Tag Archives: Film

“MA” Horror Movie Review

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A delightfully disturbing and thought-provoking Carrie meets Misery horror movie. Oscar-winner Octavia Spencer delivers an outstanding performance; however, the movie is unfortunately hampered by a weak screenplay with flat characters. In short, the reason to watch this movie is for the terrifying performance by Spencer, solid world-building, and commentary on high school bullying and teen sexual assault. Tonally, MA is a throwback to 70s and 80s slasher horror complete with the slow-burn windup, off-beat comedic schticks, and a descent into gnarly violence. Not all the kills cause you to wince as the screen holds your eyes hostage in the pleasurable unpleasure, one of the kills will leave you cheering–no seriously, it will. Built upon the premise of the sins of the parents will be visited upon the children, the screenplay does not hold back when taking us to some very dark places that fester with anger, fear, and resentment. With so much going for it, it’s unfortunate that the movie suffers from on-the-nose dialogue, leaving little room for subtext. Furthermore, most of the characters lack significant dimension that could have propped up this movie. Some interesting relationship dynamics and backstory are touched on, but never followed through in a meaningful way. While Spencer is truly the glue holding this movie together, there are some highlights worth discussing.

A lonely middle-aged woman befriends some teenagers and decides to let them party in the basement of her home. But there are some house rules: One of the kids has to stay sober, don’t take the Lord’s name in vain, and never go upstairs. They must also refer to her as Ma. But as Ma’s hospitality starts to curdle into obsession, what began as a teenage dream turns into a terrorizing nightmare, and Ma’s place goes from the best place in town to the worst place on Earth. (IMDb)

While most of the characters lack any true dimension (except Ma), the ensemble cast is comprised of some highly relatable characters. At the forefront of the cast is our title character of Sue Ann (or Ma). If you are coming to this movie as a single individual over 30, then you will likely identify with her by empathizing with her backstory and understanding what it’s like to feel that life is a parade passing as you wave it by. Furthermore, Sue Ann suffered repeated bullying, rejection, and even teen sexual assault that left a lasting psychological trauma. Or maybe you are the former popular high school Erica who moved away from her jerkwater town to Los Angeles, lived a wealthy life, just to wind up a divorcee and back in your hometown as a cocktail waitress. Perhaps you are the new girl at school Maggie, who grew up in Los Angeles but now is back in dismal Ohio during your junior or senior year of high school because your dad left your mom (Erica) for another woman. You could be the Regina of your group of friends, the dude bro, or the all American boy with a touch of geek. Whatever your high school experience or how it affected your adulthood, there is likely a character with whom you can identify.

Although the film could have commented more on the PTSD associated with high school bullying in a more meaningful way, and derived even more horror from it, it does serve as an exploration of the real, lasting effects on the psyche. A brief character analysis of Sue Ann reveals someone who is trying to capture that which evaded her in high school: the parties, the romance, the care-free friends. Because of the abominable treatment of Sue Ann by many of her classmates in high school, she suffered a trauma that mitigated her ability to socialize properly and psychologically mature. Therefore, as she grew older, she was constantly reminded of that which she could not experience in high school. So, when she saw a moment to reconnect with her youthful self in being needed by the group of teens outside of the gas station to buy alcohol, she seized the opportunity. Of course, the fact that our all American boy Andy is the son of the guy she crushed on in high school, definitely helped her make the decision to help. Unfortunately, her high school crush was responsible for the sexual assault she endured. A sin for which both father and son would pay. It doesn’t take long for the teens to see the cracks in Sue Ann’s fragile veneer. While the teens enjoyed Sue Ann’s party house and the charismatic Ma, things were fine. When they rejected her, things took a grave turn for the worst. And just like that, she was reminded of the torment from their parents in high school and began to plot her revenge on both the teens and their parents. In this respect, she is a little like Freddy Krueger because in A Nightmare on Elm Street we have the concept of the sins of the parents will be visited upon the children.

If you went or are going into Ma with the desire to see a terrifying horror movie from start to finish, then I need to warn you that this is a slow burn horror movie. Not, that slow burn is without its intrigue and suspense, after all, this is where the world and relationship building happens. However, this movie does not reach its horror status until the third act. But once the horror hits, it hits hard–gnarly even. Even the kills/tortures that you saw in the trailer still pack a powerful punch. Most of kills are nightmarishly real. Very little visual effects here; you get the benefit of some highly authentic practical effects. Yes, even the lip sewing scene. Probably one of the most disturbing torture and kills involves animal blood; this moment is nice homage to both Misery and Carrie, but not a copy of either. There is a poetry to the tortures and kills. No one is targeted out of sheer happenstance, but targeted because of whom or what they represent. The sins by which Sue Ann judges the teens or parents are directly connect to or represented in the manner in which they meet their demise. More than the creativity in the actions of Sue Ann, the reasons why she feels the way she does are the most interesting. Even though we should be disgusted at the actions of Sue Ann, we cannot help but empathize with her because of her troubled history and past trauma. She wants what any of us want: to love, have our love returned, and be accepted.

Is it a great horror movie? No. But is is a solidly good one? Yes. If for no other reason, you watch Ma for the outstanding performance by Octavia Spencer! She is absolutely captivating and will leave you with many WTF moments. Interestingly, this is not Spencer’s first time in a horror movie; she was in Rob Zombie’s Halloween II. I hope that we get to see her in more horror movies in the future because she did such a fantastic job with this one. If you’re looking for a fun, popcorn horror movie that–to its credit–does have some thought-provoking content, then you’ll enjoy Ma.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

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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“Rocketman” Movie Musical Review

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Well, it’s better than BoRhap, but I should’ve rocketed passed this one. Before you throw tomatoes at me, as my opinion is clearly in the minority on this one, let me start out by stating that I do not care for rock n roll fever dream musicals. If you are unfamiliar with that subgenre of movie musicals, they are best described as those musicals that are surreal, nonlinear, and ultimately driven by emotion and image versus action or plot. Think of a poem versus prose. If you’re looking for an example of this type of movie, then look to Across the Universe. If you enjoyed Across the Universe or are simply a fan of Elton John’s music, then you will definitely enjoy Rocketman. If you are like me and do not care for the modern approach to a musical or unfamiliar with Elton John’s music beyond Step into Christmas, Rocketman, or The Lion King, much like me, then you may want to consider blasting past this one. As outstanding as Taron Egerton’s impersonation of Elton John is, I am not ready to give him an Oscar nod. Personally, I do not consider excellent impersonations on par with acting. Impersonation and acting do not weigh the same, in my opinion. However, his performance appears to be highly committed and accurate to Elton John, which adds immense support to the tagline Taron Egerton is Elton John. Furthermore, this performance provides demonstrable evidence that Egerton is capable of a wide range of future roles. Where I do hope the film sees Oscar-nominations is in the spectacular costuming and mesmerizing production design. Those costumes were absolutely mind-blowing! For fans of Elton John’s music or simply the modern approach to the movie musical, then this will certainly be one to catch in the cinema on the big screen.

Rocketman is a modern movie musical that takes audiences on a fever dream journey through the highs and lows of Sir Elton John’s career from his breakout years to headlining Madison Square Garden to addict recovery and his resurgence in the 1980s.

Even before I told my friend that I did not care for the movie, she already knew. Why? Because she knew that I didn’t care for modern musicals; therefore, she extrapolated a hypothesis that I did not like Across the Universe. She knows me very well. Now, before you think that I only like classic musicals, let me elaborate. When I say modern, I am referring to a modern approach to the narrative structure and execution of the musical numbers. For instance, I absolutely loved La La Land and greatly enjoyed The Greatest Showman. However, both of those are classical in their respective approaches to the movie musical. In terms of Broadway, I love Sunset Boulevard and Mamma Mia, both of which are chronologically modern, but the former is still a classically structured musical and the latter’s worldwide success is attributed to the timeless music of ABBA, with which I am very familiar. If I use Mamma Mia or Mamma Mia Here We Go Again as modern movie musicals, that I liked, to which I compare Rocketman, then I assess that if I was more familiar with Elton John’s music, then I would have probably enjoyed the movie a lot more. After all, I went into it with the certainty that I was going to enjoy it. As there are no real shortcomings in the movie (except for some of the clunky dialogue), I am left with the evaluation that I simply do not care for this type of storytelling, so that is why I did not care for the movie.

My favorite moments in the movie are the ones between Elton and Bernie, specifically the one just before a concert in which Bernie urges Elton to reconnect with his child-self to remember why he loved music to begin with. Elton refuses to acknowledge his life before his Elton John persona, and snaps at Bernie. Two seconds later, he reaches out his hand to grab Bernie’s and apologizes. This shows the complexities of their longstanding platonic friendship, and therefore visually communicates the strength and depth of their relationship. At the core of this movie, it is about the rise, fall, and rise of the central character that is guided by an unreliable narrator. The nonlinear narrative begins in the present day, then flashes back to the past. And this goes back and forth until the showdown wherein we move past the moment that we opened with to jump forward to Elton’s recovery and end BEFORE The Lion King. I know. I was hoping that we were going to get a reference to The Lion King and then end the movie. Because this is a rock n roll fever dream musical, it was important to establish Elton John as an unreliable narrator because we then interpret what we are about to watch through a highly subjective lens. Subjectivity is important in the interpretation of a dream, and this story is very dream-like. Since the movie begins with an addict Elton John and ends with a recovered Elton, this unreliability allows for a greater character growth arc that is emotionally driven. Emotion is of vital importance because this story has far more in common with a poem than prose.

Perhaps the narrative execution is not to my liking, but the musical numbers are highly engaging and lots of fun to watch. If you love the music of Elton John then these musical numbers will tug at your heartstrings or make you jump to your feet and dance along with the movie. The first act is quite strong, and the second act is moderately strong, but the third act is a little clunky. Still, every moment of this movie was more enjoyable than BoRhap. The movie would have played stronger for me had it not been filled with one-dimensional characters wrapped up in a lackluster plot. But hey the music and costumes are great! If you want the full experience of Rocketman, then I feel that you want to watch it in a Dolby Cinema auditorium for the exquisite audio and picture quality. Whereas BoRhap was mostly about the music, this one is all about the imagery followed by the music.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

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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“Office Killer” Throwback Thursday movie review

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Ever see one of those indie horror-comedies that was panned by the critics when it came out a couple decades ago just to realize that if it was released today that it would be the talk of the horror community? Well, that is 1997’s Office Killer starring Carol Kane (When a Stranger Calls), Molly Ringwald, and directed by famed photographer Cindy Sherman. Kane delivers an outstandingly bananas performance that is a combination of Norman Bates and Patrick Bateman. Sherman certainly displays her adoration for the cinematography of Hitchcock’s films in many of the scenes in how the shots are framed and blocked. You’re hard-pressed to find many reviews of this horror-comedy even on LetterBoxd. It’s baffling to me why this movie hasn’t received more attention from the horror community on Twitter, blogs, and podcasts. Perhaps it’s because it is no incredibly obscure that you have a hard time even finding it on DVD, let alone streaming. A friend of mine had to order his copy of the movie from Spain. That is how difficult it is to find this movie. Even the few reviews I found were not flattering–except a couple that write about what I witness in this movie. The title works in two ways (1) it’s a description of how even in the 90s there was a fear that computers would kill the traditional office environment and (2) the literal description of a slasher in the office. Furthermore, there are plenty of moments and kills that serve as a freudian commentary on the American workplace. So I suppose it’s up to me to direct attention to this horror gem!

From the beginning, I had a feeling that I was in store for a highly artistic indie darling of a movie as soon as I saw the fantastically creative opening credits accompanied by a creepy score. Following the opening credits, there was a very Hitchcock shot that intrigued me and tipped its hat to Sherman channeling her award-winning photography into the moving images on the screen. Typically, horror movies don’t have narration but we begin with a narration. Not knowing anything about this movie, I was completely unsure of what to expect. Even the first kill didn’t tell me that I was about to watch a slasher. But as I learned more about Dorine (Kane), the more I was sucked into her world and completely intrigued by her choices and lack of social awareness. Playing opposite Kane is the indelible Molly Ringwald as the bitchy, judgy coworker Kim. Her performance is great! Not great in that it’s a phenomenal performance, but great in that she showed that she can play a character that is in stark contrast to most of the characters she has played throughout her longstanding career. Most of the performances are caricatures of various people found in a typical office. In fact, I’m curious if The Office ever parodied Office Killer because it seems like a missed opportunity if not. If you are aware of an episode that pays homage to Office Killer, let me know!

Perhaps the strength of this movie is not the acting (albeit, Kane is fantastic), but the strength is in the production design, costuming, plot, and Freudian themes. On the plot. Yes, the plot. You may be scratching your head because most reviews have slammed the plot. But I feel that 1997 critics and even those who come across this film today largely missed the point of the plot. It’s not supposed to be a compelling story with thought provoking imagery and characters, it’s supposed to be a 70/80s horror movie that is darkly funny! It’s just happens to be taking place in the mid 1990s. Perhaps this movie came out too close to the 70s/80s and thus felt old and cheesy. I posit that if this movie came out today, that it would be praised for its embrace of what we love about 70s/80s slasher movies! We don’t watch and rewatch these movies because they have incredible plots. We watch them because they are lots of fun! And Office Killer is incredibly fun to watch. While we may not know precisely why Dorine’s switch flipped and she went full–what I’ll call–Norman Bateman, we are given indicators of her unstable psyche through her flashbacks to her sexually abusive father and complacent mother, and of course the present story of most of her coworkers bullying her. Those three elements, plus the opportunity, work together to set her up to be a total psycho. Her actual kills may not be creative–that is, the method by which she kills–but the creativity comes into play afterwards with the corpses piling up in her house. She talks to them, plays with them, articulates them in such a manner that they become her action figures so to speak. It’s incredibly creepy but in a comedic way.

Now for those Freudian elements. This is what I find most fascinating about the movie; and what should provoke conversations amongst cinephiles and horror enthusiasts. One of the earliest shots in the movie is an extreme closeup (or ECU) of a staff member’s mouth as she is on the phone. Her red lipstick accentuates her mouth and points to the Freudian oral fixation. The scenes that follow depict female office staff members in a variety of different capacities and situations. It appears as though Sherman was painting a portrait of the male gaze over the female body. Moreover, what this movie appears to comment on and depict is Freud’s study on Fetishism. According to Freud’s study, and not to over simplify, fetishism is a fixation on an object or physiological practice of a substitution for intercourse following a sexual desire awakening in the body and mind. In more contemporary terms, the definition of fetish has evolved beyond just sexuality, but is generally still associated with sexual practices. Since likely paternal sexual abuse happened to and her mother turned her head to the allegations, in an effort to deal with the trauma, Dorine substituted what she wanted to do to her parents and others who abuse or bully her by engaging in slasher-style killings.

Each of the kills is a warped poetic justice based upon what Dorine saw as wrong with the victim. A great example of this is the attempted strangling of Kim. Since Kim ran her mouth constantly, Dorine sought to silence her voice. This same idea can be applied to the other kills too, and even in how the corpses are treated in Dorine’s basement. There is a playful nature in Dorine’s approach to the kills and even more so with her interactions with them afterwards. The depths of her psychosis are revealed one layer at a time. Even when you think that Dorine is about to get caught, she gets away with it; she alludes her would-be captors by searching the want ads and heading for another job in an office–perhaps your office! With each kill, Dorine integrated an element of that victim into her own life. She goes from mousy, frumpy to stylish and seductive. Her office underwent a transition and so did she. Dorine killed her former self to become the self that she wants to be. There is so much to enjoy about this horror comedy, and it baffles me that more horror fans and cinephiles have not talked about this movie. If you can somehow get ahold of a copy, then I highly recommend it if you enjoy slasher movies with a tough of style and laughter.

 

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

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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“Long Shot” full movie review

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Old fashioned rom-com meets political satire in this reverse Pretty Women that’s clever, heartwarming–oh yeah–and hilarious! After years of absence, the American romantic comedy has been slowly making a comeback in recent times; take last year’s Crazy Rich Asians for example. Directed by Jonathan Levine and written by Dan Sterling and Elizabeth Hannah, this edgy, smart comedy uses its two charming yet unlikely lovers as a conduit through which the socio-political state of America is explored in unapologetic, candid ways. Starring Charlize Theron and Seth Rogen, this movie demonstrates that real issues facing us today can be acknowledged but never become the central focus of the movie. It is the superb chemistry and character development of Theron and Rogen that carries this movie. Simple plot, complex characters. Although there are very Rogian moments, Theron and supporting actor O’Shea Jackson Jr, playing Rogen’s best friend, help to balance him out. Thanks to the outstanding comedic writing powered by external and internal conflict, this movie elevates the rom-com to rise above the predictable to deliver an endearing story that is equal parts whimsical and plausible. Theron and Rogen deliver stellar performances that carry the movie from start to finish. And you know what, it looks like they are having a great time!

When Fred Flarsky (Rogen) learns that his independent newspaper has been bought out by a media conglomerate, he quits instead of having his voice silenced or conformed to fit the new business model. By sheer happenstance, Fred runs into his childhood babysitter Charlotte Field (Theron) the current Secretary of State at a party to which his best friend (Jackson Jr.) brought him to cheer him up. When Field decides to prepare for a presidential run, she hires Flarsky to punch up her speeches because she likes his honesty and chutzpah. Little did either know that this business partnership would ignite old flames that would give way to political and relational conflict.

Not to oversimplify, but everything in this movie works. And that is rare for a comedy to work this well for me. If you’re familiar with my writing, you’ll know that I do not watch many romantic comedies, and seldom truly adore one; but, I sincerely enjoyed this movie. Levine demonstrates a commitment to effective directing that builds upon the impeccable casting and solid screenplay. Long Shot is one of those rare comedies that gives us captivating characters from the onset and a plot that, albeit unlikely, could very well exist in real life. Whereas it would have been so easy for the focus of this politically charged fish-out-of-water meets romantic-comedy to be overly concerned with the politics to the point that the characters and plot suffer, the story is consistently character-driven by using the plot to explore socio-political commentary that ultimately fuels the conflict. Topics such as the environment, racism, religion, and feminism are highlighted but never steal the spotlight from the journey of Flarsky and Field. And the screenplay gives us some thought-provoking reversals that go to show that the very group that claims to be the most tolerant of differences might actually be the least tolerant of all. The fact that Field is a woman and must play by different rules than male politicians is acknowledged but doesn’t become the focus either. In short, this movie has a well-defined central character (Charlotte Field) with a clearly defined external goal (to become President), fueled by an internal need (connection, both with herself and a partner) and motivation to achieve the goal (to make a positive difference for the American people). That is why the writing works as well as it does. Everything else is icing on the cake–and it’s delicious icing that is neither too stiff nor too sweet.

Pretty Woman works as well as it does, and has found itself a beloved movie not because of the social commentary but because the audience fell in love with the stars and desired to see them find happiness. The same can be said of Long Shot. I was hesitant going into the screening since I am not usually a fan of Rogen’s comedy; but I was confident that with Theron, an actress I have long since found to be outstanding in talent, beauty, and philanthropy, Rogen’s over-the-top self-deprecating acting would have a equally charismatic actress to balance him out. The relationship between Field and Flarsky is so incredibly genuine. No pretense here. Both of them say precisely what they think, not shying away from feedback or rebuttals that could mean the end of the friendship, partnership, or careers. Combining Field’ workaholic, domineering, savvy Secretary of State turned presidential candidate and Flarsky’s radical, uncouth, abrasive journalist turned speechwriter provides audiences with a refreshing take on a staple genre of motion pictures. They have have different ways of showing it, but both characters are Type As that are stubborn, idealistic, and seek to do the right thing by the American people–Field as a politician and Flarsky as a journalist.

All throughout the movie, conflict arises out of Flarsky’s reactions to Field’s platform and policy changes; furthermore, additional conflict arises out of Field’s reactions to the choices made by Flarsky as they could damage her chances at the presidency. Despite all the conflict, it comes from being committed to a passion, and it’s that unapologetic passion that draws them to on another. That, and the fact they are childhood friends, and are affected by the power of nostalgia. The TV celebrity turned President of the Unites States is definitely built from tropes and characteristics of our current POTUS, but never feels too much or forced. Likewise, the character of the media mogul is clearly derived from Rupert Murdoch. Both these oppositional characters are entertaining without ever going over the top to make a point.

Although it is Rogen who is first billed, and therefore is likely the intended central character (from the perspective of Lionsgate), it is Theron’s Field who is the central character of this story. Just because you are introduced to a character first, doesn’t always mean that they are your central character. In a manner of speaking, Rogen plays the role of Field’s conscience, a sort of moral/ethical compass that doubles as a vessel through which Field rediscovers her ambitious youthful self and all the convictions therein. Rogen is not the only conscience/moral compass in the movie, he too has one in the form of his best friend. The best scenes in the movie are those where heated arguments or passionate disagreements take place. No real surprise there, but these arguments always have something to teach the characters and, by extension, the audience. One of Flarsky’s purposes is to remind Field why she got into politics (even during her time running for student council) at such a young age and that she should never compromise on her convictions–stay true to herself. Furthermore, he is also the vessel through which Field rediscovers and connects with her needs as a human, as a women. A need to reconnect with her playful self that will ultimately unleash who she truly is. Likewise, Flarsky’s successful best friend surprisingly emerges as his conscience. Only instead of providing moral/ethical direction in the world of politics, it is on a more relatable sociological level. Flarsky is confronted on his gross intolerance of all those with whom he disagrees in terms of religion, love and support, and even racism. He buys into the stereotypes just like those he accuses. Great scene!

Thinking of this movie and Pretty Woman, I am left with this one being the superior movie. Not knocking Pretty Woman, I still respect it, but Long Shot takes what Pretty Woman did right, and elevate it to the next level. One of the biggest differences between the two is the style of comedy. Long Shot is definitely a hard R comedy whereas Pretty Woman is more “family friendly.” You can enjoy both equally! A movie about underdogs, this movie may very well be an underdog at the box office in May, but it’s certainly worth the watch if you’re in the mood for an edgy adult comedy.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

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

Avengers Endgame Full Movie Review

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By Raul Navedo of the Minorities Report Podcast

“Part of the journey IS the end.” And what an end we’ve been gifted with. We live in a world that has had to endure Kingdom of the Crystal Skull, TDKR, and Justice League. Where your average ensemble film can’t get pacing and structure right because of how many A-Listers have to share a narrative. A place where “spectacle” tends to trump storytelling. It’s no wonder why we walk into things like this with some concern. Worried that we will be let down like so many times before… But I can now say, not this time. This time we can walk out of the theater like Judd Nelson and throw that fist in the air, and I hope some of you do, because our beloved Russo Bros. have brought an epic and satisfying end to one of the greatest journeys in cinematic history.

I’m not going to spend a lot of time on the breakdown because we all know it and if you don’t, then this is not the place for you. You clicked on the wrong “Avengers” from the wrong decade… Our team is back to kill Thanos and try to correct what he did. Some of our heroes are in VERY VERY VERY low places, and I’m not just talking about their gut; but they have to get it together for a long-shot opportunity to regain the people they have lost while making up for the years humanity can never get back.

Guys, I don’t know if you are aware but our current MCU universe is made up of 28 (from my quick count) lead, non-supporting, characters that make up our heroes. Extend that to supporting and we are at 40, but let’s stick to 28, shall we? To consider what the Russos had to work with to balance screen time to appease the fans of all of these franchises. Breaking down each storyline and finding ways to–not only represent them well–but end them well with a conclusion that is both epic and satisfying. Funny and heart breaking. Some would say it’s too much for one person to handle… Luckily we got two!

The plot was handled so well even though there was so much to work with, and I know it was a three hour film; but honestly, it could have been longer. One of my biggest issues with the film is the pacing in the first hour. It is a bit rushed; but then again, if you consider where they need to get and all they need to do then you understand why it is so. However, if you add another twenty minutes to the film, that first third will feel a lot better. For the general public, a three hour film is too much to handle. So, I get it. The pacing seems to settle significantly once a certain character pops back into the world and puts a plan in motion that, though the risk is high, the reward is, literally, a trillion times better! “We owe it to everyone who isn’t here to try.”

As a kid I used to own a VHS copy of Titanic. I remember it was so long it came in two tapes. The second tape began right as Jack and Rose leave the iconic handprint on the glass. They run out to the deck laughing. The two guys in the crows nest see them getting frisky and then we get the comedic “If that’s what it takes to get warm I’d rather not” line right before we hit the glacier. I remember this because I watched the second half of Titanic easily over a dozen times. I would just pop in the second tape. If VHSs were still relevant this would be this generation’s Titanic. The whole film is great but the second half is so much greater! Kids would know the second half like the back of their hand and their recollection of the first half would amount to lovers standing at the front of a ship with their arms out AND Rose’s boobs. Hopefully you are still tracking with me. Although the first half of this film is great, the second half is what people will keep coming back for.

This is the culmination of 2,448 minutes of superhero excellence, and the pressure was real but the “Endgame” was handled so well that few will have a hard time enjoying these three hours that fly by before you know it.

Besides the first hour’s pacing being a bit off, there was one scene that is truly problematic. I may get some hate for this but someone has to say it! The forced unnecessary-female-empowerment-moment. Not that I have a problem with an awesome kick-ass girl scene but this one is so blatantly forced that it is very difficult to enjoy without mocking. I loved the similar moment in Infinity War but I didn’t have to suspend disbelief to enjoy it. Everyone around me shook their heads–women and men My wife was right next to me saying “So dumb…”

That is truly the worse moment in the film for me, and it wasn’t even a full scene. Just a quick moment. The rest of the film was filled truly great moments where we felt deep joy and heartache that was fueled by some tremendous acting. Everyone did exceptional, but I have to say hats off to Robert Downy Jr who created some complicated emotional moments. The only thing I was left wanting was Captain Marvel. I really like what Brie, the Russo’s and Anna & Ryan did with her character so I expected to see more of her. I mean, it must be tough considering this was shot before Captain Marvel even had a script so they had no idea how well her character would do and how big her fandom would be but I wish they had just trusted that people would jive with her and that her solo film would break a billion at the box office.

All that being said, this is a great film that I will probably see five times in theaters and will surely talk about at length. It is definitely worth the watch that I need to say that, and it will likely end up at the top of my MCU ratings. “Part of the journey is the end” and, as I writer, I believe that it is not only part of the journey but it is the most important part. It is the part people leave with. The part of the story that determines how you feel when it’s all over. Did you know our strongest memories are attributed to emotion? That’s why the end is the thing people will discuss and breakdown most. The part they will criticize or admire the most. It’s the part that keeps them coming back like when Cal is chasing Jack and Rose through the sinking ship while shooting at them…

The end is everything and, in this situation, everything is pretty friggin great!

You can follow the Minorities Report Pod on Twitter! And visit their website to listen to the podcasts. A big thank you to Raul for contributing this article.

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You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

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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