STRANGER THINGS 2 (2017)

Review by Derrick Carter

Running Time: 7 hours 38 minutes

Directed by: Matt Duffer, Ross Duffer, Shawn Levy, Andrew Stanton & Rebecca Thomas

Written by: Matt Duffer, Ross Duffer, Justin Doble, Paul Dichter, Jessie Nickson-Lopez & Kate Trefry

Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalie Dyer, Charlie Heaton, Noah Schnapp, Joe Keery, Sadie Sink, Dacre Montgomery, Sean Astin, Paul Reiser, Linnea Berthelsen & Brett Gelman

Over a year after STRANGER THINGS debuted as a massive Netflix hit and gained a dedicated fanbase, STRANGER THINGS 2 hit Netflix just in time for Halloween. While many Netflix subscribers binge-watched the entire second season over its opening weekend (myself included), I couldn’t help but feel that the series had gone through a noticeable decline in quality. STRANGER THINGS 2 brings back the characters that you know and love, but slow pacing and unbalanced storytelling really knocked this season-long sequel down a peg.

It’s been nearly a year since Will Buyers (Noah Schnapp) was rescued from a parallel dimension and he seems to be suffering from supernatural-related PTSD. Will’s trauma-fueled flashbacks might actually be current visions into “The Upside Down” and something very dangerous might be looking back at Will. Meanwhile, Will’s friends (Gaten Matarazzo and Caleb McLaughlin) begin a tepid friendship with new kid Maxine (Sadie Sink). Also, preteen psychic Eleven (Millie Bobby Brown) is trying to find a way to get back to a depressed Mike (Finn Wolfhard), all while protective police chief Jim Hopper (David Harbour) keeps her under his watchful eye. And…this season also has interdimensional monsters and another tattooed psychic, but it takes a while to reach that point.

I want to make something clear, STRANGER THINGS 2 is fun. I like STRANGER THINGS 2. It’s a good season, but there are problems that cannot be ignored. This season’s flaws irked me enough to detract from my overall enjoyment of its nine episodes. One of the first problems arrives in the noticeably slower pacing. It seems like the viewer has to wait for a long while for anything of major consequence to occur within the first four episodes. A majority of the season’s first half is spent introducing/developing a couple of new characters, showing that Will has interdimensional PTSD, and delivering 80s nostalgia through the five (eventually, six) child characters. The GHOSTBUSTERS homage was funny and all, but what was really accomplished by showing that?

STRANGER THINGS 2’s off-again-on-again pacing and messy storytelling wouldn’t be so annoying, if the show didn’t try to distractingly shoehorn a few subplots in early on. The season’s very first scene involves a mysterious new character “Eight” (played by Linnea Berthelsen). Besides a useless opening prologue, Eight doesn’t return until the seventh episode(!) and this character didn’t have much of a purpose to serve at all in the grand scheme of the season’s story. Eight’s presence feels like arbitrary set-up for STRANGER THINGS 3.

To further harp on how dull and out-of-place Eight’s subplot was, she played a large(ish) role in Eleven’s storyline. Millie Bobby Brown’s performance is just as great as her work in the first season and she receives a bit more to do this time around. However, that damned seventh episode grinds things to a halt as a few episodes seem to forget about her presence altogether. It might have been better to intersperse her subplot alongside the craziness occurring at a nearby lab and Will’s increasingly alarming behavior. Instead, it felt like the writers and showrunners said “Oh shit! We have a ton of Eleven’s scenes and need some place to put them. Let’s just dump them all into the weakest episode of the season and grind all building momentum to a halt for an entire hour.” This was distractingly sloppy storytelling through and through.

For all of its messy pacing and distractingly uneven subplots, STRANGER THINGS 2 remains fun and entertaining. The storyline of Max joining the gang, the ever-present threat of her psycho older brother Billy (Dacre Montgomery), and a subplot about Dustin getting a secret otherworldly pet are fun to watch. One of the first season’s weakest points becomes this season’s biggest strength: the teenage drama between Natalia Dyer’s Nancy, Charlie Heaton’s Jonathan, and Joe Keery’s Steve.

As potential sparks fly between Nancy and Jonathan, Steve proves himself to be a better babysitter than a boyfriend (it helps that he’s adept with a spiked-bat against monstrous “Demogorgons”). I also thought it was extremely clever how the Duffer brothers took the inexplicable “Justice for Barb” movement that erupted in the wake of STRANGER THINGS and made that a crucial plot point during STRANGER THINGS 2. Brett Gelman also has a brief but hilarious role as a conspiracy theorist in this highly entertaining, intriguing storyline.

As far as STRANGER THINGS 2’s supernatural hijinks are concerned, the season has no problem in further fleshing out “The Upside Down” and its monstrous inhabitants. This season also has a big bad, though the finale’s “to be continued” final shot indicates that it will wind up possibly being a series’ big bad. The monsters are enjoyable to watch (there are multiple beasties in this season) and later episodes milk tense scenes for all that they’re worth. I won’t name names or spoil specific details, but this season’s most irksome character dies a painful death. It’s likely that this character will become Season 2’s equivalent of Barb. People will probably love this person and I’ll be just as baffled by the inexplicable fan following as I was for the briefly glimpsed Barb. Seriously, Barb was only in three episodes and barely a character. Why is she so special?

STRANGER THINGS 2 is fun, but suffers from an overall step down in quality. In some ways, this second season tries to be more ambitious than the first season (more monsters, Will is in a different kind of peril, and there’s the looming threat of a secret organization). However, this second season is too slow in its first half, has one annoying subplot that seems to be obvious set-up for STRANGER THINGS 3, and one episode that egregiously grinds everything to a halt for an hour. STRANGER THINGS was great and STRANGER THINGS 2 is only good. Though it references everything from GREMLINS to GHOSTBUSTERS to more King/Carpenter/Spielberg nods, STRANGER THINGS 2 seems to have unintentionally become the ultimate homage of disappointing (but still enjoyable) 80s sequels. I hope that STRANGER THINGS 3 pulls things back up to the quality of the stellar first season.

Grade: B

STRANGER THINGS (2016)

Review by Derrick Carter

Running Time: 6 hours 38 minutes

Directed by: Matt Duffer, Ross Duffer, Shawn Levy,

Written by: Matt Duffer, Ross Duffer, Jessica Mecklenburg, Justin Doble, Alison Tatlock & Jessie Nickson-Lopez

Starring: Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Matthew Modine, Noah Schnapp & Joe Keery

It’s been out for over a year and I’ve finally gotten around to watching Netflix’s STRANGER THINGS, a homage-filled love letter to 80s horror and science-fiction. Created by identical twin brothers who really love Steven Spielberg, Stephen King, and John Carpenter, STRANGER THINGS is addicting entertainment from beginning to end. It’s safe to say that if you loved 2011’s 80s throwback SUPER 8, then you’ll probably love STRANGER THINGS too. This is like somebody threw FIRESTARTER, E.T., STAND BY ME, and other 80s horror/sci-fi creations into a blender and pureed them into a fine cinematic concoction!

The time is November 1983. After playing an intense game of D&D with his friends, 12-year-old Will Buyers (Noah Schnapp) disappears into thin air. This isn’t a simple kidnapping or abduction, because there were strange lights on the night that Will went missing and there also might be an unidentified creature on the loose. Meanwhile, a little girl with a shaved head, simply known as Eleven (Millie Bobby Brown), shows up at a nearby diner and is being hunted by a very dangerous secret organization. Soon enough, Will’s concerned friends (Finn Wolfhard, Gaten Matarazzo, and Caleb McLaughlin) run into Eleven, Will’s frantic mother (Winona Ryder) experiences odd happenings in her home, and the depressed town police chief (David Harbour) finds himself caught up in a deadly conspiracy…and I haven’t even mentioned Barb (a fan favorite for some reason).

STRANGER THINGS’s first season has a lot going on within its fast-paced eight episodes. There are many subplots that weave themselves in and out of each other, connecting to a much bigger narrative. At first, it seems like this season contains lots of little mysteries, but these little mysteries make up one large sci-fi adventure. I found myself struggling to describe this season’s premise in one paragraph, because so much stuff happens in this show. There’s never a dull moment, even in the spots where the series slows down to develop its characters and builds itself up during the first episode.

It’s worth mentioning that STRANGER THINGS is astounding on a technical level. The cinematography looks phenomenal and the effects work is of the same quality that you typically see in summer blockbusters. The Duffer brothers clearly had careful eyes towards their creation and Netflix gave them the financial means to bring their 80s-centric vision to life. STRANGER THINGS also knocks it out of the park in its soundtrack, which consists of lots of great 80s tunes that never get distracting in a style-over-substance manner. Song selections are put into the background noise, hammer home the emotions of certain scenes (especially in the episode three’s emotional climax), and even make their way in as plot points. At any rate, STRANGER THING’s use of music is pretty damned ingenious.

Solid narratives that pay loving homage to 80s entertainment and great production values wouldn’t be nearly as effective without believable performances and well-developed characters inhabiting them. STRANGER THINGS delivers in its performances across the board. Finn Wolfhard is compelling as young leader Mike, while Gaten Matarazzo and Caleb McLaughlin serve as Will’s two other friends/sidekicks. Winona Ryder sells her role as a desperate mother who’s being driven to the edge by paranoia, coming off as a nutjob to anyone around her and yet actually experiencing pretty strange things. David Harbour plays Jim Hopper with a combination of biting sarcasm and a tragic backstory.

Natalia Dyer, Charlie Heaton, Joe Keery, and Shannon Purser make up a teenage subplot that is also connected to the strange supernatural happenings. Though this subplot threatens to become clichéd and is easily the weakest spot of an otherwise stellar season, it does have its charms and doesn’t necessarily do anything wrong. It’s just a bit too familiar and sticks out in a show that seems to have been made based off nostalgic love for other stories and movies. At any rate, Shannon Purser’s Barb has become a fan favorite for some reason. I don’t see why, but maybe I’m just not seeing the charm about this nervous, nerdy ginger who’s barely in the show.

STRANGER THING’s real show-stealer comes in young Millie Bobby Brown’s performance as Eleven (a.k.a. El). With only occasional lines of dialogue, Eleven somehow becomes the most fleshed out character of the entire season. We see flashbacks that give us ever-emerging details about her traumatic past. I felt sorry for El and, at the same time, rooted for her to kick some ass. When she lays down the supernatural smackdown on a few bullies and ultimately comes into her own as a strong young heroine, I was ecstatic. El was easily my favorite character of the entire show and she also reignited my hunger for Eggo waffles (you’ll understand when/if you watch the series).

STRANGER THINGS is pretty friggin’ great and lives up to its much-hyped reputation. This first season is filled with great effects, a rockin’ soundtrack, solid acting, and fast-paced storytelling that lovingly references loads of 80s horror/sci-fi. Though it might be a tad too homage heavy for some viewers, this very well could go down as one of Netflix’s best series. My only minor complaint comes from the angsty teenage subplot that seems to stick out in the midst of everything else, but I loved STRANGER THINGS through and through. If you haven’t watched this show yet and you’re a fan of horror/sci-fi, then jump on this immediately!

Grade: A

BLADE RUNNER 2049 (2017)

Review by Derrick Carter

Running Time: 2 hours 44 minutes

MPAA Rating: R for Violence, some Sexuality, Nudity and Language

Directed by: Denis Villeneuve

Written by: Hampton Fancher & Michael Green

Starring: Ryan Gosling, Harrison Ford, Ana de Armas, Sylvia Hoeks, Robin Wright, Mackenzie Davis, Dave Bautista & Jared Leto

In 1982, Ridley Scott’s BLADE RUNNER bombed at the box office and polarized critics. Throughout the following years/decades, the film drew greater appreciation, gained a strong cult following, and is now widely considered to be one of the greatest science fiction films ever made. If anyone were to helm a sequel, they would certainly have their work cut out for them and would need to be among the top tier of modern filmmakers. Thank God that long-awaited sequel BLADE RUNNER 2049 (released 35 years after its predecessor) has master director Denis Villeneuve (ARRIVAL, SICARIO, and PRISONERS) as its guiding source. To put it bluntly, BLADE RUNNER 2049 is one of the best sequels to ever hit the silver screen.

Set thirty years after the events of the previous film, 2049 follows blade runner K (Ryan Gosling) as he goes about his daily job of “retiring” (code for killing) older replicants (bioengineered robots). When he’s not at work, K spends his free time with his holographic girlfriend Joi (Ana de Armas). However, K’s depressingly simple existence is about to get a lot more complicated as his latest job unearths evidence that a replicant child has been born. This was thought to be impossible and seems like an “abomination” of nature, so K is instructed to “retire” the replicant child and uncovers a deeper mystery that takes him to dangerous places, puts him in the sights of the evil Wallace Corporation, and brings back a blast from the past.

BLADE RUNNER 2049’s marketing is deceptive in that it paints this film as an action-packed sequel that has Harrison Ford playing sidekick for a majority of the screen time and sees Jared Leto as the main villain. However, the film is far more subtle than that and has occasional spurts of action…very much in the same vein of the 1982 sci-fi noir. It’s also worth noting that Jared Leto only has about 2-3 scenes and yet makes the most of every second that he’s on screen. The real threat comes from Sylvia Hoeks’s psycho replicant Luv. She’s scary as hell. Also, Harrison Ford’s Deckard doesn’t pop up until the film is over halfway over, but his presence is a strong point in the film’s complicated, super bleak plot.

Ryan Gosling is a fantastic leading man in the role of protagonist K. This blade runner is very much a replicant (while Deckard’s identity was merely an ambiguous idea at the end of the original) and struggles with his “soulless” existence. Gosling’s K is a depressed robot-killer who undergoes a transformation over the course of the film’s storyline, in a similar way to Harrison Ford’s Deckard in the first film. However, BLADE RUNNER 2049 differs in many respects and takes place during a whole new chapter of this neon-lit, robot-inhabited future.

One of the more twisted elements of this future setting is embodied by K’s holographic girlfriend Joi, played the gorgeous and extremely talented Ana de Armas. Even though she’s a literal two-dimensional character, Armas is fully fleshed out as Joi and is (pardon the pun) a joy to watch on the screen. The romantic chemistry between a robot detective and his holographic girlfriend is one of the most fascinating, emotional, and surprisingly believable things that I’ve seen on the big screen all year. Gosling and Armas have palpable on-screen chemistry and they share tons of scenes together throughout the running time. There’s also suspense built as we pray that nothing will tear their bond apart.

BLADE RUNNER 2049’s storyline is intelligently told in a deliberately paced manner that feeds the viewer small chunks of information and turns their eyes towards strange clues, but doesn’t ever talk down to them by spoon-feeding massive details in a giant exposition dump. Instead, conversations between characters feel entirely natural and director Denis Villeneuve shows us lots of things rather than simply telling us. Some of the BLADE RUNNER 2049’s most powerful scenes don’t have a bit of spoken dialogue and that’s something truly special to behold. It’s also worth noting that Hans Zimmerman’s score is fantastic and noticeably seems to have a bit of Nine Inch Nails influence thrown into it.

2049’s spectacle is impressive as hell. The blending of computer generated imagery with heavily detailed sets is seamless. I couldn’t tell where one began and the other ended. The neon-lit, orange-dusted, and watery-colored locations all built their own atmospheres (from eerily creepy to just plain cool). The 2049 future was the most creative and believable cinematic setting that I’ve witnessed since MAD MAX: FURY ROAD‘s apocalyptic world. It felt like I was whisked away to another place while I was watching BLADE RUNNER 2049 and when I finally exited the theater, nearly three hours had flown by without my knowledge of them passing. You lose yourself in this film’s spectacular visuals and engrossing plot; and those are two of cinema’s most beautiful qualities.

With fantastic performances (from old cast members and new), smart storytelling, amazing visuals and effects, and a purely cinematic vision, BLADE RUNNER 2049 is easily one of the best sequels to ever hit the silver screen. This follow-up brilliantly connects to the classic predecessor, while also serving as its own original story. I can’t think of a single complaint that I had with this science-fiction noir. I cannot wait until I am able to watch the double feature of BLADE RUNNER and BLADE RUNNER 2049, because these films fit together like two pieces of a giant movie puzzle. BLADE RUNNER 2049 is easily one of the best films of 2017, one of the best sequels ever made, and one of my favorite science-fiction films in years!

Grade: A+

THE THING (1982)

Review by Derrick Carter

Running Time: 1 hour 49 minutes

MPAA Rating: R

Directed by: John Carpenter

Written by: Bill Lancaster

(based on the novella WHO GOES THERE? by John W. Campbell Jr.)

Starring: Kurt Russell, A. Wilford Brimley, T.K. Carter, David Clennon, Keith David, Richard Dysart, Charles Hallahan, Peter Maloney, Richard Masur, Donald Moffat, Joel Polis & Thomas Waites

Widely considered to be one of John Carpenter’s very best films and one of the best horror films of all-time, THE THING initially flopped at the 1982 box office as audiences clamored to watch a more family friendly extraterrestrial in Steven Spielberg’s E.T. Reviews weren’t exactly positive for THE THING in its original theatrical run as many critics wrote off this film as exploitative, cheesy, and overly gory as opposed to scary. Decades later, it’s baffling to look back on the mistreatment of THE THING and easy to see why this film has left a lasting legacy.

In a remote Antarctic research station, a group of rugged American scientists spot a Norwegian helicopter shooting at a dog. Being nice guys, the Americans welcome to the dog into their station with open arms and shoot the hostile Norwegian pilot. Something horrific happened at the neighboring Norwegian camp and a shape-shifting alien parasite has now infiltrated the American base. This evil extraterrestrial seems to ensure its survival by digesting animals and then imitating them with 100% accuracy. The Americans shouldn’t be worried about what this “thing” is. Instead, they become more concerned about who this “thing” has become.

Though its premise sounds like a simple creature feature on paper, THE THING is so much more than that. As the alien presence makes itself known, the film focuses on not just being a fantastic monster movie, but also weaving a paranoid mystery together. We know that at least two people have likely been infected by this mutating organism, but we don’t know their identities. The audience is aware that it’s only a matter of time before more people become infected as this monster seems hellbent on devouring/becoming anybody that comes near it. The film’s ever-growing suspense and extreme paranoia erupt from trying to figure out who is real and who is one of the “things.”

THE THING might seem like a vague movie title, but you’d be hard pressed to describe the monstrous forms that this “thing” takes on throughout this terrifying film. The tentacled, razor-toothed, and freakish shapes are brought to life through stellar practical effects that still hold up perfectly to this day. The frightening nature of these horrific “things” is amplified by tense build-ups to every reveal and the sense that one of these monsters might appear at any given moment. THE THING is riddled with classic scenes that have been lovingly referenced in plenty of other movies and TV shows. The blood test is easily one of the scariest moments, while rising paranoia between the researchers is just as dangerous as the monster itself.

The cast is made up of a few memorable faces and a lot of gruff beards. With so many grizzled guys in the same place, it might initially seem a little difficult to keep track of who is who. However, the film sets up certain characters early on and gives us a sense of who these people are. Kurt Russell is a big show-stealer as man’s man R.J. MacReady, while Keith David is intimidating as hot-tempered alpha-male Childs. The rest of the cast members stick out with individual characteristics, so we get an idea of when someone may have been changed into a “thing” and who seems totally normal. This character-building tactic puts the viewer in the same paranoid mental state as the film’s characters.

Though it runs at just under two hours long, John Carpenter makes each scene completely compelling, even during the slow-burn first third of the film in which we receive a few clues about the creature’s origin. Scientific explanations behind this monster don’t serve as mere exposition dumps either, because these informative moments amplify the viewer’s growing terror as we realize the magnitude of this hopeless situation. The film’s ambiguous ending leaves much to the viewer’s interpretation and concludes in an appropriately chilling fashion (pun fully intended).

THE THING is one of the greatest horror films of all-time! Its scares are very real. Its practical effects are nightmarish and hold up better than most modern effects. The monster designs look like something out of H.P. Lovecraft’s head, and Carpenter admitted that he was inspired by Lovecraft’s work. The acting is flawless, and thick suspense hovers over every single scene. THE THING is easily the best thing that John Carpenter ever directed. This movie isn’t just a masterpiece of horror, but it’s also a timeless classic that will keep scaring the hell out of people for decades to come.

Grade: A+

COLOSSAL (2017)

Review by Derrick Carter

Running Time: 1 hour 49 minutes

MPAA Rating: R for Language

Directed by: Nacho Vigalondo

Written by: Nacho Vigalondo

Starring: Anne Hathaway, Jason Sudeikis, Austin Stowell, Tim Blake Nelson & Dan Stevens

I’ve been holding off on reviewing COLOSSAL for a while now. The main reason for that is because this film is so strange that it’s hard to accurately sum up what makes it so enjoyable and refreshing for me. I know there are people who completely hate this film and I understand why they might feel that way. However, I dug the hell out of COLOSSAL for being the best bizarre little dramedy combined with a kaiju film that I’ve ever seen. This movie has monsters, laughs, and feels. What more could you possibly ask for from one-of-a-kind Spanish director Nacho Vigalondo (who’s also known for TIMECRIMES, so-so thriller OPEN WINDOWS, and the only good segment in V/H/S: VIRAL).

Gloria (Anne Hathaway) has sunk to an all-time low in her life. She’s struggling with alcoholism, her lack of a job, a recent break-up with her frustrated boyfriend Tim (Dan Stevens), and, to cap it all off, she’s moved back to her depressing hometown. Things aren’t all bad though, because she’s reconnected with her long-lost childhood friend Oscar (Jason Sudeikis) and he owns a bar. There’s also been a recent appearance of a giant monster terrorizing South Korea, but that couldn’t have anything to do with Gloria’s return to her hometown, right? Well, actually, Gloria is somehow connected to this monster and the resulting antics spiral out of control as she discovers that millions of lives rest in her hands.

First and foremost, COLOSSAL works as a comedy-drama about a gal who’s trying to maintain control of her life and battle her personal demons. That might not be the sentence you expect to hear when describing a giant monster movie, but it’s definitely the descriptor that fits COLOSSAL. This film really functions on Gloria, her tepid relationships with men, and her struggle to overcome her problems. Meanwhile, there’s a monster terrorizing South Korea, but this evolves into something funnier and stranger as it moves along.

This film wouldn’t be funny, compelling or oddly heartwarming if it weren’t for Anne Hathaway’s performance in the leading role of Gloria. Hathaway plays a walking mess of a person who’s just trying to keep her shit together, while not entirely succeeding at that goal. As much as I could see her big character flaws, I cared about Gloria and wanted her to overcome her issues. Some actors and actresses don’t really know how to properly play drunk and instead come off as obnoxiously pretending that they’re wasted, but I believed Hathaway’s performance. It wouldn’t surprise me one bit if she was downing shots between her takes and I mean that in the best way possible.

On the supporting side of things, Jason Sudeikis makes a big impression here. Though he’s primarily known for comedies and COLOSSAL is technically a sci-fi comedy, Sudeikis gets room to flex his dramatic chops and Oscar is the most serious character that I’ve ever seen him play. I hesitate to say more, but Sudeikis becomes a force to be reckoned with in this film and I was surprised to see this performance coming from him. Dan Stevens occasionally pops up as Gloria’s concerned ex-boyfriend, who’s not exactly a jerk and yet has jerk-like qualities. I wish that Stevens role had been bigger, because the wrap-up to a certain plot thread would have felt more significant if he had more screen time. Also, Tim Blake Nelson is a welcomed presence as one of Oscar’s best friends and Austin Stowell is fast forgotten is a potential love interest.

Though it was made on a relatively small budget for a giant monster flick (15 million), COLOSSAL packs in great special effects. The creature design is unique and the news footage of it terrorizing Seoul is fun to watch. Director Nacho Vigalondo knows when to show the audience the chaos and when to leave it to our imagination. The less-is-more approach to certain scenes probably came from budget constraints, but these bits are effective in letting the viewer’s mind fill in the blanks. Sometimes, the mere suggestion of something combined with a few lines of dialogue can have more of an effect than showing tons of action.

If I have any complains about COLOSSAL, they stem from a couple of plot holes and the screenplay’s occasionally unfocused nature. It felt like the film was going to do more with Dan Stevens, Tim Blake Nelson, and Austin Stowell, and then completely forgot about them at points. Also, there’s an attempt to explain what’s going on and this explanation raises more questions than answers. Even with those problems in mind, COLOSSAL is a very fun, entertaining, and original flick. The comedy-drama elements are the main thrust of this story, with the monster stuff serving as a compelling twist on material that you’ve likely seen executed in many other comedy-dramas. This results in a cinematic oddity that’s thoroughly enjoyable and unique. If this sounds up your alley, then I highly recommend checking out COLOSSAL.

Grade: B+