Author Archives: R.L. Terry

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About R.L. Terry

Ryan “Professor Horror” Terry teaches film studies and screenwriting at the University of Tampa. He holds graduate and undergraduate degrees in film and media studies. He has regularly published film reviews since 2014 and has been a featured speaker at Tampa Bay Comic Con, Spooky Empire, and the historic Tampa Theatre. His work has appeared in both political and entertainment magazines.

Sinister Summer: “A Nightmare on Elm Street” (1984) Retrospective Review

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Summertime often means sleep away camps, beach trips, road trips, and more. So many horror films take place during the summer and others serve as material for ghost stories around a campfire. This summer, I thought I would have a shortrun series on some of my favorite horror films that I’ve titled Sinister Summer. With the Friday the 13th next month falling on the precise day that the original Friday the 13th movie takes place and it being Jason Voorhees’ birthday, I first thought I would take a look at the original movie. But then I figured, why not do a retrospective on other horror films during June, July, and August? First up on the Sinister Summer series is my favorite slasher series A Nightmare on Elm Street featuring my favorite horror icon Freddy Krueger. Unlike with other slasher icons who hide behind masks and never speak, I consider Freddy to be the most terrifying because he can talk to his victims and attack you in your sleep–a time in which you are most vulnerable. Moreover, dreams are a private time and he invades that sacred scape. Furthermore, we don’t pay much attention to the actor behind other icons such as Jason, Leatherface, and Michael but actor Robert Englund is synonymous with Freddy because we get to appreciate the actor’s performance, charisma, and enthusiasm. Let’s get started.

1, 2 Freddy’s coming for you; 3, 4 better lock your door, 5, 6 grab your crucifix, 7, 8 gonna stay up late, 9, 10 never sleep again. If that jingle still sends chills down your spine, you’re not alone. Writer-director Wes Craven’s nightmare on screen has been terrifying audiences for more than 30yrs and has even had a crossover with Jason Voorhees. Beyond the silver screen, the Nightmare on Elm Street (NoES) franchise has been featured at Universal Studios Halloween Horror Nights, interactive media (video games), and Robert Englund reprised his most famous role in the Halloween episode of The Goldbergs [in October 2018]. Inspired by a series of articles in the LA Times; three small articles about men from Southeast Asia, who were from immigrant families, who died in the middle of nightmares—and the paper never correlated them, never said, ‘Hey, we’ve had another story like this.” From that short series of articles came the franchise that we know and love today. But there is so much more to NoES than the fact it was inspired by truly unexplained deaths during nightmares. I’ve written before that the horror genre is the best genre for creatively exploring the human condition, questioning standards and observations, providing different perspectives on sociologically, exploring psychology, heteronormativity, and more, often in terrifying ways to get you to think, and NoES certainly gives us lots of material to talk about. At its core, NoES provides ample opportunity to discuss the distinction between dreams and real life, manifesting in the actions of the teens in the film; furthermore, the events of the film transgress the boundary between imagination and reality that provocatively toy with the audience’s perceptions of the real and imagined. It’s like an episode of The Twilight Zone on crack.

On the surface, it appears that the only motivation of Freddy’s kills and trauma-inducing actions is revenge–plain and simple. After all, he was burned alive by the parents of the Elm Street teens. And so he takes his revenge out on the teens and occasionally their parents. Albeit revenge is a classic motivator, it lacks substance; however, there is much more to Freddy and the NoES series than revenge. What truly separates classic Freddy from new (remake) Freddy and from Michael and Jason is his sick commitment to showmanship. It’s just about the kills, it’s about putting on a show for his own amusement. Almost exclusively attacking teenagers, Freddy’s attacks on the mind and body can be interpreted as being symbolic of the various and often traumatic experiences encountered by young people. Our central character Nancy is the straight-laced strong-willed teenager that experiences social and sexual anxiety around her peers and parents. Clearly she is someone who has had a strong relationship with her parents–especially her father–but that relationship has become strained due to her parents becoming increasingly disconnected from her through abuse of alcohol, pills, or simply not being present. One could go so far as to assess that the parents serve as opposition to the goal of defeating Freddy and survival.

Way before the proliferation of YA movies today and unlike typical slasher films, Craven makes it a point to place the power of survival into the hands of the teenagers. He then transfers the importance of physiological control to psychological control over the unconscious mind and that which induces fear. The ability to defeat Freddy lies within the mind of Nancy. And of course, Dream Warriors places that power into multiple minds. Originally Wes Craven wanted Nancy’s entire experience to be one big nightmare but New Line Cinema wanted a darker, more macabre ending in order to pave the way for sequels because that is there the money is. Just like John Carpenter desired for Halloween to be ONE film, Craven originally desired for NoES to be one and done. Fortunately for us, both have become hugely successful franchises. However, many agree that the originals (or even extended to the first 2-3 films) are the timeless ones.

Freudian imagery and analogies are in no short supply in NoES. Even more so than in other horror films where sexual content is common, the manner in which it is used in NoES is symbolic of Freudian themes that are manifested in the manner by which Freddy stalks, toys with, and kills his prey. For the most part, the Freudian imagery is shown through a sexual context in threatening and mysterious ways that play with the teens’ perceptions of their reality versus a nightmarish imagination. Each sexual image or action is representative of some type of trauma to the body that is connected to the mind and thus becomes part of the subconscious that impacts thoughts and actions.

The various scenes that take place within the dreams of the teenagers quite possibly represent Craven’s own nightmares or perhaps even your own. Just like you might talk to a therapist about a recurring dream or nightmare in order to interpret the imagery and meaning, Craven may be working through his own dreams on the screen. The dreams and Freudian symbolism are what separate NoES from the likes of Halloween. Strip away the dreams, and you have a slasher who kills teenagers. These dreams give NoES depth, and this dimension is what beckons us to face the uncanny and pleasurable unpleasures of this film. Importantly, cinephiles and horror enthusiasts should note that the dreams never end. Evidence of this occurs at the end of the film. In terms of Freudian terminology, there is sufficient evidence in the film to suggest that Freddy represents the id (the part of the mind in which innate instinctive impulses and primary processes are manifest). He acts impulsively, killing those who are connected to the ones who burned him alive in that boiler room after discovering he was a child killer (although the original script refers to him as a child molester). He feeds off fear and comes to life in dreams, full of revenge. Clearly audiences are witnessing a battle between the id, ego, and superego throughout the events of the movie. Unfortunately, there is no real winner in this battle of the mind and body. But there is a winner in the actor Robert Englund. Arguably, he is the biggest single horror genre star since Vincent Price.

Let’s not forget the comedic components of NoES. Beyond the dreams and thematic depth that sets this film apart from Halloween and Friday the 13th, is the dark comedy. Part of Freddy’s dark comedic charm is the fact that he can talk and toy with his victims in ways that Jason, Leatherface, and Michael cannot. For one simple reason, Freddy is not hidden behind a mask. Freddy has a sense of humor. Strange as it may seem for a slasher, he often integrates humor into his dialogue and actions. This is what makes him fun to watch. The original NoES could be read as the parents being the villains and Freddy being an anti-hero. For all the reasons to be terrified of Freddy, he comes off as a little goofy. As if he just grabbed the first hat, shirt, and pants he saw walking though a rummage sale. His taunting of Tina in the opening scene of the film comes off as taunting, not horrifying. It’s like he’s a cat, toying with his victims because it is way more fun than going in for an immediate kill. Another favorite comedic moment in the movie is when the long, disgusting tongue comes out of the phone when Nancy is talking on it, and Freddy says “I’m your boyfriend now.”

Variety ran a great article on this very subject. Here is what columnist Jason Zinoman stated, “[Freddy] has a weakness for catchphrases (“better not dream and drive”), dopey word play (“feeling tongue tied?,” he asks a victim tied to a bed by tongues) and a predilection for a certain word that makes him sound like a catty teenage girl (“Bon appetit, bitch”; “Welcome to prime time, bitch,” etc). But there’s no denying the star of so many nightmares knows how to deliver a line. He sells his stale material with an admirable professionalism—he’s the Jay Leno of serial killers.”

Looking back at A Nightmare on Elm Street and the legacy it inspired, it is clear that this film and franchise has so much to offer those of us who have been watching for years and those who are beginning to explore the fascinating genre of horror. NoES has it all. Comedy, visceral horror, commentary on the human condition, explorations of the subconscious, and more. It’s this delicate balance of all these elements that bolsters the plot and characters, gives us a horror film of substance. A film that is more than cheap thrills and chills.

Ryan teaches screenwriting at the University of Tampa. If you like this article, please subscribe! Follow Ryan on Twitter @RLTerry1 and Instagram @RL_Terry for more on movies, theme parks, and entertainment news.

Star Trek Warping into Universal Orlando Resort? Engage!

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To boldly go where no one has gone before! Ordinarily, I don’t make it a point to write about rumors. But, being a longtime Star Trek fan (specifically TNG followed by Voyager), I thought that this would be a fun one to discuss. Rumors of a Star Trek attraction or land have been floating around for a while, but more recently gained traction after discussions of a new attraction coming in the relatively near future. According to the Disney and More blog, Universal Orlando is considering licensing the Star Trek IP from Paramount for an attraction or land. Less of a rumor really, Universal Orlando IS considering The Bourne Identity or Star Trek franchise for the old T-2 (Terminator 2: 3D) building [UPDATE: recent news suggests UO is deciding between Jason Bourne and James Bond for the old T2 show bldg]. In terms of franchise strength, Star Trek is a no-brainer given the two choices; however, the direction for theme parks in the 21st century is building entire worlds that immerse the park guest into–not only the respective movie(s)–but into the universe of the IP. Therefore, it would be more advantageous to utilize the T-2 show building for Bourne than Star Trek. Why? Because Bourne exists in the “real world,” it fits in well-enough with the Beverly Hills set; it’s believable in that present location. However, Star Trek brings with it decades of stories that would be better suited to its own land. With the confirmed 4th theme park (confirmed, but no properties associated with it yet) coming in the near future, the Star Trek IP might just find itself a home at the 4th gate. Perhaps the 4th park will have Nintendo, DreamWorks, and now Star Trek. Talk about a powerhouse of IPs.

With the attendance slipping at Universal Parks and Resorts in 2017, after years of encroaching upon Disney numbers and growth, Universal Parks is definitely working diligently to not fall behind. I imagine that the Universal Creative executives and directors are all-hands-on-deck with the opening of Toy Story Land this year and the highly anticipated Star Wars: Galaxy’s Edge in 2019 at both Disneyland and Walt Disney World. As big as Harry Potter is (and it IS), it cannot compete against Star Wars as an equal (in terms of the fanbase, merchandise, etc). But, combine DreamWorks, Nintendo, and Star Trek with the expanding Harry Potter offerings at the parks, and then you likely have what it takes to be a formidable competitor against Disney, Star Wars, Pixar, and Marvel. Not to mention who winds up with 20th Century Fox, given that Comcast (parent company to NBC-Universal) is offering an all cash deal that dwarfs the Disney bid. If Star Trek doesn’t go in Universal Orlando’s 4th theme park, then it’s entirely possible that it might be what is used to eventually replace Marvel Superhero Island at Islands of Adventure.

Without getting into the argument that one is science-fiction (Star Trek) and other other kin to Future-Fantasy (Star Wars), one of the primary differences between the two franchises is Star Trek‘s lack of memorable or reoccurring planets that factor into the plot. By extension, this makes developing a world difficult because it limits the number of places that you can transport your park guests. Star Wars is more focussed on the conventional adventure whereas Star Trek is traditionally more focussed on the human condition. One’s internal and the other external. That does spell difficulty for adapting Star Trek to a theme park setting, and by the same token, works brilliantly for Star Wars. Maybe it doesn’t have any memorable planets, but Star Trek does have a HUGE iconic location that can effectively be translated to an experiential theme park setting: the Enterprise! My personal favorite being none other than the NCC-1701-D under the leadership of the definitive Star Trek captain–Captain Picard! Regardless of which iteration of the Enterprise (or Voyager) may be your favorite, there are plenty of ways to adapt it into multiple attractions. Star Trek also has some incredible villains such as The Borg and Romulans and famous anti-heroes like Q.

Just off the top of my head, here are some great ideas for attractions and offerings in the future Star Trek land: For starters, the famous 10-Forward lounge on the Enterprise D would make for an excellent bar & grill for park guests. The trademark transporter serves as an excellent platform on to conceptualize a ride. Just the bridge of the Enterprise makes the perfect backdrop of a simulator style attraction in the vein of Star Tours at Hollywood Studios (but on steroids). A brilliant platform to build an attraction from is the holodeck. The possibilities of sourcing that location to inspire an attraction are as infinite as the imagination. One-off special events are a no-brainer too. A Star Trek land would make for the perfect location of a Star Trek convention, just as Star Wars Galaxy’s Edge will undoubtedly serve as the location for Star Wars conventions. In terms of resorts, the often references and occasionally visited planet of Risa (from TNG) could be a perfect resort or developing a hotel that immerses the guests into the world of the Enterprise. The guest rooms would be modeled after the ones on the starship and there are plenty of lobby, lounge, and restaurant ideas too.

Only time will tell if these rumors are true. I certainly hope they are! If not, maybe Universal will consider the idea with so many people talking about the rumor. Here’s to the future of possibilities coming to theme parks in the coming years. Engage!

“Deadpool 2” movie review

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“Deadpool, can you hear me?” Subversive, irreverent, brilliant, meta. It very well may be better than the first. How often do we get to say that about direct sequels? Ryan Reynolds’ witty, crass, charmingly naughty superhero is back to take even the most unrelentingly serious movie patron, and drive them to complete laughter. The square peg of the X-Men’s round universe returns with non-stop action, antics, and fourth-wall breaking humor virtually deconstructing everything from the opening credits to the post-credit scenes. Nothing new there; however, Deadpool assures the audience that the story they are about to see is a family movie. And after watching it, it may be unconventional, but it’s a solid family film. Maybe not “family entertainment,” by the Disney definition, but about family nevertheless. Speaking of which, we may have just watched the final Deadpool as we know it before it gets the Big D sanitization treatment, should Comcast (NBC Universal) not swoop in to save 20th Century from the otherwise inevitable Disney acquisition. Deadpool 2 isn’t just better than the first one simply because it’s funnier, more risqué, or more clever; in measurable ways, it possesses stronger villain(s), stronger opposition to the goal, and a better plot overall. Not your everyday “family” film, but filled with emotional tugs at your heart strings, all the same. Just with a heaping helping of self-aware and self-deprecating bawdy humor.

For two years, Wade Wilson/Deadpool (Ryan Reynolds) has continued his mercenary work, taking down villain after villain, crook after crook; but, after he fails to kill one of his targets on an extra-special day to him, he is faced with tragedy. Through a series of bizarre events–yes, even bizarre for Wilson–Wilson finds himself in a maximum-security prison ran by the DMC (Dept of Mutant Control) along with a renegade 14yo mutant named Russell. When Cable (Josh Brolin), a high-tech assassin, arrives from the future to take out a target that he claims leads to total destruction, Wilson must battle inner and outer demons in order to get his heart into the right place. Knowing he’s facing the most dangerous villain he’s ever encountered, Wilson forms the X-Force, a diverse “superhero” group of many talents in order to apprehend the target to prevent the world from plunging into complete chaos.

There is a comedic power in the plot of Deadpool 2 that invites the audience, at every turn, to laugh with the movie as it laughs at itself. There are a few running schticks throughout the film, but my favorite is the continued references to Barbra Streisand’s groundbreaking film Yentl featuring the iconic Streisand ballad Papa, Can You Hear Me? To which, Deadpool points out sounds an awful lot like Do You Wanna Build a Snowman from Disney’s Frozen. And it’s the implication of Disney appropriating Streisand’s song where the “Disney joke” was likely cut from the movie. Other jokes carry over from the first film such as the X-Men mansion with only Negasonic Teenage Warlord and Colossus roaming around. Some of the schticks from the first movie are transformed for this direct sequel. Contrary to the Wade Wilson from the first film, this one, this one diverts from his persistent aversion to companionship and a desire to be the “lone ranger,” as it were, and expresses a need for family. This desire for family serves as the backdrop of running jokes, gags, and extreme snark.

Streisand isn’t the only female vocal artist highlighted in the film, Dolly Parton’s 9 to 5, Pat Benatar’s We Belong, and Cher’s If I Could Turn Back Time are all featured, all that we were missing was Cyndi Lauper’s Time After Time. Unlike the completely unconventional opening credit sequence from the first Deadpool, this sequel’s opening credit sequence takes a page out of the James Bond handbook, complete with the new single Ashes by Celina Dion. Like the opening credit sequence from the first film, this one also replaces the names with jokes that certainly aid in setting the irreverent mood of the film. Although a film should never primarily rest upon the music, as the plot should stand on its own, the score and featured songs are incredibly important assets that can greatly enhance the experience. Deadpool 2 contains a few montages set to song that will certainly have you rolling over laughing. Sometimes it’s the complete contrast or juxtaposition that the lyrics provide against the action in the foreground that drive the audience to complete hysterical laughter.

For all the first film got right, one of the elements missing from it was a well-developed, dynamic villain (more specifically, opposition to the external goal). Deadpool 2 provides solid central opposition to the external goal (which, for spoiler sake, I won’t mention) flanked by two villains taken directly out of the X-Men comics (and X-Men: the Animated Series). Cable, mentioned earlier, and the Juggernaut. Not to pigeonhole Cable into the villain category, there is more to this villain than first meets the eye. He can be more accurately described as an anti-hero because of his reasons for returning to the past to stop Armageddon, so to speak. Knowing Cable’s backstory, his goals, and that which he sees as opposition to his goals, gives him a character depth seldom seen in many superhero villains. When a villain (or anti-hero) can get the audience to empathize with his or her plight, then the villain succeeds in being well-developed and complicated. Having a complicated villain enables the audience to love or love to hate the villain. But in both cases, the audience loves to see the villain (or anti-hero) on screen. Supplementing the cast of villains in Deadpool 2, is the iconic X-Men character Juggernaut. His introduction into the film comes at a strategic turning point that launches the plot into the showdown.

The film makes an important observation about the lack of plus-sized lead characters in superhero movies. Russell is a plus-sized mutant who wants so desperately to be a superhero, but sends the message to Wilson (and by extension, the audience) that there should be room for non-athletic types in the superhero universe. It’s an important message that I think would have played out more effectively had the actor not been so childish. I understand that the character is a 14yo mutant who is still struggling to find his place in this world and understand his powers, but I kept seeing the actor and not the character. The ability to bring a character to life without the actor showing is part of the art of acting. In most cases, the audience wants to see the character, not the actor playing him or her. I liked the character of Russell, just think he could have been portrayed by another actor who could have more effectively driven the message home that diversity in the superhero universe mans more than male, female, straight, gay, etc. It should also incorporate a diversity of body types. Having non-athletic body types represented in lead characters–superheroes specifically–is an element that I hope continues to improve.

There truly is so much to enjoy about Deadpool 2. Behind the ballsy jokes, suggestive poses, and hilarious meta observations, is solid writing and direction. With the Disney acquisition of 20th Century Fox all but complete, with the wild card of Comcast’s (NBC Universal) bidding 19% more than Disney in cash that could alter the direction of the deal, I hope that we did not witness the last Deadpool free of Disney sanitization. Knowing that they strong-armed Fox into cutting a Disney joke from the film during post-production, does not help matters any. Hopefully, the third installment of Deadpool will be just as funny, if not funnier than the first two. Oh yeah, it should go without saying but this NOT a superhero movie for kids.

2019: the Year of the Park

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2019 is shaping up to be quite the year for U.S. theme parks in Florida and California. Many major theme parks have made announcements in the last few weeks that are of out-of-this-world Jurassic proportions! Looking to history, it feels as if we are in a “space race” of sorts. Except, instead of the United States and Russia vying to be the first in space or one the moon, major US theme parks are breaking new ground, pushing boundaries, and innovating new experiences to vie for your money. Arguably, the biggest expansion is Galaxy’s Edge at Disney’s Hollywood Studios (DHS) and Disneyland, followed by Lego Movie World and Sesame Street Land at Legoland Florida and SeaWorld Orlando respectively, the new Harry Potter themed rollercoaster at Universal Orlando’s Islands of Adventure, Jurassic World replacing Jurassic Park at Universal Studios Hollywood, and lastly Mickey & Minnie’s Runaway Railway also at DHS. Just one of any of the aforementioned announcements would be big news, but collectively it is quite possibly the most massive collection of openings at any given time in recent years.

The sheer economic impact of these attractions on each of their respective parks will be of epic proportions. Beginning with Universal’s Islands of Adventure (IOA) in 1999, the last decade has seen a colossal convergence of cinema and theme parks like no other! And even more so since the opening of the Wizarding World of Harry Potter (WWoHP) at IOA in 2010. From the original concept of the movie park immersing guests into the magic of filmmaking to creating immersive environments that place the park guest into the world of the movie itself, the movie park has grown by leaps and bounds. As the process to make a film became less magical, the parks compensated by wowing guests with the ability to feel as if they are characters in the film itself. Attendance at theme parks took a dramatic downturn after the housing collapse and financial crash of 2007; and with theme parks being a vacation destination or luxury for many, they had to innovate new ways to attract guests–give them new reasons to return to the parks. By creating new experiences that were unlike any other, the parks knew they could increase their bottom line and share of the marketplace. Universal’s addition of Harry Potter and Disney’s addition of Pandora were major impacts. Moreover, the addition of Galaxy’s Edge (Star Wars land) at Disney’s Hollywood Studios & Disneyland Resort and the eventual Nintendo expansion at Universal Orlando Resort will each likely bring unprecedented numbers of guests into the parks.

News from Disney and Universal on new lands is not exactly groundbreaking–the news anyway–but when SeaWorld and Legoland are tossing their hats in, for a piece of the 2019 action, then you know that a wave of innovation is sweeping through the parks of Florida and California. California is interesting. For the longest time, the majority of the big theme park news came out of Florida but more recently the California Disney and Universal parks have made big expansions and announcements. Most recently, Radiator Springs at Disney’s California Adventure and WWoHP at Universal Hollywood opened to rave reviews and dramatically increased park attendance. Next year is bringing about an unprecedented number of additions to theme parks that will even more greatly increase the revenue and attendance than we’ve seen in the last several years. And it’s not just the parks that are going to feel the impact of all the 2019 openings. The local hotels, resorts, beaches, and secondary attractions (zoos, aquariums, museums, etc) will also feel a huge boost from the new theme park lands and rides.

More people than ever will be flocking to the parks next year. And let’s face it, the majority of those numbers will be boarding the Millennium Falcon and Mickey & Minnie’s very first attraction, but the numbers heading to experience their favorite Lego movies, Harry Potter, or your furriest friends at Sesame Street land will be impressive. Local hotels and resorts need to start planning on the massive influx of theme park guests, some of which may be visiting for the first time in a long time or for the first time ever. Although a tourist may spend most of their time at the parks, beach, etc when coming to Florida, the hotel stay can play an important role in the over all experience of the trip. Often times, it’s the hotel (whether on or off property) that sets the initial tone of the trip. So, I hope that non-Universal/Disney/Lego hotels are keeping up with the news because they are about to see crowds likely never seen in any other year, except for when a new park opens.

So far, we’ve heard big news from most the major theme parks of Florida and California, but Busch Gardens Tampa seems to be the wallflower this time around. It’s entirely possible that we will hear of a new attraction offering at Busch Gardens in 2019 but so far there do not seem to be any indicators for that. Fortunately, Busch Gardens may continue the complimentary beer promotion in order to not get completely left behind in 2019. But who knows, 2018 is only about halfway done, so there is still time for Busch to make a 2019 announcement as well. If so, hopefully it will revolve around the space occupied by the former Gwazi wooden coaster.

Okay so here’s a breakdown of what’s coming to theme parks in 2019, so far.

Walt Disney World

Star Wars Galaxy’s Edge– a new land with a 14 acres expansion, transporting guests to a never-before-seen planet, a remote trading port and one of the last stops before wild space where Star Wars characters and their stories come to life. And yes, you’ll be able to fly the Millennium Falcon!

Mickey & Minnie’s Runaway Railway– After screening an exclusive cartoon in the theatre, Mickey & Minnie’s Runaway Railway will put you inside the wacky and unpredictable world of a Mickey Mouse Cartoon Short where you’re the star and anything can happen.

Universal Studios Florida

Harry Potter rollercoaster– The all-new attraction will take guests on a journey that incorporates the characters, creatures and transportative adventures of the wildly successful book and movie series when it opens in 2019. In its announcement, Universal positioned the ride as one of the most “highly-themed coaster experiences” they’ve ever created — which is major, considering The Wizarding World of Harry Potter is already known for immersive attractions utilizing ride systems and technology in ways rarely seen at other theme parks.

SeaWorld Orlando

Sesame Street Land– “We are excited to transport our guests into the colorful and creative world of Sesame Street through immersive theming, character interactions and interactive play,” said SeaWorld Orlando President Jim Dean in a statement. Sesame StreetLland also brings with it SeaWorld’s firs daily parade!

Legoland Florida

Lego Movie World– Based on “The LEGO Movie” and the upcoming sequel, the new world puts guests in the middle of Bricksburg, the city where Emmet lives in the movie. The area will feature two new rides, character meet-and-greets, and a giant themed playscape.

Universal Studios Hollywood

Jurassic World the Ride– Details of the “Jurassic World Ride” are being kept under wraps. But a press release release describes the plans as “epic,” featuring “never-before-seen dinosaurs, enhanced storytelling, lush scenic design, an entirely new color scheme and unparalleled state-of the art technology.”

Disneyland Resort

Star Wars Galaxy’s Edge– As of now, there are only two new rides in development. There’s the Millennium Falcon ride, where players are ranked on how well they perform their mission (if you bang up the ship, expect trouble at the cantina). There’s also one in the works where guests are inside a Star Destroyer hanger bay during a major battle between the First Order and the Resistance, though there isn’t a lot of information available on that one yet.

“Life of the Party” movie review

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Positively uplifting! Melissa McCarthy and Ben Falcone’s comedy Life of the Party releasing everywhere today is a quintessential Mothers Day flick that you can take your mom to and enjoy together this Sunday afternoon. McCarthy shines as the brilliant comic she is in this film. Whereas she is typically the brunt of the jokes in the film’s she and her husband often cowrite together, this film provides McCarthy with a platform to truly showcase her talents as a comedic actor who can not only play the butt of the humor but also the vixen who’s captured the eye of a hot frat guy as she sets out to complete her education. McCarthy’s brand of comedy–that authenticity, candidness, optimism–that we have come to know and love, will have laughing and empathizing throughout the movie.

Although themes such as inspiration, determination, and resilience are not uncommon for a comedy, I appreciate many tropes often associated with fish-out-of-water plots were abandoned for something more unconventional yet infectiously charming. Instead of ultimately changing herself for the world around her or changing the world to fit her, she finds her place in the world and creatively directs it to make room for her. Whatever your age, you will likely find yourself connecting with one or more of the characters in this film as it proves that you are never too old to learn something new or complete that which you chose not to earlier in life. From acoustic guitar tunes to Cyndi Lauper and even a surprise performance by Christina Aguilera, the music will have you dancing in your seat. Watch as nervous, scared girls who are afraid of unknown elements in school, grow to become incredible women who form meaningful relationships and heal from tragedy. Each of the principle cast is unique in some way, and it’s these traits that setup conflict and allow the comedy to flow from the conflict naturally. From McCarthy’s Deanna’s endearing vampire-like roommate who low key longs for a friendship to the girl who is also a non-traditional student because of being in a coma for eight years, the film is filled with a colorful cast of likable characters and of course Deanna’s ex and mistress who we love to hate.

McCarthy is joined by comedienne Maya Rudolph and the pair of them dominate any scene they are in together. It never feels overwhelming because they are both saying precisely what you and I are thinking. The two of them exhibit kind of friendship that perhaps your closest friend and you desire to have. Although there is a mild degree of suspense, the film derives most of its energy from the brilliant cast’s reactions to the varying conflicts throughout the film. As there is not much to analyze in this film, you’ll find this review far shorter than my usual ones. But, I desired to write up a piece on it because it’s been largely panned by most critics. Variety and I seem to be among the few who find so much that’s “right” with this film as opposed to what’s “wrong.” Maybe it’s not terribly deep, but it boasts a simple plot with complex characters that provides McCarthy with an opportunity to show a different side to her trademark comedy. With honors!