Category Archives: General Entertainment

STAR TREK: PICARD series review

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The Return of the Picard. After a watchable first season, absolute garbage second season, Star Trek: Picard finishes its final season with an immensely welcomed (near) return to form. In a media landscape that increasingly demonstrates an aversion to the past in an effort to improve or refresh legacy characters or series, the ups and downs of Star Trek: Picard (from hereon Picard), prove that some characters and stories were already exemplary in substance and form from the beginning. Suffice it to say, it boldly goes where it has been before and shows it can thrive.

The third and final season of Picard has resonated with Star Trek fans young and old because it finally went back to its roots, went back to why these characters are beloved and an integral part of the cultural zeitgeist. At least, refocused on that goal, anyway. While I don’t feel that it landed sure-footedly on a return to the Star Trek (TNG, Voyager, and DS9) formula, it was in the ballpark of what makes those series rewatchable over and over. Hardly a week goes by that I am not rewatching TNG and Voyager (DS9, lesser so).

The characters, plots, and themes continue to teach us, they remain culturally relevant. TNG represented Roddenberry’s best expression of his idea launched in the 60s with Desilu Productions at Paramount (yes, that means Lucille Ball was in-part responsible for the launch of Star Trek: TOS). At the heart of what makes Star Trek, STAR TREK are the stories that can only happen on Star Trek and the exploration of what it means to be human, whether that is the 24th century or the 21st. Secondary to the aforementioned is the episodic format that Strange New Worlds and Lower Decks has proven is the best expression of Trek plots. On that topic, the last two episodes of Picard felt like an old school two-parter TNG in all the best ways possible. Why stick to the formula? Because it WORKS.

Anytime a Trek series has deviated from the formula or format, it has proven to be less successful with audiences. If it’s not broke, DON’T fix it. Not everything needs to be a 10-hour movie season after season. Why? Because a serialized format lacks the latitude to explore a variety of characters and plots. Serialized shows are ultimately limited to the stories they can tell, because they ultimately have one main outside/action plot supported by one or more inside/emotional subplots or motivations. The episodic format provides numerous opportunities to dive into Star Trek in both plot and character. While even in its third season, Picard is serialized, the structure of the episodes leans into a quasi-episodic format.

Up until the third season, and even at the beginning of the third season, Picard engaged in perpetual character assassination. Completely retconning the best of our friends from The Enterprise D, E, and Voyager. It’s like, the writers of Picard never watched The Next Generation or Voyager, much less rewatched the timeless series.

Not to oversimplify, but to spotlight the sins of the writers, Picard was reduced to someone that represented an outdated way of life and was responsible for negative development of those around him, Seven of Nine was no longer a strong character of mind and body that wasn’t afraid to question decisions in the pursuit of efficiency and order, Guinan was no longer a comforter and wise counselor and her younger-self hated humanity instead of always seeking the best in them, Riker was too quick to admit defeat and appeared to lose strength of character, Starfleet was constantly disparaged as an antiquated and corrupt institution, and I could go on. Fortunately, Q, Worf, Dr. Crusher, and Data were mostly treated with care, and actually felt like they should after we last saw them in Star Trek: Nemesis (or Voyager, which is the case with Q).

Another area where this series negatively deviated from the TV series is the significant increase in course language, especially in seasons one and two. I am glad they mostly fixed that in season three. Star Trek was always something that whole families could watch, and it upset me when Picard didn’t feel like something for whole families. My hope is that Star Trek, moving forward, will be a show that kids and teens today can watch with their parents in order to form the same kind of fond memories I have from watching TNG and Voyager with my family growing up. Star Trek is family, and “on the Starship Enterprise, no one is alone.”

But by the last few episodes of Picard season three, our friends were back to being themselves! It was so incredibly refreshing when our friends returned to their true selves. The return to form and character reunion that Sir Patrick Stewart said he was not interested in at the announcement of Picard, turned out to be the very thing that the series needed and lacked through most of its run.

This character mix was perfection, as Seven would put it, from season three of TNG and beyond. Each one of them represented a different element of humanity, and only when together can we truly explore the human condition. Star Trek needs its Captain. Whether we are talking Picard, Sisko, Janeway, Pike, or Kirk. And that captain needs to be a strong leader, upholding the best expression of the morals, ethics, and order of Starfleet. It doesn’t mean those values and beliefs can’t be challenged–we certainly saw many times Picard challenged Starfleet’s decisions over the course of TNG–but it’s the pursuit of the best humanity can be to one another that is most meaningful. It’s what keeps Q always curious about humanity, in particularly Picard, a strong moral center.

Picard season three embraces this return to form, despite the naysayers that are negatively criticizing the show for looking backwards instead of forwards (which the Star Trek TV series consistently did). Clearly those that are accusing Picard of a disappointing third season missed the whole point of what makes something Star Trek, what makes Picard the definitive Starfleet captain and role model for his crew and all of us. It’s the same thing that fascinated Q: Picard’s (and for us Star Trek‘s) order, morals, ethics, and reflection of humanity. Just because a series continues to feature starships, uniforms, military-like rules, and an ethical center does not mean it is look backwards–those are the tentpoles that significantly impact the form the show takes and the viewer experience. Remove the tentpoles, and the show collapses.

I remember very little from the first and second seasons, but you know what I do remember? Opening with the Enterprise-D and Data/Picard in the series pilot, the Q scenes from season two, and the return to the stately peerless bridge of the Enterprise-D in the final two episodes of the third season and series. Why? Because if you are reviving a series or crafting a long-awaited spinoff series, you have to start with what is most familiar and true to character and plot, and go from there. If there is an established storytelling formula, then follow it. Formulas are formulas for a reason: they work, they’ve been proven to work.

While there are elements in the story of the third season that feel like Wrath of Kahn meets First Contact meets The Best of Both Worlds, that’s because those two movies and that highly rated two-parter from Season 2/3 of TNG represent the best of Star Trek. Why not take inspiration from them??? There was very little of Seasons one and two of Picard that I felt would inspire new fans to seek out the TV series or previous movies. But season three will undoubtedly prompt those that have not seen the TV series or First Contact to seek them out.

And DON’T stop watching when the credits roll, because there is a mid-credit bonus scene that gave me the BIGGEST smile! Because of the cameo AND how it perfectly sets up a spinoff series with a new generation of Enterprise crew.

The following section(s) contains some series finale spoilers.

The series finale features the rescue of Starfleet and humanity by the crew of the Enterprise-D. In the series, the Enterprise was always the calvary, and it plays out in the series finale as well. And for what it’s worth, the series explains how Geordi was able to rebuild the former flagship of Starfleet following the disastrous crash in Star Trek: Generation (1994) well enough. The showdown is a cross between The Best of Both Worlds and First Contact. And as such, nothing happens that isn’t somewhat predictable, but it’s okay. HOW the story unfolds is exciting because Picard finally embraces its legacy. In a media landscape of TV series that really feel like long movies, this one feels more like a TV show, and that’s a great thing! Trek excels more on TV than it does in the cinema because of the formula of its storytelling.

I love how Picard reclaims his legacy as the definitive Starfleet captain and simultaneously allows himself to be vulnerable enough to embrace his former love Dr. Crusher and his son Jack. When Picard encounters his son reprising the role of Locutus of Borg, Picard must deal with the trauma of that experience that has haunted him throughout his life and risk it all to save his son. This demonstrates tremendous growth for Picard. While this is going on, we witness the ramifications of the human youth’s corruption and assimilation by the Borg. For those that appreciate the thoughtful subject matter of Trek, this can be read as a cautionary tale of how the impressionable youth of our world are the most susceptible to toxic ideology under the guise of peace and a pain-free existence. In other words, an ideology that claims to be able to build a utopia, but utopia is an impossibility, and the pursuit of it comes at the cost of the loss of individuality and human dimension. While the series lacked the thought-provoking content of the TV series, these last few episodes attempt to get back to that.

Also, I love how Seven of Nine gets promoted to the Captain of the newly christened Enterprise-G, flanked by Raffi (a character for whom I never particularly cared, because the show made her unlikable in the first two seasons, and never gave her any real agency until season 3) as her No.1, and Jack Crusher as special counsel (a sort of Deanna Troi minus the empathic abilities). The new Enterprise has her crew, all set for new adventures!

So what is that mid-credit scene? Jack is putting away his belongings in his quarters on the Enterprise-G when Q shows up. That’s right, John de Lancie returns as the indelible Q. Jack questions him because he thought the trial against humanity ended. Q responds with Picard’s trial ended, but Jack’s is just beginning. Does this mean a Star Trek: the New Generation series featuring this crew plus occasional appearances by Q? I certainly hope so.

There you have it! A triumphant return of Star Trek. Perhaps the series started out, and even developed negatively, but it finished well. I’ve been a fan of Star Trek ever since my family would gather around the TV to watch TNG and Voyager each week with a pizza. These characters, settings, and even plots feel like a warm hug from a long-lost friend. I hope that Strange New Worlds, Lower Decks, and the series that Picard will hopefully inspire become the types of shows that years from now we will still be rewatching over and over.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

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40 YEARS OF FLASHDANCE…What a Feeling! a retrospective review

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What a feeling! Grab your leg warmers and can of Aqua Net as we hit the dance floor to celebrate the cultural phenomenon that was and still is Flashdance.

The Oscar (and Grammy) winning dance movie Flashdance turns 40 this year on April 15th. Can you believe it’s been four decades since the iconic movie defined the music, dance, and fashion of the 1980s??? Forty years of electrifying music and dance that dazzles the senses. Winning the late Irene Cara and legendary composer Giorgio Moroder the Best Original Song Oscar and Grammy for Flashdance…What a Feeling! (Moroder was also nominated in the same year for his Scarface score) and earning Michael Sembello an Oscar nomination for Maniac, the titular 80s movie Flashdance remains an icon of music and dance that has transcended the decades and continues to be emulated in other media today. This is not a movie to be taken seriously; it’s a movie to be felt and experienced. And to its credit, it has remained popular. Take your passion and make it happen!

In case you are new to planet earth, Flashdance tells the story of Alex Owens (Jennifer Beals), a beautiful young woman who works a day job in a steel mill in Pittsburgh and dances in a bar at night. When Alex discovers that her handsome boss, Nick Hurley (Michael Nouri), is both interested in her and supportive of her performing career, she renews her efforts to get accepted into a prestigious dance conservatory. Although Alex is frightened of failure, she is cheered on by Nick, as well as by her mentor, former ballet performer Hanna Long (Lilia Skala).

More than a cultural smash hit, it was a tremendous success at the box offie too, because Flashdance is the third highest grossing film of 1983 behind Return of the Jedi and Terms of Endearment. In retrospect, this movie is veritably responsible for reviving the modern movie musical with its sexy complex dance sequences, bold fashion, and use of popular music.

Not many films can be recognized by a single shot, this is expressly true with those that may not have even seen the film, but Flashdance is instantly recognized by Beals’ silhouette leaning back on the chair with water dousing her. That cinematic moment has been parodied and paid tribute to in dozens of movies and TV shows from Elvira: Mistress of the Dark to Family Guy and even Deadpool 2. From Beals’ off-the-shoulder grey sweatshirt in the famous bra-removal scene to her knee-high leg warmers, bikini bottoms, and taut physique, many scenes in this movie will forever be engrained in our minds. It’s remarkable how this cheesy, low-budget dance film influenced the culture of an entire decade and continues to reassert itself in popular culture to this day. The incomparable footprint left by this movie can be felt everywhere.

It’s funny, whenever critics and fans talk about Flashdance, it’s almost never about the plot. Is there anything inordinately wrong with the plot–no–but there is nothing particularly remarkable or subversive about it either. It’s a simple variation of the rags to riches story or simply realizing a dream despite obstacles. At the intersection of performance art and motion pictures is where this movie lies, and lies there incredibly comfortably and confidently.

Flashdance is a movie which uses a paper-thin plot to connect sequences of montages and dance numbers, one right after the other–yet–somehow audiences, for forty years, are raptured by the music and dance. I cannot think of another movie that defied the odds of success and became a legitimate classic in the way Flashdance did.

It’s as if Bruckheimer and Adrian Lyne studied the elements of what makes a movie successful in the box office (and in popular culture), and then took those basic elements and loosely connected them together. Catchy music, bold fashion, sexy or provocative dances, mild/brief nudity, and relatable characters, these are the elements that Bruckheimer and Lyne put together in order to create movie magic and fantastic success. Then cap it all off with pure, unfiltered triumph in front of those that once looked down upon, and were skeptical of the central character.

Never once do you buy that Alex is a welder; furthermore, in retrospect, it’s clear that there are multiple people serving as the dancing Alex (which is something that is film is widely known and yet rocks it!). But it doesn’t matter. Why? Because it’s nearly impossible to watch this movie and not get drawn into its glitzy fantasy! But while we are on the topic of the Alex’ dancing in the film, I feel it’s important to highlight the talent that brought the exotic dancing to life! Working as Beals’ dancing body-doubles were accomplished dancers Marine Jahan, Sharon Shapiro, and breakdancer Richard “Crazy Legs” Colón.

Despite the contrived plot, the movie is not without deeper meaning. Some of the themes that can be closely read in Flashdance concern ideas such as identity, class, and cultural norms/expectations whether or not there is any absolution. Without stooping to pedantic commentary, the movie provides thoughtful content for those that seek a greater understanding of what the film has to say about the human experience. “When you give up your dream, you die.” A bit cliche perhaps, but still serves as the reminder that we do need our dreams in order to have something toward which we strive. We may never experience or realize that dream, but it’s the pursuit that is most meaningful.

We witness that there are many layers to Alex; she is a complex individual with multiple interests. She is just as confident and comfortable on a dance floor as she is welding as she is at a fine dining restaurant. This is such an important message that continues to be relevant–if not even more so–today! Flashdance is a reminder that diversity within a given group is so very important. Often times, popular culture projects prejudices, behaviors, and expectations onto a given group of people (or onto an individual within a group). Diversity of groups of people should never mean uniformity of thought within that group, it means there are a variety of individuals within any given group of people that have their own fears, beliefs, goals, and dreams. Alex may be a woman, but she is by no means obligated to only behave like a typical woman. Neither does she disparage those that would behave more typically; this movie celebrates variety! Variety of dance, variety of music, variety of people.

The degree to which this movie influenced virtually every area of popular culture is incalculable. Even exercise videos changed overnight. I posit that it’s entirely possible that 80s and 90s aerobics videos wouldn’t be the same if it wasn’t for Flashdance. For example, the footprint of this movie can be seen in the music, movements, and fashion of those Jane Fonda style aerobics videos. Even descendants of this stylistic athletic fashion can be observed in nearly every downtown and suburban area today; but we now refer to it as athleisure apparel.

Flashdance is the very definition of a crowd-pleasing film that defied the expectations of critics in 1983 and continues to be beloved by contemporary critics and audiences of all walks of life. The legacy of this movie is felt throughout media of all kinds! Even those that have never seen the movie recognize it by the music or iconic water dance shot. It’s a light-hearted melodrama that you cannot help but love. Just close your eyes, and feel the timeless rhythm of Flashdance!

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

RENFIELD horror comedy review

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Fangtastic! John Wick meets Van Helsing meets Warm Bodies in this imaginary adaptation of the Dracula mythos inspired by the original Universal Monster classic. While that may sound like the most unusual combination of movies, it works surprisingly well in Renfield from the birthplace of the American horror film.

Renfield, the tortured aide to his narcissistic boss, Dracula, is forced to procure his master’s prey and do his every bidding. However, after centuries of servitude, he’s ready to see if there’s a life outside the shadow of the Prince of Darkness.

Just like Dracula and Renfield, in the original Dracula, metaphorically exist in two realms simultaneously, this movie also exists in two realms: horror and comedy. And these two genres are both satisfied in the characterization and conflicts of this highly entertaining movie. Suffice it to say, it’s a really good movie–shocking–I know.

After the questionable trailers (which I try to avoid as much as possible; a practice of mine since marketing companies don’t usually know when to hold the cards back), I went into this movie with tempered expectations at best. Moreover, I honestly went in with low expectations for what I thought was going to be a ‘we set out to make a movie that is so bad that it’s good.’ The problem with that is that a filmmaker cannot intentionally create a so bad it’s good movie. It’s lightning in a bottle when it happens because the intention was to create a good movie, that just happened to turn out (to usually be) campy.

Spiritual sequels often struggle to find that place wherein the legacy film and new, reimagined approach intersect in ways that don’t rewrite or retcon the past yet provide a new experience. There have been countless official and unofficial adaptations of Bram Stoker’s Dracula, not to mention, hundreds of vampire movies that are directly inspired by the Dracula mythos. Therein lies the challenge: how to craft something new from that which is proliferated. Renfield works because the writers selected a character that factors significantly into the original material, yet has never been truly explored as a character following the events of Dracula.

Oh yeah, the recreations of the original Dracula, complete with (what looks to be) non-CGI gothic sets and lighting, made for a fantastic way to open the film.

Nicolas Cage, Nicholas Hoult, and Awkwafina were excellent casting choices, especially Cage’s Dracula, whom resembles Bela Lugosi even more than Walter Matthou’s in Ed Wood. Cage and Hoult demonstrate fantastic chemistry, and they scenes are among the best in the film. Hoult and Awkwafina may not have the chemistry that he has with Cage, but they still manage to play off one another well enough. Hoult not only looks like our original Renfield, but he finds an exemplary balance between tragedy and comedy. This film certainly provides him with a vessel to showcase his outstanding acting chops. Awkwafina brings a subdued version of her comedic brand, and it works great! Often times, her characters have annoyed me because they are often obnoxious, but not this time.

The violence is amped up to the nth degree! And it is wildly campy! I was reminded of the level of laughable violence and gore in Tucker and Dale vs Evil! While it could have been so easy for the violence and gore to be tasteless and gratuitous, it never crosses that line. Why? Because it is on a comic levels that is designed to elicit laugher instead of wincing, visceral, uncomfortable pain. Every sequence with kills is going for a laugh and not a scare or provocation. And the kills are wonderfully creative and on-brand for the tone of the film.

Renfield successfully connects the original film to this new adaptation in ways that pay respectful homage to the original but craft new expressions that are sure to please audiences. Perhaps the original isn’t a prerequisite for this one, BUT you will have far greater appreciation for the flashbacks and references to the original. If you’re a horror fan, particularly of the original Universal Monsters, then you definitely don’t want to miss Renfield!

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

AIR movie review

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Nothin’ but net! “AIR” is an outstanding biographical drama that will inspire anyone with a gut feeling, that they’re onto something great, to ”Just Do It!” The allstar cast shines brilliantly, and the screenwriting is excellent! Definitely look for this high stakes, high energy underdog story next awards season.

Sonny Vaccaro and Nike pursue basketball rookie Michael Jordan, creating a partnership that revolutionizes the world of sports and contemporary culture.

Who would have ever thought that the origins of the single best known athletic shoe would have this much ‘sole.’ It’s funny, emotionally moving, and educational. More than the risky financial move that would either launch the struggling NIKE company to success or shutter the athletic division, this story is one of resilience. Resilience in business and in character. In many ways, this movie is “Mrs. Harris Goes to Paris” meets “The Social Network,” two films to which this one will undoubtedly be compared.

Every scene in this film exemplifies exceptional screenwriting and directing. The story snaps, crackles, and pops, and the vision for direction is consistently building to the end of the story, with every scene delivering a well-defined setup–>development–>resolution.

Highly recommend watching this heartfelt motion picture!

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

THE SUPER MARIO BROS. MOVIE review

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Game Fin. The highly anticipated animated adaptation of the timeless game series is more accurately titled The Super Princess Peach Movie, because you will spend significantly more screen time with the superhero-like Princess Peach than you will the title characters. Mario and Luigi take a backseat (and Luigi, a WAY back seat) to the flawless Princess Peach on an adventure to save the Mushroom Kingdom.

While some have characterized this movie as a love letter to the Mario universe of games, the irony is that the screenwriters were demonstrably more concerned with easter eggs and cameos than they were telling a good, meaningful story with the beloved interactive media characters and worlds.

A feature film adaptation of a video game is on shaky narrative ground when the original video game has greater stakes than the movie version. Never once are you second-guessing Princess Peach’s–uhh, I mean–Mario’s ability to defeat King Kupa and save the legacy Nintendo realm.

Most of the humor is either short-lived or falls flat. While we don’t look to these types of movies to deliver deeply moving character development, movies like this should at least seek to deliver clever plotting to engage the audience beyond a superficial level. There are no twists nor are there any real turns after the movie sets up the story (a term which is giving the movie way too much credit) that is about to unfold.

The best scenes in the movie are the ones with Donkey Kong, because there is better executed setup and delivery in the conflict. Furthermore, Donkey Kong is the only character that has any kind of measurable agency in the movie.

Movies that feature a character(s) that is either exceptional at everything or continually fails in order to make another character(s) look more superior offer very little to be desired, much less craft a movie that is rewatchable. The movie works as a fun nostalgic trip through the legacy of the Mario universe of games, but the one-dimensional characters and vapid plot greatly hold this movie back from the quality it very well could have been.

I’ll give the movie this: I did make me want to download an N64 emulator and buy an N64 bluetooth or USB controller for my computer so I could relive my childhood playing Mario 64. So if it prompts others to get together with friends or their kids to play these timeless games, then the movie does have a positive affect upon the audience.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry