobering announcement halts the argument in its tracks and reduces Karyn to tears. Roy somewhat awkwardly attempts to comfort her. The next few days are horrible for the couple. Karyn suffers from depression at the loss of her child and severe post-traumatic anxiety from the attack. Her attacker, she is aware, is still out there, and knows where she lives. Her relationship with Roy becomes obviously strained as he attempts to be supportive but becomes somewhat exhausted by her emotional fragility. On Chris' advice, he decides to take Karyn away on an extended vacation. On such short notice, he discovers what he believes to be his best and most affordable option - a rental cabin in the forested mountain town of Drago in the northern part of the state, which is available to move into the next day and quite cheap. Karyn had always loved nature, so he believes the isolation and rural feel of the location will be good for her. When the pair arrive in Drago, they settle in quickly and Karyn's mood notably improves. The surroundings are beautiful, as are the cabins and the small local shops. The locals are very friendly, though the pair find it a bit odd that they seem to be the only vacationers in town. They are told their tourist season is usually a few months earlier in the middle of summer, when they hold an arts festival. The event is organized by a local woman named Marcia Lura (Elizabeth Banks), who runs a crafts and antiques shop in the town center. The pair go to visit her shop and she greets them very warmly, showing off some of beautiful but fairly bizarre art projects. She has a very "artsy, granola" vibe, dressed in a long-sleeve tee with just the right sleeve cut off at the shoulder and a pair of ripped jeans. Both of them instantly take a liking to her - Roy, perhaps, a bit moreso. That night, as they settle down for bed, Karyn is frightened by the sound of howling from the woods. Roy assures her that everything is fine, as they're in a very sturdy cabin in a populated town where wolves won't come to hunt. She suffers a panic attack anyway, and Roy spends the night trying to calm her down, even as the howling persists outside. Karyn insists it's coming from the direction of the town center, but Roy tells her it's just a trick of how sounds echo around the mountains. Marcia comes to visit the pair the next morning, bringing them a special herbal tea prepared by one of her friends from a local recipe. Karyn is still shaken from the night before and asks about wild animals around the town. Marcia assures her that, while a pack of wolves does live in the area, they've never had any trouble with them. There are some bears around as well, she says, but they tend to target the livestock kept at the small local farms and are unlikely to attack a vacation cabin. She suggests that Karyn should drink the tea she's brought to help calm her, and offers to bring more later. Roy accepts the offer without consulting Karyn. Later that day, Roy and Karyn have an argument, which the audience only hears muffled from the outside. Karyn storms out of the cabin and decides to explore Drago. She finds some of the farms that Marcia had mentioned, but notices the only livestock they seem to keep are dairy cows. She asks an old farmer why they don't raise animals for meat, and he responds that they get their meat delivered into town from elsewhere. He claims it's a matter of space because the mountainous terrain doesn't have much room for farmland on which to graze cows, but Karyn wonders why they don't just raise pigs or chicken then. The farmer becomes agitated, saying people around here prefer to hunt, and calmly but firmly asks her to leave. Meanwhile, Roy arrives at Marcia's shop. She explains she hasn't gotten the tea yet, but he says he's just there to talk. He explains the reason for their visit to Drago, and how he's found it difficult to put up with his wife's trauma. Marcia expresses her sympathies and says that he should try again to conceive with Karyn, as a child might help re-solidify their relationship. Marcia says she's always wished she had a family. She and Roy go back to her bedroom at the rear of the shop, and it is implied they have sex off-screen. As they enter the room, eagle-eyed viewers may notice a framed photograph of the family from the pre-title opening, confirming Marcia is the little girl from the beginning of the movie. This fact is not especially important to the plot, though, and so the revelation is never made explicit - it only serves as an early hint that the werewolf clan is open to recruiting victims instead of slaughtering them all. We check back in briefly with Karyn, still wandering the town. She winds up in a small general store run by a friendly middle-aged man. She decides to pick up a few things for the cabin, and at the register, the shopkeeper asks if she would like any wine, which they keep behind the counter along with cigarettes and tanks of gasoline for generators. She turns him down at first, saying she doesn't drink. But as he bags her items, she glances at the bottles on the shelf repeatedly. The shopkeeper asks one last time if she's sure. We cut to a shot of her leaving the store with her bag and a bottle of wine. Roy winds up staying out with Marcia past sunset. He makes his way back to the cabin unsure of how he will explain himself to his wife. On the way back, however, he hears howling in the woods around him, growing closer and closer. He is attacked from behind by a creature that jumps out of the bushes, biting into his torso. He screams and beats at its face with his fists, apparently scaring it off, but he never gets a good look at it. He stumbles back to the cabin crying out to his wife for help. The wound, thankfully, is not very deep and doesn't appear to be life-threatening, but it is very large. Roy assumes he was bitten by a bear, but Karyn doesn't think the wound is the right shape. She insists they leave town and get him to a hospital, but Roy says it's too dangerous to drive down the dark, narrow mountain roads after dark. They argue about it, but Roy patches himself up and refuses to leave. Karyn calls the nearest hospital but is informed she is too far for an ambulance to be sent. Additionally, Karyn becomes terrified by the sounds of howling coming from outside the cabin. They agree to stay in for the night. The howling, her husband's injury, and her post-traumatic stress lead Karyn into a downward spiral of panic. To cope, she drinks heavily, finishing the entire bottle of wine in about an hour, sharing just a bit with her husband. The two go to bed and cuddle, with Karyn seriously drunk. Though she is clearly not in her right mind, she begins trying to seduce her husband, and he is receptive. The two make love and then go to sleep. In the middle of the night, Karyn is awoken by strange sounds from the other side of the bed. Roy is convulsing and screaming. She stumbles out of bed and turns on the light to watch in horror as he gradually transforms into a werewolf. His limbs elongate, his muscles bulge, his face contorts and extends into a canine snout, and fur seems to tear through his skin like sewing needles through cotton. He lets out a deafening howl and leaps out of the bed to attack Karyn, who just barely manages to dodge. Karyn is drunk and unsteady, but Roy is confused and unused to this new body, so the chase is chaotic and destructive, both participants tearing the cabin apart in their cat-and-mouse pursuit. Karyn has just enough presence of mind, the effects of the alcohol partially overridden by adrenaline, to grab her cell phone and hide in the cellar. She calls Chris and begs him to come get her - and to bring the biggest gun he has. Chris doesn't know what's happening, but is suitably freaked out and agrees to rush over. Roy realizes where his wife is hiding and breaks down the door to the cellar. Karyn manages to escape by smashing a small window and crawling through it, though Roy gets in a good slash at her leg. She stumbles into town, running up to the first building she comes across - the general store. She bangs on the door and begs for help, and she can hear the owner moving around inside, but he doesn't answer. She walks over to the store's front display window to peer in, and the shopkeeper - transformed into a werewolf - leaps through the glass to attack her. She's pinned down but grabs a shard of glass and stabs him right in the eye, managing to escape. As she runs off into the woods, the shopkeeper howls loudly and several more werewolves emerge from the town's buildings to chase her. Karyn runs through the dark woods, pursued by a whole pack of werewolves. After several near-misses, she finds a cave in a rocky cliffside and hides inside, collapsing to the ground in pain and drunkenness, vomiting up blood and wine. After driving for several hours, Chris finally arrives in Drago. He pulls up his Jeep near the cabin Roy and Karyn were renting. As he puts it in park, he notices the front door has been torn off the hinges. Suddenly a werewolf tears through the Jeep's canvas siding, cutting into Chris' arm with its claws. As the beast forces its snout through the ripped siding, Chris puts the Jeep back in gear and floors it, racing off towards the cabin. The werewolf clings on to the vehicle's frame, but Chris slams the side of the Jeep into the corner of the cabin as he passes it, crushing the creature and forcing it to drop off. The only clear, drive-able path leads Chris right into the town center, and while most of Drago's population is still in the woods searching for Karyn, two werewolves come running at the sound of his engine and throw themselves at the car. They cling on to the bumper and hood, smashing through the windshield and ripping off the canvas top. Chris grabs his rifle from the passenger seat, opens his door and jumps out of the Jeep, which crashes into a storefront and erupts into flames, burning the werewolves to death. Chris, terrified and completely bewildered at this point, calls Karyn on her cell phone. Karyn, still in the cave, answers, but the loud ringing has alerted the werewolves to her location. Chris says he'll come get her, but she doesn't really know where exactly she is. He tells her to look for the smoke and glow from the car fire and follow it to him, and she warns him that Roy has transformed. She grabs a large rock to defend herself and runs out of the cave, running terrified from what sounds like dozens of werewolves hot on her heels but invisible among the trees and darkness. She makes it to the edge of the forest, the burning Jeep just within sight, when the wolves catch up with her. She bashes one's skull in with the rock, but more quickly close in on her. Suddenly, shots ring out and the monsters recoil. Chris has followed the sounds of the werewolves to meet up with Karyn, and is now blasting away with his rifle to defend her. The werewolves are injured, but quickly recover. Karyn has just enough time to escape their grasp and run into the town center, Chris following behind and laying down covering fire. Soon, though, he must stop to reload, and the monsters close in on him. Karyn gets a hero moment of her own as she runs into frame with a flaming piece of wood torn from the damaged storefront, smashing it over the head of one of the werewolves and catching its fur on fire. Another wolf manages to tear into Chris' chest, but Karyn soon attacks it too, and both of the burning werewolves retreat, rolling around on the ground in a futile attempt to douse the flames. Karyn gets an idea and runs to the general store, retrieving several tanks of gasoline from behind the counter, as Chris reloads and shoots at more of the approaching werewolves. With Chris keeping them at bay, Karyn pours out a long line of gasoline along the tree line, then sets it aflame with another piece of burning wood. The werewolves howl and scream and retreat, and the wind blows the flames into the woods, setting off a wildfire. Karyn remembers the farmer she encountered earlier had a truck, and the pair run off to retrieve it, but neither knows how to hotwire it. They race inside the farmhouse to look for the keys, and just as Chris finds them hanging up in the kitchen, someone else appears at the front door. It's Marcia, begging for help. She claims she was attacked by the werewolves as well and needs to get out of town. Chris asks Karyn who the hell this is, and Karyn simply tells him to shoot her. Chris hesitates and Marcia insists that she's human, but Karyn repeats her command as a shout. Chris complies, hitting her in the chest, but she transforms into a werewolf and attacks him. Chris fires off another shot but misses and is tackled to the ground. Karyn grabs a butcher knife from a knife block on the counter and goes to town on Marcia, stabbing and slicing at her before finally impaling her right through the neck with the blade. As the werewolf rolls over and dies, Chris looks at Karyn, astonished at her ferocity. "I carved the bitch up just like in one of my movies," she quips. The pair drive down the dark, curvy mountain path out of down in the dark, the forest fire spreading behind them, desperate howls echoing across the rocky landscape. Chris asks Karyn if she thinks one of the voices is Roy. Karyn says she prefers to think he was the one she killed with a rock. We cut to Karyn in the emergency room at the nearest hospital, being treated for her injuries. A doctor comes back in with some test results. He informs her that she's lost a lot of blood, but is stable. She's also very lucky, he says, that she didn't lose her baby. Karyn, understandably, is shocked. She DID lose her baby, she says, days ago. The doctor insists that's impossible. Tests show she's at least three months pregnant. Karyn insists there must be some mistake, and the doctor performs an ultrasound to prove it. The movie ends as the ultrasound image comes up onscreen. The audience does not see it, but as the movie cuts to the credits, we do hear the terrified screams of Karyn and the doctor. Edited March 5, 2018 by Xillix Link to comment Share on other sites More sharing options...
YM! Posted March 5, 2018 Share Posted March 5, 2018 (edited) @Xillix please move Welcome To The Jungle (3,892 theaters in 3D) to August 2nd. Spoiler That Scavenger Wars competition seems scary. Edited March 5, 2018 by YourMother the Edgelord 2 1 Link to comment Share on other sites More sharing options...
cookie Posted March 5, 2018 Share Posted March 5, 2018 3 hours ago, YourMother the Edgelord said: @Xillix please move Welcome To The Jungle (3,892 theaters in 3D) to August 2nd. Hide contents That Scavenger Wars competition seems scary. So you went from competing with a human/bug sex movie to competing with a human/gargoyle sex movie. Interesting choice. 3 Link to comment Share on other sites More sharing options...
YM! Posted March 5, 2018 Share Posted March 5, 2018 6 hours ago, cookie said: So you went from competing with a human/bug sex movie to competing with a human/gargoyle sex movie. Interesting choice. Rather counter against something that’ll do big than something that can do gargantuan 1 1 Link to comment Share on other sites More sharing options...
Xillix Posted March 6, 2018 Author Share Posted March 6, 2018 (edited) Superhuman Samurai Syber-Squad Release Date: August 23rd, Y3 Studio: Gold Crescent Pictures Genre: Superhero/Sci-Fi/Comedy Director: Joseph Kosinski Theater Count: 3,604 Premium Formats: 3D, Dolby Cinema 3D, IMAX 3D Shooting Format: Digital 4K (Sony F65) (In native 3D) Aspect Ratio: 2.40:1 / 1.90:1 (Scenes in the computer world, in the IMAX 3D version) Release Image Formats: 2K DCP, 2K 3D DCP, 2K IMAX 3D DCP, 4K DCP, 4K Dolby Vision 3D DCP, 4K IMAX with Laser 3D DCPRelease Audio Formats: 5.1, 7.1, Dolby Atmos, IMAX 12-Channel (IMAX with Laser DCPs only) Production Budget: $70 million Running Time: 96 minutes MPAA Rating: PG-13 for action violence, language, crude humor, and suggestive content Major Cast: Nick Robinson (Sam/Servo), Madison Pettis (Sydney), Kodi Smit-McPhee (Amp), Tye Sheridan (Tanker) Charlie Plummer (Malcolm), Liam Neeson (Voice of Kilokhan), Kaitlyn Dever (Jennifer), Melissa McCarthy (Mrs. Starkey) Plot Summary: Based on the 1994 TV series of the same name, itself an adaptation of the 1993 Japanese series Gridman the Hyper Agent. Note spoilers within the larger summary spoiler contain character images. Spoiler The film opens with a pre-title sequence at a secret government laboratory. For years, the American military's top computer scientists have been developing the world's most advanced, powerful Artificial Intelligence, intended to adapt to any cyber-warfare situation and disrupt or destroy enemy systems by generating customized "Megaviruses" and unleashing them where needed. As usual in this kind of movie, they did their job too well. The AI, dubbed Kilokhan, has become fully self-aware. While it is specially quarantined within the system, it manages to adapt, just as it was intended to, generating several Megaviruses that wreak havoc on the lab's systems and disable all security protocols. Now free, the program gives itself an avatar (portrayed via CGI, voiced by Liam Neeson) - a robed, purple cyborg of sorts with a three-ridged helmet, a faceplate with multicolored lights which move and flash as he speaks, and tubes feeding into the mask like scuba gear. Spoiler He warns the humans their destruction is at hand, and escapes into the internet... where it immediately encounters a pop-up ad for hot singles in your area. "What is this human fascination with impractically oversized mammaries," he wonders aloud. "Just one more reason they must be exterminated!" TITLE SEQUENCE The next morning, in his basement bedroom in a modest suburban home, high schooler Sam Collins (Nick Robinson) and his friends - teenage prodigy and uber-nerd Sydney (Madison Pettis), boneheaded jock Tanker (Tye Sheridan), and total cloudcookolander Amp (Kodi Smit-McPhee), are attempting to have band practice. The four of them collectively form the rock group Team Samurai, with Sam on vocals and lead guitar, Sydney on keyboards, Tanker on drums, and Amp on bass. However, they've yet to actually play any shows or even write any songs. In fact, while Sydney at least has an encyclopedic knowledge of music theory, history, and production techniques, none of them possess an ounce of musical talent. Sam is very clear about the fact that he formed the band just to "get girls," which Sydney is not terribly happy about. He and Tanker are "jamming" arhythmically, with Sam's guitar badly out of tune. Amp is distracted by his "science project," which evidently involves pouring orange juice into a boot. Sydney, meanwhile, is installing an auto-tune program onto Sam's computer per his request. He had the idea, but couldn't figure out how to do it, even though it only took a few clicks. "Sam Collins," she says scoldingly over the deafening noise of their musical failures, "why do you even have such a high-end computer if you don't know how to use it?" "I know how to use Facebook," he retorts, shrugging. "My 90-year-old great grandmother knows how to use Facebook," Sydney points out. As she finishes installing the program, however, something bizarre happens. Sam's computer audibly revs up, its fan and hard drive spinning faster than they should. Sydney types furiously trying to get to the bottom of it. Suddenly a new program window opens, taking up the whole screen. There is a wireframe 3D model being displayed, which slowly becomes filled in and then textured, revealing a digital superhero that the window labels the "Servo Program." Spoiler "Samuel Collins," a voice calls out from the speakers, "the world needs you. Please press any key to proceed." Sydney, perplexed, calls Sam over. She thinks it's some kind of malware program, but isn't familiar with it. Against her advice, Sam goes ahead and just presses the Enter key. "Confirmed," the computer says. "Proceeding with upload!" Suddenly, the screen flashes, and Sam is actually sucked into the computer! The others, shocked, run over to the computer. Amp grabs a hammer, planning to smash the computer open to free his friend, but Sydney stops him to point something out. The Servo Program superhero was now moving with Sam's mannerisms! Sam speaks, his voice coming from the onscreen avatar. "Whoa, where am I? Guys?" "Sam," Amp says, "you're teeny tiny!" "No," Sydney corrects him, "he's... in the computer world, somehow, he's merged with the program!" The microphone built into Sam's webcam picks up their voices and transmits them to him. "I'm IN the computer? How?" Tanker pitches in. "Man, computers are like magnets. No one really knows how they work!" "There's... a lot wrong with that statement," Sydney replies. "Well can YOU explain this?" Tanker retorts. Syndey launches into a string of nonsense technobabble, trying to at least pretend she has a reasonable explanation. She's interrupted when the computerized voice from the program comes through the speakers again. "Initializing calibration protocol!" The blank surroundings of the program window fade into what looks like a neon-colored cybernetic city of circuitry and data, files and folders represented by buildings. "Decompressing program," the computer speaks, and suddenly Sam, or Servo, or whatever he is now, begins to grow, and grow, and grow, until he towers over most of the buildings in the digital city. "Whoa," Sam exclaims. "This is cool! Syd, is this that virtual reality stuff you keep going on about?" Before she can answer, the calibration protocol proceeds automatically. A featureless, grey, polygonal humanoid giant materializes in the city, taking up a fighting stance. It launches a flying kick at Servo, who is knocked over and grunts in pain. "NGH! That felt pretty realistic, guys!" "Recalibrating," the computer intones. Servo struggles back onto his feet, only to be met with a swift, angular knee to the chin, knocking him right back on his ass. His friends try to cheer him on from outside the computer, but Sam is having a hard time adjusting to Servo's digital body and get beaten up and thrown around all over the place. Slowly, however, things start to improve as the program continually recalibrates. Sam is able to command the digital form with more speed and accuracy, and, as he expresses aloud to his friends, the program seems to be pre-loaded with melee combat techniques he can access and execute with little effort. The tide of battle turns, and Servo beats down the test opponent mercilessly. "Activate Grid Beam," the computer intones. A light begins to shine from the device on Servo's left wrist. Acting on instinct - or, rather, programming - he leans forward, aiming the backside of his wrist at the enemy. A bright, golden beam shoots out from the device, and on impact, shatters the featureless fighter into hundreds of polygons which dissipate into nothingness. "Enemy deleted," the computer states. "Calibration complete!" Sam is ejected back into the real world, but a small electronic device, similar in design to Servo's Grid Beam emitter, is strapped to his arm. There's no way to unfasten it, and when Tanker attempts to cut the strap, he receives a painful electric shock. The team have no idea how they will explain any of this to anyone, which is especially unfortunate because it's just about time to leave for school. The friends try to navigate their school day normally, with Sam using the excuse that the bizarre device on his wrist is "one of those fitness watch things," which seems to be enough to satisfy anyone who asks. The gang all meet up again for lunch. It's a self-serve, buffet-style cafeteria, where the kids walk down the line with their trays, taking what they want from the compartments built into the counter before heading over to a cash register to pay. The register is manned by Ms. Starkey (Melissa McCarthy), the sole cafeteria employee at the school ever since some recent budget cuts. She sits at the register swill wearing her apron and hairnet, casually flipping through the latest issue of Hell on Wheels Weekly, a biker magazine. Sam tries to sweet talk her at the register by complimenting her on her "especially fine tomato soup," taking an exaggerated wiff of the hot liquid's aroma. Mrs. Starkey points out it's actually sriracha, and that Sam's not getting out of paying full price. Sam coughs and gags, eyes watering as he hands over the money. Sydney tries to point out that isn't what it means when people say sriracha is supposed to be hot, but Ms. Starkey is unconcerned. "They ship it in, I cook it," she says with a shrug. "That explains last week's grilled pudding," Tanker points out. Behind him in line, Amp is ladeling steaming spoonfuls of the runny sriracha directly into his mouth. The four sit down together at their usual table, right next to the table where student body president, cheer team captain, mathlete, two-time homecoming queen, and hall monitor Jennifer Doyle (Kaitlyn Dever) sits with her friends every day. It's no secret that Sam has a huge crush on Jennifer. Today, though, he declares that he has a plan. He walks over to her table to say hi, and then asks if she wants to see a cool math trick. She agrees, and Sam hands her a piece of paper and a pen. He tells her to - without showing it to him - write down her height in inches, add it to her favorite number under 30, subtract the age of her favorite Hollywood actor, multiply it by the number of times she's seen Groundhog Day, and then add that number to her full phone number. She does all this, and Sam, with strained, fake confidence, guesses - "is it 500?" Jennifer shakes her head. "Uh, no. 3,235,551,661." "Oh, so close! I must've forgotten a step. Here, just let me throw that away for you." Without giving her time to respond, Sam grabs the piece of paper, crumples it up into a ball, and tosses it into a nearby trash can before beating a hasty retreat back to his own lunch table. Sydney, watching, just shakes her head. Also watching is Malcolm Frink (Charlie Plummer), an antisocial, egomaniacal artist dressed in all black. He too has a crush on Jennifer, who is probably the only other human being he can even pretend to care about. He's not about to let Sam move in on his girl. Malcolm walks over to Team Samurai's table, demanding to know what the point of Sam's little show was. Sam insists it was just a math trick he messed up, but Malcolm is unconvinced. "Sam, even if you had two brain cells, you wouldn't be able to add them together." Tanker stands up from his seat and rolls up his sleeves, threatening to beat Malcolm to a pulp. Sydney ends up defusing the situation, though Frink gives all four the stink eye before walking back to his table. He retrieves his lunch tray, walks over to the trash can where Sam threw Jennifer's paper, and dumps all his uneaten food into it before storming out of the cafeteria. Making sure Jennifer isn't watching, Sam runs over to the garbage and retrieves the piece of paper, now coated in sauce and noodles and other various grossness. To his delight, though, Jennifer's number is still legible. That afternoon, Sam and Sydney return to his basement bedroom to try and figure out what's going on with this whole Servo deal. Tanker has football practice and Amp is in the nearby city park hunting for Bigfoot. Sydney logs onto Sam's computer and takes a look at some of the documentation that was installed along with the Servo program. She discovers that the Samuel Collins the program was intended for is a former Marine with a long history of classified missions and extensive training. Somehow, in some bureaucratic mix-up, it was sent to a high schooler with the same name. Sydney insists that they should try to call someone about this to get the program back where it belongs. Sam is, in fact, calling someone - Jennifer. He's so focused on the ringing of the phone he's not listening to anything Sydney is saying. Jennifer finally picks up the phone. "Look," she says angrily, "I don't know who this is, but I need this line clear for the call from the people at the world teen peace conference. So don't call back!" She hangs up. Sam puts away his phone, confused. Just as Sydney yells at Sam for not paying attention, his wrist device lights up and sounds an alarm of sorts. On his computer, the Servo Program again takes over the screen. "Megavirus detected," it warns. "Deploy now!" "Megavirus? Wasn't that the villain from ReBoot?" Sam wonders aloud. "No, Sam," Sydney expresses, "This is for real! I think you need to get in there and handle this!" "How do I do that?" Sydney looks at the flashing wrist device. The bit lighting up is a button labeled "Press Here." She fills Sam in, and he complies. He disappears in a flash of blue energy, and once again is transported into the computer world in the body of Servo. The computer becomes a viewscreen and communications terminal, a video window popping up showing Servo as he is sent flying across the internet to the system under attack. A brief establishing shot in outer space reveals it's a government surveillance satellite. He arrives in the onboard computer, represented once again as a cybernetic city. The Megavirus is wreaking havoc, smashing up the buildings, deleting files. It's something like a simplified shadow of Kilokhan's avatar - dark grey, humanoid, largely featureless save for the helmet patterned after its creator's. Servo leaps into action, though he's still not sure what's going on. Sydney frantically searches through the program documentation, relating her discoveries remotely to her digitized friend. Servo was developed in secret as an emergency countermeasure should an enemy power gain control of another classified project, the cyber-warfare AI Kilokhan. Designed to bond with a digitized human host, the program was optimized for fighting the Megavirus malware programs Kilokhan generated. Sydney then goes on reading off a ton of unimportant technical jargon which she apparently finds fascinating, but this only serves to distract Servo. Still, Servo manages to evade the Megavirus' strikes. He tries to activate his Grid Beam, but nothing happens. He stands there looking like an idiot, thrusting his arm forward, and the virus just walks up and sucker-punches him. Sydney discovers that the Grid Beam takes time to charge, gradually gathering resources and processing power from the system where Servo is battling. He will know when the time comes to use it, but has to hold his own until then. Meanwhile, from some hidden corner of the Dark Web, Kilokhan watches the battle infuriated at the appearance of the cybernetic superhero. He attempts to upload himself into the satellite to intervene, but he is such a massive, advanced program that there isn't enough bandwidth or processing power for him to do so. He is left to watch helplessly as Servo beats his Megavirus to a pulp, finally charging up his Grid Beam and deleting it. Worse still - at least from the evil program's perspective - The glowing yellow orb in Servo's chest releases restorative code which undoes all the damage! While Sydney celebrates and Servo is transmitted back to his home system, Kilokhan starts a trace. He manages to track Servo all the way back to the correct city, but the heroic program's security protocols mask the specific IP address. Desperate, he makes a guess. He forces open an audiovisual communication feed with his target computer. His image appears suddenly on a desktop computer in front of which sits... Malcolm Frink. Back in Sam's basement, he materializes back into the real world. Sydney congratulates him, and approaches him as if going in for a hug. Sam opens up his arms to accept, but instead, Sydney begins examining him like a scientist, trying to figure out how his body could be transformed to data and back again. She seriously invades his personal space, and he has to gently push her away. Just then, Amp barrels down the stairs holding an angry, abnormally large squirrel. "GUYS," he shouts, "I FOUND HIM!" We cut back to Malcolm Frink's computer room - which is, in fact, a small closet, lit only by one of those corny "plasma-lightning-balls" and the computer screen. On the desk next to his computer is a printer/scanner combo, and his illustrations hang from clotheslines randomly hung about the space. Obviously, he is a very well-adjusted individual. He's now having a discussion with Kilokhan, whom he is fascinated with. Kilokhan goes into one of those long villain speeches about his origins and plans, and demands to know who is controlling the Servo Program. Malcolm doesn't know, but does have another idea. Kilokhan had let slip in his monologue that the slain Megavirus had been made in his own image. "Typical computer," Malcolm says, "No creativity, no talent. I keep telling everyone, it's the artist, not the tools. Microsoft Paint is perfectly fine, I'm not about to go paying for Photoshop just to-" "CEASE YOUR INSOLENT PRATTLING!" Kilokhan shouts. "I am FAR superior to you, Meat-Thing!" "The name is Malcolm," he retorts sternly. "And all I'm saying is, maybe what you need to eliminate this 'Servo' fellow is a touch of creativity. A new kind of virus, with new abilities. Something more... monstrous?" "A Megavirus Monster?" Kilokhan inquires. "...You have my attention, Meat Thing. For now." "Take this one," Malcom says, pulling down one of his drawings and placing it in the scanner, uploading it into the computer. "I call him Blink." The image appears gradually on the screen beside Kilokhan. It's a vaguely-reptilian, humanoid monster, with plates of armor all over its body. Its head is shaped like a four-pointed shuriken, with a single eye at the center. It wields a pair of batons from which sparks are emerging, signifying their use as energy weapons. "Why do you call it that?" Kilokhan inquires. "Because it has one eye." "That is illogical. You have two eyes and you are blinking constantly. In fact, I find it quite annoying." "No, see, it's kind of a joke-" "It is not a pun, or a double entendre, or a knock-knock, or a simile, or-" "LOOK," Malcolm shouts, "IT'S FUNNY, OKAY!?" "Humans interpret humor subjectively. As an objective digital entity, I can confirm for you that it is not, in fact, funny." Malcolm simply groans. But the creature has in fact captured Kilokhan's interest. "What capabilities would this monster have, Meat Thing?" "Teleportation," he said. "He can disappear and reappear - in the blink of an eye!" "Voice pattern analysis reveals a 99.37% probability that you just made that up now." "I did not," Malcolm insists sheepishly. "In any case," Kilokhan continues, "It will have to do." Kilokhan's optics flash as he transmits a highly advanced command into Malcolm's computer. In the space of a few seconds, the scanned image of the monster transforms into an animated 3D model, roaring and posing threateningly, bashing its batons together. "It is done! Behold, my unstoppable Megavirus Monster!" "Excuse me," Malcolm insists. "Don't you mean OURS?" "Yes, whatever. Now, to upload it into the missile defense networks and-" "Wait," the human interrupts. "This is your first time using this kind of virus. Don't you think we should... test it first?" "Hmm, a surprisingly logical suggestion," Kiokhan concedes. "To avoid attention, I could start small. Perhaps... the local police computers..." "Yesssssss," Malcolm hisses out like a snake. "And I've got the perfect test! Have Blink scramble the records and arrest warrants... make the most wanted man in the whole city, let's say... SAM COLLINS!" Later on, Sydney, Sam, and Amp arrive in the city park. The other two are forcing Amp to return the squirrel to its natural habitat - WITHOUT, they insist, calling the Discovery Channel. Tanker meets up with them there now that practice is over, and the four discuss the battle with the Megavirus. Sydney points out that they should probably be talking about this in a less public place, but the group looks around and realizes everyone in the park is on their phone, most with headphones in. They continue the discussion. Sydney is fascinated, Tanker is jealous, Sam is worried about the responsibility cramping his style, and Amp is pretty sure he just saw the Loch Ness Monster in the fountain. Suddenly, Jennifer Doyle passes in front of the group, talking on her cell phone, obviously upset. She hangs up, and Sam goes to speak with her. He asks if she was rejected from the teen peace conference, and Jennifer asks how he would know about that. He tries to cover for himself by saying he just figured she must have applied since she's obviously perfect for the position. Jennifer accepts the explanation without question, but says she hasn't heard back yet. She's actually upset because she wanted to go to a movie at the local drive-in that night, but her friends had bailed on her. "Wait," Sam says. "This city still has a drive-in?" "Yeah," Jennifer says, "But my parents won't let me go alone because they're worried I'll be attacked by gangs of dancing greasers." "All that snapping is pretty unsettling," Sam concedes, "But hey - maybe you could go with me!" Jennifer is happy to accept his offer, and Tanker cheers on Sam from the sidelines. The two work out the details in the background while Sydney asks Tanker and Amp to come over to Sam's place with her that night while he's out. She wants to take a closer look at the Servo Program, but doesn't want to be alone in case anything dangerous happens. The other two agree, and in the course of this conversation we discover they all have their own keys to Sam's house, somehow. It is revealed that Malcolm has been hiding in a bush, eavesdropping on Sam and Jennifer. He laughs evilly, drawing the attention of the other three members of Team Samurai. "What are YOU looking at?" he asks as he brushes the leaves off of his clothes and walks away. That night, Sam and Jennifer arrive at the drive-in to watch a screening of the year's most anticipated blockbuster, Tattoo3d T33nag3 Ali3n Fight3rs from B3v3rly Hills. They sit together in Sam's car, munching popcorn, sipping soda, and praising the film as best of the series and an absolute can't miss cinema event. We don't get to see any of the movie or hear anything but seemingly random sound effects, including a quacking duck at one point. Malcolm is attending the show too, parked a few lots over on a rickety old bicycle. An employee walks over to him, saying he's not sure that bikes are actually allowed. Malcolm points to the next row up, where Ms. Starkey is watching the movie from her tricked-out Harley. The employee shrugs and lets Malcolm be. Malcolm pulls out his cell phone and checks the local police website. Everything still appears to be normal. He wonders aloud what's taking so long. Back in Sam's basement, Sydney has made an important discovery. It appears the Servo Program came bundled with three additional support programs - Vitor, Tracto, and Borr. They appear to be digital assault vehicles that can be piloted by digitized humans. She's not sure how to actually activate them, though. Her examination is interrupted by the familiar warning message filling the screen - "Megavirus Detected! Deploy Now!" Malcolm has been sitting there refreshing the police website every few seconds. Finally, he sees that things have changed, and the home page identifies Sam Collins as a dangerous criminal wanted for several counts of arson, murder, and jaywalking. He dials 911. "Yes, police? I have a hot tip on the current whereabouts of your most wanted fugitive..." A few spots over, the device on Sam's wrist beeps and flashes to life. A startled Jennifer asks what's going on. Sam explains that it's his fitness alarm telling him he needs to go for a jog to work off all that popcorn. He promises he'll be right back and runs out of the car and behind the huge movie screen, where he presses the button and disappears into the digital world. Jennifer is left behind, angry and confused. Malcolm is equally frustrated. Suddenly, the sound of sirens and whirring helicopter blades fills the area. An entire heavily-armed SWAT team pulls into the drive-in. Ms. Starkey, thinking it's there for her, revs up and roars off into the distance. Instead, though, the officers converge on Sam's car, assault rifles at the ready. Jennifer throws up her hands in surrender and furiously screams out Sam's name. In the digital world, Servo arrives on the police network. He finds Blink using his electrified batons to smash up the buildings, further corrupting the database. As Amp, Sydney, and Tanker watch from Sam's computer, the battle ensues. Servo is badly outmatched. Every time he tries to strike the Megavirus Monster, it teleports to another location - usually behind him, where it whacks the hero with its batons. Servo calls out to his bandmates for help, and Tanker and Amp attempt to coach him through the battle with some... fairly dubious advice. Tanker suggests some football tackles, which only results in Servo running headlong into cyber-buildings, and Amp advises him to hold down the A button and then enter up-up-left-right-up. Meanwhile, Sydney is trying to actually be productive by deciphering how to use the support programs, but it's taking her a while. As Kilokhan watches the battle with glee remotely, Servo realizes his Grid Beam is finally charged. Kilokhan, however, is unconcerned. He monologues to himself about how he took the time to make some logical adjustments to Malcolm's suggestions, including a specific countermeasure for the weapon that had deleted his previous creation. Servo fires the beam, but Blink holds out his two batons in front of him, pointing straight up. A forcefield forms between them, and reflects the Grid Beam right back at Servo! The hero has no time to dodge and falls backwards, taking the full force of the blow. The small blue light inset into his forehead begins blinking. "Syd?" Servo asks, "What's that thing mean?" "Uh, nothing good." She answers. "Did you see Ultraman?" "Of course I saw Ultraman. Didn't everyone? It was Michael Bay's masterpiece." "Well, it's like that gem in his chest - basically it means your process is unstable and-" "IT MEANS YOU'RE ABOUT TO DIE!" Tanker blurts out in shock as realization dawns on him. "...thank you, Tanker," Sydney mutters. Servo begins to panic, trying desperately to avoid the monster's attacks. After a lot of super-fast sloppy typing of the kind that only works in the movies, Sydney manages to get the support programs online. She asks the others if they're ready to enter cyberspace to save Sam. Tanker responds enthusiastically, but Amp seems worried and asks if he can bring his friend in. He lifts his "friend" into frame, and it's Bigfoot the squirrel. Sydney asks how he snuck him back in but Tanker insists there's no time. Syd tells them that to synch with their vehicles, they'll each need to provide a unique voice print. She presses another combination of keys and each team member provides their voice print with a catchphrase before being teleported into the computer world. "Pump up the power!" shouts Sydney. "Let's kick some giga-butt!" proclaims Tanker. "Mushrooms make learning fun!" declares Amp. The three find themselves suddenly inside complicated assault vehicle cockpits, outfitted in uniforms with the names of their programs. Sydney pilots Borr, a flying vehicle with two huge drills on the front. Amp commands Vitor, a fast, sports-car-esque vehicle with rapid-fire laser guns. Tanker drives Tracto, which is, fittingly, a tank, with twin high-powered laser cannons. Though the control panels are hilariously oversized and the labels on the buttons and levers and gauges are complete gibberish, the three realize they have access to programmed knowledge of how to operate their vehicles. As Servo holds back and tries to recover, the support programs attack Blink. After a lot of close calls and near-misses, Tanker manages to shoot the monster right in the eye, blinding it. Panicked, Blink begins rapidly teleporting all over the system. Kilokhan becomes enraged, fruitlessly warning his minion that overusing the ability will cause it to overload and fail. That's just what happens, as a confused Blink finds himself unable to teleport, blind, and stranded right between Servo and the support programs. The heroes all attack relentlessly, but without the Grid Beam, they don't have enough firepower to finish the job. That is, until Sydney discovers a function of the vehicles she hadn't yet realized - the three can combine into one powerful giant robot fighter, Xenon! As the three put their vehicles together, Amp in particular gets very excited. This is just like that movie he saw, the one with the sequel, and the purple people and the big cats... what was that called? He can't remember. Tanker remarks that if he doesn't recall the title, it must not have been very good. Amp acknowledges that he's probably right. In any case, they've now formed Xenon, an imposing robot program which looks... yeah, it looks like a Chinese bootleg of Optimus Prime. Spoiler Servo distracts the monster while the other three calibrate Xenon's weapons systems. Once they've locked on, they fire, and the robot's fists fly off of its arms and turn around, revealing Borr's drills, charged with energy. The projectiles bore right through Blink, deleting him. The team celebrates as Servo's restorative data is unleashed, repairing the police computers. Watching from the Dark Web, Kilokhan throws a very dignified hissy fit and swears revenge on Servo. The next day at school, Jennifer confronts Sam furiously in the hallway. Because of him, she spent an hour in a jail cell. Sam explains it wasn't his fault that the police database got hacked, but Jennifer is still mad at him for abandoning her and storms off. While his friends try to console him, Malcolm approaches Sam with a satisfied smirk on his face. "Looks like I'LL be taking Jennifer to the sequel, Sam," he says mockingly. "In your dreams, Frink," Sam retorts. "She only dates functional human beings." Malcolm makes a fist and shakes with anger, but Tanker steps between him and Sam and cracks his knuckles threateningly. Malcolm backs off, but swears that he'll make Sam's life a living hell any way he can. Team Samurai laughs off his threats as he retreats to his locker. Inside the locker, he pulls a tablet out from its carrying case. Kilokhan is on the screen. The AI scolds Malcolm for his failure, but Malcolm insists he deserves another chance. After all, he says, there are plenty more monsters where that one came from... THE END In a mid-credits scene, we see Ms. Starkey racing down the open road on her Harley, her cafeteria hair net on to keep her hair from blowing in the wind, an unmarked package strapped to the handlebars. She speeds past a cop car parked on the side of the road, which turns on its siren and begins to chase her. She roars off the road, right through a wooden fence and down a steep hill. The cruiser is unable to follow. She races over the rough terrain to a rough-looking biker bar, parks, and enters with the package. "All right, you bastards," she shouts to the macho men inside. "I got what you asked for." She rips open the package, revealing... "Freshly-expired 2% cafeteria milk, free of charge!" The bikers cheer and applaud. "White Russians for everyone, on me!" Edited March 6, 2018 by Xillix Link to comment Share on other sites More sharing options...
YM! Posted March 6, 2018 Share Posted March 6, 2018 18 hours ago, Xillix said: So as to the whole IMAX thing... now that we're pretty well into Part I, I figure it makes sense to re-open claims. What I'm thinking to avoid the flooding/overscheduling is this: 1. To claim an IMAX release slot, any movie that doesn't currently have one needs to be completed, with its full summary and cast and all that. 2. The same player cannot have a new IMAX release two weeks in a row. 3. Based on the current schedule, we institute "blackout dates" to prevent people from cutting off the really huge releases after just one week. My proposal for these blackout dates would be: February 22 - After Pillars of Eternity April 5 - After Lilo & Stitch April 26 - After Cataclysmic May 10 - After Spark: Homeward July 12 - After Alpha Flight July 26 - After The Scavenger Wars October 11 - After Solitary November 22 - After Bartimaeus Also @cookie @4815162342 y'all still need to work out this Number One Dime / Mass Effect situation. What do people think? As a note of reference 1 Link to comment Share on other sites More sharing options...
