Cast: Alex Winter
year: 2020
country: USA
Writer: Ed Solomon, Chris Matheson

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▶❋ Bill & Ted Face the Music

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CinemaBlend participates in affiliate programs with various companies. We may earn a commission when you click on or make purchases via links. Unexpected sequels can truly take a franchise places it never expected to go. Last year’s blast of cinematic comfort food Bill & Ted Face the Music proved that point rather well, as Alex Winter and Keanu Reeves’ return to their legendary roles gave the world a good time that was deserved by all. Just as the world was wondering whether or not Bill & Ted’s Bogus Journey would spawn a sequel way back at the beginning of the ‘90s, the world is now wondering if Bill & Ted 4 is just as much a going concern. According to Winter, you may not want to hold your breath. That’s not to say that Alex Winter has totally written off another Bill & Ted sequel, but when I spoke with him on behalf of his participation in TCM’s Growing Up On Screen series, I was curious to follow up that very possibility. When we’d last heard from Winter on the matter, there was a great deal of uncertainty about a Bill & Ted 4. And while that’s still the truth, for the most part, there is some new information that’s highlighted a future direction that fans have been hoping to see happen. Alex Winter’s update on the Bill & Ted franchise is as follows: I’m not sure. I mean we didn’t expect to return after the second one. We were really happy with where that ended, and we felt like it told the story, and we got in and got out. […] It was a really surprising thing for us to even want to go back and do. We had a really great time. So in short, I don’t know. We don’t have any plans to make a fourth, at present. I think there’s been some talk about maybe continuing the story with the daughters, and maybe there’d be some participation from us in something like that. But it’s all kind of out in the ether at the moment. We all basically moved on to other things. If you want to call the lack of movement on a Bill & Ted 4 bad news, then this does sound like a bit of an update in that column. And to be honest, Alex Winter and Keanu Reeves do somewhat tie off their characters with a pretty satisfying button, as we see Bill and Ted’s last day of life in Bill & Ted Face the Music. Then again, since they change the time stream pretty massively, thanks to their assistance in creating the song to save the universe, their fates may have changed quite a bit. Though that does lead to the update that Alex Winter mentioned in his remarks above. Just as fans have been rallying around the hopes that Billie (Brigette Lundy-Paine) and Thea (Samara Weaving) would carry on the family adventures in time travel, it sounds like the folks behind the Bill & Ted franchise are having those conversations. With Bill & Ted Face The Music organically building itself as a continuation of the titular duo’s good-hearted time travel, there was also plenty of room for their offspring to have some wild adventures of their own. All of this is much more encouraging than what Bill & Ted’s co-creator Ed Solomon said about the prospects for a fourth film last year. While he’s said it’s not happening, who knows what will happen? Though Billie and Thea do sound like the better option for a continuation, as the torch has basically been handed down to them, Bill & Ted Face The Music did spend quite a bit of time as the sequel that wasn’t happening. Fans can at least be thankful that Bill & Ted Face The Music is available for purchase and rental, through all major formats. Meanwhile, Alex Winter’s documentary, Showbiz Kids, is currently available on HBO Max; and is connected with TCM’s Growing Up On Screen series, which runs throughout all of March. If you’d like to see that film, as well as not only Bill & Ted’s Excellent Adventure, then check out HBO Max’s subscription offer, which gives you six months to enjoy the platform at a discounted rate. CinemaBlend's James Bond (expert). Also versed in Large Scale Aggressors, time travel, and Guillermo del Toro. He fights for The User.

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In Zack Snyder's Justice League Satanic bad guy Darkseid tries to form something called "the Unity" and conquer Earth. Here's how JL explains it: "To conquer, three boxes have to synchronize and join together into the Unity. The Unity cleanses a planet with fire, transforming it into a copy of the enemy's world. All who live become servants of Darkseid. Alive but drained of life. Para-demons. ” Darkseid's motivation for doing this is naturally to "help us" by ending division, as if “difference” was a bad thing: "This world is divided... Unevolved and at war with one another. Too separate to be one. Their free will must be ripped from them, like the other worlds. Given absolution in one glorious belief. ” That sounds a bit bad to me. I like variety, especially in humans. However to the makers of Bill and Ted Face the Music that plot clearly sounds like a good thing. This film is essentially a corporate-branding exercise for Darkseid. To stop history from reappearing in the present (how inconvenient) Bill and Ted are tasked by a woman called "The Great Leader" - and a multicultural council from an ideology free future - to go and create global unity. Bill and Ted, those dropout 80s rockers, sign up to brainwash man into a collectivist nightmare. Bill and Ted's 1989 wisdom, from the first movie, to "be excellent to each other and party on" is no longer sufficient in the 2020s. Nor is just playing a unifying pop song to an audience, as in the second movie (which admittedly started to get unsettling with seances and deals with death). No, nowadays Bill and Ted must get the entire world to actively join in with that unifying song. Passive acceptance is no longer tolerated. Apparently it endangers the majority. Now all must participate in a wailing, lyric free piece of pop muzak that you can easily imagine by thinking “corporate sing-along pop anthem”. Doing so will magically save the world from a threat that no one in the movie can reasonably explain or state where it came from. Naturally the instruments used to unify the world "get back to normal" are provided free of charge by conveniently placed corporations (and some egregious product placement). Then, like something from the demented dreams of Leni Riefenstahl, we see the whole Earth – past and present - playing along to this tortuous song in front of a stage of characters assembled not by Bill and Ted (who prove to be quite useless throughout the film) but their Gen Z daughters. And who is this elite group the whole human race must perform for? Our modern saviours, who are assembled throughout the film, consist of Death itself, a fascistic cop, a Chinese woman, 3 formerly famous black people who have nothing to do but smile and mime, Agent Smith's daughter (Samara Weaving), and an actress who identifies as "they" and states she’s a BLM protestor (Brigette Lundy-Paine). Oh, and a murderous transhumanist robot. Admittedly, this rather political side of the film shouldn't surprise anyone after we’ve seen a cameo from Dave Grohl, the former Nirvana drummer you might have last seen performing at Biden's inauguration. Bill & Ted 3 pauses to show us how rich and talented Mr Grohl is, which might be why in 2021 Mr Grohl was invited to perform at “Vax Live: A Concert to Reunite the World ”, another corporate horror entertainment – much like this film - starring paragons of unity such as Prince Harry, Macron, Justin Trudeau and Harris/Biden. This gig raised $312 million to pay Big Pharma for vaccines the government was buying anyway while simultaneously lecturing kids (or “global citizens”) to become spike protein factories. Where did all that money go? Who knows? Perhaps Grohl, who’s worth $260 million according to Wikipedia, could look into it. Of course nobody watching Bill & Ted’s band actually plays the instruments in this uplifting finale. They just mime along. It doesn’t matter if the instructions are illogical, just play along with the theatre. Even the conductors of this musical abomination, Bill and Ted's daughters, merely make the song by pressing buttons on a sampling machine that looks like a Fisher Price toy. The masses dance along to the soundbite machine. Oh, I must add this group saving us literally escaped from hell in the previous scene! This film is so blatant about the state of the world I can only pray it’s self-aware – especially as it’s directed by the man behind the superb Galaxy Quest (1999). But there are far too many warning signs to be certain, including Reeve’s (Matrix 4) participation. Surprising religious references like this, and the film's sheer psychosis, did at least keep me perversely watching, despite it feeling like a movie that was paid for and intended to be shown solely on aeroplanes (for those still allowed to use them), with green screen work that makes ‘30s rear projection techniques seem convincing. As an example of strangeness, this "feel good" and "sweet" movie shows that the characters fell into hell because they all, including the children, were cast into it immediately after dying! That is quite a statement to make! Instant damnation. I can’t tell if the film realises how judgemental it’s being. Then, like Harry Potter, the film says the afterlife is nothing to fear and they can easily escape hell by pandering to death's ego down there. But it gets even more disturbing when our compassionate heroes then leave hell… But take no one else with them. They now have the ability to escape eternal torture but leave all the people suffering there behind. This bizarre callousness is followed by one of the most disturbing scenes I've ever seen in a Hollywood film, at least if you have religious perception. We see our heroes rising out of hell (in a police truck) as thousands of screaming souls fall into hell all around them, even banging off the truck violently like extras from Titanic. People falling into hell - the worst fate that can befall anybody, ever - is here played as a victorious, even comedic moment. In real-life, we live in a time when heretical ministers say hell is a non-issue, that even Judas probably isn't damned, meanwhile family films show hordes falling into hell for a laugh. It lavishes attention on this moment. But what did I expect from a movie that literally starts with Christ being teleported away from the Last Supper (and also makes St. John a woman), thereby undoing and mocking the night that instituted the saving Eucharist (Satanists love to try and disgrace Holy Communion). Christ then lands in some modern pop music gig, where he looks lost and confused as if he had no power or knowledge. Then at the end Jesus is beamed back again by these unseen forces which control time and starts banging a cowbell like an idiot as his disciples dance like fools. The blasphemy makes Monty Python's Life of Brian from the 70s, which caused protests in its day, look reverential by comparison. Pop culture has come to this and nobody notices. Though, instead of the "Lamb of God who takes away the sins of the world", we at least get the Satanically-themed band Lamb of God (formerly known as "Burn the Priest") on the soundtrack, singing through one scene: "No belief When all is compromised Silently I sit and bide the time Grease the hands and turn the key Move in the darkest night Rouse the sleeping monster Bring it forth into the light" This, combined with Unity/Darkseid hints, gives a real insidious stench to this seemingly innocuous family-friendly movie. This is not a neutral film. Perhaps mocking Christ was required to get a release in China, because this is certainly a modern film where you can start the timer until that contractual Chinese scene appears (though I’m not sure how the CCCP would think of the film gender-swapping Ling Lun, the male creator of Chinese music, just because it can). To be fair, there are some fun and clever moments in the time-travelling script (like stealing ideas off your future self), and it has a great practical effect where Bill & Ted discover themselves as muscle-bros. But contractual, bland filmmaking mixed with a message from Darkseid meets Davos was too much for me. This is the scariest horror film of 2020, mostly because it thinks it’s fun. Watch it if you want to be horrified and disturbed in a "what are they going to do next? " sense, but I have enough of that on a daily basis.

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