“Captain Marvel” Film Review

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Written by guest contributor and one of the hosts of the Minorities Report Podcast The Raul Navedo

We’ve all, at least once in our lives, crushed on someone much like Carol Danvers. Someone cool, fun, has a good sense of humor that’s easy on the eyes, and is a total bad ass that can shoot photon lasers from their arms… Brie Larson’s Carol Danvers/Captain Marvel has all of these in spades. Likable from the jump, Carol yearns to be the best Kree “Noble Warrior Hero” in all of Hala. The only problem is that she can’t shake the dreams that haunt her. Dreams of a past she can’t be sure is her own; and furthermore, slow her progress to becoming a true Kree.

The hate is real, people! Critics are coming after this delightful performance by Larson viciously, and without reason. Don’t get me wrong, Captain Marvel has many flaws; but very few, if any, can be blamed on our star. I was as concerned as anyone when I heard Larson was casted as our glowing heroine whom would be flying freely through space, and whom would be kicking some serious Skrull ass. After Room,I was convinced that she was a great actress, but being a superhero doesn’t require incredible acting chops as much as it requires a certain charisma that I just couldn’t see in her. If you recall, though our superstar Avengers cast is beloved NOW, there were some serious concerns after most of them had their debut films (RDJ being the exception). Most of them had to grow into their respective roles, so it wasn’t until the second films that they became the heroes they were working to portray in our hearts. Not the case with Larson’s CM. She is fun, complex and dynamic, spanning the spectrum of emotions in a single scene.

Let me tell you guys something, a character being likable/unlikable does not a great/bad movie make. Harley Quinn is extremely likable in Suicide Squad and yet… And our lead in Manchester by the Sea is unlikeable and yet it is an incredible film. The art of writing real and complex characters is the ability to write them as they truly are. Angry, funny, sad, charismatic, annoying, reclusive, broken. Stop bashing films because YOU didn’t understand the characters as they were depicted. The Kree train their “noble warrior heroes” to think and not feel. Emotions are the enemy of sound thinking and are therefore a detriment to being a great warrior. Carol wants so badly to be this way–to prove she is a true Kree, but it is against her nature so she is conflicted. Her desire to not feel makes her unlikable because people without emotions are sociopaths, are un-relatable and therefore are not likable! She was written this way, people. And it is her inability to follow through with this Kree “noble warrior hero” prerequisite that makes her so damn likable!

But enough about her. I believe that what truly hurts this film is the same thing that hurt me when I was a young lad in the throws of passion for the very first time. Lack of experience. Our directing duo, Anna Boden and Ryan Fleck, have worked together on a number of projects that pale in comparison to the endeavor that is an MCU film. The writing suffered from poor dialogue and pacing at times. There were lines that just didn’t need to be there that provided information that the audience had already gathered. Action sequences that felt rushed because the rest of the script wasn’t as tight as it should be. Carol’s very first mission is so oddly paced and executed that you can’t enjoy it.

It takes a trained mind to know what needs to be trimmed and what needs to be expanded, whether in the script or in the editing room. It takes a trained ear to hear a line during a table read or on set that you know needs to be changed or taken out. These are things that not all audience members can catch or express but that most can feel. Some might just say it wasn’t good. Some might say it was fun but lacked heart. I say it was a great effort that lacked refinement. Wonder Woman had many flaws but most people were able to overlook it because it had so much heart it was tangible. It wasn’t just because Gal Gadot did a great job, it’s because Patty Jenkins has developed her skills over the years to make her a very gifted storyteller. We can forgive flat cinematography and lighting. We’ve been doing it for years with many of these MCU films who’s visuals lack depth. We can forgive a great many things that contribute to making great film. What we cannot forgive is lack of heart and emotional depth. Captain Marvel has all the building blocks, but it fell just short of being great. Fleck and Boden are well on their way there and I am excited to see their next project.

Don’t get me wrong, I am sure the blame does not solely land on their shoulders but as a great director once said “When a film does very poorly the director gets all of the blame and when a it does exceptionally well the director gets too much credit.” It comes with the territory, unfortunately.

I still highly recommend that people go see Captain Marvel. Just lower your expectations a bit and you’ll definitely enjoy it!

(From Ryan)

I hope you enjoyed this review from Raul. He is one of my longest and best friends, and spends much time watching and talking about movies as he manages a high traffic AMC Movie Theatre in North Carolina. Follow him on Twitter!

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!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“How to Train Your Dragon: the Hidden World” review

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Outstanding finale for the beloved franchise! Bring your tissues because you’re going to need them. Return to the colorful, immersive world of dragons for the final chapter in the How to Train Your Dragon trilogy. We were first introduced to Hiccup and his cat-like dragon Toothless–probably the most adorable dragon ever–nearly a decade ago, and Hidden World delivers a beautiful story that takes full advantage of Dean DeBlois’ epic fantasy world of highflying adventure and heart. Unlike franchises in the cinema or on television that depict the key characters the same age in perpetuity, HTTYD allows its characters to mature and grow in complexity. This growth enables the audience to identify and empathize with the animal and human characters thus giving the film incredible emotional weight. Not only do the characters demonstrate personal growth over the nine years we’ve been enjoy Berk and all its wonders, they exhibit tangible evidence of interpersonal societal growth as this Viking kingdom learns to love and cherish creatures they once feared. Toothless takes center stage as he too, along with our friends from Berk, must grow up. Both Toothless and Hiccup experience the powerful dynamic of love as it greatly affects one’s actions. While many were wondering if this trilogy could pull off a Toy Story 3, after the immense success of the first two, especially HTTYD2, suffice it to say, DreamWorks Animation delivers a superlative animated motion picture complete with all the feels.

IMDb Summary: What began as an unlikely friendship between an adolescent Viking and a fearsome Night Fury dragon has become an epic adventure spanning their lives. Welcome to the most astonishing chapter of one of the most beloved animated franchises in film history. Now chief and ruler of Berk alongside Astrid, Hiccup has created a gloriously chaotic dragon utopia. When the sudden appearance of female Light Fury coincides with the darkest threat their village has ever faced, Hiccup and Toothless must leave the only home they’ve known and journey to a hidden world thought only to exist in myth. As their true destinies are revealed, dragon and rider will fight together—to the very ends of the Earth—to protect everything they’ve grown to treasure.

As immersive and excellent as the film’s visuals are, the characters are even more complex and deep. In fact, the film depicts one of the best friendships of any film ever. The key characters, and even the supporting cast, demonstrate love, loss, maturity, growth, and more. Although this is the final installment in the franchise, the characters are still treated with finesse and given room to grow within the movie and to complete the arcs for the trilogy. Often, Toothless and Hiccup parallel one another; they possess traits that complement one another. This added complexity to their respective characters gives them so much depth. Making an emotional connection with and evoking empathy from the audience is such an important element of the character development process. Hidden World builds upon the previous stories of finding one’s destiny in a friendship with the most unlikely of creatures (chapter 1), external and internal complexities with the new friendship and changing familial dynamics (chapter 2), and coming of age by learning from the past and letting go of that which hinders freedom (chapter 3 Hidden World).

More than a commentary on independence or freedom, this film chooses to depict complex emotions such as love between friends, family, and romantic love. And these subjects are not just talked about–exposition would be too easy and lazy–there are many moments that are visually driven, thus increasing the level of emotional impact. One of my favorite moments that deals with both the letting go of the past in order to bloom and grow is the courtship dance scene between Toothless and the Light Fury. Love is not without sacrifice. And in the exploration of relationships and independence, we are reminded of the emotional cost associated with these concepts. Paralleling this exploration of relationships between lovers, family, and friends is the journey of rising to the call and becoming a leader of one’s people. It’s the ideal journey for this final installment because it completes the hero’s journey for Hiccup and Toothless. In the first movie, both Hiccup and Toothless are outcasts, nerdy, and childlike. In the secondary film, they go through both physical and emotional growth learning the complexities of life. And the tertiary film Hidden World builds upon the previous two films by us watching this teen and young dragon grow up to realize their respective places in the world to become the leaders of their people (or dragons). We go from kid to king. So simple, but so perfect.

It’s easy to get swept up into this epic fantasy because we spend so much time with these characters. Not only do we spend movie time with the key characters, but we spend some intimate time with them as well. We see these characters at their best and worst. The individual stories of the three films and the overarching story that exemplifies the three-act structure are not afraid to bloody your characters. As real like people and dragons are not perfect, neither are the characters in the How to Train Your Dragon trilogy. We are drawn to their flaws, the majority of which are in the second chapter but we continue this high level of humanity in the third film. Change is a big part of life, and the theme of change is witnessed in the individual lives plus in the Berkian and Dragonian communities. Utopia is not without its negative impacts. One of those for Berk is overcrowding with the side effects of being more of a target to those who are still hunting dragons. Hiccup must decide whether Berk is a place or a state of mind. But he must also consider the safety and future of the dragons. More complexity. There is no one solution that will benefit everyone. So sacrifices must be made. This motif of chance incorporates the overall theme of love and sacrifice.

The visuals are breathtaking! While some animated trilogies suffer the longer the franchise goes on, the quality of the animation in this film is outstanding! In many ways, it out-Pixars Pixar. Like with other films, if this one had a Pixar logo on it instead of DreamWorks, then more people would be singing its praises. With more dragons, there was certainly room to cut corners and for the quality of the visuals to suffer. Not true with this film! The attention to detail is superb! As beautiful as the dragon flight scenes were in the first and second movies, Hidden World delivers an even more epic flight scene in this film. Wish I had seen this movie in IMAX. During the flight sequence into the Hidden World of dragons, I was reminded of Navi River Journey and Flight of Passage in Pandora: the World of Avatar at Disney’s Animal Kingdom. Never felt like a ripoff, but certainly feels inspired by the attraction. We encounter three worlds in this film: Berk, the new island, and the hidden world of dragons. Each of these worlds is designed completely differently from the rest. And the commitment to the art of animated world creation reaches incredible heights! Every scene, every moment, every setting is completely immersive.

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!

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“The Prodigy” horror movie review

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The Omen meets Child’s Play. When the trailer first dropped for The Prodigy, I was intrigued. Didn’t think that it was going to be great, but I was anticipating it as one of the horror movies I was looking forward to most in 2019, with others being Pet Sematary, Us, Midsommar, and IT: Chapter 2. Then I began to read the reviews of the movie, and was disappointed in what was being said. Since I wanted to get the oil changed in my car yesterday, with it being a weekday holiday off from work, I went to the auto center close to the theatre so I could drop it off and walk to the theatre for a movie. Decided to go ahead and watch The Prodigy, as the alternatives for watching were ehh, at best. To be honest, this was quite the terrible Presidents Day weekend at the movie theatre. The Prodigy certainly has some good things going for it, most of the violence is either psychological or off screen to allow you to fill in the disturbing details in your mind; it is also incredibly chilling! Unfortunately, the vapid characters and paint-by-numbers plot keep the film from achieving what it so desperately wants to achieve. Lots of great material here for what could’ve been a solid horror film with a character that combines what we love about Damien and Chucky. For fans of both The Silence of the Lambs and The Exorcist, you’ll instantly notice the old school Orion Pictures logo from SOTL followed by the clearly red text on black background taken from Friedkin’s masterpiece.

Sarah and John Blume are thrilled when their young son Miles starts to show signs of rapid development and extreme intelligence. Their family bliss soon turns into a living nightmare when Miles’ behavior becomes increasingly erratic and violent by his eighth birthday. After seeking help from two experts, Sarah is horrified to learn that her beloved prodigy may be under the grip of a dark and supernatural force. Fearing for her family’s safety, Sarah must choose between her maternal instinct to love and protect Miles and a desperate need to investigate what or who is causing his dark turn. She is forced to look for answers in the past, taking the audience on a wild ride; one where the line between perception and reality becomes frighteningly blurry

There is nothing wrong with jump scares. That’s right. You may hear of jump scares talked about in a less than favorable way; but it’s not the concept of the jump scare itself that is bad for horror (or any genre for the matter). The inclusion of some jump scares can be an element that aids in creating the physiologically engaging horror movie experience. It is the misuse, overuse, and poorly timed jump scares that work against the success of a movie or, more specifically, keeping it from reaching the critical potential that it could. It comes down to the argument of suspense versus shock. Now, a horror movie cannot be completely void of shock because then it differs little from suspense-thrillers. One of the main differences between suspense/thrillers and horror films is the intent of the writer and/or director–it’s that intent to horrify that separates thriller from horror. It’s this intent to horrify that places the often genre contested The Silence of the Lambs more in the horror category than thriller (though, it is a hybrid). Simply stated, The Prodigy is overstuffed with jump scares. When a writer or director relies upon jump scares to deliver the horror instead of crafting lingering horrifying moments through the character or plot development, then it plays as a shallow story. Strip away the jump scares, and The Prodigy is left with little to deliver. Think of a horror film supported by proliferated jump scares as a chocolate Easter bunny or egg that is hollow on the inside. It looks tasty, may even taste good (especially if made out of dark echolocate), but when you realize that the center is hollow, the experience is mitigated from where it could’ve been with a solid dark chocolate bunny.

I remarked to another horror fan on Twitter that with a few tweaks, The Prodigy could have actually been good–not great–but good. When you’re channeling what made The Omen and Child’s Play work so well, you have a lot of good material to create an original expression of these premises. One of the best parts of the movie, and one that was seriously creepy and unnerving is the performance of Jackson Robert Scott as Miles. He delivers an outstanding performance with his two contrasting identities; unfortunately, he was not used to the extent that he could have been. Had screenwriter Jeff Buhler and director Nicholas McCarthy spent more time on developing the key characters and simplifying the plot, then the movie may have been better received horror fans and general audiences. Although the movie is titled The Prodigy, the intelligence of Miles is mostly used as a McGuffin. Developed by Hitchcock, it’s a device that is used to jumpstart the central plot but has little to do with the plot itself. The best example of this is the money Marion steels in Psycho. Had she not stolen the money, she would not have stayed at the infamous Bates Motel. After that theft launches her on her roadtrip to Fairvale, it bares little consequence to the remainder of the events. However, the McGuffin IS important because it is what launches us into the thick of the plot.

Instead of all the jump scares, it would have been nicer for the movie to have worked to create an overwhelming sense of dread and keep the possession of Miles a secret longer. The film tips its hat too soon to some of the moments that should’ve been drawn out longer to increase the level of suspense. With a reliance upon jump scares to serve as a spectacle, I am reminded of researcher Linda Williams narrative vs spectacle argument. Too much spectacle, the film suffers because therein lacks any real substance; too much narrative, the film suffers because it fails to be driven as visually as it should. A horror film strikes a delicate balance between narrative and spectacle in order to achieve a compelling story with moments of terror that impact the audience emotionally and physiologically. The characters are not given the treatment that they should have been. We never truly care about any of the characters and thus do not form that important connection with the movie. Had the moments of shock been used to drive the plot forward more so than just work for a cheap scream of jump, then they would have had much more power than they did. And then there’s the ending. It plays off as showcasing a lack of imagination and more consideration paid to setting up a sequel. Without giving away any spoilers, there was a way for the ending to take a page out of the Child’s Play handbook in order to setup a sequel instead of the manner in which it did.

Looking for a popcorn horror movie to watch on a date or just one that will be fun for 1.5hrs, then this movie work perfectly fine. It will not impact you as The Omen or Child’s Play did, but it will deliver some fun thrills and a mostly original interpretation of a solid premise.

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!

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LEGO Movie 2 Review with InSession Film Podcast

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Return to Bricksburg where everything is no longer awesome. Picking up where the first LEGO Movie left us, and jump right back into the action as the invaders from planet Duplo threaten the very existence of Bricksburg and its inhabitants. After the Duplo invasion reduces Bricksburg to a city that is barely recognizable. Now living in a dystopian society, a mysterious figure arrives and promptly kidnaps several of Emmet’s (Chris Pratt) friends, including Lucy/Wyldestyle (Elizabeth Banks). Emmet sets off on his rescue mission to save his friends, but along the way meets allies and enemies who test him at every turn. I enjoyed LEGO Movie 2 nearly as much as the first one! Unfortunately, hosts JD and Brendan do not quite share my sentiment; however, they provide some great talking points! But the only way for you to find out what we think of this movie is to listen to the episode.

For the full review, visit the InSession Film website for the podcast and written review! And if you don’t do so, follow InSession Film on Twitter and subscribe with your podcast service.

And you can also listen to the episode by clicking HERE.

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!

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Twitter: RLTerry1

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“Velvet Buzzsaw” One Movie Punch Review

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The lowdown on high art.

The highly anticipated Netflix original satirical thriller Velvet Buzzsaw is now streaming. Go beyond the frame into the vicious word of the art business. Much like the hype surrounding Bird Box, this movie was also proceeded by a prolific number of memes on social media. Although this movie opened to mixed reviews from critics and audiences, I found it to be immensely enjoyable. Not to the point that it’s a great movie, but a solid thriller. A plot and setting that could have so easily been boring were intense and seductive. Who would have thought being a critic would be so alluring and perilous. Furthermore, this movie provides audiences with thought-provoking commentary on art and business. You witness all the players in the art business game: the creators, critics, clients, and curators. Essentially, the theme of this sexy, sinister, satire is the more we attribute a monetary value to art, that is inspired by a creator’s incredibly dark place, the more we run the risk of suffering, even vicariously, a deadly consequence for our selfish actions…

For the full review, visit the One Movie Punch website for the audio review and transcript! And if you don’t do so, follow One Movie Punch on Twitter and subscribe with your podcast service.

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!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry