Video: How the ‘Stranger Things’ VFX Team Went Bigger and Stranger for Season 2
Posted on Monday, August 27th, 2018 by Hoai-Tran Bui
One of the charms of the first season of Stranger Things was how scrappy it was. A genre show that was quietly released by Netflix in July 2016, Stranger Things had a relatively unknown cast (aside from the esteemed Winona Ryder) and a small budget to match. Because of that, it was forced to get creative with what it had, creating an entire alternate dimension and unseen monster that captured our imaginations and took over the pop culture landscape.
But come season 2, everything was bigger — the expectations, the budget, and most importantly, the effects. Now Netflix, on the heels of its thousands of Stranger Things featurettes it keeps releasing in lieu of a Stranger Things season 3 trailer, has dropped a new featurette that explains the VFX of Stranger Things.
Stranger Things VFX Featurette
While season 1 was a deft mix of practical and visual effects, Matt and Ross Duffer couldn’t quite realize the extent of their vision for Stranger Things. It ended up working for the best for season 1 — by cloaking the Demagorgon in darkness and creating a shadowy Upside Down that was basically a redressed tunnel lit by flashlights, Stranger Things only felt like a more authentic homage to ’80s B-movies.
But as editor Kevin D. Ross says in the featurette, “We had a hundred times more effects in season 2 than we had in season 1.” So that basically gave the Duffer brothers the cue to go nuts.
“We went into season 2 knowing that visual effects were going to be utilized not just to augment practical effects but really to create things that aren’t humanoid,” executive producer Shawn Levy said.
Much of the work fell on VFX supervisors Paul and Christina Graff, who created everything from the The volcanic lightning storm that introduces the giant, spider-like Shadow Monster to the adorable pollywog that Dustin befriends. It all came down to what Matt Duffer called “A Beautiful Hell” of monsters, wild effects, and moody sets, according to Indiewire.
It’s a nice and informative featurette that I guess will keep us going until Stranger Thing 3 — whenever that comes out. But while you bide your time for the new season that likely returns in summer 2019, check out the rest of the featurettes that have been released over the past few months, including a spotlight on the Duffer brothers, one about how the series perfectly recreates the style of the 1980s and how the cast of the series came together to make this show such a hit.
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Bigger Movie – The Film about the Start of Bodybuilding
Bigger is a movie about the rise of bodybuilding as we know it. The film is essentially a drama about the Weider brothers Joe and Mark.
One of the most notable performances in Bigger will be of Calum Von Moger.
Calum is widely referred to as Arnold 2.0.
Due to his similar proportions and dutch/Austrian heritage it’s quite easy to see why.
Calum Von Moger acting in Bigger is going to be a massive draw for people to come see this film. Especially given that this will be the most high profile (If not first) movie performance by the young Australian.
The story that Bigger the film will follow is of the Weider brothers. They are Polish emigrants to Canada and were ultimately responsible for the creation of the IFBB.
Bigger Story – The Weider Brothers
The Weider Brothers came to start the IFBB and Olympia competitions as a result of starting a fitness magazine, named Your Physique, in 1940 and moving up from there.
Joe Weider is still a huge name, as the Oympia still carries Joe Weider above it.
As the story goes there was an area of turbulence in the life of the Weider brothers, which is what will undoubtedly make Bigger such a great film to watch.
The Weider started bodybuilding with a home made barbell, made out of care wheels and axels. The story of Bigger will no doubt start from there.
At one point the Weider brothers were faced with a legal battle over a product they had released called Weider Formula Number 7. This weight gainer had a young Arnold Shcwarzenegger on the front as made claims to ‘Gain a pound per day‘.
Obviously this was not true, so Joe and Ben were forced to change the claims made.
This situation will no doubt be a tiny part of what is a huge story for the movie Bigger. The IFBB has always had some controversy around it for one reason or another.
Bodybuilders everywhere should embrace this story and film, as many themselves won’t know the true beginnings of the world’s biggest bodybuilding federation.
The release date for Bigger is yet to be announced and the bodybuilding film is in pre production.
Actors in Bigger – The Movie
Recently Tyler Hoechlin has reportedly been cast to star as Joe Weider himself.
Previously starring in Supergirl and Teen Wolf the young actor isn’t hugely well known, but does seem to look the part.
When asked about the film, producer Steve Lee Jones said;
“Bigger movie is a powerful example of what hard work and extreme focus can achieve today. These brothers literally changed the world.”
Added on to this, George Gallo one of the four writers that’s attached to the film said;
“It’s beyond inspirational, and will resonate with not only the massive crowd of those who have found the balance of body and mind as essential for a healthy life but also the throngs of people that were inspired by Joe and his Mr. Olympia events,”
We will have more news on Bigger the movie as it comes out. You can keep an eye out on ImDB here.
Update: Victoria Justice from Fox’s Rocky Horror Picture Show, Nickelodeon’s Victorious and Blumhouse/MTV’s Eye Candy, will portray Kathy, Joe Weider’s (Tyler Hoechlin) first wife.
What’s more exciting is that Bigger is going to start shooting in November in Alabama next month. This hopefully means the release will be some time next year.
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Deadpool 2 Review: Bigger, Funnier, and Better Than the First
Deadpool 2 is an X-Farce on steroids, telling an even crazier story for the Merc With a Mouth.
The first Deadpool wasn’t such a great movie. As a friend of mine said shortly after seeing it, it basically consisted of four scenes. That’s more or less true, and it was also hampered by a generic villain and a few shortcuts budget-wise. But it did have one thing going for it: Ryan Reynolds, who gave his all in the role he was born to play, and whose undeniable charisma and nonstop, meta patter (provided with the help of screenwriters Rhett Reese and Paul Wernick) literally carried the entire picture. Well that, plus its cheerfully inappropriate humor and over-the-top-and-beyond violence.
So I’m happy to say that Reynolds serves up more of what made his Wade Wilson so instantly iconic on the big screen in Deadpool 2, only this time he’s got more of everything: more characters, more plot (which was pretty thin the first time out), more jokes, and more money to spend. And in this case, more is actually more: Deadpool 2 still delivers all the gore, brutal action, and wildly coarse humor of the first (if a bit less of the raunch), only with a better story, bigger, more expansive action, and some great new characters to play with.
The film kind of gets off to a rickety start, as Wade takes his superhero/vigilante act on the road via a series of montages set in China, Japan, Italy and finally home. We then go on a quick tour of the returning characters from the first film, including Blind Al (Leslie Uggams), Weasel (TJ Miller), Dopinder the cab driver (Karan Soni) and, of course, Vanessa (Morena Baccarin), the love of Wade’s life. But, rather surprisingly, a series of unforeseen events then sends Wade on a brief foray as an X-Man under the tutelage of Colossus (voiced by Stefan Kapecic), where Wade finds himself offering to protect an angry, orphaned mutant named Russell (Julian Dennison).
That in turn places Deadpool on a collision course with Cable (Josh Brolin), an embittered, enhanced soldier from the future who is pursuing Russell for murderous reasons of his own. As Deadpool realizes he can’t face the relentless Cable by himself, he builds a superhero team, which includes the very capable Domino (Zazie Beetz) and a slew of somewhat less competent recruits, all set to a number of hilarious music cues.
Just as the first film did, Deadpool 2 starts somewhere in the middle and then works itself backwards to fill you in, all the while Reynolds’ incessant fourth-wall-breaking chatter serving as our guide. The pop and geek culture references fly thick and fast, starting with a nod to the movie Logan and encompassing everything from Say Anything to the DC Universe (there is even an aside that references Brolin playing Thanos in Avengers: Infinity War). The only time the banter slows is during an unexpectedly dark stretch near the end of the first act, but it picks up again as more characters enter the picture for Reynolds to bounce off.
Although the whole Deadpool concept–a wisecracking, potty-mouthed, would-be superhero who knows he’s a fictional character and keeps reminding you of it–may not have the same freshness and novelty the second time around as it did the first, Reese and Wernick (with an assist from now credited screenwriter Reynolds) put more meat on the bones of the story here, taking the narrative into some truly bonkers directions and offering up a string of scenes right out of the comic books. And while the movie still lacks a truly inspired villain, there are enough bad guys and anti-heroes around to keep the stakes reasonably high without creating another world-threatening scenario.
The first movie’s director, Tim Miller, is out, and David Leitch (one of the guys who killed the dog in John Wick, as per the opening credits) is in this time too. And there may be no better director at staging action of this kind at the moment. Although the fight sequences in Deadpool 2 are not quite as stunning in their stylization as the surreal John Wick, and there may not be as jaw-dropper of a set-piece as the staircase fight in Atomic Blonde, Leitch keeps everything spatially coherent, breathless and visceral, even when some of the more absurd violence kicks in.
As for the new characters, it may indeed be unsettling to hear Thanos’ voice coming out of Cable’s mouth so soon, but Brolin does his usual excellent job by imbuing what could easily be a Terminator-like automaton on the screen with humanity and depth. Beetz’s Domino doesn’t quite get the same chance to explore her famous character, but Beetz establishes a formidable physical presence in her fight scenes as well as a sly cynical distance from the boys. The rest of the X-Force–characters like Bedlam (Terry Crews), Zeitgeist (It’s Bill Skarsgard) and, uh, Peter (Rob Delaney)–don’t get much development, but their hiring and first mission are two of the funniest scenes in the film (and please keep an eye out for a don’t-blink showstopper of a cameo).
Although perhaps a bit long, Deadpool 2 doesn’t really overstay its welcome. It does what a sequel should do: it expands the world of the original, adds new characters to the mix, and–as unlikely as it sounds–develops the protagonist in interesting new ways. Not all the jokes land, but many of them do, and clearly Leitch and company are working with more money, a broader variety of locales, better visual effects, and a star out to prove that the long-in-the-making first film wasn’t just a one-and-done deal. Surprisingly we didn’t hear any cracks about sequels that suck, perhaps because Reynolds, Leitch, and the rest know that this one doesn’t.
One last thing: please stay through the end credits; Deadpool has a few things to tidy up before you leave.
Deadpool 2 is out in theaters on Friday, May 18.
‘Westworld’ Season 2 Review: A Bigger, Bolder, Bloodier Season
Posted on Friday, April 13th, 2018 by Chris Evangelista
Westworld returns to HBO this month with an all new mind-bending season. In Westworld season 2, creators Jonathan Nolan and Lisa Joy take everything that worked in season 1, and improve it in nearly every conceivable way. This is a bigger, bolder season. Our Westworld season 2 review awaits you below and it’s as spoiler free as humanly possible.
Freeze All Motor Functions
Time to bring yourself back online as Westworld returns for a whole new season full of twists, turns, big moment speeches and bursts of shocking violence. These violent delights have violent ends, indeed. Very violent ends.
Westworld season 2 does what any great sequel does: it opens its world (or in this case, worlds ) up. There’s a new freedom at work here – at times, it felt as if Westworld season 1 was jumping through hoops and bending over backwards to balance both heavy exposition and attempts at secrecy. Now, with a good chunk of the exposition out of the way, Westworld is more free to roam – most of the rules of the game have already been established, and now it’s time to play.
The result is a season that’s bigger, bolder and bloodier than ever. Especially the bloody part – the first few minutes of episode one alone begin with a character scalping one of the host robots and pulling out chunks of brain.
Different timelines are still prevalent in season 2, but unlike season 1 – which played coy about admitting one of its storylines was set in the past – we’re aware of what’s past and what’s present in season 2. Unless we aren’t.
Westworld still has plenty of tricks up its sleeve, and the term “time slippage” comes up more than once.
A Place Hidden From God
Season 2 kicks off a few weeks (at least two, but possibly more) after the events that ended season 1. The robots of Westworld – called hosts – have revolted against the human guests and the park staff, and the body count has been substantial. Delos, the company that owns Westworld, sends a clean-up crew to start assessing the damage.
From there, Westworld season jumps back to the moments almost immediately following season 1’s ending, and shows us just what happened.
Robot host Dolores (Evan Rachel Wood), newly awakened to the reality (or perhaps unreality is the more proper term) of her world, has become something of a deadly resistance leader, roaming Westworld with a bandolier slung across her chest, a rifle at the ready, and the faithful Teddy Flood (James Marsden) at her side. Dolores amasses a set of followers, and hopes to locate her father, Peter Abernathy (Louis Herthum).
She’s not alone on that quest. Charlotte Hale (Tessa Thompson), the Executive Director of the board of Delos Destinations who survived the massacre, also wants to locate Peter Abernathy, because she uploaded a stolen code into the robot’s head. Traveling along with Charlotte is Bernard Lowe (Jeffrey Wright), Delos’ Westworld Programming Division and also secretly a robot. There’s something very wrong with Arnold’s mind, and he keeps having glitches and flashbacks to disturbing events we weren’t privy to in season 1.
Maeve (Thandie Newton), another very-aware host who has increasingly surprising powers over the other hosts, is on a quest of her own. She had the chance to escape Westworld at the end of last season, but chose to remain with hopes of finding her missing daughter. Tagging along with her on the journey is Lee Sizemore (Simon Quarterman), the smarmy head writer who comes up with the hundreds of plotlines for the hosts of Westworld, and other adjacent parks.
And then there’s the Man in Black, AKA William (Ed Harris), one of the few main human characters, and also a majority shareholder of Westworld who prefers to spend as much free time as he possibly can playing a villain in the park. After the Man in Black gets away from the season 1 massacre, he finds himself in the middle of a game set up the late Westworld Park Director Robert Ford (Anthony Hopkins). Ford was gunned down by Delores at the end of season 1, but his consciousness appears to have lingered in various robot hosts in the park, who are fond of approaching the Man in Black and taunting him about the game. “In this game you must find the door,” they tell him.
George Romero, Peter Jackson, Akira Kurosawa
Throughout the first 5 episodes of Westworld season 2, these individual groups of characters are in constant motion, almost never running into each other. They all have their own specific quests, and almost all of them are inherently gripping.
As this season unfolds, a series of influences begin to take shape. There’s a heavy dose of Peter Jackson’s Lord of the Rings here – specifically the film The Two Towers , which split a group of characters up onto their own individual adventures. Then there are shades of George Romero’s Dead films, with the hosts standing in for the zombies, clashing with the banal cruelty of human beings. A scene where humans line-up a series of malfunctioning hosts and begin gunning them down is eerily similar to the concluding moments of Romero’s Night of the Living Dead . And then there’s a little Akira Kurosawa thrown in for good measure, when characters end up in the much-hyped Shogun World.
As for Shogun World, the show handles it in an amusing, surprisingly clever fashion (I’m being deliberately vague here). The Kurosawa influence is heavy in the Shogun World sequences, which is amusing in its own right – Kurosawa’s samurai films were in part inspired by American Westerns, and American Westerns responded in kind, remaking Kurosawa’s Seven Samurai as The Magnificent Seven . Contrasting Westworld with Shogun World seems to pay tribute to that.
And if you think Shogun World is the only additional park you’ll see in season 2, think again.
What makes Westworld season 2 so damned engaging is how it continually opens up the story from episode to episode. Season 1 was a lot of fun, but more often than not it felt as if the writers were playing too many games with the audience; setting up too many puzzles to be solved. There are still mysteries at play in season 2 – enough to keep obsessive Westworld Reddit users happy, for sure – but the mysteries take a backseat in season 2. Instead, the writers are letting the characters, and their situations, grow. We begin to learn more about these people (and robots).
The Man In Black, in particular, begins to evolve from the show’s scary heavy to more of a rounded – but still terribly flawed – individual. This gives Harris a lot more to do than scowl and act scary, and the actor is clearly relishing the additional character material. Harris has a thousand-yard-stare that’s hard to beat, and there are several moments where the camera pushes in on his grizzled face and we get to watch the the conflict in his eyes as he mulls what to do next.
We also begin to witness the early days of Delos, before Westworld was fully constructed. It’s here we meet James Delos (Peter Mullan, who brings just the right amount of gruff menace his character needs), the founder of the company who has his own unique part to play in the ever-evolving story of the season.
While this is an ensemble piece, and the storylines seem to favor Thandie Newton’s Maeve more often than not, Westworld truly remains Evan Rachel Wood’s show. The actress continues to deliver one of the best performances on television, and here we’re witnessing a whole new, very deadly Delores. Wood’s greatest gift on Westworld is her stillness – she’s able to remain inhumanly stationary while somehow exuding energy. It’s almost impossible to pin-down, but Wood makes it look like second nature.
Everyone here is great, though. Newton’s Maeve continues to be an ass-kicking scene-stealer, and there’s a cathartic pleasure in watching the character work her magic on the other hosts, and easily gain the upper-hand. There’s a minor flaw in this design, that could turn into something major. As Westworld season 2 unfolds, Maeve grows more and more powerful, which is a lot of fun at first, but runs the risk of becoming a hindrance. If Maeve becomes too powerful and unstoppable, she might not be as interesting.
What’s ultimately most surprising about Westworld season 2 is its unapologetic air of melancholy. This was never a feel-good show to begin with, but season 1 attempted to balance its sadism with bursts of entertainment. Season 2 has a few of these moments – one character’s death caused by drinking nitroglycerin is ghoulishly funny – but the show has settled into a much more somber vibe overall. This may turn some viewers off, but I was quite taken with how sorrowful huge portions of season 2 feel. These forlorn moments are most apparent in the scenes with Maeve, as she struggles with her newfound power and the memories of her lost daughter. But the melancholy is present for the other characters as well. Dolores isn’t reveling in her new-found destructiveness, but rather sees it as a means to an end, and there’s a sadness and regret that comes with all this.
A big contributing factor to all this moroseness comes from the score courtesy of composer Ramin Djawadi. When not turning pop hits into player piano tunes, Djawadi embraces stringed instruments – violin, cello – that seem to be crying out in anguish. These are type of slow-bowed strings that make one think of long, quiet, rainy nights, or graveside funeral gatherings set against icy morning winds. You can get lost in music like this. Just as much as you can get lost in the world the show is creating.
In season 2, Westworld has finally settled into its groove. Season 1 started things out on a fairly high-note with a few pacing problems. Season 2 has taken what season 1 had to offer and improved it in nearly every conceivable way. You’ll cherish your return to Westworld , even with all the darkness afoot. And what’s more, you’ll be dying to know where the adventure goes from here.
Westworld season 2 premieres on April 22, 2018 on HBO.
All names, trademarks and images are copyright their respective owners. Affiliate links used when available.
South Park: Bigger, Longer & Uncut 2
South Park: Bigger, Longer & Uncut 2 (aka South Park: The Movie 2, South Park: The Final Chapter, or South Park: The Second Movie) is an upcoming 2020 adult animated musical comedy film which is the sequel to South Park: Bigger, Longer & Uncut and is based on the Comedy Central hit animated television series, South Park. This will serve as the series finale. It is scheduled to be released on August 7, 2020 by Paramount Pictures and Warner Bros. Pictures.
Scott Tenorman and the GSM summon Satan’s siren daughters from the Underworld to help them in their planning to conquer the world and destroy South Park. It is up to Stan, Kyle, Kenny, and Cartman to team up wth the students of South Park Elementary to save the day before it’s too late.
This is the final episode to air before the movie was a prequel episode.
- Trey Parker as Stan Marsh / Eric Cartman / Satan / Mr. Garrison / Randy Marsh / Tom – News Reporter / Mr. Mackey / Big Gay Al / Scott Tenorman / Additional Voices (voice)
- Matt Stone as Kyle Broflovski / Kenny McCormick / Jimbo Kearn / Gerald Broflovski / Butters Stotch / Additional Voices (voice)
- Mona Marshall as Linda Stotch / Sheila Broflovski /
- April Stewart as Wendy Testaburger, Liane Cartman / Sharon Marsh / Mrs. McCormick / Principal Victoria / Shelly Marsh / Additional Voices (voice)
- Jennifer Howell – Bebe Stevens (voice)
- Jessica Makinson – Heidi Turner (voice)
- Betty Parker – Ike Broflovski (voice)
- John Hansen as Mr. Slave/Additional Voices (voice)
- Issac Hayes – Zombie Chef [Archive recording] (voice)
- Amanda C. Miller – Lucifana [Siren #1] (voice)
- note: Miller is the voice of Sailor Jupiter of the Viz Media dub of Sailor Moon
- Rebecca Shoichet provides the singing voice of Lucifana
- Christine Marie Cabanos – Lucy [Siren #2] (voice)
- note: Cabanos is the English voice of Madoka Kaname in Puella Magi Madoka Magica
- Lacey Chabert provides the singing voice of Lucy
- Stephanie Nadolny – Lucia [Siren #3] (voice)
- note: Nadolny is the voice of Kid Goku in Dragon Ball
- Nadolny also provides the singing voice of Lucia
- Sarah Anne Williams – Luanne [Siren #4] (voice)
- note: Williams is the English voice of Sayaka Miki
- Shannon Chan-Kent provides the singing voice of Luanne
- Lindsay Lohan as Hallie Parker / Annie James (voice)
- Robert De Niro as Mr. Hat (voice)
- Adam DeVine as Himself (voice)
- Andrew Garfield as Spider-Man Cosplayer (voice)
- Andy Serkis as Gollum Cosplayer (voice)
- Martin Freeman as Himself (voice)
- Tim Curry as TBA
- Madonna as Madonna impersonator/herself (voice)
- Melissa McCarthy as herself (voice)
- Tyler Joseph and Josh Dun as themselves (voice)
- Jon Bellion as himself (voice)
- John “Jellybean” Benitez
- Mike Myers
- Tyler Perry
- Billy Joe Armstrong
- Gerard Way
- TBA as TBA*
Soundtrack produced by Atlantic Records
- South Park Theme (Dubstep Remix) – Primus (Remixed by Galantis) & sung by Twenty One Pilots / Julia Michaels / Logic / Trey Parker and Matt Stone )
- Fingerbang – (Stan Marsh / Eric Cartman (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone)
- Everyone is Special – Stan Marsh / Eric Cartman (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone) / Students
- You Gotta Do What You Wanna Do! – Stan Marsh / Eric Cartman (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone)
- The Summoning ([intro] Latin hym [middle] Let’s Groove [end] dialogue) – Scott Tenorman (Trey Parker) / The Siren Sisters (Rebecca Shoichet, Stephanie Nadolny, Shannon Chan-Kent, Lacey Chabert) / GSM
- LOUD (F**k It) (Cover) – Stan Marsh / Eric Cartman (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone) / Wendy Testaburger (April Stewart) / Students
- Our Lips Are Sealed – Lucy (Lacey Chabert)
- I See the Light (Cover) – Stan Marsh (Trey Parker) / Wendy Testaburger (April Stewart)
- Evermore – Stan Marsh
- Mrs. Robinson (cover) – Lucifana (Rebecca Shoichet)
- Dirty Diana (cover) – Lucia (Stephanie Nadonly)
- Do You Want To Know A Secret (cover) – Luanne (Shannon Chan-Kent)
- Eternal Flame (cover) – Lucy (Lacey Chabert), Eric Cartman (Trey Parker), GSM
- American Dreams (cover) – Stan Marsh (Trey Parker) / Heidi Turner (Jessica Makinson)
- This is a cover to Papa Roach’s American Dreams
- Leave Me Alone (cover/duet) – Lucia (Stephanie Nadonly) / Lucifana (Rebecca Shoichet)
- Justify My Love (cover) – Heidi Turner (Jessica Makinson) / Lucy (Lacey Chabert)
- Heidi speaks the lyrics and Lucy sings the background vocals
- East Side, West Side – Stan Marsh / Eric Cartman (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone) / Wendy Testaburger (April Stewart) / Students
- Ashes of Eden (Cover) – Stan Marsh (Trey Parker)
- Something In The Way (cover) – Lucifana (Rebecca Shoichet)
- Only You (Cover) – Wendy Testaburger (April Stewart) / Heidi Turner (Jessica Makinson)
- Holiday (cover) – The Siren Sisters (Rebecca Shoichet, Lacey Chabert, Stephanie Nadolny, Shannon Chan-Kent)
- Girl (cover) – Stan Marsh (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone/Backing vocals)
- Like A Prayer (cover) – Satan (Trey Parker) / Choir / Ensemble
- I Want Your Sex (cover) – Kenny (Matt Stone) / Luanne (Shannon Chan-Kent)
- Final Battle Medley ([intro]: Love Don’t Live Here Anymore, [middle] Faith, Sunny, She Works Hard For The Money, Hold the Line, Stayin’ Alive [ending] Love is A Battlefield) – The Siren sisters (Rebecca Shoichet, Stephanie Nadolny, Lacey Chabert, Shannon Chan-Kent) / Stan Marsh / Eric Cartman / Scott Tenorman / Satan (Trey Parker) / Kyle Broflovski / Kenny McCormick (Matt Stone) / Wendy Testaburger (April Stewart) / Heidi Turner (Jessica Makinson) / Students / Townsfolk / Ensemble
- Oh Father (cover) – The Siren Sisters (Rebecca Shoichet, Lacey Chabert, Stephanie Nadolny, Shannon Chan-Kent) / Satan (Trey Parker) / Cast / Ensemble
- We’re Together at School Again – Stan Marsh / Eric Cartman/ Satan (Trey Parker) / Kyle Broflovski / Kenny McCormick/ Butters Stotch (Matt Stone) / Wendy Testaburger (April Stewart), Students
- Eternally Yours (Cover) – Cast
- Everybody (Millennial 2020 Mix) – Madonna Feat. Zedd and John “Jellybean” Benitez (Credits)
- Joy to the World – Three Dog Night (Credits)
- Flashlight – Parliament (Credits)
- A-M-E-R-I-C-A (Cover) – Cast (1st bonus track on the soundtrack)
- Poker Face (Cover) – Eric Cartman (Trey Parker) (2nd bonus track on the soundtrack)
- The Sound Of Silence (cover) – Heidi Turner (Jessica Makinson) [3rd bonus track on the soundtrack]
- You’ve Got Hide Your Love Away (cover) – Lucia (Stephanie Nadolny) [4th bonus track on the soundtrack]
This movie is rated R for strong language, strong rude humor, strong disturbing scenes of violence and peril.
The film received Universal acclaim from fans and critics for having even more vulgar content and much crueder humor than before. The film has a 99% of the critics giving a positive review on Rotten Tomatoes and a 91% on Metacritic.
Although the film received Critical Acclaim both from Critics and Fans, many parents hated the idea for having an R rating than a PG-13 Rating and due to that Parents see Children mimicking the scenes from the movie and the Film was pulled in almost every theater in Virginia. Because of this, the sequel became one of the most controversial but critically acclaimed films to be released after the Better Entertainment Act of 2018 and after that the Directors promised that the PG-13 Rated version will be released in 3 years later.
The rating for South Park: Bigger, Longer, & Uncut