Hops and Box Office Flops

Event Horizon – Brain Dead Space

Event Horizon was Paul W.S. Anderson's follow up to Mortal Kombat. At the time, he was highly sought after. In the wake of that movie's success, he was offered the sequel to MK and even an X-Men film, amongst other things. Wanting to veer away from PG-13 fare, Anderson settled on Event Horizon.
The basic premise of the film is that a salvage crew is dispatched to secure the titular ship, the Event Horizon, which has been missing for seven years. What they find is not something they will ever un-see, even if they don't need eyes to do so. Why? Well, in the ship's journey through the pockets of space, it took a detour.
As a result, its original crew slaughtered each other, bathing in blood and doing other unsightly things. This is a hard R, folks, and we don't even get the majority of the insanity he wanted to include. That last bit is unfortunate because, ultimately, Event Horizon feels like an unfinished film.
Its slapdash editing, done over the course of just six weeks, is unable to hide its story flaws. It's not surprising then that the film was trashed by critics (29% on Rotten Tomatoes with 79 reviews); and failed to recoup its pricey $60 million budget, grossing just $42 million.
Despite that, it is a pseudo-cult classic. Online fans have even attempted to insert what's left of the lost footage to build a director's cut the studio will never release. Its intense visuals, strengthened by dynamite sets and practical effects, also elevate what are mostly pedestrian scares.
So sit back, unearth the cosmic horrors of a Hell Lager from Surly Brewing, and get off that ship! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, Capt. Cash, and Mayor McCheese are doing our best to avoid the creepy Dr. Weir as he prances naked around the Event Horizon!
This Week’s Segments:
Introduction/Plot Breakdown – Pitched as "The Shining in space," Event Horizon can't quite reach the lofty heights of its comparison. (00:00) 
Lingering Questions – We hear from our brothers in beer at Hop Nation USA, and then determine what could've improved this movie. (1:02:24)
The "Save Yourself from Hell" Trivia Challenge – The Double Turn Podcast enters a wormhole to Hell, and then Chumpzilla challenges the field to trivia about the movie. (1:23:02)
Recommendations – We offer our picks for the week and next up: We get rowdy for "Hops and Floptober" with the John Carpenter classic, They Live.  (1:31:20)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—the lost footage and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Tin Cup – Bland Trap

Tin Cup re-teams director Ron Shelton with his Bull Durham star Kevin Costner. The pairing, which was stellar in 1988’s Durham, fails to rediscover the magic of that film.
That’s primarily because Roy McAvoy, the titular Tin Cup, just isn’t likable. He’s an obtuse man-child—much more akin to “Nuke” Laloosh than “Crash” Davis. And his foibles, which are on full display throughout, are never adequately addressed. One would be justified in arguing that his growth arc may actually be a negative one.
Despite that, there is fun to be had on the back nine, especially if you ignore the forced romance sub-plot; and Tin Cup is at its best when it’s tapping into the more spirited aspects and nuances of golf.
In addition, its ending holds to this day. McAvoy’s insistence on going for it all amplifies what could have been just a typical sports movie. That boldness is probably why critics appreciated it (72% on Rotten Tomatoes with 53 reviews). Audiences did, too. Though not a huge success, Tin Cup did manage to rake in $70+ million on a budget of $45 million. We’d say that’s at least a box office par.
Now sit back, grip and rip the top off a Modelo Negra, and define the moment! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, Capt. Cash, and Mayor McCheese are letting the big dog eat!
This Week’s Segments:
Introduction/Plot Breakdown – Tin Cup works very hard to stretch the limits of Kevin Costner's charm. (00:00) 
Lingering Questions – We hear from our brothers in beer at Hop Nation USA, and then assess whether this movie ended appropriately. (53:14)
The "Golden Tassle" Trivia Challenge – The Double Turn Podcast shanks one out of bounds, and then Chumpzilla challenges the field to a series of questions relating to the movie. (1:09:17)
Recommendations – We offer our picks for the week and next up: We begin "Hops and Spooky Flops" with the long-gestating episode, Event Horizon.  (1:24:55)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—the inspiration for Tin Cup's infamous 12 and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Ed – Monkey Trouble

Ed is a movie centering around a chimpanzee who just so happens to be exceptional at baseball. As a concept, that sounds ridiculous, but kids movies have worked with that conceit—take Air Bud as an example. But Ed is a travesty. Plain and simple.
It's unfunny, nonsensical schlock, and it probably killed the notion that Matt LeBlanc could be bankable as a leading man. The film's failings are not his fault. As devoid of charm as he may be in it, it's just a rudderless enterprise. Other than the novelty of a chimp—who once belonged to Mickey Mantle—having a golden glove, there's a distinct lack of focus.
Ed ping pongs between plot points we've seen in other movies. Universally, they were done better elsewhere. It even shoehorns in a romantic subplot between Ed's raucous bowel movement jokes. One wonders how they found the time.
It should come as no surprise then that Ed was panned by critics. It sits at 0% on Rotten Tomatoes with 16 reviews. It also tanked at the box office. On a budget $24 million, it made just over $4 million. This thing is like hitting into an unassisted triple play.
Now sit back, ease the pain of watching Ed with a Golden Monkey from Victory, and keep the chimp away from your bathroom! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, and Mayor McCheese are stuffing our faces full of frozen bananas!
This Week’s Segments:
Introduction/Plot Breakdown – Ed loves farting, frosty treats, and assorted hijinks. Sounds hilarious, right? It's not. (00:00) 
Lingering Questions – We hear from our brothers in beer at Hop Nation USA, and then make the difficult choice: Is this the worst movie we've ever done? (57:23)
The "Houdini of the Hot Corner" Trivia Challenge – The Double Turn Podcast drops a sacrifice bunt, and then Chumpzilla challenges the field to a series of questions relating to the movie. (1:12:27)
Recommendations – We offer our picks for the week and next up: We conclude "Hops and Sports Ball Flops" with the golf classic Tin Cup! (1:24:55)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—Matt LeBlanc's anger over appearing in the film and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Side Out – Sponsored by MetLife

Side Out—which stars C. Thomas Howell and Peter Horton as Monroe Clark and Zack Barnes—is the quintessential beach volleyball movie. There is a distinct lack of competition in that field, but regardless, it is a 1990s filmmaking delight.
The central conceit of Side Out is that Clark, an aspiring lawyer, comes to California to intern for his uncle Max—an unscrupulous attorney who's always out for money. This fortuitously leads him to Barnes, an aging and disgraced former "King of the Beach."
From there, it's magic. All of it. From the Kenny Loggins needle drop, to the ultra 90s aesthetic, to the incredible montages, Side Out is so bad it actually transcends its absurdity and attains greatness.
Honestly, I'm clearly in the minority on this. Side Out grossed well under $1 million on a budget of $6 million—a cost apparently offset by its insane amount of product placement. It also bankrupted one of the studios that backed it.
But, who cares!? We're here for the sand, beers, and babes! And this movie has an abundance of those. Plus, there is enough neon and Mossimo apparel to make your head spin.
So sit back, relax by the ocean with a California Honey Blonde Ale from Pizza Port Brewing Co., and take a tour of the dead stars! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, and Mayor McCheese are entering the Jose Cuervo Classic for a shot at glory!
This Week’s Segments:
Introduction/Plot Breakdown – Side Out is perhaps the greatest beach volleyball movie ever, though that is admittedly not saying much. (00:00) 
Lingering Questions – We hear from our brothers in beer at Hop Nation USA, and then we tackle Side Out's most enduring mystery: Does Zack Barnes conquer his crippling gambling addiction, or does he squander his new found winnings? (42:48)
The "King of the Beach" Trivia Challenge – The Double Turn Podcast sets us up for a spike, and then I challenge the field to a series of questions relating to the movie. (1:03:18)
Recommendations – We offer our picks for the week, honor the late Norm Macdonald, and next up: We continue "Hops and Sports Ball Flops" with the all-star chimpanzee shortstop Ed! (1:13:21)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—the odd amount of volleyball video games and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

The Program – Place at the Table

The Program is a highly embellished glimpse at the perils of big time collegiate football. The prioritization of wins over the actual molding of young minds is at its center, but so is football's innate ability to form lasting bonds. The men who take the field put their bodies on the line for each other. It's a brotherhood.
It nails both of those aspects. The shadiness of the folks in charge is omnipresent; and the central cast of characters is relatable. Their foibles, as cliché as they may be, are distinctly human.
You've got the young upstart running back Darnell Jefferson (Omar Epps), whose education entering college isn't up to snuff. There's the overachieving special teams player, Lattimer (Andrew Bryniarski), who has bulked up through suspect means for a chance to start.
And then, perhaps the most well rounded of the core, are linebacker Alvin Mack (Duane Davis) and quarterback Joe Kane (Craig Sheffer). Kane is an alcoholic who's struggling with the pressures associated with a Heisman campaign. And Mack is a season away from pro stardom and the type of money that can change his family's fortunes forever.
Yes, all the scandals, drama, and injury, sack this team at once, but none of them are beyond the realm of belief. This is high level college football—warts and all. And, honestly, their journeys are why this movie has endured.
The physicality of football is also well represented, a testament to the work done by the folks at NFL Films. It immerses you in the game and the atmosphere.
Thus, despite its more outlandish elements, The Program is a film that has stood the test of time and remains widely regarded as a cult classic. Poor reviews, controversy, and a lukewarm box office couldn't prevent it from becoming so.
Now sit back, crush some Dankful IPAs from Sierra Nevada, and get ready to peel some caps! I, the Thunderous Wizard (@WriterTLK), Chumpzilla and Capt. Cash are putting the women and children to bed, so we can go looking for dinner!
This Week’s Segments:
Introduction/Plot Breakdown – Is the program overexaggerated? Sure. But it's certainly pulling back the curtain on the more unsightly elements of college football. (00:00) 
Lingering Questions –  Is it even possible to improve this movie? (47:03)
The "Kill 'Em All" Trivia Challenge – Chumpzilla challenges the field to a series of questions about the movie. (1:10:46)
Recommendations – We offer our picks for the week and next up: We continue "Hops and Sports Ball Flops" with the beach volleyball classic Side Out! (1:21:59)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—ESPN's oral history and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Last Man Standing – No, Not the Tim Allen Show

Last Man Standing is the American reimagining of Akira Kurosawa's Yojimbo (1961), though it wasn't the first reinterpretation. The Spaghetti Western A Fist Full of Dollars (1964) had tread this ground before—a man with no name caught up in the exacerbating violence of warring gangs.
Unlike the Italian-produced film, Last Man Standing was given Kurosawa's blessing. Unfortunately, it can't replicate either of its predecessors results. Directed by Walter Hill, it's a movie that struggles mightily to present a coherent story. Sure, it revolves around Irish and Italian mobsters vying for bootlegging dominance in a remote Texas town, but what happens around that is often nonsensical.
That is no fault of the director's. Last Man Standing, like many other films we've covered, fell victim to the demands of the studio. Nearly 30 minutes of its original runtime was sent to the editing room floor.
Its lack of connective tissue is made evident by John Smith's (Bruce Willis) forced bits of narration. The muddled narrative no doubt hurt its critical reception. With 30 reviews, it sits at 37% on Rotten Tomatoes.
It's also the biggest financial failure of our "Hops and Bruno Flops" series. On a budget of $67 million, it grossed just $47.3 million. Yet, and this may be a stretch, some now consider it a cult classic.
That is all credit to its gratuitous violence. Smith, the pseudo-hero of the film, dishes out lead in hefty amounts—rarely stopping to breather or even reload. As ludicrous as the gunplay is at times, it does make Last Man Standing a moderately enjoyable endeavor.
Now sit back, sip on a cool Furious IPA from Surly Brewing Co., and tip your hat to the undertaker! I, the Thunderous Wizard (@WriterTLK), Capt. Cash, and Mayor McCheese are running moonshine through Mexico with Colt pistols in hand!
This Week’s Segments:
Introduction/Plot Breakdown – When Bruce Willis strolls into a gang war in Prohibition-era Texas, bullets fly. (00:00) 
Lingering Questions – Somewhere out in the ether, a director's cut of this movie exists. Would we like to see it one day? (53:47)
The "Jericho" Trivia Challenge – I challenge the field to a series of questions about the movie. (1:07:56)
Recommendations – We offer our picks for the week and next up: We kick off, literally, "Hops and Sports Ball Flops" with The Program! (1:18:08)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—Walter Hill's reflections on his films and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Hudson Hawk – Scat Burglar

Hudson Hawk is as bold a movie as an A-list star could possibly choose to make. And that's a compliment.
Bruce Willis, most famous for playing gruff cop John McClane, stars as cat burglar Eddie Hawkins—the titular Hudson Hawk. He's tasked with stealing artifacts crafted by Leonardo da Vinci that are capable of turning lead into gold.
On the surface, that sounds like a fairly standard action-centric plot. What it actually entails is anything but. Hudson Hawk boasts a deluge of slapstick tomfoolery; dynamic duets between Willis and Danny Aielo, who plays his partner Tommy Five-Tone; a secret com device crafted out of a crucifix; and a gaggle of candy-themed thugs—one of which is played by the generally self-serious David Caruso.
Unfortunately, its charms weren't embraced upon its release. It grossed a shade under $100 million on a budget of $65 million; and it was scorched by critics. Its 33% on Rotten Tomatoes is unkind, but it's not nearly as mean as all the Razzie nominations Hudson Hawk received.
This isn't high art, folks, but Willis is having an absolute blast. Provided you don't take it too seriously, you will, too.
Now sit back, harmonize your way through an Atomic Pumpkin from New Belgium Brewing, and catch some air in the ornithopter! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, and Capt. Cash are swinging on a star!
This Week’s Segments:
Introduction/Plot Breakdown – Hudson Hawk is a bizarre delight, but it's certainly not for everybody. (00:00) 
Lingering Questions – In the pantheon of actors' passion projects, where does this rank? (1:07:30)
The "Side by Side" Trivia Challenge – Capt. Cash challenges the field to a series of questions about the movie. (1:13:25)
Recommendations – We offer our picks for the week and next up: We finish off "Hops and Bruno Flops" with Last Man Standing—no, not the Tim Allen Show! (1:22:02)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—how Hudson Hawk came to be and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

Cop Out – Bruce is Too Old for This S**t

Cop Out is a humorless retread of the buddy cop trope. Directed by Kevin Smith, though not written by him, it lacks the key ingredient to this tried and true formula—charismatic leads.
Bruce Willis, as Jimmy, sleepwalks through the entire film. Tracy Morgan, as his partner Paul, tries dutifully to carry his lifeless husk across the finish line. But, alas, he cannot. No amount of improv or overacting can inject life into the flat script.
More than likely, Willis' on-set tantrums and open disdain for Smith's direction played a role in Cop Out's failures. He just didn't commit to the material, which forced Morgan to overcompensate.
It should come as no surprise then that critics and audiences hated it. It sits at 19% (163 reviews) and 39% with them respectively. And, like Andy Pafko did 477 times in his career, it struck out at the box office. It earned just $55.6 million on a budget of $40 million.
Yet, in the end, Cop Out's biggest sin is how negatively it affected Smith. The experience shook him, nearly causing him to abandon making movies all together. Thanks, Bruno.
Now sit back, pound several Summer Ales from Brooklyn Brewery, and stop spying on people with a nanny cam! I, the Thunderous Wizard (@WriterTLK), Chumpzilla, and Capt. Cash are on a stakeout dressed as cellphones!
This Week’s Segments:
Introduction/Plot Breakdown – Kevin Smith's shot at the big time lacks the laughs of his own scripts. (00:00) 
Lingering Questions – What, if anything, could fix this film? (34:04)
The "Andy Pafko" Trivia Challenge – Chumpzilla challenges the field to a series of questions about the movie. (58:16)
Recommendations – We offer our picks for the week and next up: We continue "Hops and Bruno Flops" with Hudson Hawk—the movie that once again graced us with the angelic pipes of Bruno! (1:10:04)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—the on-set turmoil and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!

The Suicide Squad – Passion Fruit Starfish

James Gunn's The Suicide Squad, which is a pseudo-sequel to 2016's film, is an unapologetic, Troma-inspired, super heroic gore fest. And it is glorious!
This is Gunn's superhero magnum opus. He dives deep into DC's bag of obscure characters to assemble a ragtag group of expendable heathens. Make no mistake, many of these oddballs are here to die. And they do so in a series of grotesque ways.
This is a hard R, folks. Unlike Birds of Prey or Zack Snyder's Justice League, which could've curbed their foul language to earn a PG-13, The Suicide Squad basks in the magnificence of its unfettered violence.
Bullets are sprayed, a man is murdered with his pants down—literally—and a dimwitted humanoid-shark feasts on all manners of fascist goons. Heads not only roll, they're eaten!
Unfortunately, with COVID's resurgence, The Suicide Squad was a box office casualty. It netted just $26.5 million domestically in its opening weekend. Fortunately, though, like all of WB's 2021 slate, you can stream it in all its disgusting glory on HBO Max. We highly recommend you do so.
So sit back, struggle your way through a Milwaukee's Best Premium, and throw the Weasel a life raft! I, the Thunderous Wizard (@WriterTLK) and Chumpzilla are storming the beach guns blazing!
This Week’s Segments:
Introduction/Plot Breakdown – Does Gunn's film wash out the bitter taste of its predecessor? (00:00) 
General Impressions and Initial Questions – We engage in a spoiler-free discussion about DC's latest big screen team-up. (8:08)
Lingering Questions – Where does this rank in the DCEU? Who's our favorite of this entry's additions? We tackle those questions, among others, in our second segment. (27:04)
Recommendations – We offer our picks for the week and next up: We continue "Hops and Bruno Flops" with the Kevin Smith-directed Cop Out. Yes, even Mr. Smith acknowledges it's a turd. (59:38)
And, as always, hit us up on Twitter, Facebook, or Instagram to check out all the interesting factoids—the Peacekeeper series and more—from this week’s episode!
You can find this episode of Hops and Box Office Flops on Apple Podcasts, Google Podcasts, Stitcher, Podbean, Spotify, Acast, TuneIn, iHeartRadio, Vurbl, and Amazon Music!