The Predator (2018) Review

A solid reboot/sequel for the Predator franchise! Don’t pay attention to the plethora of reviews from critics who are hating on Shane Black’s The Predator. With an entertaining action-horror plot, fantastic cast, and excellent pacing, this is the Predator that we wanted and got! And I am not alone in this, several podcasts and even the Roger Ebert site agree on Black’s Predator. The tone of the movie feels like a throwback to the original, while acknowledging the other movies to maintain just enough continuity where you don’t question where this film falls of what has happened prior. I went into this movie with moderately low expectations because of what I read in the initial reviews, but I was completely surprised by how much I enjoyed it. And not only me, all of my friends who were with me between Rounds 1 and 2 of Halloween Horror Nights opening weekend. You get it all, grizzly action, humor, and entertaining kills. Unlike past movies that tried to “improve” on their 80s predecessors, this quintessential action-horror takes us back to what made the 80s horror endure the test of time. Instead of building the movie around the title character, it builds it around the lead human cast. And a memorable cast of characters, at that. Where some reviewers have found irreverence or offensiveness in the fact that many of the characters demonstrate cognitive and emotional disabilities, this is actually what works well for the film. Furthermore, it highlights how emotional, physiological, or cognitive disabilities do not determine someone’s degree of courage, determination, empathy, or sense of humor. Each of the lead and supporting characters in the ensemble cast overcome any obstacles that stand in their way, whether the obstacle comes from within or from the outside. It is a fun, exhilarating horror movie that will keep you entertained!

“From the outer reaches of space to the small-town streets of suburbia, the hunt comes home. The universe’s most lethal hunters are stronger, smarter and deadlier than ever before, having genetically upgraded themselves with DNA from other species” (IMDb). When US Ranger McKenna (Boyd Holbrook) discovers a crashed space ship and loses his crew to a mysterious alien with futuristic weaponry, he salvages what he can find from the wreckage and mails–in Dr. Henry Jones fashion–it in order for it to not be confiscated by the US government. Unbeknownst to McKenna, the US government is aware of these Predators, and has one sedated for testing in a secret facility. When the US government gaslights McKenna and believes him to be maliciously upholding an investigation, he is thrown onto a bus of other veterans, whom the government does not want to deal with, to be taken to a mental hospital. When the Predator escapes the facility, McKenna teams up with his fellow soldiers on the bus to take down the alien killer before more harm can be done. Meanwhile, the situation is complicated when a boy accidentally triggers the return to Earth of an even bigger Predator, and only McKennas’ ragtag crew of ex-soldiers and an evolutionary biologist can prevent the end of the human race.

Since there isn’t much to analyze here, I am going to keep this one short. What I find most interesting about The Predator, is what it was NOT more so than what it was. It wasn’t another reboot of a past franchise that overly injects vapid dialogue and self-aware humor or a complex plot. The Predator heeds the maxim “simple plot, complex characters.” Moreover, it also wasn’t a parody or satirical piece that was making fun of the genre or source material as if it was no longer relevant to audiences. It would have been far too easy for Black to have made a mockery of this franchise or wrote-directed something that was just complete schlock; but he did what many thought was impossible with this horror creature feature. He revived what we loved about the original, made a few tweaks, and gave us a strong reboot/sequel that was incredibly entertaining to watch.

After watching the movie, I am left with the conclusion that Black was able to recapture what made the first one work so well and actually repeat it, with some exchanges of grizzly violence for humor. But why does this movie work so well? Black started with characters, then derived a plot from those characters with incredible precision and strategic pacing. The tone and rhythm of this movie are remarkable. Yes, remarkable. Black was able to achieve what fans of great action movies love and take for granted, but is highly difficult to pull off effectively. The placement of dramatic beats. The reason the plot of this movie works so well is because Black knew where to place the emotional and action beats, and how to build up to them, and drive them home. He connects to these beats through character-driven development through which plot is derived.

For fans of the franchise, this truly IS the Predator movie that you were hoping for. Even those who are new to the franchise will enjoy the movie because it works as both an homage to and a pioneer in rediscovering the attraction of this iconic creature feature.

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

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

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

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

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

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

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

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

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

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

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

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

“The Golden Girls” Television Show Review

The_Golden_Girls_opening_screenshotThank you for bein’ a friend! Those now iconic lyrics opened Touchstone Television’s (Walt Disney Company) show on NBC for 180 episodes over 7 successful seasons. Earning multiple awards from Emmys to Golden Globes, this series is also one of only three sitcoms in which each principle actor received an individual Emmy. The Golden Girls was ranked in the top ten shows for six out of its seven seasons, TV Guide (2013) ranked it 54/60 in the highest rated programs of all time, and the Writers Guild of America (WGA) ranks it at 69 out of the top 101 best written series of all time. So many accolades. Created by Susan Harris, the show ran along side another 80s hit The Facts of Life. The theme song, written by Andrew Gold and recorded by Cynthia Fee, is also ranked among the top theme songs of all time. No wonder why it is still running and bringing us endless laughter (currently runs on Hallmark Channel). Much like I Love Lucy has never been off the “air” in its entire existence, The Golden Girls has also been kept on a channel somewhere since it first debuted on September 14, 1985. From laughter to tears, these four women have been such a part of Americana and continue to be referenced in pop culture. Not limited to any particular demographic or cultural group, this show transcends all kinds of racial, ethnic, gender, economic, and cultural barriers. But why has this sitcom (situation comedy) continued to be popular for now 31 years? Let’s explore!

GG_HouseIt’s been 31 years since we were first introduced to Dorothy, Blanche, Rose, and Sophia at an upper middle-class home in the residential neighborhoods of Miami, FL. Ever since 1985, these four single older women have been coming into our living rooms and, for many, have become part of the family. The sitcom represents a radical move by the Walt Disney Company and NBC in that the show featured so many taboos, at that time, in broadcast television. In many ways, the show was 2-3 decades ahead of its time. The very unique nature of the show is part of why it was such success. However, the continued success of the show goes way beyond just being uncanny for its day. For a show to stand the test of time, it cannot be, in whole anyway, (1) a product of its generation (2) contain proliferated pop culture references that significantly support the plot (3) must have exquisite writing (4) have a phenomenal cast that is as interesting to watch and listen to as the plots are engaging and (5) contains characters that one can identify with decades down the road. Over all, the show has to be unique, timely, and just written and acted exceptionally well. As this is a sitcom, in short, the jokes and conflict have to still be relevant in society for many years down the road. Although entire critical analysis articles could be written about each of the characters (and actors) respectively, the focus of this article is a general overview of why the show is endearing even to this day.

GG Cast CrewBehind every successful show (especially dialog-driven ones), there is solid writing. After creating the show and writing a few episodes, Susan Harris became less directly involved in the series. The head writers of the show (for four seasons) were Kathy Speer and Terry Grossman who would each receive numerous awards during the series’ run. Following the fourth season, they turned the reigns over to Mort Nathan and Barry Fanaro who would also go to win awards as well. Other than eccentric 80s attire, it’s the comedic conflict, sarcasm, quick witted remarks, and self-deprecating humor that keeps audiences coming back for more. No matter how many times I have seen each episode, I still laugh every time; the shows never becomes boring. The four women boasted incredibly sharp humor and were very secure in themselves. The creative leadership knew that the show had to leave its mark on television. Quite regularly, the plots were used to not necessarily address outrageous ideas, but important ones. Important ideas and values that had not been addressed in television before. What stands out most about the writing? The fact that progressive values were part of the show’s DNA. From ethnic, racial, religious, cannot forget sex and dating, and of course aging. At its core, the Golden Girls simply made aging fabulous! A good test to understand just how brilliant the writing and comedy is by turning off the picture and listening to the show as if it was a radio broadcast. Most likely, you will find yourself laughing just as much as if you were watching it. You can follow the story without the visuals to accompany it.

GG_Group_ShotBut isn’t television a visual medium? Yes. However, sitcoms are much more similar to live theatre than small cinema. Part of this is because a traditional sitcom is shot in front of a live audience. Just like stage actors feed off of the laughs from the audience, sitcom actors go through similar motions during a performance. Brilliant dialog and plot structure animates characters, and boy were these ladies animated! You won’t find four closer friends. These ladies could insult one another viciously and still remain intimately, but platonically, close. Each and every episode was so very interesting and feels new overtime. Not even a show like Friends holds up as well as The Golden Girls. The relationship between the four women was incredibly dynamic. Hardly an episode goes by that there aren’t alliances, betrayals, misunderstandings, or love triangles. Sometimes we venture to doctor’s offices, restaurants, or the parks; however, most of the time is spent inside the sun drenched Florida multi-champer house. Comparing the show’s floorpan to the exterior of the house, such a floorpan simply cannot exist. Haha. But that’s part of the fun. Unlike movie or television drama, a situation comedy is able to bend logic and make up for that with comedic timing and material. Moreover, the fashion of the girls definitely cannot be ignored. From flashy to trashy, these girls have it covered. The best part of the fashion choices is that, for the most part, the choice of clothing is an extension of the characters themselves. The fashion alone, is something that could be analyzed and actually has been in the past.

GG around tableWhile aging, women’s rights, and dating were reoccurring themes and tied directly to the show’s premise, other once taboo social topics were important milestones in the series’ development as well. Although there are a few social issues that could be mentioned, the one that is the most prominent after the ones that have been mentioned are topics dealing with gay men and women. Nearly a quarter of a century before the Supreme Court’s historic ruling on the legal definition of marriage equality, The Golden Girls had already tackled that subject and brought it into the mainstream. There are a few times that a gay character was the focus of a show, but the episode that stands out the most is when Blanche finds out that her brother is gay (and later there is an episode where he introduces her to his fiancé). This is one of the toughest episodes for Blanche and one other best examples of character development. She faced a situation that thousands of parents and siblings face everyday across the country. Before Will and GraceGleeThe New Normal, and other popular shows, these four women highlighted real world problems and social issues that continue to be battled today. Indirectly, gay social issues and stigmas were also dealt with. In the episode where Rose is contacted by a hospital regarding the possibility of her having contracted HIV through a blood transfusion, the girls take the then-unpopular stance that HIV/AIDS was not a punishment for being gay but a disease that knows no social, ethnic, sexual orientation, or religious barriers. They brought out the fact that it could happen to anyone. The brilliance of how these once-taboo subjects were handled is seen in how, amongst conflict and tears, the girls somehow still managed to bring humor into the mix, and leave you with a smile.

GG hugAfter watching this show for many years, it still has the ability to make me laugh uncontrollably at times. And, that sentiment is felt by many who have continued to visit the home of Dorothy, Blanche, Rose, and Sophia over the decades. There is so much to explore in this show, and why it continues to be popular today. From the writing to the acting and humorous conflicts to dealing with hard topics of bigotry, disease, sexual orientation, and aging, The Golden Girls continues to be a show that can help you laugh on the worst of days. Although there are shows that have attempted to be a modern day Golden Girls, none can hold a candle to these amazing performers and writers. There is a magic quality to the show that can never be duplicated.