“Bohemian Rhapsody” full film review

Posted on by
1

Ready Freddie? Adapted from the Queen Wikipedia article, comes the anticipated tribute film Bohemian Rhapsody. Mostly directed by Bryan Singer, but after his unexpected departure, directed by Dexter Fletcher, this could be one of the first films to almost not be a film at all, yet produce an Oscar-worthy performance in Malek’s Freddie. It’s a good thing that your favorite Queen songs are sort of in the movie because the screenplay is off key. In short, the problem with this biographical film can be traced back to the weak writing and misguided direction. Anytime a film has to change directors in the middle of production (for whatever the reason), the film has a high chance of suffering in the transfer of power. There are exceptions; for instance, Poltergeist was directed by Tobe Hooper and Spielberg, and became one of the best horror films of all time. On the topic of writing, paraphrasing Hitchcock, a writer (or director) should start the scene as close to the end of the scene as possible in order to streamline the plot and keep the focus on conflict moving the scene forward. Unfortunately, this movie starts each scene as close to the beginning of the scene as possible and cuts it off just before the ending. Whereas the camera lingered in A Star is Born in order to allow the emotion of the scene to sink in, this camera lacks focus and moves around the scene in a way to document what is doing on, not show us the story and subtext. Speaking of subtext, Bohemian Rhapsody is very much a textbook example of “on the nose” storytelling. There is a great lack of subtext anywhere in the film.

A celebration of the timeless music of Queen, this film chronicles the band’s beginnings to the famous Live Aid concert. Following the band from playing in bars to headlining sellout concerts at world-famous venues, this film takes you behind the scenes to watch the development of the band and–also–spending some time with Freddie’s personal life. Witness Freddie Mercury defy what his family wanted for him and what popular culture defined as a lead singer, and become the icon that he is.

Although the film is lacking in almost every area of storytelling, there is one standout element that cannot be ignored, despite the poor writing and direction. And that is Rami Malek’s performance as Freddie Mercury. Now, I am not a huge Queen fan; yes, I know the same handful of Queen songs that most people know and really enjoy listening and rocking out to them. But, I do not know enough about Freddie in order to know how close Malek’s performance was to capturing the real man. Mainly because I was a really young when he passed away. However, even not knowing much about the real Freddie, I can still assess a great performance, and Malek’s impressed me from start to finish. I thoroughly enjoyed watching him! The commitment to his character is incredible. Not only does he resemble Freddie, but at no point did I ever feel that I was watching an actor play Freddie, but it was like watching Freddie himself (what I know about Freddie, anyway). It will be interesting to watch to see whether or not he gets an Actor in a Leading Role nomination even though the rest of the film will not likely show up on the Academy’s radar. Perhaps the film would have been better if it had been a Freddie Mercury biopic instead of covering the band as a whole. But due to Queen having so much control over the story, the focus consistently shifts from Freddie to the band so that there is no true direction for the conflict to go in order to deliver a powerhouse of a film.

The storytelling is so incredibly disconnected that there are moments that do not feel like a movie at all. Other than the recreation of the Live Aid performance (with a crowds of bad CGI and real shots of the same group of spectators over and over), the best scenes in the film are during the intimate moments between Freddie and Mary. These are the only times that I feel that the film is diving deep, and attempting to evoke emotional responses from the audience. Even during some of the moments that should have been the most gut-wrenching and impactful such as Freddie’s coming out or when he finds out that he has AIDS, just play off as surface-level; they fall flat. Never once does this film dive deep into anything. As soon as the story is about to hit a home-run, it bunts the ball. Fasts-forward to first base, if you will. I am also shocked at the lack of music in this movie. With the title being Bohemian Rhapsody and being about Queen, I half expected that moments would feel like a rock concert. By no means, did I want to watch a 2hr music video or vicariously attend a concert, but I had hoped that the music would have been a bigger part of the story. And the title song is not a significant part of the movie. Honestly, a more precise title would have sinply been Queen. Bohemian Rhapsody is never completely performed in its entirety.

If you don’t like to read Wikipedia articles, but want to learn the same information, then checkout Bohemian Rhapsody this weekend. Or if you are a fan of the entire band–not just Freddie–then this movie is for you. Although you get very few songs performed in their entirety, you will hear Under Pressure, We Will Rock You, We Are the Champions, and others.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

Thrillz (theme parks): Thrillz.co

Halloween (2018) Full Horror Film Review

Posted on by
8

Happy Halloween Michael! David Gordon Green’s Halloween truly is the sequel that we have been waiting for in the Halloween franchise. Green set out to direct a Halloween movie that he desired to work both as an homage to the original whilst crafting an original story that could do more than be a great horror film, but be a great film period. And suffice it to say, he delivered in spades (or knives, as it were haha). Words cannot even begin to capture the energy of the auditorium last night. From screen to entrance Studio Movie Grill Tampa (my regular cinema) was filled with a level of energy that I’ve only ever witnessed at Jurassic, Avengers, and Star Wars movies. Twitter is all a’buzz this morning with those who saw it at pre-screenings and those of us who saw it at 7 o’clock last night. When I’ve been asked what I think, I am quick to respond that you need to throw out the rule book because Michael is writing this story. From echoes of the original (and some of Halloween 2) it still succeeds in providing longtime fans and those newly discovering the franchise with an original story that will hook you from the very beginning when you realize that all bets are off because no one is safe. It’s thrilling, engaging, and fun. It may lack Dean Cundey’s brilliant cinematography from the original (he was also the cinematographer for Jurassic Park, Carpenter’s The Thing and Back to the Future), but visually the film has those quintessential moments that act as a throwback to Carpenter’s original groundbreaking slasher. From the vintage opening title sequence accompanied by that iconic score to the showdown, Blum House’s Halloween is a brilliant addition to the franchise and is destined to be a future classic.

For my conversation about Halloween with the guys across the pond at the Movie Drone Podcast, be sure to watch for that episode dropping on Sunday wherever you get your pods.

It’s been 40 years to the day that Michael Myers (James Jude Courtney), the boogeyman, committed the infamous Haddonfield Halloween murders and 55 years since Judith Myers was stabbed to death. On Halloween night, Michael escapes from a bus that was transferring him from Smith Grove to a maximum security prison when the transfer goes horribly wrong. News of this escape puts Laurie Strode (Jamie Lee Curtis) on high alert as she knows he is heading for Haddonfield. Only this time, she is ready for him. Laurie is challenged with protecting herself while also protecting her daughter’s family. More than protecting herself and her family, Laurie is out for blood. With it being so long since the infamous murders, the town has largely let its guard down. History has faded into myth. But Laurie knew that Michael would be back one day, and she is fully prepared to face-off with the real-life boogeyman.

From the moment the film cuts to the vintage titles and the smashed jack-o-lantern becoming whole again, after the prologue, I knew that I was in for a real treat. That music is so incredibly iconic; those familiar chords are enough to strike fear in those who listen. Although many in the general audience may overlook the power of an opening title sequence, the typeface, transitions, music, and jack-o-lantern work together in order to communicate to the audience that David Gordon Green recognizes and respects the original and knows that you will love this installment that goes back to what made the first one work so well. It’s as if he is stating to the audience “I’ve heard you and I love the original too.” Instead of falling in line with current trends in horror films, Green is communicating to the audience that he is taking this franchise back to the roots. and back to the roots, he did. For fans of the franchise, you will undoubtedly recognize some easter eggs and other moments in the plot and kills that are nods to the original. Nods with a slight twist. I love the moments that connected me to the original. Same may call it shallow fan service, but I call that branding. Branding is important to a franchise, because those are the moments that are quintessential to the experience. And these moments in the film, that I see as branding, connect us to the original. Holding back on that branding would inhibit the nostalgia from shining briefly here and there. So much of Michael and Laurie’s identities are connected to those branding moments. However, don’t allow the return to channeling what made the first one work so well lead you to believe that you have it all figured out. While the soul of the original is there, the plot is full of twists and turns because just as Laurie was ready for Michael, he was ready for all of us sitting out there in the dark.

Written by Green, Danny McBride, and Jeff Fragley, this installment in the Halloween franchise was written to be a true continuation of the original story, ignoring everything that came after it. On that note, I like Halloween 2 and Halloween H20 but I am also equally pleased that this one essentially takes all the sequels and chalks them up to fan fiction. Could H2 and H20 have been included and the film still play out just as original and powerful? I think so, but at the same time, I did not find myself missing those installments. By placing this story 40 years after the original, it was able to remove all the absurdities of most of the others and start afresh. Missing from many of the other sequels was the playful nature of the original. Horror movies are supposed to be fun! Scary but fun. Even though there is murder and mayhem in a horror movie, that does not mean that it should be without those humorous moments. Fortunately for Green’s Halloween, the screenplay provides us with a simple revenge plot with a fantastically complex cast of principal characters. There is this refreshing exuberance I felt in the experience of this film. It was almost the same feeling that I got when I watched the original Halloween for the first time. The reason horror is used in events like Halloween Horror Nights and Howl-O-Scream is because there is a high level of amusement in it. And the screenplay of this film has perfect levels of horror and humor to keep you hooked and entertained for the whole time. Beyond the excellent direction Green provided, Jamie Lee looks so incredibly satisfying reprising her breakout role, we get a throwback Michael, and more. The key to the success of this film is the solid screenwriting. Moreover, this is not only a fantastic horror movie, it’s a solid film with no clarifier needed.

Before getting into content that requires me to talk spoilers, I want to explore the characters of Michael and Laurie specifically. Entire theses could be written on this subject, but let’s look at some of the main points. You may have asked yourself “what makes Michael tick?” The short answer: we do not know enough about his psychology, sociology, or physiology to know for sure. And that is a good thing! Why? Because if we knew too much about his mind and body, he would cease to be the boogeyman. And being the boogeyman is so important to, not only this franchise, but horror in general. That little bit of mystery and fantasy allow him to remain a monster to be feared and never truly understood. You see what happens to people in the film who seek to understand Michael better–hint–it’s not good. But since we are voyeurs who are obsessed with knowing, here is the long and short of what we know. According to Casandra Dodge (Ph.D. in criminology candidate at the University of South Florida), Michael likely suffers from and displays signs of a combination of antisocial personality disorder, schizophrenia, and obsessive compulsive disorder. We do not know enough to draw these conclusions, but there are signs of a combination of these psycho-social disorders.

Laurie is even more fascinating in this film than she was in the original. In many ways, she takes on some of the characteristics of Dr. Loomis from the first movie. He warned everyone about Michael’s violent behavior and would not be swayed into thinking that he could be rehabilitated. He was ready to kill Michael at every turn. Like Michael likely suffers from OCD, Laurie and Dr. Loomis also show signs of this disorder. Moreover, Laurie also displays signs of being a psychopath herself. Loomis, Laurie, and Michael could all be psychopaths. But contrary to popular belief, very few psychopaths are violent. In fact, careers for people that could be classified as psychopaths include: lawyers, surgeons, law enforcement, professors, artists, and more. Albeit I am overly simplifying, psychopathy means that you are predisposed to thrill-seeking behaviors and tend to be self-centered (among other characteristics). Laurie is less the final girl in this movie than she was in the original because she is very masculine and protective from the very beginning. There is no one defining moment that she sheds her (heteronormatively speaking) feminine self and takes on the traditional role of a man in stories to save the day and ultimately survive the killer. She is out for revenge the whole movie. I also appreciate how her character provides commentary on the realness of PTSD, and and the affects it has upon the whole body. On the note of revenge, the plot of this film aligns more closely with a revenge plot than a morality play. No mistaking it, Laurie Strode is back, and more phenomenal than ever! I love her character.

(spoilers ahead)

Substance and commentary. The original slashers such as Halloween, Friday the 13th, A Nightmare on Elm Street, and other horror films (that do not fall into the slasher genre) hold up so incredibly well because there is a high degree of subtext that provides a solid foundation upon which to build the more superficial elements of the plot. At its core, the traditional slasher and is a morality play. And this morality goes beyond have casual sex and die or do drugs and die. But the aforementioned are recurring themes in these films. What I appreciate about the new Halloween is not following that approach–at least, not in the same way. It would be all too easy to pick-out the murders based upon that theoretical framework, and Michael is not about to have that. Characters you think will die do not, and other characters that you may not think will die, wind up another Haddonfield victim. The best example of this abandonment of the more traditional approach to slashers is the first kills. One of the past tropes of horror films is that if you are a kid or gay (or queer) you don’t die. Guess again, the 12yo boy who happens upon Michael’s transport bus who prefers dancing to hunting (tipping the hand to the fact he is likely gay) becomes one of Michael’s first victims. This is an indicator that all bets are off–no one is safe. Furthermore, the babysitter that is killed is someone whom is rather likable. She’s a good babysitter–loves her kid–and even when with her boyfriend comes over to the house, they do not engage in anything beyond “dry humping” and some weed smoking. No sex or hardcore drug usage here. Such a great approach because we like the babysitter; however, she winds up a victim anyhow. And Allison’s (Laurie’s grand-daughter) boyfriend kisses another girl at the school dance, but he does not wind up a victim. Although I would have preferred that he died, I like the fact that the rule book is thrown out.

The film also toys around with the idea of the Final Girl by playing around with the hard definition that we’ve recognized for all these years. And it pays off! Furthermore, we have some excellent commentary on and foreshadowing of the role Allison will play later on in the film. She and her boyfriend go to the high school Halloween dance as Bonnie and Clyde–with a twist! They gender bent the costumes. Showing Allison in the pants, foreshadows that she has that same androgynous image that Laurie had in the first film, tipping the hat that she is our final girl. However, she is not the only final girl. We have final girls in this movie. But this concept runs deeper than just the simple fact that we have a trifecta of female heroines. There is pattern established in the movie that when one faces Michael alone that he cannot be defeated. While the journalists at the beginning may seem like mere plot devices through which Michael gets his mask returned, they are so much more. They start the pattern because by themselves, they cannot defeat Michael, and die. The babysitter couldn’t defeat him alone, and her boyfriend died trying to protect his girlfriend. All of them on their own. Even Laurie, though being a solid match for Michael, cannot defeat him on her own either. It’s only when Laurie teams up with her daughter and grand-daughter that Michael can be taken down. Love this!

We also have some poetic justice kills. Loomis’ protege who seeks to use Michael for his own personal gain in the fields of science and academia. He is so incredibly prideful in the capabilities of his brain that his kill is symbolic that Michael will not be used to further his pretentious intellect. He stomps on his head like a pumpkin and the brain matter explodes like pumpkin seeds n a flash on screen (note: this is the most graphic kill). Likewise, the journalists who were using Michael to further their own careers by attempting to be smarter than Michael and even patronizing, wind up dead with primarily injuries to the head. Incredibly symbolic! Furthermore, there are other kills that serve purposes to comment on behavior and intention as well. In addition to symbolic kills and homages to the original, there is a recurring pumpkin and jack-o-lantern motif in the film. I need to watch again, but I believe we have a jack-o-lantern in nearly every scene like we do in the original. In fact, two of the heads of victims are turned into jack-o-lanterns with a flashlight shining out through the decapitated heads. While much of what I have described sounds grossly violent, there is far more violence off screen than what we actually see. Even the kills that are on the screen do not linger. This is important because lingering violence detracts from the narrative and becomes shallow spectacle. Green has a nice balance between narrative and spectacle. He truly showcases he art of storytelling all through Halloween.

Do yourself a favor and go see this movie! It was everything that I wanted it to be. Not only is it a great horror film, it’s a great film period. From the writing to the direction, production design, music and more. It is destined to be a future horror classic worthy of many rewatches.

Profile_PicRyan 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! If you’re ever in the Tampa area, feel free to catch a movie with him!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

Sir Henry’s Haunted Trail full review

Posted on by
Reply

If you’re searching for the most intense local haunt in Central Florida, then you need to head to Plant City to face the terror of Sir Henry’s Haunted Trail. By far, of all the events that I have attended this season, Sir Henry is definitely the scariest out of all of them. From the scareactors wandering about the common areas and queues for the mazes (and yes, I do mean mazes) to the ones within the dark corridors and pathways of the trails, each and every one is uniquely terrifying. Sir Henry, with featured now perennial guest Ominous Decent (whom joined Sir Henry after Hurricane Irma destroyed its original home in Bartow, FL), is made up of three trails, a laser tag arena, and an escape room. Amping up the scare factor, small groups are admitted into the mazes, leaving plenty of space between you and the groups in front and behind. No scares are spoiled like in more conveyer belt type houses. In addition to the attractions, there are shows performed in the presence of the statue of Sir Henry. While resting between mazes and enjoying the food truck offerings, you will be entertained by a group reenacting the Thriller dance and the Lipstick Players performing Time Warp from Rocky Horror Picture Show. So much to do and see at Sir Henry. And with various ticketing options, this haunted attraction is the most scream for your buck. Oh yeah, be on the lookout for Vex. She is a wandering scareactor host who is always happy to answer your questions.

Returning for a second year to Sir Henry is Ominous Decent. New for this year is Twisted Souls, a maze that takes you through the ranch and slaughter house of a family that may just want to serve you up for dinner. Although there are returning set pieces from last year, this year’s maze is reimagined with new twists, turns, dead ends, and haunts. Of all the trails at Sir Henry this year, this is definitely the most frightening of them all. The attention to detail is incredible and nightmare inducing. Each and every trail at Sir Henry has a story posted out front for you to read the background of each and every trail. Although the signage is something that many guests may walk past, take your time to read it. Just like the preface of a book or trailer of a movie sets the tone for the experience, so does this narrative. The general theme of Twisted Souls is hillbilly horror. And within the livestock corals and humble abode of the family, you will encounter unspeakable terror and will wonder if you can escape with your very life.

After narrowly escaping the hillbillies of Twisted Souls,  my friends and I headed for The Carving. Again, there is a great story to read before you ender the terrifying field. From the entrance to the queue to the make itself, there is a noticeable attention to theming. The sinister jack-a-lanterns are incredibly creepy and truly set the tone for what you will encounter in the field. While my friends and I were waiting in the queue, none other then SIR HENRY himself came over to greet us. How many horror attractions have a consistent icon who wanders about, greeting guests? I cannot think of one. I love how Sir Henry walks around greeting his guests. This shows such an attention to the guest experience. Truly adds a personal touch. Instead of a ranch ran by cannibalistic hillbillies, this maze takes you through a field and village of deadly villagers that seek to carve up more than just pumpkins. With only some small candles and the stars to light the way, this is a dark maze. I love how it feels as though you are helpless in the middle of a forest. Because you are actually outside in a field and forest, speckled with foreboding cabins, this maze achieves an intense feeling that no amount of theming in a sound stage can fully replicate. You may even encounter low hanging shrubbery and even thorns. It’s a legit wilderness. Perfectly spaces out and paced, the haunts and scares are terrifyingly effective. Whereas this maze is not quite as scary as Twisted Souls, there are plenty of times that I was scared. And I do not scare easily.

Lastly, before experiencing the laser tag and escape room games, is Silent Walls. What is scarier than an orphanage with a sordid past? Answer, not much. With a serial killer on the loose, do you have what it takes to survive a maze through the house, grounds, and hospital with a murderous boogeyman running around? The entrance of this house is actually a house! You get to enter the orphanage through the front door and enter the dimly lit foyer. Every room is frightening and no amount of psyching yourself out or preparation will protect you from the boogeyman. The boogeyman may be any of the characters you encounter in the house, on the grounds, or in the hospital. Don’t trust anyone. The corridors are narrow and twisted. One wrong turn and you may wind up the next boogeyman victim. Like with the other mazes at Sir Henry, this one also boasts spectacular attention to production design and detail. Not all the scares are jump scares, and that is true of all the mazes at Sir Henry. Some of the frightening imagery is right there in front of you when you enter a room. The combination of jump scares and morbid characters gives this house an extremely strong presence. There is an atmosphere of dread and terror the whole time in the house. This level of fright exists from start to finish.

In addition to the three main attractions, there are two other offerings at Sir Henry this year. Laser Tag and an Escape Room. Both of them are included with the VIP ticket or available as a separate upsell. But you should opt for the VIP ticket since the VIP line access is included. Moore on that in the following paragraph. Providing guests with a break from the macabre, the laser tag setup is team v team in a small arena with cars and barricades. Plenty of places to protect yourself. It’s a lot of fun! I happened to be the highest scorer in my group despite dying 5 times haha. It’s a five minute game, and you will have a blast. Across the common area from laser tag is the escape room. Be prepared to wait for a while. Instead of loading the game with, say 6 people at a time, it’s loaded by party. So, it may take a while to get to your group especially if there are many groups of 3-4 people in front. Won’t talk about the room because that would give away the mystery. But it’s a lot of fun!

Sir Henry’s Haunted Trail has gotten so much right. In fact, their haunts beat out anything that I have experiences this year in terms of the level of scare and (non IP) production design. You DO NOT want to miss this season of Sir Henry. You will have a great time! Now, for some areas of improvement as this attraction continues to grow in popularity. The VIP queue needs to actually move faster. The problem with combining the VIP queue access with the ticket package that includes laser tag and the escape room is that most guest get that VIP combo package. So, the VIP line moved just as creepily slowly as the regular (standby) queue. Solution: Have the base ticket (3 trails), a combo ticket (three trails+laser tag+escape room), and make the VIP queue access a separately purchased premium offering. That way, you can add it to the base or combo ticket package. With it being a separate charge, fewer people will opt for it, therefore the VIP queue will actually more more quickly. I also suggest that Sir Henry add another food truck or two that gives guests different options. Lighting for the two shows in front of the statue needs to increase. And Sir Henry needs to work on how to communicate the actor changes with the hosts in the greeting positions so they don’t snd guests through while actors are changing (delaying the experience while IN the attraction). On the topic of hosts, the queues need to have a greeter at the entrance of the queue.

Although I still have a couple more local haunts to hit before calling it a season and switching gears to Thanksgiving and Christmas, this is on track to be my favorite experience this year. Most scare for the buck, definitely. If you live in Orlando or Tampa, you don’t want to miss this Halloween attraction!

Follow me on

The R.L. Terry ReelView (for films)

Twitter: RLTerry1

Instagram: RL_Terry

Checkout my book On the Convergence of Cinema and Theme Parks

“First Man” full film review

Posted on by
Reply

A solidly good film eclipsed by a star that was born last week. While there have been many movies and documentaries about the space race of the mid 20th century, including the amazing Hidden Figures, this is the first film to truly take us behind NASA and into the very home of the American hero astronaut Neil Armstrong. Damien Chazelle’s First Man is not just another film that tells the story of earth to the moon using familiar events, characters, or archival footage, but instead, it takes us behind the headlines to vicariously experience what it was like for Niel and his family on this and other dangerous missions. This is not a film about the US Apollo mission to the moon nor is it about how NASA had to push through major public negative criticism of its money-sucking endeavors; it is about the hero’s journey. And our hero is Neil Armstrong. As I do not want to spend time on that ridiculous flag controversy, I will summarize that element of the film. The flag IS there at the landing site and there are plenty of flags and references to the United Staes in the film–there–moving on. When it comes to a Chazelle film, I expect a strong screenplay to serve as the foundation upon which the visual elements are build. Unfortunately, Chazelle did not write this film and it shows. It suffers from a weak screenplay that has repercussions felt through the movie. Some critics have been writing about the strong emotional tug in the movie, but I did not feel it. I also feel that Gosling was not at the top of his game, compared to past performances. First Man is all around good, and I hope for nominations for it! It’s just not as strong as I had hoped the next Chazelle film would be. Compared to A Star is Born, First Man is not as strong and I imagine the popularity of this week’s Halloween will also cast a shadow on this riveting story.

Before Neil Armstrong uttered his now famous words when he stepped foot on the moon, he first had get there. But he had to endure a lot more than just training for the Gemini and Apollo missions in order to be the first man on the moon. More than previous films such as The Right Stuff and Apollo 13 also about critical space missions, this one practically places you in the cockpit for a first person journey from earth to the moon. You will be taken back by the sheer number of personal and professional tragedies to befall Armstrong; and furthermore, you’ll feel the vibrations of the rocket, the out of control spinning, and the moments where you are on the cliff facing death. Follow Neil and his family on this turbulent drama that takes the fascination with and mind-blowing nature of the cockpit and turn it into an image and confinement to dread for it feels more like a death trap than the bridge of forging a new frontier.

This is a drama, not an action movie. So if you are searching for a space adventure, then this is not a film for you. But if you want to learn more about the first man on the moon, what he went through personally and professionally and feel what he felt, then this is a film for you. Incredible opening scene! Hitchcock once stated that a writer or director needs to drop the audience into the middle of the action in order to instantly hook them into the story. One of the cardinal rules of screenwriting is to start each scene as close to the end of the scene as possible in order to write leanly and effectively. That is precisely what awaits you at the beginning of First Man. No ramping up to conflict here; you are in the cockpit with Neil Armstrong as he is testing an aircraft when the ship begins to drift closer to space instead of returning to the ground. This opening scene is one of the most incredible ones that I have seen in a long time. Heart pounding. Demonstrating his mastery of visual storytelling, Chazelle crafts an opening scene that thrusts you into a gritty, visceral journey that will leave you breathless. As intense as this scene is, there are man others in the film that will place you at the brink of death and destruction in an effort to puncture a hole into what is possible with the fledgling space program.

On the heels of that incredibly intense scene, Chazelle takes us to a hospital where Neil daughter Karen is undergoing radiation therapy for her tumor. In an attempt to channel Pixar-like storytelling for the opening of a film, we quickly follow the family from the hospital to a funeral for a fellow pilot, at which his daughter is playing, to Neil battling insurance companies and doctors over the phone to an intimate father-daughter moment to lowering Karen’s casket in the ground. As emotional as this opening sequence is, it falls short of where it needed to be in order to truly evoke the strong emotion for which the film was going. Compared to watching A Star is Born the week prior, I was not feeling as strong an emotional connection to these characters to justify how I was supposed to feel after these scenes. Audiences were not given sufficient time to connect with the characters in order to feel the heartache intended to be felt during and after the funeral. It was sad for sure, but not devastating. That being said, it is entirely possible that audience members who have children may have felt the heart-wrenching moment differently because of knowing what it’s like to have a child. It is evident that Chazelle did not write this film because the screenplay is on the weaker side. Now, I am not suggesting the story is weak compared to most films. On the contrary, it is much stronger than many other films; however, compared to what I expect from Chazelle, it is weaker than Whiplash and La La Land.

The screenplay contains three stories. The A story is Neil Armstrong’s personal journey, the B story is Neil’s relationship with his wife Janet (Claire Foy), and the C story is his career at NASA. There is clearly a desperate attempt to link the tragedy of Neil’s daughter to his hell-bent nature to constantly take himself close to death, putting his family and marriage under immense strain. With the tragedy of Karen not sufficiently setup and rushed through, it is hard to connect it to the rest of the movie. The film wants audiences to believe that dangerous missions are Neil’s coping mechanisms to deal with the death of his daughter, but there just isn’t enough evidence in the film support that. I see Chazelle’s desire to link Karen’s death to Neil’s desire to put himself and his family in physiological and emotional harm’s way. In terms of the character development of Neil, the stoic behavior, monosyllabic responses, countless moments of silence, and machismo become repetitive and boring. Although he certainly battles inner demons and real-world obstacles in order to eventually reach the moon, I don’t witness inner character development throughout the screenplay. Neil, at the end of the story, is pretty much the same Neil we meet at the beginning. While we are witness to the strife in his marriage to Janet, that relationship goes no where as well. There is simply no character arc or growth in this film. And that is what hinders this screenplay from being great.

Perhaps the film was built upon a weak screenplay, but there is quite a lot to like about it! Much like Interstellar was showered with nominations and wins in the technical categories, First Man will likely also see nominations for score, sound, editing, cinematography and more. From a technical achievement perspective, this film is incredible to behold. If you have the opportunity to watch the film in IMAX, then that is definitely what you want to do for the full, immersive experience. When you cannot pick out the score, that is often the park of a brilliantly diegetic score that seamlessly integrates into the film. There is a highly emotional component to the score that enhances the screenplay and picks up where the screenplay felt off in order to evoke that emotional response. I absolutely loved the cinematography. Much like the score, the cinematography felt so incredibly natural, so organic. Whether the camera is providing me with a subjective or objective POV, it frames each shot perfectly to communicate the tension and suspense. All around, Chazelle takes all the elements (except the screenplay) of the film and combines them for a solidly good film.

Some quick notes on the performances, I found that Gosling delivered an above average performance. And that’s above average for him, not compared to the litany of other actors. Obviously, compared to other actors, he is at the top of his game. But I feel that he is stronger in La La Land. And the reason for this performance that just didn’t quite hit the mark for me can be traced back to the screenplay. I’ve no doubt that he will be nominated–and he should–but I’ve little confidence that he will win. Claire Foy’s performance of as Janet Armstrong is fantastic! She will most likely also see a nomination for her role as the wife of the first man on the moon. She was incredibly strong, determined, and loyal. She demonstrates a stronger character growth arc than Gosling. The screenplay appears to have developed her character more effectively than his. Compared to the other performances in the film, hers is the most standout.

Definitely see this film. Just because it suffers from a weak screenplay does not mean that it doesn’t have a lot of offer. I greatly appreciate this film for taking us on an intimate journey with the Armstrong family. This is a story that has not been told on screen before and truly shows us the personal and professional links that Neil Armstrong went to in order to stand on the moon and announce to the world “one small step for man, one giant leap for mankind.”

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

Thrillz (theme parks): Thrillz.co

Scream-A-Geddon 2018

Posted on by
Reply

You’ll want to experience the horror again and again. Scream-A-Geddon, located in Dade City, Florida is definitely worth the drive. No question. If you’ve ever wanted to visit one of those haunted house or Halloween events that you find in all those shows on The CW, then visit the houses and offerings of this “horror theme park.” With five exceptional houses, including a haunted trail, plus zombie paintball, and the fact you can make a homemade s’more over the open camp fires, this is by far a don’t-miss local haunt in Central Florida.

From the moment you enter the haunted grounds of Scream-A-Geddon, you will be faced with terrifying wandering scareactors standing in your way between you and the haunted houses and mazes. After confronting ghostly dolls and sinister clowns, you may have worked up quite the appetite. Good thing there are many food options. Of all the delicious “fair food” options, my personal favorite is the s’more kit. That’s right! Scream-A-Geddon offers many camp fires (not for warmth, it’s Florida haha) but for roasting marshmallows and making that quintessential autumnal treat. I had so much fun! Like, for real. I cannot remember the last time that I had the opportunity to make a real s’more with crispy graham crackers and an official Hershey bar.

After savoring every bite of my freshly made s’more, my friend Michael and I made our way over to the Zombie Paintball entrance! Taking the place of the former haunted hay ride, this is a premium offering requiring an additional nominal charge. But I assure you, it’s well worth it! We were ushered past the fair queue of guests to the bus and were greeted by the paramilitary commander who instructed us to take our seat on the bus. I was particularly excited about this opportunity because I had never shot a gun before. At least one that wasn’t attached to the shooting gallery at Magic Kingdom. Once seated, the bus began to take off. The commander informed us of our directions to kill the zombies before they overtake the town. With a great production design including set pieces from the former Haunted Hayride plus new additions and florescent paintballs, this attraction is highly interactive and immersive. It’s a not-to-be missed attraction at Scream-A-Geddon this year.

After taking-out more than a dozen zombies, we jaunted over to a new house for this year. Demon’s Revenge. Such an incredible haunted maze. Unlike the houses at HHN and HOS, the houses at SAG where you are on a figurative conveyor belt navigating the house, SAG only sends through small groups. This enables you to experience more scares without seeing them up ahead and the opportunity to get lost in the maze. Although it is ultimately difficult to get completely lost in the maze, there are plenty of twists, turns, and dead ends that you may encounter. Fortunately, whilst remaining in character, the scareactors will redirect you if you do stray too far from the path. The overall theme of Demon’s Revenge is an old church building that is now overrun with an evil witch’s coven. The costumes and effects are fantastic! You’ll find dragons, Poltergeist-like giant ghosts, and more in this claustrophobic labyrinth of narrow passageways and everything that goes bump in the night.

When we narrowly escaped the coven, and navigated our way out of the old church building, we walked over to test our wits against the Dead Woods. Unlike the simulated woods that are created at HHN and HOS, this horror attraction takes you through the woods–literally. Within only the stars and a glowstick as your source of light, you make your way down the dark pathways through a village inhabited by a cast of characters that typify hillbilly horror. Not one or two cabins in the woods await you, but several that you must pass through without becoming dinner–uhh, I mean asked to stay for dinner. Dead Woods returns for another year of effective scares! The concept of a haunted woods is something that I feel truly adds to the Halloween experience. Something about it feels like Halloween. It may have still been in the 70s or 80s as we braved the Dead Woods, but everything else about it screamed Halloween!

Another returning house this year is Infected: Ground Zero. But just because it is returning for another year of terror, that does not mean that you can plan for it to be the same. What IS the same, is the returning option for additional interaction with the scareactors. By opting for the glow necklace, you give the attraction permission to get up close and personal with you. This can be anything from a creepy body check to being placed in a body bad or even having your hair buzzed off to check for deadly spores (okay, you’re not really going to lose your hair). Another effective layout! Much like with the other houses, this one too feels like a legitimate maze. Be careful which way you go through this infectious diseases camp. You may find yourself face to melting-off-face with those who have already come in contact with the deadly disease.

Across the midway stands Blackpool Prison. A prison more notorious than Leavenworth, Alcatraz, or Shawshank. This prison is filled with the most vile of criminals, many of which are serving time for violent crimes. Like with Infected, this house is also an interactive one, when wearing the glow necklace. Enter if you dare, because you may not be able to break out of this prison. From the moment you enter the dark, dank prison walls, you will be confronted by ruthless and sinister prisoners. By wearing the necklace, you may also find yourself dragged into cells and forced to crawl through small openings in the walls in order to find the exit. In order to keep things warm at the winter, there is a furnace in which you may be thrown. One cell leads to another, with no end in sight. Terrifying imagery and scares await you around every corner, and where you least expect them. An A-class haunted maze experience.

Lastly, Rage 3D was a new addition for 2017 and return with its killer clowns this year. The 3D classes truly enhance the experience of this house. The production design is fantastically colorful! But the surreal effects do not stop there. By far, this is the best clown horror house I have ever been in, and I’ve been to some great ones at HHN and HOS. Next level scary! Scary because you are a little disoriented the entire time, all the while clowns are jumping out at you. You even have to pass through a mirrored room with both fake and real clowns, and you never know which is which. Walls will fall in on you and you’ll have to walk through a spinning tunnel. The lighting and color effects are what impresses me most about this house. Of course, the clowns are nightmarish themselves!

There you have it! Now that you’ve read about it, you need to experience it for yourself. Visit Scream-A-Geddon‘s website for details and tickets!

Follow me on

The R.L. Terry ReelView (for films)

Twitter: RLTerry1

Instagram: RL_Terry

Checkout my book On the Convergence of Cinema and Theme Parks

Visit Scream-A-Geddon‘s website for details and tickets!