“The Addams Family” Animated Movie Review

Not creepy, mysterious, or spooky, but it’s certainly kooky and fun. Duh duh duh dum, snap snap. Just in time for Halloween is The Addams Family! I went into this movie not expecting much. A friend of mine loves all things Addams Family (even his drag persona is Katrina Von Addams), so he wanted to see it together. And to be perfectly honest, I enjoyed the movie. Is it predictable? Yes. Is the screenwriting weak? Yes. But is it a fun way to just kick back with a movie that entertains sufficiently enough? Yes. The voice cast is great and the character designs feel inspired by the earliest drawing in The New Yorker magazine. For me, the characters feel like the Addams Family that we have known for over 75 years. And just like the family themselves, the plot defies all logic. But that doesn’t take away from the good time I had watching it. It provided me with precisely what I needed, about an hour and a half of turning off my brain to have fun with endearing characters that have had a home on the small and big screen alike over the years. During the opening credit sequence, I saw that Bette Midler was in it! I literally yelled Bette Midler in the auditorium because that elated me. No surprise, she plays the role of grandma–a witch. The Divine Miss M returned to her witchy roots. In addition to Midler, you will enjoy the voice talents of Oscar Isaac, Charlize Thereon, Allison Janney, Chloe Grace Moretz, and other familiar names. The theme of the story is acceptance and individuality, which bodes well for this movie. Although we never dive deep into this topic, the B and C stories parallel one another in theme, but approach the topic from different perspectives that touch on immediate family, extended family, and friends/neighbors. Even though the characters are not as dark as I was hoping they’d be, you do get some trademark Addams Family macabre humor at the mansion. While the movie does not open up with the iconic theme song, the end of the movie includes a tribute to the original TV series opening that will leave you with a smile. If you’re searching for a great animated movie, then this is not it; but if you are looking for a fun way to spend 1.5hrs with your kids or friends, then this movie works very well.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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All the Horror 2019 Movie Challenge

It’s that time of year again! Time for the 31 horror movie challenge! During the month of October, I am planning to watch, and I challenge you to watch, 31 horror movies. Each day, I will add a movie with a brief (and yes, I know I am not known for being brief) analysis. Instead of a separate blog entry for each of the 31 movies, I am going to add to this entry, then post what I watched/reviewed on Twitter (RLTerry1). So, if you’re not following me on Twitter, now would be a great time! Remember to use the hashtag #AllTheHorror  #31HorrorMoviesChallenge or #31HorrorFilms31Days when you post about your horror movies this month! Also be sure to follow AllTheHorror on Twitter!

Last year, I began with Nosferatu and followed the history of horror movies up through Scream; this year, I am picking up where I left off to continue my exploration of the history of the American horror film. You can find my ATH2018 article here that covers horror from its earliest days up through the mid 90s. This article will pick up in 1997 and go from there!

Movie 1 (10/01)

I Know What You Did Last Summer (1997). It’s been more than 20 years since I Know What You Did Last Summer convinced us to pay attention to the roadway at night or else risk the wrath of a meathook handed slasher, and this is consistently one of those 90s horror movies that is either loved or despised. Won’t find much middle ground here. Personally, this ranks highly for me when talking 90s horror. While this movie has not seen the legacy and timeless influence that Scream has, there is still a lot to like if you are a slasher fan or simply enjoy the excellent chemistry in our lead ensemble cast. For instance, we would not have Scary Movie if it wasn’t for I Know and Scream, we may not have the Hash Slinging Slasher from Spongebob Square Pants. Believe it or not, there is a hidden strength in the story that rarely gets talked about. It’s a great psycho-social commentary on perception as reality and the cognitive elopement of a young adult. Moreover, I Know’s real genius is in how it confronts each of the lead cast with questions that all of us ask ourselves, such as simply knowing who we can trust, fight or flight, and varying degree of self-centeredness. It functions very well as a study of every individual teen’s mental state. Just like the characters in the movie, we (the audience) are wondering exactly who can be trusted. Sure, if you think too much about the plot, it falls apart, but isn’t that the case with many slashers? Everything from the twists and turns, to the suspense, to the red herrings, a murderer screaming “you’ve got no place to hide,” not to mention the classic horror score, deliver a movie that is fun to watch, highly entertaining, and even rewatchable.

Movie 2 (10/02)

H20Halloween H20 (1998). Up until last year’s H40, the often maligned H20 was actually my favorite sequel in the Halloween series. Twenty years later, Laurie Strode (once again played by Jamie Lee Curtis) and her son (played Josh Hartnett) have moved clear across the country to southern California to be the head mistress of an exclusive boarding school where Michael finds her on–you guessed it–Halloween. Only Michael isn’t the only boogeyman haunting Laurie, she has turned to heavy drinking to cope with the trauma; this dependency on alcohol has become another monster in her life. Much like IKWYDLS borrowed from Scream, it is clear that the writers of H20 also reworked the Halloween movie for the Scream generation. If for no other reason, you watch this movie for Curtis’ performance as Laurie (a role she wouldn’t reprise again until H40). She gives it all she’s got! One of the things that I think this movie got right was how vulnerable, how human Laurie was. Often times, a legacy final girl might seem like she’s quasi superhuman, but not this one. She makes many mistakes and continues to allow fear and anxiety to all but consume her every moment. Horror movies are not always scary movies. Some horror movies are just fun, and this is a great example! Taking the kills to the next level, H20 had some of the most intense kills in the franchise up to that point. Many of which exceed the violence of the previous ones. When the opening scene has a kid (Joseph Gordon Levitt) with a hockey skate blade lodged in his head, you know that the bar has been set high! Here’s an item you may not have noticed in your past watches, but Curtis’ mom, the original scream queen, Janet Leigh appears with her daughter as the school secretary. Leigh is famous for being Marion Crane in Hitchcock’s Psycho. Yup, she’s the one in the famous shower scene. And get this, she also drives a similar (if not the same) car as she did in Psycho. Two legendary scream queens together on the screen, mother and daughter!

Movie 3 (10/03)

The Haunting (1999). With the critical success of Netflix’ The Haunting of Hill House last year, I thought that it would be fun to rewatch the movie that is also a remake of a 1963 horror film by the same name. With three iterations, you will certainly find the one you like most. Odds are, it’s not going to be this one, but to be fair, it’s not as bad as its reputations seems to be. Interestingly, the review from Roger Ebert praised this film on the basis of its locations, art direction, production design, and sound design, but it did not land as well with horror fans and general audiences. To be fair, the first half of the film is quite good! It’s atmospheric, tense, creepy, and haunting. Where the film loses the ability to keep you engaged is in the second half. Fortunately, all the elements that Ebert praised do hold the film together–albeit barely–when the screenwriter seems to have fallen asleep at the keyboard. Momentum should increase as we reach the showdown, but thanks to clunky dialogue and a lack of writing leanly, the pacing remains stagnant until the anti-climactic climax. What I appreciate about the first half of the film is the intriguing mystery about the history of Hill House and the Crane “family.” Had the film continued to build upon the successful suspense coupled with the puzzle solving and thought-provoking imagery and ideas, then it may have been stronger in the second half. With a powerhouse cast, excellent location, and big budget, there was such a potential to truly produce an old-school ghost story, but that would have required a writer whom cares from beginning to end.

Movie 4 (10/04)

The Faculty (1998). So this one is a little out of order because for some reason I thought it came out in 1999 or 2000, but Hartnett had a busy year of horror since this shares the same release year as Halloween H20The Faculty is an often forgotten gem in 90s/2000s horror discussions. One of my favorite components of the experience of watching this movie is just how much fun it is! Is it Sci-Fi? Is it horror? Perhaps it’s a hot mess of both, but this mashup of the two genres makes for an entertaining time with a great cast that has the perfect blend of chemistry. I love the original interpretation of this combination of Invasion of the Body SnatchersThe Thing, and even The Breakfast Club. Each of the aforementioned are tentpole films in their respective genre, but The Faculty weaves them together in an out-of-this-world entertaining horror movie. In addition to the A-list names amongst the students, it’s really the actors portraying the teachers that steel the show. And amongst those teachers is a name of horror royalty Piper Laurie! If you do not know, Piper Laurie played the role of Carrie’s mother in Brian de Palma’s Carrie.There are many moments in the film that have an almost self-referential quality to them. For instance, the lead cast seems to be familiar with the rules of horror movies and even play up the satirical side pretty well. There is an endearing quirky quality to this film as well, what with freeze framing and commentary on the characters and all. Again, this gets back to the reason to watch this movie: the fun factor. Since there isn’t much of a compelling story here and the ending is a little clunky, it’s important that a movie like this hooks you quickly and never lets you go for the duration of the run time. So, don’t worry about pacing, this film never lags.

Movie 5 (10/06)

Final Destination (2000). With volunteering at the iHorror Film Festival on Saturday, I had to watch movie 5 last night. So I will have to double up tonight haha. The movie I’ve selected for my fifth horror movie in my 31 day challenge is Final Destination. It quite the surprise for me, I had the pleasure of meeting screenwriter Jeffrey Reddick at the film festival on Saturday and got to talk to him a little about the movie! I am pleased to report that he is a very nice man whom is generous with his time. I appreciate him taking time out to speak with me at the festival. Some of you may know this, but I certainly didn’t, the screenplay for the movie was originally an episode for the X-Files! However, when feature potential was seen in it, it was then turned into the screenplay that would eventually become the quintessential early late 90s/early 2000s movie that would spawn many sequels and (the second one) forever cause us to avoid following logging trucks on the roadways. The original Final Destination took horror in a new direction that has often been copied and parodied but never successfully replicated with the same quality as the original and first sequel (which Reddick wrote the story for, but not the screenplay). This “dead teenager movie” is smart, witty, darkly funny, and sharp. Unlike many horror movies of this era, the dialogue is clever and never feels forced or gimmicky. Truth is, this is a character-driven horror movie that is punctuated with visceral horror, but the gore never takes center stage. The story is about the relationships, reactions, and patterns between all the characters. I also love how very much live a living Rube Goldberg machine this movie feels. The story is paced quite well, and includes dark comedy without ever venturing into parody or satire territory. The whole idea of “you can’t cheat death” has forever changed horror.

Movie 6 (10/07)

The Sixth Sense (1999). “I see dead people.” How many of us do not know that immortal line and the movie from which it came! It’s the movie that cemented M. Night Shyamalan as a powerhouse director (nevermind that many of his films have not lived up to the precedent set by The Sixth Sense). Believe it or not, this modern icon of the horror genre turns 20 this year. Not only did it serve as the breakout film for Shyamalan, but it was a smash hit at the box office. Much like the big reveal in Agatha Christie’s Murder on the Orient Express, the shockingly big twist in The Sixth Sense remains one of the worst kept secrets in the world of cinema, yet the film is still incredibly rewatchable. Although there are moments of sheer terror and horror in the movie, it is largely character-driven with fantastic dialogue exchanged between Cole (Haley Joel Osment) and Dr. Crowe (Bruce Willis). I just love how this film centers in and around the fantastical idea that we can control our own narrative even after death with the help of a clairvoyant whom seeks to help the dearly departed mend relationships, complete tasks left undone, and any other unfinished business. These actions allow the living and dead to rest in peace. Emotions run high in this film as audiences come face-to-face with tortured souls of the living and dead variety. Furthermore, this film seeks to provide psycho-social commentary on grief and that which we cannot possibly fully understand when exploring death. Even knowing the big twist, we are still captured by the tension of the scenes between Dr. Crowe and his wife. We know that he is dead, but we still empathize greatly with the inability of him and his wife to communicate. The strength of this movie is that it successfully taps into the dark corners of our psyche to explore that which we do not understand yet impacts our very lives every day.

Movie 7 (10/07)

What Lies Beneath (2000). Although most of my selections are clearly in the horror genre, every once in a while, there is a noteworthy horror adjacent movie that is worth covering for a challenge such as this one. Robert Zemeckis’ What Lies Beneath starring Harrison Ford and the incomparable Michelle Pfeiffer is truly a horror-adjacent gem! And it has Michelle Pfeiffer, how could I not include it?!? Clearly Zemeckis was going for a Hitchcockian thriller meets old fashioned haunted house movie, and it mostly pays off. Whereas this film may not have received highly positive reviews when it came out, today it is one that is often brought up when discussing underrated horror movies. Some of the Hitchcock-inspired tropes in this movie are the whole Rear Window scene, innocent people showing up to startle the central character, and mysterious characters showing up in a mirror. The biggest difference between what Zemeckis did and what Hitch would have done is that Zemeckis went the supernatural route and Hitch would have explained it through paranoia, trauma, schizophrenia, or some other psychological means. The strength of this film may not be in the writing as much as it is the excellent visual storytelling, that builds tension through the cinematography, and the exceptional casting choices. My favorite scene in this movie is the one immediately following Norman (a Hitch nod) paralyzing Clair with the experimental new drug that was foreshadowed earlier in the movie. As the water covers her face, and all we are left with is her eyes barely above the water, we can feel the sheer terror Clair is experiencing. Until the last minute, we are anxiously wondering if she will survive. Another notable sequence is when the camera lingers on the sideview mirror of the car as we see Norman’s body rise up in the house while we are aware that Clair is running for the truck. Perhaps this movie does not hold up as well as most of Hitchcock’s thrillers, but it is clearly inspired by Hitch and his ghost is felt throughout the story. While some find the supernatural element absurd, I don’t mind it because that is what helps this to be more horror-adjacent than it would otherwise.

Movie 8 (10/08)

American Psycho (2000). Not only a great horror film, but a great film period. The movie that was once protested by women was, in fact, directed by a woman. Directed by Mary Harron, American Psycho is a brilliant cinematic work that is just as relevant today as it was when it was originally released. At its heart, this film is a provocative artistic work that comments on materialism, narcissism, and the empty feeling that comes with them. Many, including yours truly, characterize the film as a dark comedy that forces us to reconcile our aspirations for wealth, power, and what happens when we fail to make genuine emotional connections with other individuals because we are completely consumed by image and status. Furthermore, there is a fascinating character study here on trying to fit into a society that you really don’t want to fit into, but don’t know what the other options are. Therefore you act on impulses instead of recognizing them to critically analyze if they indeed are the right things to do. One of the qualities of the experience of watching a horror film compared to other genres is the power it has to force us to face our fears, look in the mirror (pun intended), and question the world around us. Moreover, it allows us to explore hard-to-talk-about subjects because it approaches them in creative, visual ways. that force us to think about some societal observation in new ways. In many ways Patrick Bateman is us; the us we are when no one is looking. Perhaps most of us are not serial killers, but we certainly have a running commentary on the world around us. Also like Bateman, if we are not careful, we can fall prey to our own animalistic, self-centered instincts. I also love how this movie parallels the vicious nature of Wall Street with the murder sprees of Bateman. In this movie, it’s Wall Street, but it could very well be any number of work places. Perhaps there is little relatability to the characters on the surface, but dig a little deeper and this film is quite the microcosm of the world we live in.

Movie 9 (10/09)

Lake Placid (1999). Largely absent for more than a decade, the old fashioned creature feature returns. And it’s bigger, funnier, bloodier, and more romantic (?) than before! When you thought it couldn’t get any better, Betty White shows up! What more could you ask for in a throwback creature feature that is still so much fun to watch. Nevermind that it failed to impress the critics of the day, this movie was made to entertain, and entertain it certainly does. Often times, horror movies like this one do not improve with age; however, like a fine wine, this movie has developed more of an audience as it has aged. This is in part due to the solid direction by Steve Miner, the sharp screenplay by David E. Kelley, and the excellent cast. And at less than an hour and a half, this movie never wears out its welcome. The pacing is brisk, not a moment wasted, eery scene sets up the following scene and continuously points to the showdown. Still in the early years of CGI, Miner chose to pair the CGI of the day with animatronics. Good thing too, because this combination helps the film not to look terribly dated. Sure the CGI is rough around the edges, but since we are not staring at CGI the whole time, we are more willing to accept it. You know what else makes this film fun to watch? Betty White. Her feisty character is in stark contrast to the otherwise serene landscape, and you gotta love her obscene one-liners. She goes full Betty White in every scene. I truly appreciate this movie for how it told the story more than what the story is about. It successfully paired an old school subject with a post-modern approach that delivers a fresh horror movie to audiences.

Movie 10 (10/10)

The Others (2001). What a fantastic haunted house film with a twist ending! Although this formula has been copied in other movies, The Others still holds up very well. At the time it came out, most horror movies were slasher or supernatural schlock fests, but this one chose to go the more traditional route of building a foreboding atmosphere complete with unsettling characters. Tension is high throughout this entire movie until the twist ending is delivered in spades. Nicole Kidman shines as the central character who completely convinces us that she is a normal person whom is living in a bizarre mysterious world. This is a thinking man’s horror movie that would probably be much more successful at the box office today than it was when it came out because audiences are gravitating toward art house horror in numbers that haven’t been seen before. While this film has bene accused of plot that lacks direction (and to some extent, I have to agree with that assessment), the lack of focus is made up for by the expertly crafted ominous mood and haunting ambiance. Capturing the atmosphere is the excellent cinematography and candlelit lighting. Often overlooked in horror movies is costuming, and Kidman’s Grace has some absolutely gorgeous attire–simple in design–but does not go unnoticed. The strength of this film, outside of the production design, is the relationship and conflict between Grace and her kids as well as the new servants. It had been a long time since I watched this movie, but I am pleased to report that it still holds up well on a rewatch. If you are searching for an atmospheric horror film to watch one evening, then this is still a good one to select.

Movie 11 (10/11)

Jason X (2001). This is one hot mess of a Jason movie, but it is so much fun to watch! What happens when you combine Alien with Friday the 13thJason X. Of all the creative deaths in the Friday the 13th franchise, this one has my personal favorite: the liquid nitrogen kill! You know the one I’m talking about. Although this series lacks the quality of writing in the Halloween and Elm Street, there is a beauty in the simplicity of Jason Voorhees as a Freudian superego that goes around punishing horny teenagers for their sexual promiscuity. One of the more hilarious aspects to this movie is just how little fashion and culture has changed from the early 21st century to the 25th century. Whereas fashion may not have changed much, technology certainly has. Straight out of Star Trek TNG is a holodeck that recreates Camp Crystal Lake to distract Jason. In this scene, we also get a simple kill that works so well. Never enclose yourself in a sleeping bag. One of the biggest differences between this installment and the previous Jason movies is that this group knows who Jason is. And believe it or not, we do end up caring about these characters a little more than usual. In the end, it takes itself a little too seriously to be truly satirical, but it’s also too silly to be taken seriously by longtime fans of the franchise. If you’re looking for something fun to watch on a lazy afternoon, then this movie works well.

Movie 12 (10/13)

Ghost Ship (2002). What a shocking opening! Although the opening to Scream may still be the best opening in a horror movie ever, the opening to Ghost Ship is right up there with it. Talk about a razor sharp opening that truly hooks the audience in for the ride and tells them precisely what kind of movie this is going to be. Alien is a haunted house movie (that meets Jaws) in space and Ghost Ship is a haunted house movie set on an ocean liner right out of the 1960s. Perhaps this movie suffers from terrible characters and a vapid plot; however, what it lacks in those areas it more than makes up for in atmosphere. Truly, this movie boasts some of the best atmospheric shots, art direction, and production design that 2000s horror has to offer. There is almost a Titanic like feeling when moving throughout the ship, and it’s even creepier because we know precisely how all the passengers died. The theme of greed versus prudence is woven throughout the plot. Witnessed in how and why  characters meet the demise that they do, this theme is integrated well into the plot, and helps to setup the big twist at the end of the movie. From a technical perspective, the movie got a lot of things right. One might say that it’s among the best to come out of the early 2000s, but still not as good as you hoped it would be, considering the brilliant opening and setup. I guarantee that you will never look at a tension wire in the same way again.

Movie 13 (10/13)

Signs (2002). The alien movie that really isn’t about aliens at all. Despite the crop circles on the poster and the catalyst of aliens on earth, the movie isn’t about that at all. And that’s why it works so incredibly well! Signs by M. Night Shyamalan is a brilliant motion picture that possesses the power to create tension out of seemingly nowhere and keep driving that tension up until the strategic time that the punch is to be delivered. What Shyamalan achieved in this film was the ability to evoke strong fear, anxiety, and other emotions through the use of the camera. Suspense with a camera as Hitchcock whisperer Jeffrey Michael Bays would put it. There is a power in the direction, acting, cinematography, and score in this film that sets up audiences to fear that which is not even seen. Sometimes we find ourselves looking and listening to something that isn’t even there, but that’s the beauty of this film. Shyamalan uses strategically places moments of silence much in the same way that Hitchcock would do in his films. Speaking of whom, there is no score in The Birds. Whereas the technique of using TV or radio broadcasts to deliver exposition can come across as lazy or forced, because the programs still leave room for subtext, they work very well in this film. So, if this film isn’t about aliens, what kind of film is it? It’s a character study on the stages of grief and redemption. The plot is incredibly simple, yet our characters highly complex. That’s why this film works so incredibly well!

Movie 14 (10/14)

Cabin Fever (2002). The directorial debut from Eli Roth! This gory horror movie may look like Evil Dead but it does not go the supernatural route. Instead this movie features a flesh-eating bacterial disease. So often when we are in a cabin in the woods, we encounter a demon or maniac, but I like how this body horror movie uses something incredibly realistic (albeit exaggerated). For fans of Boy Meets World, you’ll recognize Rider Strong as our central character. For all the gore that is in this movie, it’s not the focus. Co-written by Roth, this movie never loses focus on the relationships between the characters. I love how we witness the complete deterioration of friendships because of paranoia, fear, and self-preservation. The tension in this movie is real! You can cut it with a butter knife.

Movie 15 (10/15)

House of a 1000 Corpses (2003). After experiencing the house at HHN29, I just had to add it to my 31 Horror Movies Challenge this month. Ordinarily, I am not a fan of Rob Zombie’s movies, but this one has such a great cast including the late Sid Haig. Hillbilly horror meets teen slasher in this movie. It’s a nostalgic tribute to Texas Chainsaw Massacre that doesn’t have much else going on in its plot. The strength in this movie is in the character actors. Due to Zombie’s penchant for shooting on film stock, this movie has a sort of homespun morbid charm that certainly helps in the viewing experience of this pretty much torture porn movie. Something else that I appreciate about this movie is that you can you see the hand of the artist in eery scene. Much in the same way Zombie writes and performs his music, this movie is also raw, graphic, loud, and violent. Perhaps his music is not to my personal liking, but there is no denying that his signature brand of entertainment is all over this movie. Whereas the plot may be greatly lacking, the movie makes up for that with a rather brilliant production design and art direction. This is probably why it was such a successful translation from movie to house at HHN this year.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com!

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Halloween Horror Nights XXIX Full Review

You know it’s Halloween season when Universal Orlando’s Halloween Horror Nights opens! And this year, it opened earlier than ever. What a banner year it is! Opening weekend with my friends was an absolute blast. Over all, this was a solid year for the event that turns 30 next year. Although there lacks an official theme for HHN29, it is very clearly 80’s nostalgia, complete with the laser lights and electronica sounds that were such a quintessential part of the decade. The lineup of houses is outstanding; from fantastic original concepts to familiar and even historic licensed IPs, HHN29 has something for everyone. New for this year is the Halloween Marathon of Mayhem projection/water nighttime spectacular on the lagoon that has showings a few times a night. Don’t miss it! In addition to houses, the crowd favorite Twisted Tater is back; I remember all too well, last year, the iconic starchy snack was absent on opening weekend. Not this year! Although my friends and I had Express Passes, the general wait times were all mostly under an hour. That number will likely increase the closer we get to Halloween; but for right now, waits are reasonable.

If I was to sum up the experience of this year compared to years gone by, I would have to say that this year’s HHN is less scary than previous seasons. This sentiment appears to be shared by others as well. The trend to catering to younger (and by younger, I mean under 17) and their families began last year with the introduction of Stranger Things. Now, I don’t only go to HHN to be scared–that’s not really the point–yes, is that an added benefit? Sure! But when you watch horror movies on a regular basis and attend this most prestigious Halloween event each year, you’re naturally going to become desensitized to the scares. Therefore, it may become less scary over time, but I would have liked to have experienced more terrifying moments in some of the houses. While I am being negatively critical of the level of terror, I want to emphasize that this IS a solid year, and one that I’ve experienced three times this season and plan to attend more.

This year’s houses: Universal Monsters, Graveyard Games, Nightingales Blood Pit, House of a Thousand Corpses, Depths of Fear, Us, Yeti Terror of the Yukon, Ghostbusters, Stranger Things, and Killer Klowns from Outer Space

This year’s scare zones: Anarch-cade, Zombieland Double Tap, Rob Zombie Hellbilly Deluxe, Vikings Undead, Vanity Ball

Let’s start with my favorite house Universal Monsters! This was the house that I was most eager to experience even before the event began. And I am pleased to report that it exceeded my expectations. In a world of so many remakes and reboots of classic properties, this house delivered a fantastic experiential interpretation of the original monsters that started it all! You get The Hunchback, Creature from the Black Lagoon, Dracula, Phantom of the Opera, Frankenstein’s Monster, Bride of Frankenstein, The Mummy, and Wolfman. Every aspect of this house was planned and executed with detailed precision. We didn’t get some reimagination of these characters in such a way that the house sought to “improve” upon the source material, it was a beautiful display of Universal’s legacy of horror.

My pick for best original concept house is Graveyard Games! This house transports you to a beautiful gothic haunted cemetery that delivers the scares for which you’re searching at HHN. The level of detail in this house is truly outstanding. And it’s not just the undead that are hunting you down. It would have been all too easy to just have another cemetery filled with zombies or other minions of the undead, but here you find any and everything that goes bump in the night and more. This is a house that I could do over and over again, and never get tired of it. I love how much like a real gothic cemetery it feels and that the scares are some of the best at the event this year.

Nightingales Blood Pit is the sequel to Nightingales from several seasons ago. Here you will find yourself in the trenches and catacombs of ancient Rome where sinister, blood thirsty  birdlike creatures have taken over the city. Not even Rome’s famous gladiators are a match for these horrifying abominations. If there was an award given out for best facade, then this house would win! I absolutely love the production design on the outside of the house that (1) you can take pictures of and (2) it instantly begins to immerse you into the nightmarish world into which you are about to descend. All that was missing is the aroma from the scene where “the great library of Alexandria was burned” on Spaceship Earth at Epcot.

House of a Thousand Corpses (HOATC) is an outstanding translation from screen to attraction! This is another house with a great facade, and the best one I’ve seen on this building in years. HOATC delivers precisely what you desire to see in this house! Not only does it have some great hillbilly horror scares, but the casting is fantastic, especially the actors playing Captain Spaulding. The moment I walked into the lobby of the store and saw Captain Spaulding standing behind the desk, you could have told me that it was Sig Haig and I would have believed you. You get it all, blood, guts, the music of Rob Zombie and more.

Depths of Fear is likely the weakest house out of the lineup this year. And it’s not because the concept is weak as much as it is the execution. I get it. It was going for Aliens set underwater. But for most of the house, I wouldn’t tell if I was in outer space or in the depths of the ocean. If this was supposed to be a horror comedy house, then I think I would have liked it more, but I don’t think the comedy was intentional. Although the costuming, puppet design, and other effects were creative, they lacked anything truly scary. Maybe this was another house, much like Stranger Things, that was supposed to appeal to a younger audience.

You may find yourself in the US house at HHN29. Based on the popular Jordan Peele movie released earlier this year US takes a stab at adapting Peele’s movie into an attraction. And if you’re a fan of the movie, then you will most likely enjoy this house because it is virtually every major plot point from the movie. The design and attention to detail is right out of the movie. As I found the movie to be just okay, I also find this house to be just okay. I can certainly understand why it was chosen over Toothfairy (which was actually a better and scarier house concept, btw) because of the box office success.

Bring your parka if you want to survive the night in Yeti Terror of the Yukon. Universal Creative delivers another excellent original concept house, loosely inspired by last year’s Revenge of the Swamp Yeti in Slaughter Sinema. So much fun! Not only is this house full of traditional scares, but it is incredibly fun. Completely re-doable. Although you are inside a sound stage, you will feel as though you are braving the icy temperatures of the Yukon. One of my favorite scares is when a giant Yeti arm attempts to grab you from above. Completely unexpected! And the costuming is fantastic too.

Who’re you gonna call? GhostbustersFollowing Universal Monsters, this was the next house I was looking forward to most. And although I was pretty much able to predict what I was going to see in the house, it doesn’t take away from how much fun it was! Many people that are now fans of or regulars at Universal Orlando are unfamiliar with the former Ghostbusters special effects and stunt show that was located where Jimmy Fallon is now. After the house was announced, I was hoping that I would see the same optical effects that the movie and live show used to bring the world of Ghostbusters to a haunted house attraction. And you know what? Universal did just that! From the use of projections and mirrors to a giant StayPuff Marshmallow Man head that smelled of toasted marshmallows, the commitment to staying true to the movie (and even the previous live show) was outstanding.

Returning for a second year in a row is Stranger Things. This time, immerse yourselves in “a solute to all [seasons] but mostly [season two].” My followers who, are friends of Muppet Vision 3D at Disney’s Hollywood Studios will appreciate that reference. By all measurable accounts, season three of the hit Netflix series is the stronger one between 2 and 3; however, this house is three-quarters season two. In fact, Star Court Mall, for all intents and purposes,  comprises one room–disappointing. I’d say that’s the word that sums up my experience of the Stranger Things house this year. It’s unfortunate that it was disappointing to me because Season Three lended itself to horror so much that I thought for sure it would have been a more significant part of the house.

Continuing the pattern of a scare zone turned house, Killer Klowns from Outer Space (KKFOS) has lots of cotton candy and popcorn for you! As a scare zone this IP worked so incredibly well that I was cautiously optimistic for the house translation. The caution was because I felt that HHN28‘s Trick ‘r Treat worked better as a scare zone (HHN27) than house. I am pleased to report that as successful the scare zone for KKFOS was, it worked equally well if not even BETTER as a house! Everything about this house works incredibly well. From the campy costumes to most memorable moments from the movie, and even the sounds of popcorn and and aroma of cotton candy permeating every nook and cranny. If you suffer from a fear of clowns, then this is definitely a house where you can face your fears!

If there is an overall weak area of HHN28, it is the scare zones. Compared to year’s past, the scare zones seemed to not be as immersive as they usually are. I was told my a team member that some of the house facades and scare zone elements were removed when it was predicted that Hurricane Dorian was going to significantly impact Orlando. As I have only been to HHN opening weekend (Fri, Sat, and Sun), I have not been back to compare what is now there compared to opening weekend. Of all the scare zones, Rob Zombie’s Hellbilly Deluxe is the zone that offers guests the best experience. However, I would be remiss not to mention the brilliant laser and neon lights of Anarch-Cade! I loved the cabinet video games and all the lights that reminded me of an old-school arcade in a mall. The other zones are okay, so definitely don’t miss them. But the zones are the weakest part of the event this season. If for no other reason, they are lacking in scares.

Do not leave HHN29 without watching the Halloween Marathon of Mayhem nighttime spectacular on the lagoon. The nights I was there, it ran at 10, 11, and 12M. Although only about 10mins, it is a great way to pay tribute to Universal’s legacy of horror and each house that makes up HHN29. The music and lights are a direct extension of all the houses, full of 80s nostalgia and neon! If there is an area of improvement for the show, it would be to include some pyrotechnics. The water screens, fountains, and projections are great, but I would have liked to have seen some fireworks as well. Now I know that would be difficult with the show running multiple times, but I imagine that Universal Creative is innovative enough to develop a safe method for setting up the show to have pyro in each showing.

There you have it, folks! A complete review of Halloween Horror Nights XXIX!. As fantastic as this year is, I cannot wait to see what Universal has in store for HHN 30! Maybe we will see the return of past icons or even reimaginations of past houses. Horror Nights is running on select nights now through November 2nd. If you can afford to buy one of the frequent fear passes with express or just one night of express, then you will definitely increase your enjoyment level and minimize the negative stressors that come along with this annual event.

For my friend Dani’s review of HHN XXIX, please visit her blog too!

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com!

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“IT: Chapter 2” Horror Movie Review

The larger, less terrifying chapter. Return to Derry, Maine with the Losers Club as they once again face the nightmarish clown Pennywise. With expectations set incredibly high from the critical and box office success of the first chapter, chapter 2 had some major clown shoes to fill. And was it successful? That is mostly up to the individual audience members; however, from a critical perspective, the second chapter falls short of the first one in both character and plot. While there are some scary moments (mostly driven by jump-scares) and some good character-driven moments, as a whole, the movie feels bloated for time, poorly paced, unintentionally campy, and not nearly as creepy as the first one. Even though I did not question the run time when it was announced, there is not enough plot to effectively justify the nearly 3-hour length of the movie. For example, you spend about a third of the movie in flashbacks that do little to advance the plot but thankfully provide some additional context for the characters. Although the movie chronologically takes place 27 years after the first one, it has only been two years for us, but the second chapter plays out as a sequel that is many years separated from the original. Whereas I am not impressed by the plot, I am incredibly impressed with the outstanding casting. The resemblance that the adult characters have to the teenage characters is uncanny. Solid performances all the way around, although none stick out to me as outstanding. Had this movie been in the neighborhood of 2-2.25hrs, then I believe that there would have been enough plot; but as it is, it was stretched too thin. I appreciated the original for expertly crafting the atmosphere of dread and delivering terrifyingly creepy moments not primarily reliant upon jump-scares; but this second chapter seems to fall victim to sequelitis and revert to using jump-scares more than the art of crafting suspense with the camera. At the end of the day, this is a fun way to kick off your Halloween season, but perhaps this isn’t THE movie that defines the Halloween horror season. Still, if you’re planning to attend Halloween Horror Nights Orlando or Hollywood, then this will still suffice as a solid way to kick off the season.

It’s been 27 years since the Losers Club thought they defeated IT. But Pennywise has returned to the sleepy town of Derry. Following the occurrences several mysterious missing children and teenagers and a Pennywise sighting, Mikey calls all his old friends back to Derry, with little explanation as to why, other than IT has returned. The group of old friends must band together and face their respective fears, past traumas, and deepest darkest secrets that have been eating away at them all these years.

If Derry was supposed to be characterized as a backwards town, then this movie does its job. I don’t think that anyone is going to desire to visit the quaint town steeped in death and bigotry. The opening of the movie is shocking, hooking you into the twisted world that is Derry, Maine. Unfortunately, the provocative opening feels largely disconnected from the rest of the  movie, except it serves to forcibly position Mikey in a place from where he sees Pennywise has returned to his hometown. The next sequence of scenes shows us the present lives of the members of the Losers Club and the reactions to the news that IT may not have been dead after all. Every one of the members of the Losers Club except for Mikey left the small town and built successful winning careers for themselves. Once the Losers Club is back together again, all hell breaks loose in the sleepy hamlet throws its worst at them. One of the disadvantages of one chapter having child actors and another chapter adult actors (portraying the same characters) is the increased risk of there being a disconnect between the audience and the characters. Moreover, that disconnect can affect the audience in such a way that the degree of empathy felt for a character mitigates. That is the case with IT Chapter 2. Since much of the character development was in Chapter One with the child actors, we are thrown back into this world with different actors and simply do not ultimately care deeply what happens to the characters. We care, but not as much as if we followed the same actors or we were provided with sufficient character development in this chapter. We simply don’t care enough about these characters (played by these incredible actors).

One of the cardinal rules of screenwriting that I feel IT Chapter 2 broke was allowing the flashback to encroach upon, if not become more interesting than the main story. Until a writer knows how to effectively use flashbacks, it is important to stay away from them because flashback abuse is all too easy. Few movies that make significant use of the flashback have done so in such a way the the stories are just as interesting as each other or make the main story even more intriguing. My go-to example of a film that makes brilliant use of flashbacks is the Americana classic Fried Green Tomatoes. The reason why flashbacks work in that movie is because both the stories from the past and present are just as interesting as one another; furthermore, the characters in the past help us to develop the characters in the present. Character development is strong all the way around, and the characters mirror one another in many respects. In short, the main plot is always moving forward, even the flashbacks provide direction for the main story. Unfortunately, the prolific use of flashbacks in IT: Chapter 2, come off as a lazy plot device that serves to drag down the pacing of the main story. In fact, there are so many flashbacks that are misused that it adds a signifiant amount of run time to the movie that could have been cut out to streamline the plot. Had there not been such a large sum of flashbacks, then the story may have exhibited better pacing and not felt so bloated just to be a nearly 3hr movie.

Seems like everyone wants to be a 3hr movie nowadays. The problem therein is that, in all likelihood, there lacks sufficient plot to cover three hours. It’s important for a writer to not only show scenes of characters facing conflict, but the writer needs to show the character’s reaction to the conflict. Much like with a screenplay as a whole, a well-written scene has a setup–conflict–resolution. This movie is often missing the resolution in the individual scenes. I still don’t know why we have the date gone wrong at the beginning of the movie other than to make the statement that this movie seeks to normalize that which should be seen as normal or that this is a progressive movie. Furthermore, we make the assumption from Chapter 1 that Richie is gay and even see some evidence to suggest it further in Chapter 2 as this is the deep dark secret that has been eating away at him for most of his life. Richie’s character-driven subplot and the opening scene could have been helped by including the scene from the book in which Bowers explores his sexuality with a friend because that would setup the inner conflict and denial that manifests itself in his treatment of Richie and violent behavior towards others. However, we never revisit this–what could’ve been an excellent–character moment. I think it’s great to have a diverse, inclusive cast of characters, but don’t start a subplot or setup character development that will go nowhere or is merely a plot device to explain something.

While horror movies are no strangers to camp, both literally and figuratively, this movie is unintentionally campy. A campy movie is one that intentionally contains extreme or perverse imagery that boasts an amusing quality that uses exaggerated genre or thematic tropes that over-emphasize an element of the movie. Camp is intentional. When camp is accidental, there is the chance that the director can capture lightning in a bottle, but that is not usually the cade. IT: Chapter 2 is not campy in the costuming, production design, or dialogue, but in the oversized monsters throughout the movie. From the giant old naked lady with her saggy boobs to the random Paul Bunyan statue coming to life, there are giant monsters seemingly everywhere. And it’s not simply the presence of the monsters, although I thought it reached ridiculous proportions, but the movement and purpose of them is what I call into question. The small creatures were great, but the large ones were not terrifying at all–more like laughable. Other than the initial jump scare, the monsters don’t help the level of terror at all.

Now, there is one scene in particular that is probably the scariest of all, and it’s the scene that takes place under the bleachers. I won’t go into spoilers. With all these monstrous creatures and jump-scares, the movie lacks in the same atmosphere of dread that made the first one work so incredibly well. It’s the little things that were scariest in the original. Speaking of the little things, Pennywise definitely stepped up his game in this one. There are so many nuances to his character and the performance that are terrifying–especially for those with a phobia of clowns. If any element is just as good, if not improved over chapter one, it is Pennywise, expertly portrayed by Bill Skarsgard.

Even though you may have to set your expectation bar a little lower, compared to the original, in order to best experience this horror movie, a true horror fan will still enjoy the movie. Perhaps not as much as the original, but it’s still a solid way to start the Halloween horror season. Speaking of which, Halloween Horror Nights Orlando and Hollywood open up this weekend! Consider starting with or pairing your theme park haunts with this movie.

Ryan teaches screenwriting at the University of Tampa and teaches high school TV/Film production. 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!

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“Ready or Not” Horror Comedy Review

Outstanding! Ready or Not is a brilliant horror comedy from start to finish. Fantastic screenplay, cast, direction, effects, everything works flawlessly. Probably the most fun movie of the summer. It’s a no holds barred dark comedy full of entertaining, campy dialogue and gruesome kills. Not since the cult classic Clue, has there been such an excellent horror comedy heavily influenced by the concept of a game. Samara Weaving slays audiences as the wedding dress wearing Grace as she transforms into this movie’s answer to Kill Bill. Although most of the other characters are relatively flat, you forgive them because of the endless jokes about the insanely rich and the non-stop bloody comedy. Does the film have shortcomings? Sure does–the cinematography and lighting, for examples; however, this movie is so incredibly charismatic and it’s hilarious enough to more than makeup for the technical faults in this movie. When I state “everything works flawlessly,” I suppose it’s a bit hyperbole because it’s not a perfect film, but it knows its strengths, and those strengths support everything else to deliver a movie that will keep you highly entertained for the entire run time that is non-stop antics and action.

“Till death do us part” means so much more than you bargained for in this movie. A century ago, the Le Domas family made a faustian deal with Mr. Le Bail, quite literally the devil, to launch a board game empire. As with any deal with the devil, he will make sure you hold up your end of the bargain. For the Le Domas family, that means playing a game at midnight whenever someone new marries into the family. A blank playing card is placed into a mysterious wooden box, then a  simple turn of the crank prints the name of the game onto the card. All is fun and games, unless the game is hide and seek, which turns the Le Domas mansion into a hunting ground for newlywed Grace (Weaving) as she must now hide from the entire family until dawn, all while her new in-laws hunt her with guns, crossbows and other weapons.

You think your family is screwed up, you ain’t seen nothin’ yet! Why is this movie so good? It’s a horror comedy with a poignant point to make for audiences. It’s the combination of social commentary and non-stop excellently paced gory antics that make this one to watch. From one of Grace’s first lines “I honestly can’t wait to be a part of your moderately fucked up family,” we know we are being setup for one of the most absurdly fucked up families ever, and we are hooked. It’s just so incredibly, spectacularly ridiculous! The success of this movie is partially derived from screenwriter Guy Bustick’s (The Purge) excellent handle on a healthy and smart sense of humor and comedic timing. He has also demonstrated an ability to creatively comment on the divide between the haves and have-nots while the story not coming off as propaganda. He has a message, but the method he chooses utilizes the power of horror and comedy to deliver it in a way that provokes thoughtful discussions but highly entertains along the way.

But what is the thoughtful discussion point posited by this movie? Is it wealth? Not necessarily. But wealth certainly has a lot to do with it. Ready or Not comments on the insane actions and thoughts of people who place immense value in wealth and the proximity to it. Furthermore, the movie suggests that if you come between a family and their wealth–watch out–because you may be rubbed out. All throughout the movie, characters acknowledge, in various ways, that they associate with the family to be close to the money steeped in tradition. The love of money is a drug–not the money itself–the love of money is probably the most powerful drug with the greatest degree of addictiveness that we’ve ever seen. And that addiction to money is played out in this movie. Everyone from the blood family themselves to those whom married into the family, and the servants is addicted to the money. The family doesn’t want to lose their money and power because that IS their legacy, and the servants don’t want to not be associated with it. The fear of a curse that could end a dynasty is more important than people’s lives, even though some of the family members even state that they don’t believe in the curse. Instead of the family’s pride and joy being the decades of games that have brought laughter and smiles to billions of people, the family is more concerned with the money than its creations.

Samara’s Weaving’s Grace is such a treasure to watch! She goes from a blushing bride to a scream queen to a kick ass Uma Thurmon-like character in a matter of moments. Her transformation is so much fun to watch, and she owns every second of screen time she receives. Her level of charisma is on par with the over all tone of the film. She delivers a dynamite performance that you will love to watch every second. This movie has cemented her as a bad ass who can hold her own. Her performance is so highly entertaining that you forgive it of the rough edges and even the movie for the plot holes that are pretty visible. She strikes a balance between someone unbelievably kick ass but still vulnerable and human all at the same time; furthermore, her actions do not lend themselves to superhuman or John McClane levels of survivorship. Grace is 100% human and 100% bad ass all at the same time. Her wounds are severe, but she is determined to survive. In fact, she must’ve read the same book as Nancy Thompson in A Nightmare on Elm Street, because Grace is obviously “into survival.”

Here is a question likely on your mind: why was The Hunt cancelled and Ready or Not still hit theatres since they have a similar premise at their respective cores. Not having seen The Hunt, I can merely speculate, but from what I inferred from the trailers, The Hunt appears to take itself far more seriously than Ready or Not. The latter is a black comedy that satirizes the concept of the rich preying on the poor for comedic effect whereas the former gives off far more serious tone. This is one example of how comedy allows you to tell stories that simply don’t work in other tones; furthermore, the pairing of horror and comedy provide such a creative latitude for expressing plots that would otherwise be too dark (i.e. The Hunt).

Don’t hide from this movie, because if you do, you will miss out on an absolute blast at the cinema.

Ryan teaches screenwriting at the University of Tampa and teaches high school TV/Film production. 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!

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