Over the past few years, if you’ve visited a cinema, you might have noticed an increase in extravagant collectible popcorn buckets tied to movies. Many blockbusters now come with at least one, and sometimes even multiple, intricately designed containers for cinema treats. The Dune sandworm bucket, which drew immense attention, has undeniably left a lasting impact on the snack concessions industry in cinemas.
Approximately every few weeks, as a fresh summer blockbuster hits theaters, the competition for the largest popcorn containers escalates more and more. For instance, in the release of The Fantastic Four: First Steps, there will be an abundance of diverse snack holders available. One such option is a colossal Galactus head, standing 17 inches tall and 20 inches wide, designed for filling with popcorn.
That’s quite substantial, although it seems a bit cumbersome – do you need to purchase an additional seat solely for your popcorn container? Regal is stepping up the game with their Fantasticar, where you can enjoy your popcorn directly. (Who would have thought that flying cars of the future operate on popcorn oil?!?)
Even so, it pales in comparison to the impressive offering AMC has for Fantastic Four fans: A massive replica of H.E.R.B.I.E., the Fantastic Four’s film character robot assistant, which can simultaneously store your popcorn, soda, and candy all at once.
You can see a picture of the H.E.R.B.I.E. popcorn (and other things) bucket below.
— AMC Theatres (@AMCTheatres) June 4, 2025
According to the provided image, it seems that your drink fits inside H.E.R.B.I.E.’s head, making it seem like you’re drinking from the adorable robot’s brain compartment. There’s also a storage space for snacks in its chest area, and another cavity lower down (let’s call it the abdomen) for popcorn. Sticking your hand into H.E.R.B.I.E.’s abdominal region to grab some food might generate as many or even more amusing memes as the Dune sandworm bucket.
As mentioned in AMC’s tweet, starting July 24 (the premiere night of “Fantastic Four: First Steps” early previews), special popcorn buckets and concession containers themed around the Fantastic Four will be available for purchase. If you’re lucky enough to enjoy your snacks from H.E.R.B.I.E.’s robotic innards, remember to share a picture with us!
80s Movies That Got Bad Reviews That Are Actually Good
Top Gun (1986)
Top Gun – A Movie That Soared High but Fell Short with Critics
Initially released in 1986, Top Gun was the film that catapulted Tom Cruise into superstardom. It’s a thrilling tale about an ordinary man making a life-changing decision to become a teacher, but it wasn’t exactly hailed as a critical masterpiece during its initial run. Despite garnering more favorable reviews in hindsight, Top Gun still holds a rotten score on Rotten Tomatoes. Initially, critics dismissed it as style over substance, devoid of any meaningful content. Today, however, it is widely recognized as an iconic ’80s movie, a staple of cable television, and a fascinating snapshot of the cultural zeitgeist in Reagan-era America.
Friday the 13th Part VI: Jason Lives (1986)
Outland (1981)
Big Business (1988)
As a die-hard movie enthusiast, I’d say:
In my book, “Being John Malkovich” director Jim Abrams’ first solo directing venture was this delightfully outrageous comedy. Two sets of twins, played by the brilliant Bette Midler and Lily Tomlin, were accidentally switched at birth and lived separate lives without knowledge of their other siblings. Their paths finally cross at a bustling New York City hotel.
The plot is what movie critic Roger Ebert coined as an “idiot plot,” meaning it could easily be resolved if the characters just communicated or used common sense. But in this case, the complexity of the mistaken identities and the intricate web they weave makes it almost clever! And let me tell you, Tomlin and Midler really shine in their dual roles, fully embracing the opportunity to go all out with their performances.
Spaceballs (1987)
Despite its crude language and adult humor, the comedy film “Spaceballs” managed to secure a PG rating, which allowed my protective parents to let me watch it at a young age. This became my favorite movie as a kid, even surpassing the greatness of “Star Wars.” Although some 1980s film critics may have disapproved, I firmly believe that “Spaceballs” is not a bad movie.
Spaceballs, with its adult jokes and language, was given a PG rating by parents in the 80s. I loved it as a kid, even more than Star Wars. Though some critics didn’t like it, I still think Spaceballs is a great movie.
Crimes of Passion (1984)
Title Rating: 50 (Rotten Tomatoes)
Initially panned by critics upon its theater debut, this provocative thriller has since gained popularity due to a dedicated fanbase and a placement on the Criterion Channel. Despite being an unconventional choice for the prestigious streaming service, it’s a fitting addition, thanks to Ken Russell’s striking cinematography and intense performances from Kathleen Turner and Anthony Perkins. The plot is best experienced without prior knowledge; just brace yourself for a deliciously scandalous experience.
Road House (1989)
Title Score: 44 (Critics’ Rating)
Initially, the original “Road House” movie was widely regarded as a joke among critics. Fast forward to today, and while it still elicits laughs, its status has evolved into something extraordinary. The film has amassed a dedicated cult following of fans who can’t seem to get enough of the chaotic Double Deuce bar and its unruly patrons.
Director Rowdy Harrington aimed to create a “cartoon” with an over-the-top style, blending elements of the Western genre set in contemporary times, filling a gap left by the absence of this genre in our culture. However, these influences only scratch the surface of what makes “Road House” so hilariously peculiar.
Intriguingly, I don’t remember too many Westerns featuring frontier heroes known to everyone they meet and skilled at self-healing, but Dalton, played by Patrick Swayze, fits this description perfectly. This unique blend of the absurd is what makes “Road House” so enchanting in its own quirky way.
Ishtar (1987)
Rotten Tomatoes Rating: 40
The infamous Hollywood flop from the 1980s, “Ishtar,” was initially a lighthearted parody of Crosby-Hope “Road” films, but it was burdened by unrealistic expectations due to its notoriously problematic and expensive production. Director Elaine May, producer/star Warren Beatty, and star Dustin Hoffman frequently clashed during the film’s production. Critics covering the troubled production of “Ishtar” might have spent a significant amount on Dustin Hoffman’s headbands, but it remains unclear where the film’s substantial budget went. Regardless, for those not among “Ishtar’s” investors, this isn’t relevant. What truly matters is the excellent comedic rapport between Beatty and Hoffman as they portrayed two bumbling songwriters who accidentally found themselves in the midst of a covert war over Middle Eastern control.
The 1980s Hollywood disaster movie, “Ishtar,” initially started as a humorous remake of Crosby-Hope films, but it faced unreasonable expectations due to its troubled and costly production. Director Elaine May, producer/actor Warren Beatty, and actor Dustin Hoffman often disagreed during the film’s creation. Journalists who reported on “Ishtar”‘s chaotic production may have spent a lot on Dustin Hoffman’s headbands, but it is uncertain where the film’s funds were actually used. However, this detail is irrelevant to those not among the movie’s investors. What truly counts is the remarkable comedic teamwork between Beatty and Hoffman, who played two unlucky songwriters who unwittingly entered a secret war over Middle Eastern control.
Dune (1984)
Despite initially being a costly and notorious flop, and with director David Lynch having little good to say about the final product (he even removed his name from certain scenes he disliked), Dune stands out as one of the most uniquely peculiar high-budget blockbusters to ever emerge from Hollywood. Stranger, wilder, and more dreamlike than recent (and admittedly superior) Denis Villeneuve adaptations, Lynch’s Dune is a rare science fiction film that truly captures an alien feel; as if it was created by a space creature high enough on spice to think, “Yeah, I can make a movie! This is how you do it, right?”
– Simplifying some complex sentences for clarity (e.g., “remains one of the most pleasantly strange big-budget blockbusters to ever escape from Hollywood” is rephrased as “stands out as one of the most uniquely peculiar high-budget blockbusters to ever emerge from Hollywood”)
– Expanding on the analogy about the space worm (to make it more vivid and easier to understand)
– Changing “admittedly superior” to “admittedly superior” to avoid repetition
A View to a Kill (1985)
Title Rating: Rotten Tomatoes Score – 36
For decades, many viewers considered Roger Moore’s final Bond film, “A View to a Kill,” as the poorest entry in the entire series. However, some criticisms of the movie seem ageist, implying that men in their 50s can’t find Grace Jones attractive. It’s unfair! Was Roger Moore too old to embody the world’s most elite secret agent at 57? Perhaps, if “A View to a Kill” aimed for realism in its portrayal of international espionage. But let’s be honest, by this point in the series, James Bond had about as much connection to genuine spy work as “Danger Mouse.”
Despite this, Duran Duran’s theme song is superb, and every scene featuring Christopher Walken as Zorin and Jones as his henchwoman May Day is a delightful gem. Even in the later stages of middle age, Moore exudes an air of still enjoying himself while saving the world and whipping up quiches for beautiful young women. Moore was the ideal choice to play this Bond, a slightly comic adventure about a globetrotting action grandpa. Unlike most Bond films that cater to boys’ fantasies, “A View to a Kill” feels more like an elderly man’s dream, and a rather enjoyable one. That might be why I find myself appreciating it more with each viewing.
Family Business (1989)
Title Score: 35 (Rotten Tomatoes)
The idea of having Sean Connery, Dustin Hoffman, and Matthew Broderick play three generations of one family might seem outlandishly brilliant. However, despite some debatable casting decisions, the movie “Family Business” is a well-crafted family crime drama. I appreciate director Sidney Lumet’s keen eye for capturing the intricacies of New York City life, a skill that some film connoisseurs had earlier perceived as efficient but somewhat unexciting, or in other words, lacking a unique visual style.
However, I admire Lumet’s use of the camera, especially in long takes during the Irish wake scene in “Family Business,” where the mourners sing “Danny Boy.” These extended shots, as they move through the crowd, beautifully convey the relationships between characters through body language and their positions within the scene.
Lumet’s approach is intentionally understated, for his films are not about flashy visual effects. Instead, they focus on ordinary individuals – low-level criminals, police officers, lawyers. Lumet portrayed these subjects authentically, telling their stories in a way that resonates with their true nature.
Conan the Destroyer (1984)
The remake of “Conan” received a less favorable rating than it truly merits, with both critics and viewers seemingly underwhelmed. This may be due to the fact that followers of the dark, violent original were not prepared for a sequel that bore more resemblance to a vibrant Marvel comic book adaptation. When viewed independent of its predecessor, however, I believe “Conan the Destroyer” offers an enjoyable experience. The action sequences are well-executed, the fantasy aspects are engaging (the story was crafted by longtime “Conan” comic book writers, Gerry Conway and Roy Thomas), and the humor is genuinely amusing. Arnold Schwarzenegger’s portrayal of a drunken character stands out as particularly noteworthy. In my opinion, “Destroyer” is unjustifiably assigned the lowest Rotten Tomatoes score among the 12 films in this collection.
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2025-06-04 18:25