Stranger Things 2 Ep. 9 - "The Gate" - Dread Central
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Stranger Things 2 Ep. 9 – “The Gate”



Welcome back to Dread Central’s daily recap/reviews of the second season of Netflix and The Duffer Brothers’ “Stranger Things”. You can find our recap/review of the previous episode right HERE. Now let’s get to it!

Here we are, the season finale of “Stranger Things 2”. We made it to the end and now there is only one thing left to do – starting counting down the days until season three hits.

To jump right into it, on the previous episode “The Mind Flayer” we ended with Eleven showing up to join forces with the rest of the main cast inside the Byers house as everyone prepares for the final battle with the evil Mind Flayer and his Demadogs. Mike is instantly pissed at Hopper for hiding Eleven from him and proceeds to try and beat him up. Hopper isn’t having any of that shit and pulls Mike to Will’s bedroom and calms his ass down.

Meanwhile, Eleven meets the new cast and reunites with the old. Then after a quick series of re-introductions Joyce takes Eleven to see comatose Will. She then shows Eleven Will’s secret message to “Close the Gate” and asks Eleven if she thinks she can close said gate if she can get close enough to it. Eleven just stares off into the distance as the (synth) music rises and we:

Cut to credits.

As we fade back from the bright red credits sequence we find – wait, what? Mike’s mother in the tub? Reading romance novels to candlelight? Oh… this is gonna be good. But, damn, instead of a Mike’s mom spin-off episode we get Max’s brother at the front door. The Red Ranger proceeds to mercilessly hit on Mike’s mom and we as an audience can’t blame him. Who knew Mike’s mom was such a hottie? Nice.

After some heavy flirting Billy heads on his way and we rejoin the gang at the Byers house. Eleven tells everyone that she can close the gate with her mind, but Mike reminds the gang that this could very well kill Will. Joyce then gets the bright idea that if they whisk off Will to Hopper’s cabin in the woods, they can make him really, really hot and that should expel the Shadow Demon inside him. This is because the Shadow Demon hates heat – for no reason that’s ever explained. But whatever. We’ll go with it.

Joyce, Nancy, and Jonathan head out to the cabin in the woods with Will as Hopper and Eleven head off to close the gate once and for all. Back at the Byers house, Dustin and Steve take the dead Demadog and put it in the Byers fridge (haha) and then the gang comes up with the plan to head into the tunnels and kill the Upside Down.

But then Billy shows up… Steve meets him outside because he’s a hero now and Billy punches him straight in the face. The battle that we’ve been waiting for all season is now upon us and Steve seems to be holding his own. Until he isn’t. But no worries, Max shows up with some “Knock Will Out Juice” and uses it to knock out Billy.

That’s it? Really? That douche deserved the wrath of Kahn, not a nap. Especially after beating Steve’s face to absolute shit. But I guess we have to take what we can get and murdering Max’s brother may have been a bit too much. Meh. I would have used that spiked bat on his strategically feathered dome.

While Billy is getting his ass all kinds of NOT kicked, Joyce and Nancy and Jonathan arrive at the cabin in the woods and begin setting fires and setting up space heaters. This should be interesting.

Meanwhile, Eleven and Hopper show up at the sinister energy plant of the hill and get to work on closing the gate. On their way down to the gate, they find Dr. Owens still alive and kicking. Why this dude gets to live and poor old Bob the Brain had to bite the big one is beyond me, but fair enough.

While gates are being mind-closed and Will is being exorcist-ed by space heaters, the rest of the Scooby gang steals Billy’s bitchin’ T-Bird and heads to the pumpkin patch, aka the entryway into the blue underground tunnels below Hawkins. Plus, we get a sweet payoff to Max’s “Zoomer” line from a few episodes back. Good times.

Down in the tunnels, Mike and the gang douse the vines in gasoline while Will’s ex-possession by space-heaters seems to be going well. Then Steve lights the vines on fire just as Nancy straight up stabs Will with a white-hot fireplace poker. Both of these things happening at the same time seems to cure Will and the Smoke Demon hits the road in a shrieking puff of smog. But I’m sure that’s not the last we’ll see of old Smog. Get it? Smog. Hurm.

Then down in the hell beneath the energy plant Eleven and Hopper ready themselves to close the damn gate and get this shit over with. They board a platform thing and Eleven goes about her whole deal. You know the one: holding up one hand and scowling at the demon gate while her nose starts to bleed. However, then a miracle happens – Eleven steps up her game in a HUGE way… by holding up TWO hands and bleeding out of BOTH nostrils. Holy shit. This just got epic! NOTE: I wish I had a sarcasm font.

All being a dick aside, it was pretty epic that Eleven started levitating. It reminds us all that the series seems to be setting up Eleven to become this series’ Dark Phoenix. Mark my words. Maybe not next season, but the one after that, Eleven will be the main villain. Until she is “saved” by Mike’s love (or some shit) in the final episode.

Until then, Eleven will continue to be the show’s “hero” of sorts and I’ll have to learn to deal with that. Teaming her up with Hopper this past season did wonders for making her character more sympathetic, but really, was sympathetic ever the issue with her character? No, I don’t think so.

After she closes the gate – with relative ease – we cut to “One Month Later” and find the energy plant getting shut down with Murray(!) waving the military off with the biggest shit-eating grin I’ve seen in years. Well deserved.

We then cut to the high school’s “Snow Ball” dance and here is where this f*cking 33-year-old dude got the feels big time. Not only does the Steve and Dustin relationship have a great payoff with Dustin feathering his hair up with Farah Fawcett spray, but then (gasp) it doesn’t work! Not only doesn’t Dustin get the girl (Max) but he – get THIS shit – doesn’t get to dance with one single girl.

Just when things are looking darkest for our favorite character, Dustin, who else but his first season dream girl Nancy Wheeler comes over and asks him to dance. “Out of all my brother’s friends, you’re my favorite. You always have been.” This was one of the sweetest moments in the series altogether and if it didn’t give you the feels, check your pulse because you may be a sociopath, Dexter.

As man-tears worthy as the Dustin payoff was, it wasn’t the moment that got this guy the most. The moment that brought me to fully dry cry involved (shockingly) Eleven. Yes, little Eleven and Mike’s dance and kiss was about the sweetest thing I’ve seen outside of a f*cking Disney movie. And I have no issue baring that to you guys.

When Eleven walks into the dance all John Hughes-style to The Police’s “I’ll be Watching You” and finds Mike all alone – by choice, mind you – I realized something: these are kids. No duh, but stick with me here. No matter the supernatural elements they’re forced to face and the horrible things adults have done to them in the past, they are still children and the fact that they find the power to fight all these very adult fears is a massive triumph.

Add to that the killer exchange the two share with Mike asking Eleven to dance. She says, “I don’t know how.” And Mike says, “Neither do I. Want to figure it out together?” And the waterworks started. Last season I didn’t buy Eleven and Mike’s kiss because she was basically E.T., and their kiss did little for me as it was basically like watching Elliot laying a big fat one on his extraterrestrial buddy. Not cute, sweet, or emotional.

Not so on this go around.

This time not only have the two grown up substantially, but they have both fought for the last 9 hours (our time, 353 days their time) to get to each other. Demadogs, Shadow Monsters, Mind Flayers and bully older brothers, etc. These two conquered them all just to get to this moment. And you can tell as they dance it was all worth it.

Now before I lose my “Man Card” altogether (too late) let’s skip to the end and sum up.

Hopper and Joyce share a cigarette out front, and Max and Lucas share a kiss themselves. Sweet moments, sure. But nothing compared to Lucas and Nancy, and Mike and Eleven.

The whole thing then wraps up with a wide angle showing us that the Shadow Monster is still alive and well, and overlooking everything these characters do at even their best moments. Darkness is coming – back. And it’s only a matter of time (about a year, right?) before their problems start up again.

But for now, all seems right. We’ll take the happy endings we can get. And I don’t know about you, but this season finale and this season overall put a smile on my face that is sure to last for at least 353 days.

See you guys next season!

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The Open House Review – Abandon Hope All Ye Who Enter Here



Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

Written by Matt Angel and Suzanne Coote

Directed by Matt Angel and Suzanne Coote

Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

  • The Open House


Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

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Ruby Blu-ray Review – ’70s Drive-In Psychic Shocker From VCI



Starrign Piper Laurie, Janit Baldwin, Stuart Whitman, Roger Davis

Written by George Edwards and Barry Schneider

Directed by Curtis Harrington

Distributed by VCI Entertainment

Imitation is the sincerest form of flattery, and director Curtis Harrington’s Ruby (1977) is paying it to a few of the ‘70s most notable horror films. Cribbing liberally from such better pictures as The Exorcist (1973) and Carrie (1976), this is a picture that could have worked well despite being a pastiche because it begins with a decent setup and the elements for something interesting are present. Unfortunately, nothing ever gels like it has to and Ruby loses focus early on, dashing from one death scene to the next and allowing for little salient connective tissue to tie it all together. The big mystery presented early on should be easy enough for horror fans to deduce, and the film never brings the scare factor. A few of the deaths are novel in their inventiveness, especially the use of the drive-in theater surroundings, but a couple kills do not a movie make and Ruby spends too much time middling and being weird to be of any note.

Florida, 1935. Low level mobster Nicky Rocco (Sal Vacchio) is gunned down by a lake as his pregnant girlfriend Ruby watches on in horror. Just before dying, Nicky swears vengeance on whoever did this to him. Cut to sixteen years later and Ruby (Piper Laurie) runs a drive-in movie theater and lives in a home nearby with her daughter, Leslie (Janit Baldwin). Ruby is a tough broad, quick-witted and foul-mouthed; able to hold her own with the guys. But those guys are beginning to vanish one by one as the bodies start piling up at the theater. Ruby suspects there’s something off with Leslie, so she brings in her own psychic doctor, Dr. Paul Keller (Roger Davis), to examine her daughter. Leslie, as it turns out, is acting as a conduit for the wayward soul of Nicky, who blames Ruby for his ultimate demise. Possessed and programmed for vengeance, Leslie and Ruby have an all-out battle in a search for the truth.

The second half of this film is where things go right off the rails, with scenes aping The Exorcist so much it feels like a knock-off. This isn’t always such a bad thing because knock-offs of better films can always turn out great (see: most of the post-Gremlins little creature features), but Ruby never makes a clear case for introducing these fantastical elements in the third act. This is a story that could have worked better by exercising restraint, playing closer to something like J.D.’s Revenge (1976), a similar gangster-soul-out-for-justice film, than a wild, possessed ride.

What does work, for me, are the drive-in theater setting (I’m a sucker for movies that also involve the craft of film in some way) and the kills, a few of which make great use of the theatrical setting to deliver fitting fatalities. One employee winds up stuffed into a soda machine, with his blood getting pumped into a dark, syrupy drink and served up to guests. Another meets his end on the screen, impaled by the pole on which car speakers are kept. Harrington does inject this picture with a strong sense of atmosphere, too. The locale is woodsy and feels remote; the countryside is dark and foggy, the perfect setting for something grim to occur. None of these elements are enough to fully save the feature, though they do bring enough production value to ease to burden of a poor script.

Personally, I’m a sucker for almost any horror from bygone eras – especially the ‘70s and ‘80s – so, deficiencies aside, Ruby is still worth a spin if you enjoy reveling in this particular era. This is far from an unheralded gem or little-seen treasure, but it does, at the least, rip-off good pictures in spectacularly bad fashion.

This is a rough film and every bit of work done for the 2K restoration still can’t do much to polish it up any better. First, a note: there is a video drop-out for approximately ten seconds around the 21-minute mark. VCI is offering replacement discs via their Facebook page, so check there for further details. Future copies will be corrected, and those should already be on “shelves” now, so consider this an FYI. The 1.85:1 1080p image is frequently soft and murky, darkly shot and poorly lit. Shadow detail is virtually non-existent. The color temperature looks a bit on the warm side. Film grain is noisy and occasionally problematic.

An English LPCM 2.0 track carries a clean & balanced audio experience. Voices sound a touch muffled at times, though nothing too severe. The murders scenes are accompanied by creepy ambient sounds, adding a slight chill. The film’s closing theme song is awesome cheese that must be heard. Subtitles are available in English SDH.

There are two audio commentary tracks; the first, with David Del Valle and Nathaniel Bell; the second, with Curtis Harrington and Piper Laurie.

The film’s original trailer is included in HD.

Also included are a few interviews with Harrington, conducted by David Del Valle, including “2001 David Del Valle Interview with Curtis Harrington”, and “Sinister Image Episode Vol. 1 & Vol. 2: David Del Valle Archival Interview with Curtis Harrington”.

Special Features:

  • NEW 2K RESTORATION from the original camera negative
  • Original theatrical trailer
  • Audio Commentary with Director Curtis Harrington & Actress Piper Laurie
  • New Audio Commentary with David Del Valle and Curtis Harrington historian Nate Bell
  • Two Interviews with Curtis Harrington by Film Critic David Del Valle
  • Photo Gallery
  • Optional English SDH subtitles
  • Ruby
  • Special Features


A simple plot becomes wildly unfocused but Ruby does have intermittent camp value fans of ’70s horror cinema should dig. VCI’s Blu-ray is no beauty by any means, though it’s likely to be the best this poorly-shot feature will get.

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The Midnight Man Review – Don’t Hate The Game, Hate The Players



Starring Lin Shaye, Robert Englund, Grayson Gabriel, Emily Haine, Gabrielle Haugh, Summer H. Howell, Louise Linton

Written by Travis Zariwny

Directed by Travis Zariwny

Travis Zariwny’s The Midnight Man is largely a robotic hide-and-seek slog, yet if dissected in butchered chunks, smaller bites range from delicious destruction to utterly incompetent character work. Judging by the bloodthirsty opening sequence alone, you’d think Zariwny is about to blow our morality-siding minds. A sad misconception, I’m afraid. After our hopes skyrocket, mechanical plot devices are pinned to a storyboard with the utmost lack of exploration. The Midnight Man’s game is afoot, but these players would barely compete against an opponent crafted from brick and mortar. Can someone calculate a handicap for them, please?

Gabrielle Haugh stars as Alex Luster, a caring granddaughter to Nana Anna (Lin Shaye). One night, upon the request of her not-always-there relative, Alex rummages through attic trunks for a silver-backed hand mirror. Instead she finds a nondescript wrapped box with what appears to be a game inside. Her crush Miles (Grayson Gabriel) has arrived by now, and after an incident where Anna requires medical attention from house-call doctor Harding (Robert Englund), the two friends begin playing whatever it was that caused Anna to screech in disapproval. You know, the only rational decision.

At the risk of sounding like a smug CinemaSins video, The Midnight Man would surely bomb any horror IQ test. Zariwny’s *first* piece of introduced information after discovering Midnight Man’s altar is quite simple – DANGER. DO NOT PLAY. IT JUST CAUSED A WOMAN TO FAINT. Nevertheless, our braindead sheeple follow careful rules to summon Mr. Midnight Man into their house – because, as horror movies have proven, tempting occult fates is buckets of fun! At least the characters don’t confess romantic feelings and makeout while another friend who joins the game late – “Creepy Pasta” obsessed Kelly (Emily Haine) – could already be in the Midnight Man’s clutches, that’d be – oh, right. That happens.

Senile Anna is another story altogether – Zariwny’s grey-haired red herring in the worst way. Lin Shaye injects so much destabilized madness into this energetic, midnight-perfect role, elevating herself into a stratosphere well above The Midnight Man itself. Whether she’s screaming about Alex’s disgusting blood, or ominously whispering dreadful remarks through a housewide intercom, or beating Robert Englund to a pulp with wide-eyed psychosis – well, if you’ve seen Dead End, you *know* the kind of batshitery Shaye is capable of. Her genre vet status on display like a damn clinic here.

Shaye – and even Englund – aside, scripting is too procedural to salvage any other performances. Kelly doesn’t even deserve mention given her “bring on death!” attitude and enthusiastic late entry INTO AN URBAN LEGEND’S DEATHTRAP – a poorly conceived “twist” with less structure. This leaves Grayson Gabriel and Haugh herself, two thinly-scripted cutouts who couldn’t find a more repetitive genre path to follow. There’s little mystery to the gonigs on, and neither actor manages to wrangle tension (even when staring our Midnight friend in the face…thing).

Scares are hard to come by because Zariwny opts for a more “charismatic” villain who talks like Scarecrow and appears as a dyed-black, cloaked Jack Skellington. He can form out of clouds and is a stickler for rules (candles lit at all times, 10 seconds to re-ignite, if you fail he exploits your deepest fear). Credit is noted given this villain’s backstory and strict instructions – which does make for a rather killer game of tag – but the need to converse and expose Midnight from shadows subtracts necessary mysticism. He’s a cocky demon with masks for each emotion (think woodland death imp emojis), but never the spine-tingling beast we find ourselves hiding from.

This is all a bummer because gore goes bonkers in the very first scene – with underage victims no less. One young player gets decapitated, another explodes into a red splattery mess (against fresh snowfall), but then a vacuous lull in process takes hold. It’s not until Alex’s fear of blood and Miles’ fear of pain that we get more eye-bulging squeamishness, then again when Kelly’s bunnyman appears. A no-bullshit, bunny-headed creature wearing a suit, which plays directly into Kelly’s deepest fear. When Zariwny gets sick and surreal, he scores – but it’s a disappointing “when.”

I take no pleasure in confirming that any small victory The Midnight Man claims is negated by kids who should’ve been offed for even thinking about a quick playthrough of Anna’s old-school entertainment. Invite him in, pour your salt circles and try to survive until 3:33AM – sounds easy, right? If the demon plays fair, you bet! But why would ANYONE trust a demon’s word? Makes sense given Alex and Miles’ ignorance of more red flags than a Minesweeper game, and a thrilling chase these bad decisions do not make.

  • The Midnight Man


The Midnight Man begins by striking a meteoric horror high, only to plummet back down towards repetitive genre bumbling once the game’s true – and less enticing – plot begins.

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