“The Good Liar” One Movie Punch Review

TheGoodLiar_1Checkout the full audio review at One Movie Punch!

A brilliantly clever cat and mouse game with a powerhouse lead cast! For lovers of movies inspired by film noir style intrigue and deception, then you definitely need to see The Good Liar with Sir Ian McKellen and Helen Mirren. You will be completely wrapped up in two of the finest living actors having demonstrable fun playing off one another. I love to watch movies where it is clear that the actors are having a tremendously great time with their characters, yet staying committed to their respective characters the entire time. From the moment the film opens with the stylistic sequence of instant messages over a dating website, you are hooked in for an intellectually driven wild ride. Cat and Mouse games, Whodunits, and other intellectually driven thrillers are often some of the most difficult movies to review because so many details could easily be spoilers. There is perhaps no greater recent example of this tightrope I find ‘myself’ walking than with this clever film. Virtually everything about it from title to end credits could give way to spoiling the many surprises if not approached with the utmost care. As much as will try to avoid any spoilerific information, it is unavoidable with this film. So, if you are worried—pause—then go watch the movie. Yes, it’s a recommended watch if you are into intellectually driven cat and mouse thrillers.

“The Good Liar” written by Jeffrey Hatcher and directed by Bill Condon is a sultry cat and mouse thriller starring two of Britain’s finest actors: Hellen Mirren as the widowed Betty McLeish and Sir Ian McKellen as the career con artist Roy Courtney. When Roy happens upon the online dating profile of Betty, he cannot believe his luck when he finds out that she is wealthy. Usually, Roy has no issues in swindling people, but he begins to dance a fine line between his personal feelings and the objective of his job when he begins to fall in love with Betty. As their relationship develops from platonic to something more, the complications and conflict give way to a treacherous game of wits.

Don’t look to Condon’s more well-known and recent work on such films as “Beauty and the Beast, “The Greatest Showman,” or “Dreamgirls” to get a feel for his approach to this crime thriller. You need to look to his earlier work “Murder 101,” “Deadly Relations” (sounds like a Lifetime movie or Investigation Discovery series), or “The Man Who Wouldn’t Die” (which sounds an awful lot like a Hitchcock title. Looking to his more obscure films will reveal how he approached and directed “The Good Liar.” If you love a film with twists and turns at every corner, then you will undoubtedly love this movie. Early on, the audience realizes that nothing is at it seems, so that creates a fantastic atmosphere of intrigue that invites you to play along as you try to figure out what is really going on. Although on a conceptual level, you may figure out what is going on, the details will most assuredly escape you. And it’s those loose ends that will drive you crazy—in the best way possible. Until the big reveal at the end, in which is all makes sense.

The best thing about this movie is that the plot is incredibly believable. You’ll want to poke holes in plot, but you’ll have a tough time identifying a solid one. That is partly due to the magic of screenwriting: the characters will say or do something because it’s required at that specific time; however, it is played off as natural and unforced. I admire the tonal shifts from the lighthearted beginning to the rather dark material midway through and the increasingly macabre subject matter as the movie makes its way towards the climax. This movie will take you places that will completely blow your mind; however, I assure you that it works very well despite being reprehensible in nature. No plot device is ever used simply for shock value; everything has an intentional purpose and place. If for no other reason, you want to watch this movie for the two lead performances by Mirren and McKellen. Not that these performances are even in their top 10, but these actors are so much fun to watch, that you forgive the movie of its shortcomings.

Rotten Tomatoes lists The Good Liar at a 64; Metacritic a 55; IMDb a 6.5; One Movie Punch awards it with 6/10. You can find The Good Liar at a cinema near you!

Ryan teaches screenwriting at the University of Tampa. 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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Jojo Rabbit” film review

A complex film about a complex subject, but finds a delicate balance between humor and respect for the subject matter. A satire or parody about Hitler and the Nazis isn’t anything new, from Charlie Chaplin in The Great Dictator to Bialystock and Blooms Springtime for Hitler and even Tarantino’s Inglorious Bastards, one of the darkest times in the world’s history has been the source material for motion pictures. While Taika Waititi may not be breaking ground in using the Third Reich in this manner, he is offering a new perspective through the mind of a child of Nazi Germany. And that is where we spend the majority of the film–in the brainwashed mind of a child. His imaginary friend Hitler is a manifestation of the ideals Jojo (our central character) holds dear, misguided as they may be. Just as we interpret reality through our worldview that is shaped by our circles of influence, beliefs, past trauma, and the families in which we were reared, Jojo interprets the world around him in a similar fashion. Only his world was largely shaped by the effective Nazi propaganda that turned Germans against one another, and as you know, the rest is history. On one hand, he is still an innocent child whom cannot even remember to tie his shoes; on the other hand, he has been radicalized to completely buy into the ridiculous portrait of the Jews that the Nazis paint for the youth. On the surface, this film comments on how Jojo’s worldview of the Jews transforms; however, there are nods to other groups that were also seen as undesirables such as gays. The fact that is wasn’t only the Jews whom found themselves targets for annihilation is often forgotten by the masses. If Cabaret depicted the age of innocence that ended with the rise of the Third Reich, then JoJo Rabbit depicts innocence and disillusionment in the final days of the war. Though there are times that Waititi comes close to crossing the fine line that he is dancing, he never crosses it, which allows the film to be enjoyable and comment on coming of age in a rather provocative way.

Jojo is a lonely German boy who discovers that his single mother is hiding a Jewish girl in their attic. Aided only by his imaginary friend — Adolf Hitler — Jojo must confront his blind nationalism as World War II continues to rage on.

Unlike Bialystock and Bloom’s Springtime for Hitler in the brilliant musical The Producers, this satire on Hitler and the Nazis doesn’t quite hit it out of the park as well as Mel Brooks’ hilarious film. However, neither is it a disaster. That is likely to do with just how close to the atrocities of WWII that Jojo Rabbit takes us. If you’re worried about the film being in good taste, you needn’t. It may come close to being in poor taste at times and even questionable in others, but it remains in a position that can find ironic humor while not glossing over the evil actions of the Third Reich. It is imperative that audiences realize and accept that the movie is the manifestation of the propaganda-filled mind of a 10 year old German boy. We ostensibly experience the world through his eyes. Jojo lives in a complex world that is beginning to implode around him. All the while, when we first meet him, he remains committed to that for which the Third Reich stands. Taika Waititi takes a similar path to commenting on the central conflict to that which was followed by Chaplin, one that seeks to deconstruct fascist thinking.

Instead of simply the audience witnessing the events on screen that lead to destroying the foundation of fascist thinking, our central character of Jojo slowly learns just how vile the Nazis are, and that their way of thinking is a threat to humankind. How? For the full effect, you have to watch this film. But for the sake of argument, and not to over simplify, Jojo forms a friendship with a young Jewish girl hiding in the walls of his house. In a way, Jojo is in a similar position as audiences were in when Chaplin’s famous film was released–in a world in which Hitler and the Nazis were ever present. Here is where we have the creative layers that give Waititi’s film so much depth. Just as the world watched as Germans (and other Third Reich sympathizers) began to realize that the Nazis were masters of propaganda that brainwashed their own people, we watch as Jojo goes through a similar journey and transformation. As 21st century citizens of the “western world,” we often wonder just how otherwise intelligent, rational people could believe the ridiculous lies that were fed to them by the Nazis. This film paints an image of just how that worked. For all intents and purposes, if you convince the youth of your world to believe and buy into your radical platform, then the youth grows up to be the adults of your world. Thus, a following and movement is born.

When tragedy hits home, in a mindblowing way, Jojo comes face to feet with the reprehensible, seemingly unstoppable evil of the Nazis. This moment is when he realizes what he has been supporting and advocating. And even in his brainwashed state, even after he said the vile things he said, we still feel great empathy for him. And it’s this moment where he is tested to see if he is capable of growing as a person and thinking as an individual. Jojo’s eyes are opened, for probably the first time ever. He also begins to see how others, that he respects in Hitler’s army, have seen the evils of their ways and are doing what they can to make a difference. It’s also at this point that audiences realize that the captain, Jojo so admires, is gay and his (lieutenant, I suppose) is his lover. The subtext isn’t clear, but Taika tips his hat to this likely being the case. Whereas Jojo may not pick up on the captain’s secret, he is forced to accept that the captain could a sympathizer because he does something that Jojo realizes is not in line with policy and procedure. All throughout the movie, Jojo is challenged. Challenged by Hitler, challenged by the captain, challenged by his mother, and challenged by the Jewish girl hiding in his walls. It is by way of these consistent challenges that he grows as an individual and sees the flawed thinking of the Third Reich.

Jojo Rabbit is a provocative motion picture that provides audiences with a glimpse into the mind of a brainwashed 10 year old Nazi boy whose worldview radically changes through challenges to his identity. It may not be as edgy or as outstanding as we had hoped that it would be, but it is still a solid film that delivers a different perspective on a sensitive subject.

Ryan teaches screenwriting at the University of Tampa. 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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Last Christmas” mini movie review

Just the Christmas gift we needed this holiday season! Don’t be so quick to judge a holiday movie by its trailer. Much like we so often judge a book by its cover or a streaming movie based upon its thumbnail image, the same can be said for Christmas movies that look like they belong on Hallmark channel but somehow got a theatrical distribution. Paul Feig’s Last Christmas, written by Emma Thompson, is a heartwarming Christmas movie that is surprisingly deep and thought-provoking. If you’re a fan of his work, like I am (except for the Ghostbusters that doesn’t exist), you are familiar with his innate ability to take what looks like one movie, but then deliver something entirely different but completely brilliant in the execution that subverts expectations. Take Spy or last year’s A Simple Favor for examples. If you haven’t seen either, do yourself a favor and watch them! I absolutely adore how this movie takes what could simply be another paint-by-the-numbers romantic dramedy but provides audiences with a memorable movie built upon a simple plot and complex characters that audiences are sure to connect with. Kate played by Emilia Clarke (aka Mother of Dragons) is simply a treasure! And her costar Henry Golding, who plays Tom, is one part moral-compass and one part love interest. Follow Kate on a transformational journey that explores how constantly playing the victim and blaming everyone else for your problems can lead to destructive behavior. I appreciate the unconventional approach to Christmas movies this one takes. It doesn’t hold back on the cynicism that many people have about life or about the holiday season. The movie depicts true-to-life people that experience real struggles within the family unit and from the outside. In addition to the interpersonal relationship conflict, Kate’s family is also from the former Yugoslavia. This is an important subplot in the movie because the movie seeks to comment on the prejudice that some refugees-turned-citizens experience, especially in the midst of political turmoil. Like I said, this Christmas movie is surprisingly deep. The most powerful Christmas story ever (other than the Nativity) is Charles Dickens’ A Christmas Carol, and why is that? Because it’s a story of redemption. If Scrooge can be redeemed, we can all be redeemed. Kate is our Scrooge in this story. Perhaps that is why so many people love it, it parallels A Christmas Carol in beautiful ways, yet it doesn’t–on face value–appear to be an interpretation of it. Do yourself a favor and plan to make Last Christmas part of your holiday season.

Ryan teaches screenwriting at the University of Tampa. 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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Doctor Sleep” horror film review

A brilliantly unsettling and crisp horror film! Mike Flanagan’s Doctor Sleep is both an adaptation of the Stephen King novel, by the same name, and a direct sequel to Stanley Kubrick’s The Shining. This highly anticipated film had the unusual task to fit the Kubrick film and King’s novel The Shining, since it is well known that King was not happy with the Kubrick adaptation. Although many unplanned sequels to iconic classics are challenged to justify their own existence, and often fail to live up to the magic of the original, Flanagan defies the fate that so often befalls sequels and delivers a compelling film worthy to be connected to Kubrick’s cinematic masterpiece. While the specter of Kubrick is lurking in the background, and our foreground story takes place on the backdrop of The Overlook Hotel complete with the presence of Jack Torrance, it isn’t merely grown-up Danny whom shines in this film. Both Danny’s young counterpart Abra (Kyleigh Curran) and the mesmerizing villainous Rose “Rosie” the Hat (Rebecca Furguson) shine brightly against the macabre imagery and themes. Doctor Sleep takes audiences to some very dark places–a no holds barred approach–that will surely get under your skin and cause you to cringe at the vile actions on screen in Rose the Hat’s quest for ostensible immortality. There is something irresistible about returning to the infamous Overlook Hotel, and this film knows that you are mostly in the auditorium because of anticipating the trade mark carpet, Navajo-deco interior design, and bloody elevators, and holds that ace up its sleeve until the third act. Whereas the storytelling could have taken the easy way out, knowing that you would blindly accept virtually everything as long as you get to check back into The Overlook, it still offers a compelling, challenging narrative that brilliantly sets up the showdown at the most infamous hotel in all literature. Combining the best of the King novel with the haunting imagery and ominous atmosphere of Kubrick’s masterpiece, this film surpasses the expectations and apprehensions most of us had when we knew the legacy shoes this sequel had to fill.

On highways across America, a tribe of people called The True Knot travel in search of sustenance. They look harmless-mostly old, lots of polyester, and married to their RVs. But as Dan Torrance knows, and tween Abra Stone learns, The True Knot are quasi-immortal, living off the “steam” that children with the “shining” produce when they are slowly tortured to death. Haunted by the inhabitants of the Overlook Hotel where he spent one horrific childhood year, Dan has been drifting for decades, desperate to shed his father’s legacy of despair, alcoholism, and violence. Finally, he settles in a New Hampshire town, an AA community that sustains him, and a job at a nursing home where his remnant “shining” power provides the crucial final comfort to the dying. Aided by a prescient cat, he becomes “Doctor Sleep.” Then Dan meets the evanescent Abra Stone, and it is her spectacular gift, the brightest shining ever seen, that reignites Dan’s own demons and summons him to a battle for Abra’s soul… (IMDb)

Where do you go when you never want to see snow again? Florida or Southern California. And that is precisely where this film opens up (but it’s obviously Georgia). However, not with young Danny Torrence, we meet a kid whom encounters Rose the Hat and her “friends.” The audience is immediately hooked to the story after tragedy befalls the young lady. Mean while, across town at the same time, young Danny gets visited by that iconic “bathing beauty” from Room 237. Following a chance encounter with Dick Hallorann, Danny learns how to take control of the haunts of his past that are just as hungry as Rose the Hat is for the energy from that which creates the shine. While Danny may be able to contain the manifestations of the horror of his past, the experience at The Overlook and the untimely death of his mother had a profound, far reaching effect upon the direction of his life. As an adult, he, much like his father, turned to alcohol to dampen the trauma. After waking up next to the dead body of a coke-addict, he heads for New Hamshire. Precisely why is never fully explained; but it’s there that he meets an angel of sorts that sets him up for a successful return from the life of an addict to a fully-functional adult.

From operating a train in the town square (which you’ll recognize as Mystic Falls from The Vampire Diaries complete with the the clocktower and awning of the Mystic Grill in the background–I’m serious–you can read myst… on it, haha) to using his shinning ability to help those in a hospice pass from this world onto the next, the memories of The Overlook become more and more distant. All seems like it’s going well, until he begins to pickup the voices of those whom are being targeted and hunted by Rose the Hat’s gang. I love how the setup in Act I perfectly positioned our three lead characters for the gripping conflict that Act II brought about. Every scene, every moment of the film acts as a visual sentence in a larger paragraph, and those paragraphs are part of the entire story. Each one, a building block that consistently points to the resolution of the film. Never once does the films pacing lag. That’s not to say that it’s not a slow burn. After the shocking opening, it is a slow burn until midway through the film, then the pace quickens exponentially. That being said, the moments that are slower paced still feel perfect for the story that is unfolding. Slowly winding like a music box, the tension increases steadily as it draws you in closer and closer to the central conflict. With each child killed by Rose the Hat’s cult True Knot, the horrifying nature of the violent acts weigh heavily on your mind and heart as the terrifying creepiness of the war that being waged grows closer and closer to home.

Even more than the performances of Ewan and Kyleigh, it is Furguson’s Rose the Hat that steals the show every moment that she is on screen. The friend I was watching this with leaned over to me and said “I want to be her for Halloween next year.” Rose is a strikingly beautiful, seductive, siren like neo-hippie that looks like she just stepped out of a Rolling Stones concert. Everything from her stunning eyes to the rhyme and meter of how she delivers her “hi there” works absolutely perfectly. One might say that she steals the show in very much the same manner that Nicholson’s Jack steals the spotlight at every turn in The Shining. She is the best kind of character of opposition (for all intents and purposes villain), one that you love to hate and love to see on screen. She is vile she-devil, but how she goes about her conquest is fascinating. Ewan McGreggor’s performance as Danny is solid; nothing outstanding about it in particular but a strong performance that convinces us that he IS the adult version of the boy on the tricycle. I appreciate the transformation we witness as he goes from drifter to hero. Shining along side Danny is Kyleigh’s Abra, a newcomer to the big screen that echoes young Danny in The Shining, but a more developed character that actively takes control of her fate.

By far, my favorite part of the movie is when we return to The Overlook. I absolutely love how we watch Kyleigh and Danny drive the windy snowy road through the night to the infamous mountain lodge tucked deep in the Colorado Rockies. Despite the boarded up windows on the derelict hotel, the grandeur of The Overlook is just as present and powerful in 2019 as it was in 1980. Remember that scene of Jack and the hotel manager from The Shining? That same office is used as the doctor’s office at the hospice center. So, not all the homages to Kubrick’s masterpiece are at the hotel, some are sprinkled throughout the rest of the film. You get it all, callbacks to the bloody elevator, the typewriter, the sinister twins, bath lady, and more. While strolling through the dark, twisted hallways of The Overlook, Danny finds himself in the Gold Room where he encounters his Lloyd at the bar, tempting him with his vice. And as tradition has it, his bar tender is the former caretaker. And as such his bartender is Jack Torrance (played by discount Jack Nicholson). With such a great connection to the original film, the fact that this actor looked but not sounded like Jack Nicholson took me out of the film a little. Not to the point that it ruined the experience, but I have to acknowledge this shortcoming. That being said, it’s not so much that the actor is not Jack Nicholson, but I think having Jack Nicholson ADR the few lines that this Jack has would have helped to bridge the character gap between the original and this one. Some of the recasting worked brilliantly; the recasting of Wendy, young Danny, and Dick was spot on!

If you’re a fan of The Shining, then I highly recommend that you watch this film. If by some chance that you’ve been living under a rock and not seen The Shining, then you will still enjoy the film if you’re a horror fan. While this film may not be as terrifying as the first time we checked into The Overlook, it has many frightening moments. Any worries you have that this “not asked for sequel” is going to fail to deliver that which you want to see in a sequel, you needn’t worry! I hope you return to The Overlook very soon.

Ryan teaches screenwriting at the University of Tampa. 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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Parasite” art house film review

An international film with domestic relevance. Writer-director Bong Joon-Ho delivers a thought-provoking satire on the widening gap between the haves and have-nots. Winning the coveted Palme d’Or at the Cannes Film Festival, Joon-Ho’s film is perhaps a new interpretation of the Wes Craven cult film The People Under the Stairs with a brilliant message of the lengths one goes to climb out of poverty in a world of massive income and opportunity disparity. For those whom may be worried that you’ll be distracted by the subtitles, you needn’t worry. To be perfectly candid, the visual storytelling and acting is so incredibly good that you won’t need the subtitles to follow the story. You’ve no doubt heard from the various critic circles that this film is a masterpiece, that it’s one of the best films of the year. That hype train is barreling past station after station, will it ever come to a stop? The short answer is not any time soon. But is the hype justified by the cinematic experience? In the opinion of this critic, no. I had incredibly high expectations for this film based upon everything I was hearing and reading, but it just didn’t do it for me. After the brilliant first half of excellently crafted suspense, foreshadowing, and plot setup, the second half loses the intrigue and just takes one convoluted turn after another for the sake of complicating the plot in an effort to make it say more than it actually does. Much of the griping tension is lost by the time the anticlimactic showdown comes to pass. What hampers the execution of the second half is taking too many predictable turns. It’s like a research paper that has a brilliant thesis, background, literature review, and method section, but the results are lacking in advancement. But, what the film lacks in plot execution, it makes up for in lavish visuals and exquisite production design. That house is a character in and of itself! While it may not be the best film of the year, it is one to watch in order to support original, independent stories that are slowly dying because of the increased difficulty to seek funding and theatrical distribution in a world dominated by superheroes, space fantasy, and remakes of animated classics.

Jobless, penniless, and, above all, hopeless, the unmotivated patriarch, Ki-taek, and his equally unambitious family–his supportive wife, Chung-sook; his cynical twenty-something daughter, Ki-jung, and his college-age son, Ki-woo–occupy themselves by working for peanuts in their squalid basement-level apartment. Then, by sheer luck, a lucrative business proposition will pave the way for an insidiously subtle scheme, as Ki-woo summons up the courage to pose as an English tutor for the teenage daughter of the affluent Park family. Now, the stage seems set for an unceasing winner-take-all class war. How does one get rid of a parasite? (IMDb)

Where this film shines brightest is the production design, specifically the house and neighborhood designed and built specifically for the film. Honestly, this is on Kubrick levels of cinematic immersion. From a principle photography point of view, this allows for the structures to (1) be designed to accommodate the action, blocking, and general movements of characters (2) externalize emotion or bring to light a reality that lies beyond our naked eye and (3) allow for efficient camera movement, artistic placement, and simply brings the setting in the screenplay to life to the very last detail. As I watched the film, I wondered where they found the perfect basement apartment and upscale house because the locations fit the characters and narrative perfectly. Then when I learned that both locations (not to mention the Ki’s neighborhood) were custom built, then it make sense how it could have been so perfect. That is commitment to narrative integrity right there! From the architecture to the interior design and furnishings, the art direction of this motion picture is astounding! It certainly stands out against the backdrop of most of the films to have hit theatres this year in terms of its visual appeal, scope, and scale of the story.

You’ll be hard pressed to find another film this year that has the brilliant setup that this one has. From the moment the film opens, you are hooked. All throughout the first act, the conflict that we are going to encounter in the second act is setup and foreshadowed with extreme precision. It doesn’t take long to develop these characters as members of South Korean society that are having a tough time climbing out of poverty; furthermore, the first act paints a portrait of a world that appears to be stacked against them. All that changes when a cousin gets one of them hired as a tutor to a wealthy family. For how the rest of the setup unfolds, you’ll just have to watch the film. I appreciate how this film takes the home invasion plot premise to a new level by subverting what we expect from home invasion or heist films. In addition to developing our ensemble cast of central characters, the first act also successfully provides excellent exposition so that the audience never feels lost in this non-english speaking film. Sometimes American audiences can get lost in international films because of the language and cultural barrier. Fortunately, the language is never an issue in this film and there is virtually  character for everyone in the audience to connect or empathize with. From the opening until about midway through the film, the plot is engaging, suspenseful, and the tension ratchets up greatly.

Unfortunately, most of the tension and suspense begins to decline as we near the anticlimactic showdown of the film. This is where the film lost me. Not lost me in that I couldn’t follow it–quite the contrary–I found the latter half of the film predictable and derivative. Gone is the ingenuity that I loved during the first half. There was such genius in the setup that I expected more out of the conflict and resolution. Don’t get me wrong, the film is still enjoyable and even intriguing at times in the second half, but not nearly to the levels it was during the first act. It’s almost as if Joon-Ho did not imagine the ending before writing the second act. There is stark contrast between the precise focus and direction of the first half and the lack of direction in the second half. There are some moments that I want to highlight from the second act though, that I truly liked. There is a scene in which the Park family boy notices that all the newly hired help smell the same. Of course, his parents dismiss that as childish foolishness, but thanks to dramatic irony, we know that he is close to ruining the entire charade.

More than than the film itself, I am mystified by the intense hype train that continues to zoom through social media, picking up new people at every turn. It’s a good film, but I cannot reconcile the motion picture I saw with the proliferated accolades on social media the the web. You’ll hear that this is “the best film of the year,” but just a couple weeks ago, The Lighthouse was the best film of the year, and before that many claimed that Midsommar was the best film of the year. Seems like we get a best film of the year every few weeks. The danger of dissenting opinions on films like Parasite and The Lighthouse is the critic and cinephile establishments seeking to revoke your membership card because your taste is simply not refined enough to appreciate the artistic masterpiece right in front of you. Of course, it is entirely possible that the film is just not AS outstanding as so many want to claim that it is, but jump on that hype train out of fear of missing out or being seen as an outsider. So to that point, I feel that Parasite is a solid film, even excellent in the first act, but the second and third acts hold the film back from its full potential to truly be a masterpiece of cinematic art.

Ryan teaches screenwriting at the University of Tampa. 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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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