Movie Predictions 2017

So for real I am going to practice brevity here.

Its an easy time to do so though, because 90% of whats coming out is going to fall somewhere on the spectrum of "meh" to "hot, seaside garbage pile."

Basically, there will be a bunch of movies that are ok. Marvel/Disney have ushered us right into the era of the most okayest films of all time. Grand productions that entertain, take no risks, and that typically don't stand on their own but will make you leave the theatre moderately pleased.

Everything is a sequel or remake.

If it is Marvel/Disney it will probably worth the ticket price, but not much more. (Guardians 2, Star Wars VIII)

If its DC (Justice league) its gonna blow, because they have no artists making those movies. Just a board of directors that believe they know what audiences want and consistently prove that they do not.  Also Zach Snyder's horrible taint is too well established in the brand and its too big of a PR risk to do what they need to do, IE break away from any semblance of the Snyderverse.

Also, any movie that is attempting to establish a "cinematic universe" as that is now the go to business model even though its only really working for one goddamn studio is gonna be shit. Its a fundamental mistake to make movies with the intent to make more. Counting eggs before they hatch, carts before horses, completing before sex goddamnit! Its not good for anyone! (The Mummy, King Arthur, potentially every other big studio production. The King Kong verse, the Ghost in the Shell Verse, the Planet of the Apes verse etc)

All the sequels are gonna blow (Just anything with a fucking 2 or 3 in the title besides John Wick 2)

The Nostalgia cash grabs will be the worst (Power Rangers, Jumanji, Transformers which also falls in the universe building category so it will be extra shit)

The only movies that are worth it, the only movies I am going to pay for to see in the theaters are;
1) John Wick 2

the sequel to the best action movie made in the last 10 years. Same team. The only sequel worth your time.

2) Valerian and the City of a Thousand Planets

Luc Besson's return to big budget big vision sci-fi that EVERYONE SHOULD SEE BECAUSE WE NEED TO FUND ORIGINAL CONTENT YOU NOSTALGIA DRIVEN BRAND LOYAL FUCKS!...even though its not totally original as its based on a book...shut up...

3) Geostorm

Haven't heard of this one? Yeah. It was supposed to come out years ago, then it was supposed to come out last year, but it was so terrible they had to spend millions of dollars and hire new directors and producers to try and cobble together something decent. Its probably going to be the most expensive terrible movie released in years, and i'm cynical enough to always want to pay to see a disaster. Especially when the disaster is a movie about disasters.

Thats it. Everything else is not going to be special or worth getting out to share a space with the dregs of humanity for 14 bucks a ticket and 500 dollars per popcorn candy combo.

Also, a desperate message from me, your fearless cultural curmudgeon/leader. DONT FUCKING GO TO MOVIES.

Dont give these movies money. Do you want to see one of the movies beyond the three I listed? Fine. Wait. Wait for weeks after it opens. Hollywood only cares about opening weekend box office. Its the main factor in success. If we stop seeing the shit they have to stop making the shit.

Go to a small theater, see some small movies. They will probably be overly pretentious and self congratulatory because they are so "different" and "independent" despite predominantly relying on the same story tropes as every other fucking indy movie out there
(Im a general every person who has a strange relationship to family blah blah blah) (also most indy movies you actually see in theaters  are projects produced by arms of the studio system so independent isn't really the right word). Still. Stop feeding the beast. Please.

Be a hero and punch these movies in the sternum with the power of your dollarfists! You are a consumer in a capitalist market place. Make the marketplace you punk rock bottom bitch, like this guy!

Remember when movies could take risks? Good times.

Rogue One

Let's start with this. This is the Rogue One review done in the style of Rogue One:

It's ok

Straight to the point, nothing propping it up. You know my general opinion and, if that's all you need in your life, you are good to go.

But really...that's not very satisfying is it? A review so brief, without explanation to back up the claim, kind of defeats the purpose of it being there at all right?

Sadly, Star Wars Rogue One; Star Wars Stories chapter one, the first attempt, went for brevity instead of character building, action instead of substance, and marketing in favor of art.

Rogue One is a Storm Trooper of a movie IE it misses every mark it shoots for (hah, see, referential humor. Isn't that so funny? In a review about a Star Wars I made a reference to a Star Wars thing. References are great. They are all movies like Rogue one needs! Here's a picture of C3P0 and R2-D2!)

What is, in essence, an action war/spy movie never does fulfill the basic requirements for any of the genres it represents, and the reason why is that it all rides on the audience identifying and caring about the characters on screen.

And we don't.

I mean

I don't

Millions of nerds age 20-40 are lapping this movie up because Darth Vader is in it.

In fact the most worrying thing about Rogue One is not it's own inadequacies but the fact that we have gotten to a point with pop art in this country that mediocrity that deviates slightly from the norm is now lauded as something special.

They tried something slightly new with this one (I guess. Not new in media as a whole but new in Star Wars). Problem is, they didn't actually. All the hallmarks of tight studio control and brand retention are there, interfering in all moments that could have truly made this film stand out.

I will try to make this short. Sadly, while brevity is great and all, sometimes things have to go deeper to make sense. Cough Cough Rogueone Cough.

The characters are all one dimensional, with little interaction between them to make them read like people we should care about. The only times we DO get to see them interact are at the movies highest dramatic points, which we would care about if we cared about them going into those moments

But we don't

Honestly, it's been a day since I watched it, and I could not for the life of me name a single character in that movie that was not a pre-established entity. Not a good sign.

Jyn Erso (had to google that one) is a perfect example of this lack of dimension.

-Forced from her Father and Mother (who inexplicably shows up with a blaster so she can get shot. She lives by the old cowboy code I guess; if you are gonna kill a man, try to do it to his face after some dry dialogue) because the empire wanted her father to continue working on the Death Star (which, later in the movie, his reason for doing so was because “they would have just gotten someone else” which begs the question why the empire didn't just do that instead of putting the project in the hands of someone who deserted...I guess... (again we don't know) and probably isn't too happy that they killed his wife and took him away from his daughter…)

-Ends up 15 years later in prison (we don't know why)

-Broken out by the Rebels (why they knew where she was we don't know) and then strong armed into joining their cause with the promise of “her freedom” if she helps. (which it doesn't really make sense for a group of essentially fugitives to have the power to grant freedom…)

-Doesn't want to be part of the rebellion despite being formally one of it's best fighters as established in brief conversation with Robo Forest Whitaker due to the “suffering” it caused her (not established or explained)

-Despite ample time and opportunity to leave the mission, she stays around for no obvious reason (hope to see her father? Not established. Only mention of him was her saying she just likes to think of him as dead) until she meets up with RoboWhitaker, who plays her father's overly complicated message (seriously, the message already says “I intentionally built a flaw in the fucking murder ball.” He couldn't have just said “it's a fucking exhaust port on THIS part of the ship, at which point a hologram of a simple drawing of the death star pops up with a red circle highlighting the area, thus negating the whole “let's get the entire engineering schematics for this thing” mission?)

-Starts getting emotional seeing dad saying “I love you Stardust” etc despite their relationship having almost no context except for a five minute flash back where they didn't interact at all.

-Goes on a mission to find her father with the Rebels (and extra side characters) which is secretly a mission to kill her father. Rebels kill her father and she has a short scene where he says a few lines that would matter if they ever actually built their characters or had them interact at all. She knows Rebels killed her father and figures out that was the point of the mission.

-She becomes all rah rah rebellion and starts spouting off speeches about hope, despite the only thing that has been established about her character is her blaming of the rebellion for her suffering, which she just got a big dose of vis-à-vis her father being murdered by the rebellion.

As for the rest? Well we have Capitan Downer who I guess is troubled by the fact he has murdered so many people for the rebellion in morally compromising ways. Again not well established. He wrestles with killing Jyns father I suppose but that seems more because he actually believes Jyns story not because he gives a shit about killing people.

Blind force sensitive guy...Chicklet? Carrot? Something like that, again not bothering to look this stuff up anymore, guardian of a temple that they....are not really guarding I guess? I get that they are really building up the force and destiny in this but not even a scene where he's bummed out about his life's purpose being nuked into oblivion by the Death Star? No confiding in his new found friends or old friend to bring some depth to the character?

His buddy? Big Mclargegun? Hes grumpy at Carrot Stick because he keeps believing in the force but I guess he also believes or used to believe but they have like 3 lines of dialogue in the whole fucking movie so you really don't know, including a line where he calls Jyn “little sister” even though, and i'm wracking my brain, I don't think they directly communicate in the entire film.

See what I mean? No depth, no consistency, nothing is established.

I bet that if you really counted up all the lines of dialogue that were not there simply to advance the plot you’d have less than 10 minutes of character interaction for a cast of two main characters and sevenish side characters.

If it's not clear from the above ramble, the tone is also all over the place. What is attempting to be the first dark, gritty, hard nosed Star Wars (which was what episode III was also supposed to be and used as it's selling point)  is constantly undermined by the blatant fan service and pointless action scenes.

Yeah, I said it, the action scenes are all pretty much pointless up until the last 20 minutes of the movie. That one is pretty good. The rest don't mean anything because the characters involved are not developed.

Again. For a story like this to work, we need characters that exist in some way that make us care about them. They never establish the characters so the action scenes don't matter because the stakes are not clearly established beyond the assumption that we, the audience, already know the stakes because this is a prequel. The only moment with some true emotional depth is the Death of K2, the fucking robot. The only reason it has emotional depth is that K2 is the only character that continuously interacts with other characters, engaging in dialogue and banter, so we actually LEARN about it (he? Are we gendering robots?) and it's nuances. It is a know it all that doesn't listen and only follows orders begrudgingly. It doesn't like anyone other than Cassian Andor (I decided to look him up given he is a main character). It wants a gun. It is really happy when he gets a gun. It takes obvious pleasure in using a gun. Despite know it all, curmudgeon quality and constant reiteration of statistical unlikelihood of success (REMEMBER WHEN C3PO did that!) it is always there for it's friends and willingly sacrifices itself for them in the end.

With just a few more character interactions, a few more minutes of banter and play between the actors, and a little more room for them to shine, the ending of the movie could have had some real weight. (Oh no wait, Darth Vader is there and makes it stupid...leading to the next point)

And those pre-established entities I mentioned? They do nothing to service the film, and in both cases actually detract from the experience and Star Wars as an intellectual property. Bringing in Darth Vader and Grand Moff Tarkin (thus making it three total main bad guys in all) and due to the fact Tarkin has been established before and Vader has been established over the entire rest of the goddamn movie series, he and Tarkin take away screen time and opportunity to make a central, established villain of new guy in white uniform (i'm tired of googling this shit again). Furthermore, Making Darth Vader a goof ball one liner dropping guy in a film that is supposed to be super duper serious is wrong. I know it tests well with nerds in my age group, but for fucks sake “don't choke on your ambitions.”

Really?

That's where we are at? The movie that the only thing it has going for it is it's gritty dark tone decides to make Vader uncharacteristically silly? You know, one of the best villains in cinema history in part due to his distinct lack of humanity suddenly developing a flair for theatre and wit?

In the end, Star Wars Rogue One: A Star Wars Story about Star Wars: Featuring the War in the Stars; A Vader/Tarkin Joint, is commendable in that if you tweaked 3 things about the film as a whole, it could be a fantastic experience. Instead, we have a film that attempts a lot of different things and succeeds in none of them. It's a fine movie, but we should demand more of 200 million dollar productions than fine. We need to stop accepting mediocrity and art by comity, because if we don't, its all we will ever get from Hollywood.

Cities: Skylines: City-builder nerds may be delivered from SimCity's clutches at last

Hello everyone, Dilly here, back from an extended absence to bring you the good word. Now, you may recall from my previous posts that I am an avid patron of the city-builder genre. If you don't, that's fine, because I never actually mentioned it in my previous posts. But this isn't about what I may or may not have said in the past. It's about how concerned you should be that Steam will most likely become the type of sentient AI that brought humanity to its knees in The Matrix.

"Dilly, you're all over the place, you're going mad," you say? Well you would be too, if Steam was refreshing your quick launch interface every few days to fill it with games you don't own, in the hopes you'll try them and get addicted to them. You would be too if Steam's 'recommended for you' list included titles related to games and software you own separate from Steam (is it scanning me???). You would be too if you put titles on your wishlist, only to find them coincidentally on sale the next day. You would be too if every time you started up Steam, it blasted you with the exact title it knows you will want to buy:

And I do want to buy it. I really, really do. And I'm going to tell you why. But if Cities: Skylines is the quiet, intelligent, rational younger sibling of the city simulation genre, then I feel like we should start by talking about his big, dumb, older brother for a moment. You see, once upon a time in 2013, a game was released called SimCity. This game was unequivocally and decidedly a large, steaming, pile of shit.

Wrought with issues from the get go, and when I politely use the word "issues," I mean "severe game-breaking problems that made the game LITERALLY unplayable," SimCity was for a long time scarcely even fit to be used as a doorstop, or that extra 1/4" you needed under one leg to right that wobbly table. I won't go into why this happened, suffice to say that what was described as an incredible cloud-based calculation program that was supposed to be the bees fuckin knees of modern gaming turned out (rather unsurprisingly) to be a thinly veiled DRM - and EA's servers couldn't handle the amount of traffic they received at launch.

Now, getting past the headaches and frustrations of the initial launch (oh god, the headaches! They're coming back to me) the game itself quickly revealed itself to be a mere shadow of its predecessors SimCity 3000 and SimCity 4, both of which still remain superior in nearly every way. The new multiplayer mode, which was supposed to change the city-sim genre as we know it, ended up being a total flop when it was playable at all, offering little feeling of being part of a community of other cities and other mayors. Gone were the realistic, rational sims that populated the cities of previous titles; actual characters you felt you had some semblance of responsibility for as they drove to their jobs every day and came home to their families at the same house every night. In SimCity 2013 they were replaced by mindless zombies that literally drove to the closest open workplace in the morning, and then drove to the closest available house at night.

SimCity 2013. Stink lines added for effect.

It seemed like EA hoped that as long as the graphics were nice and shiny, no one would notice the laughably small city dimensions and lack of a persistent and dynamic population of sims. This to me was its biggest, most disappointing failure. The essence of any city-sim is the satisfaction of carefully planning and implementing infrastructure for it to be used wisely and thoughtfully by your city's inhabitants. What's the point if the people in your city behave like irrational, brain-dead squatters?

Although it is true I could go on and on, I won't get into the stupidity of the Origin distribution platform, or the pandering apology issued by EA (along with a free game from a limited crappy selection) as a peace offering for subjecting decent people to such a turd sandwich as SimCity 2013, because I want to get into why I even sat down to write this in the first place: Cities: Skylines.

Cities: Skylines comes to us in March of this year from developer Colossal Order, a relatively indie team of around a dozen staff members, who brought us the Cities in Motion series (most recently Cities in Motion 2). CiM2 was one hell of a city-sim...okay...back up a second, it's not exactly a city-sim, since in the game you only manage the transportation system of a city, but it definitely feels like it could become one. And that's exactly what CO has done now. They claim to have always intended to make a true city-sim, and I can certainly say after spending many hours playing CiM2, that they've mastered the transportation side of things (a huge part of any city-sim's gameplay).

Featured in CiM2 is a range of transport options, from buses to subways to ferries, that you must carefully construct and schedule around your city to meet the demands of citizens commuting to work, shops, school, etc. These citizens have persistent jobs and residences; they work on the weekdays and shop and access leisure services on the weekends - and I'm very excited to see this aspect ported over to the new Skylines title.

Cities: Skyline will also take after its transportation-centered counterparts by offering plenty of space for you to build a grow your city (about 36 square km compared to SimCity's bewildering 2 km).

Of course, you'll also be able to do all the other things that come with the typical city-builder. You'll manage taxes, water and sewage, emergency services, and other such hum drum activities that in the strictness of reality are pretty dull but in the freedom of simulation can become interesting and gratifying. CO has noted that they will improve upon the UI from its transportation-builder series - and in this vein, I hope they improve upon the graph and chart system offered in CiM2 to detail the statistics of your city, as these graphs were often confusingly labeled, poorly visualized, and of little use.

The excitement doesn't end there. Players of Cities: Skylines can look forward to two more unique features that set it apart from the EA blowhard competition. One is the intense ability to micromanage several things, all the way down to renaming individual citizens in your town. The other is the promised mod support, which has the potential to be truly heroic. With support from the Steam Workshop and an in-game modding tool (YES!), users will be able to create vast variations of buildings, parks, vehicles - you name it - and share them with the gaming community. This means endless possibilities of dynamic cities of all shapes and sizes! Why don't you put that in your pipe and shove it up your ass, you money-grubbing EA fucks.

Build sprawling farmlands or a towering metropolis...or a quiet suburb.

I have no doubt that EA and Maxis will continue beating their dicks, occasionally ejaculating a discolored discharge that will be another DLC for SimCity 2013. But after that well runs dry they'll probably be hard at work coming up with the next SimCity title to once again corner the market. And until that day comes, let's hope that Cities: Skyline doesn't fall flat on its face too.

2015 movie predictions Part 1

So, using my massive many wrinkled brain I am (again) going to tell you what movies are gonna rock and what movies are going to be stinky piles of discarded wank socks. Last time around (cough, points to old blog posts) I was pretty much dead on minus one GLARING mistake in thinking Prometheus was a guaranteed winner. For that, I apologize and if any of you 3 to 4 people who read that went to see the movie based on that recommendation, I will make you a cookie for reparations. Just one. It'll have a frowny face on it and maybe a gum drop in the center to represent and alien bursting from its chest.

If you pay attention there is a slight break in theme this year. Its not just the usual appropriation of existing licenses or the mindless sequels/prequels that typify Hollywood. No, things are getting worse. Not only do we have a big budget video game movie coming in the form of Hitman: Agent 47, which I haven't see the likes of in awhile but my research indicates is going to be a big trend in the next few years (scheduled projects include Assassins Creed, Sly Cooper, and...ugh...Angry Birds...that one hurt to type) , but we are also getting a full feature release of a Goosebumps movie. You know. Goosebumps. Those scary books for kids. From the 90s. With the bees and puppets and boos.

Yup. Goosebumps. 

Pausing on the Goosebumps front for a moment to let my brain process it. The video game movie thing scares me as well it should. If you look back, can you honestly point to a good adaptation of a game to a movie? I mean, there was Mortal Kombat which was tons of fun but not a good movie by any means. Other than that, the transfer is usually pretty painful, mostly because its licensing. The company making it buys the rights to make a movie and typically only has so long to do it and, because they already dropped a ton of cash on the name, usually make it on the cheaper/lamer side of the coin. These movies are rarely passion projects. They are calculated products to tie in with existing merchandise. But what ho, dear readers! The same could be said for comic book movies not even 5 or 10 years ago. Now look at it! We have four huge comic book movies coming, all of which we can trust to be at least fun because marvel figured it out. So maybe Hitman won't be too bad. I would still be weary of it though, there are still going to be some growing pains, I'm sure. Back to Goosebumps...

I'm gonna watch it. I'm totally going to see it. Jack Black is in it. He plays R.L. Stien in his own horror universe. Its probably going to suck HARD but I'm feeling like its gonna suck just the right way to be worth the price of admission.

For the rest, here's the short predictions:

THE SEQUELS

Monsters: Dark Continent: Sequel to Monsters, a movie that oozed so much stereotypical pretension and hit-you-over-the-head stupid messages that I wanted to punch the screen. (And don't get me wrong, I went to a local non-accredited film school; I can be pretentious to the max, but nothing is worse than super overt masturbatory pretension, which really should have been the title for this movie.) My bet is that since it lost its director to the Godzilla movie, the studio making it is banking on its new found pedigree to sell. Gonna be boring and probably pretty soulless. 

Anything else that's a squeal: I did the looking for you. From a new Transporter and Ted 2 to Paranormal Number-Whatever-The-Fuck to Pitch Perfect 2, you can just avoid all this shit. Except for...FURIOUS 7

Insert flexing and grunting noises here

The first one was fun, the second was shit. The third brought it closer to where it needed to be with the over-the-top insanity, the fourth brought it back down. The fifth got its groove back and the sixth was one of the most inane piles of macho insanity that I have ever seen and I reveled in every moment of it. I think they figured it out, and they are going to go even crazier with the seventh, so its gonna be totally worth it.

THE REBOOTS

A mixed bag this year! Instead of every single one looking like a sad old prostitute with some sweet CG effects projected over her to try and sell her "goods", there are actually one or two that might be worth it! The new Mad Max looks like it was made by someone who actually watched the original movies and it has real cars doing a lot of real stunts which really titillates my tits. Jurassic World also has the potential to be a strong "eh, I'm not upset I paid to see this" so that's good! 

On the other hand, we have things like Poltergeist, a horror movie with a summer release which is never a good sign and, of course, Terminator Genesis. Oh wait. I'm sorry. GeneSYS.

Yeah.

They have 3 or 4 call backs and catch phrases in the TRAILER. This movie is going to be pandering stupid awful garbage. Remember that one kid in high school who tried so desperately hard to be cool he would do and say anything and everything he heard to the point of it just being really sad? Yeah, that's this movie. Its going to be the "well my dad drives a Mustang and totally hangs out with the Beatles and he drove me to meet Paul McCartney in his Mustang" of movies. 

Alright, this is getting long so its time to make this a two-parter! Keep being awesome all you four or five people that stop by and remember, if you give bad movies money they will keep making them. So stop it!  BAD!

Pitches to The Asylum: Titanic 3

IM BACK! Thanks to Erik Hoofnalge being the sexy stallion he is blowing smoke up my ass about this blog I finally got off my ass and finished this entry. BOOM. I hope its good! It probably isnt. FUCK. Well whatever heres my pitch for Titanic 3.

A brilliant red giant star is slowly eclipsed by a procession of asteroid and small plutoid objects. Suddenly a large ship enters the frame, speeding towards the sun to establish orbit. As it turns towards the star, we see its designation, "Titanic III" written in giant slabs of gold inlayed with diamonds.

Asylum calling card #1: Fraudulent sequels and spin offs

The scene fades to black as the words come off of the ship and begin to take up the screen as  a dubstep song begins. the final title reading "Titanic 3D: Terror on the seas of tomorrow" Thats right. This shit is in 3D because its about time Asylum corners that market. The drop hits as the scene cuts to an opulent party on the domed deck of the ship. The party is off the chain as the future financial elite let it all hang out on the maiden voyage of the very first interstellar cruise line as it moves on its tour towards Alpha Centari, all of which will be established by some ham handed delivery between the Captain and main financial backer of the ship, played by someone who is at least 400 pounds and who speaks EXTREMELY moistly, preferably always with a cigar or snifter of brandy, and his son, played by Jonathan Taylor Thomas-

Asylum calling card #2: Out of work 90s actor

Look familiar? Yeah. Thats Urkel. Hes using navy science to kill a Crocosaurus. The other guy was drunk the entire film and its really obvious.

-starry eyed and apparently at odds with his fathers nearly Ferengi level of capitalistic ideals. After some heated and moist debating about something the father says, JTT storms out and bumps into a servant girl/now romantic interest, a green skinned foxy whoman who drama shouts all of her lines.

asylum calling card #3: "hot" "actress" REALLY nailing all that dialogue.
To be fair, Brooke Hogan really managed to let Hulkamania run wild all over Two Headed Shark Attack

Its a classic and oh so culturally hip gender swap of the original plot which is way more in keeping with the terrible values of society (which the Asylum revels in), a poor disrespected woman finding love in an super rich attractive douche nozzle.

From there the plot follows the formula of the first Titanic movie, just condensed down to a cool 85 minute run time not including end credits. They fall in love, the dad is all rich and moistly angry about it, they keep it kinda secret, he paints her naked and we see her quad boobs (did I mention the quad boobs? I mean, shes an alien, so...yeah. Quad boobs) and then they get totally freaky right before the shit goes down. And boy does it go down. A electromagnetic solar doodad temporarily knocks out their long range scanners, which leaves them open to the greatest danger in space...A COMET!
...
See what I did there?
Comets are made of ice
Its like...a space ice berg...

ANYWAYS it hits the ship and all hell breaks loose. The vessel begins falling into the gravitational pull of the star its orbiting, doomed to sink into the abyss of fire. The rest of the movie contains the following.

-People floating off into the vacuum putting their best "I just froze/suffocated to death in the vacuum of space" face on.
-A scene where someone in a panic opens an airlock door and people try really hard to act like they are getting sucked out.
-Seeing as this is 3D, lots of scenes of JTT and his green love interest floating around in space suits pretending like they are dodging debris that are in the foreground.
-A scene of fat dad escaping the ship on an escape pod only to be hit by a stray comet piece and be spun TOWARDS THE AUDIENCE WHOOAAAAAAAAAAAAAA 3D THE FUCKING FUTURE OF CINEMA!!!! as he is flung wildly out into the depths of space to die.
-A lot of REALLY bad line deliveries
-The inevitable scene where JTT sacrifices himself to save the girl, giving up on his fortune and blah blah love blah blah shes poor and saved etc. The jets on the escape pod dont work so he goes out and fixes them. There is a tender moment as they power up and they both put their hands on the escape pods view port staring into each others eyes before she jets off towards earth, leaving him to float down into the waiting star. Good thing he'll suffocate before he gets there am I right folks?! Ahhh family fun.

Run Credits.

I expect a call Asylum. I just handed you gold. Moist and shiny Jonathan Taylor Thomas  gold.