“Scary Stories to Tell in the Dark” horror movie review

Everyone loves a good ghost story, and Scary Stories to Tell in the Dark has several ones that remind me of Nickelodeon’s Are You Afraid of the Dark? on steroids! Don’t let the August release date fool you, this is a surpassingly frightening horror movie! It takes the very practice of passing along scary stories generation to generation, and explores the far reaching effects that the power of story has in a manner that it as insightful as it is visually terrifying. Directed by Andre Ovredal with a superlative screenwriting and story team including Guillermo del Toro, Scary Stories to Tell in the Dark relies upon a more classical approach to a horror movie by building upon old fashioned ghost stories. You know, the kind that you sit around the camp fire or on the floor of your childhood sleepover and tell one another. These are stories that have been shared and passed down so prolifically that they feel alive. Ghost stories are such a part of our childhood and teenage years, and this film explores the idea of these stories coming to life. A terrifying prospect. Despite the one-dimensional characters, this movie keeps the audience engaged because of the incredibly fun plot and nightmarish visuals. And no, the end of the movie is not tied up with a nice little bow. Traditional narratives follow: order–>disorder–>order again, but horror often takes on an order–>disorder–>order–>disorder path. While there are elements in this movie that may predispose you to thinking that it’s an anthology like Michael Dougherty’s Trick ‘r Treat, it is one linear narrative. Scary Stories is  thoughtful horror movie that is a throwback to the tales of old, when hauntingly spooky was more important than grisly gore.

Pennsylvania 1968 on Halloween, and change is blowing in the wind…but seemingly far removed from the unrest in the cities is the small town of Mill Valley, where for generations, the shadow of the Bellows family has loomed large. It is in their mansion, on the edge of town, that Sarah, a young girl with horrible secrets, turned her tortured life into a series of scary stories she passed along to children whom would talk to her through the wall of her foreboding mansion. In addition to passing down the stories orally, she wrote them down in book that truly immerses the reader into the terrifying plot. When a group of teenagers accidentally stumbles onto Sarah’s book of scary stories to tell in the dark, they realize that these stories are become all too real, and they find themselves strapped in the pages of these stories that transcend time and reality.

On one hand, this movie may appear overly generic to the casual observer, given the chief elements that make up the story. You have a group of misfit teens in small town middle America, lots of period nostalgia (that is thankfully not even more of the already proliferated 80s), a cursed object that torments its readers, and a haunted house. Everything that a writer needs to create a forgettable horror movie that goes directly to streaming services is here. But that is where you would be wrong to presume it is just another generic haunted house movie. The premise may not be exuding originality but the expression of the premise is. Combine the original expression of a plot template with the stunning visuals that we’ve come to expect from the del Toro brand, and you have one fantastic horror movie. Clearly exhibited in each and every scene, there are many signs that this movie was built by writers and a director who cares about the story and the audience experience. The degree to which this haunted house movie works for audiences may one day be seen in Universal’s Halloween Horror Nights. So many visual elements in this movie lend it to a haunted house (definitely more than the upcoming Us haunted house). Even if you did not grow up reading the Scary Stories books, you probably read Goosebumps or watch the TV version of the former or Are You Afraid of the Dark? and that is all you need to know or be familiar with. Go in with a love of good old-fashioned ghost stories, and you will have a fun time.

This is the second gateway horror movie that we have seen in the last couple years. Last year, we had The House with a Clock in its Walls, which worked as a gateway horror movie (albeit less so than this one). Ever since the TV shows referenced earlier went off the air, there has been a need for PG and PG-13 horror for younger audiences that also appeals to adults. Most of the horror movies over the last couple of decades have large been aimed at older teens and adults. The trick is to write a story that is appropriate enough for general 12-17 viewers, but still contain the macabre elements that 18+ viewers want to see. And that doesn’t mean gore, it means a thoughtful approach to crafting a fun horror movie that genuinely frightens you. Spooky atmospheres, ghostly apparitions, and tormented characters have been a staple of the American horror film from the days of Nosferatu and The Phantom of the Opera. But in recent years, haunting production design and memorable monsters have taken backseat to schlock fests. This movie seeks to bring back the old fashioned haunted house ghost movie to foster an appetite in young audiences for the fantastic world of horror.

The central character and our character of opposition are two opposite sides of the same coin. Driving their decisions is a love of storytelling and family issues. Of course the familial issues differ greatly, but they complement one another nicely. When developing central and opposition characters, it’s important for the screenwriter to remember that often both characters need to share some common traits, and even common goals, but the difference is in how that desire to achieve the goal is expressed through action. There appears to be ab attempts by the movie to provide opportunities for the characters and plot to comment on the society and politics, but it’s never fully developed. Underscoring many of the scenes in the film is the 1968 presidential election and the controversial Vietnam War. I feel that the socio=political elements were not used as effectively as they could have been, so it would have been better just to leave them out as those moments don’t add anything to the overall story.

The power of story. It was Cecil B. DeMille who stated that the “greatest art in the world is the art of storytelling,” and Scary Stories takes its cue from the timeless words from a  Hollywood great. Films were always about breaking ground in visual technical marvel, the almost oxymoronic photorealistic animation, or grisly violence; they were about telling stories. Not unlike the ones that got orally passed down. And these stories helped to shape generations of current and future storytellers. When you tell a story enough, it begins to have a life of its own, there is a place for some evil to be contained as we creatively explore the human condition, sexuality, gender roles, faith, psychology, and sociology through the American horror film. We already have a movie about what happens when the stories die (see my article on Wes Craven’s New Nightmare), so this one takes the approach of what happens when you steel someone’s storybook but pairs that with the healing power of storytelling. To get into how and why would reveal too much about the showdown of the movie, and I don’t want to spoil it for you. At the end of the movie, you are left with wondering about the stories that you have passed down, and power to terrify or to heal that comes along with them. You may even find yourself wanting to get a group of friends together to tell ghost stories.

If you love a good ghost story, then you definitely want to catch this while in theatres to truly appreciate and experience the nightmarish visuals of the monsters and the beauty of the production design. Get into the Halloween spirit a little early with Scary Stories to Tell in the Dark as you enjoy a throwback to a more classical approach to the American horror film.

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 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!

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Twitter: RLTerry1

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“Long Shot” full movie review

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

“Last Flag Flying” film review

An all-star cast takes audiences on a memory journey of war, loss, friendship, and patriotism as genuine human emotions are dealt with through comedy and grief. Amazon Studios hits a homer again with the release of Last Flag Flying distributed by Lionsgate. Now in select theaters, writer-director Richard Linklater crafts an incredible motion picture that organically deals with the loss of a loved one during a time of war through the stages of grief and irreverent comedy between friends. While this film is currently flying under the radar, don’t allow that to dissuade you from watching this incredible war film. I cannot remember the last time that I saw a film that felt so genuine. Watching this film, I truly felt like a fly on the wall, watching a Vietnam vet deal with the loss of his son and reconnecting with some of the closest friends he ever had in his life. Last Flag Flying is a subgenre of war movies that places the camera at a distance from the characters and allows them to mourn and laugh on screen without interference from censors and other outsiders. While not a conventional war movie, the topic of war is found underlying many diegetic components. Dialogue driven, this film provides social commentary on patriotism, God, and friendship. Bring your listening ear to this movie because the context of the tough subject matter contains subtle yet powerful messages that highlight otherwise unstated emotions. Sometimes the best way to go through the stages of grief is to throw caution to the wind and allow humor to work its powerful remedy.

Three Vietnam war veterans reunite for a different kind of mission that forces them to deal with the present and the past. When Larry “Doc” Shepherd (Steve Carrel) arrives at the dive bar that belongs to former comrade Sal Nealson (Bryan Cranston), he asks his Marine brother to go with him without naming where. Sal drives Shepherd to a old country church now pastored by their Marine brother Richard Mueller (Laurence Fishburne). When Shepherd doesn’t touch his pale cobbler, the group realizes there is something wrong. It’s then the Shepherd reveals that his son was killed outside of Baghdad, and wants his two Marine brothers to go with him to bury his son at Arlington. Along the journey, the three former military comrades are forced to come to terms with their shared past that continues to shape their present lives by discussing tough topics such as grief, God, war, honesty, and addiction.

The sheer storytelling beauty of Last Flag Flying is found in the solid writing made evident through the excellent direction and A-list cast (and one surprising cameo that I won’t mention because it will detract from the brief but powerful screen presence). While it may appear like a somber tragedy on the surface, beneath that surface of sadness beats the heart of dark but respectful comedy that takes audiences on the memory journey right along side the characters. War movies about the loss of loved ones is not something new; but this film allows the characters to go through the stages of grief in organic ways that paints a motion picture of how human these emotions are. Human. Truly human. At times, there are no holds barred when three very different voices all converge on the same topic. You have the grieving father, a reverend, and foul-mouthed barkeep discussing everything, just as friends in real life often do. In many ways, these three former military comrades could not be any different in their present states; but at one time, they were inseparable and very much alike. While the focus of the film could have been on Shepherd’s loss or the politics of war, the focus is clearly on what makes us human and how one genuinely has to deal with loss due to war. Not that discussions of politics and religion are not found in this film–they are–but the discussions and arguments between these friends are used as tools to comment on the human condition. Because we never see combat footage, the expositional dialogue about war and politics adds incredible weight and a little mystery to the events in the film.

Before you begin to think that Linklater uses flashbacks to connect the present to the past, think again. While that would have been the easy, lazy way of accomplishing that task, he chooses to connect the present to the past through exceptional exposition between characters that prompt the audience to engage their own emotions to connect the pieces of the story together. Because we never shift between the past and present, the main story is always the main story. When constructing strong characters as we have this this film, it is the responsibility of the actors (though proper direction) to not allow the actor to get in the way of the character. Honestly, there are times that I see the individual actors eclipse the respective character, but most of the time, the audience will see the characters themselves throughout the dark comedy. The cinematography is simple, but perfect for the story within this motion picture. Linklater uses no gimmicks to tell this thought provoking story. The movie has an intimate feel to it because you can likely identify with one of the lead or supporting characters, especially when they are talking about “Disneyland” in Vietnam (you’ll just have to watch to understand why that’s in quotes). So incredibly genuine. No pretense about any of the characters in the film.

The content of this film truly reflects the tenor of the times in which we live. Topics of war, politics, and religion seem to be inundating us from all angles. It takes a special film to deal with each of those respectfully, candidly, and effectively. The trifecta of voices in this film allows the thought provoking conversations to transcend the screen and enter the minds of the audience. While working through his grief, there were times that Shepherd could have gone on an anti-military or anti-American rant, but he never speaks a negative word against anyone, though he is sometimes in immense pain. Patriotism, God, and the human condition are shown and discussed in quite unconventional and maybe even controversial ways; yet, the manner in which these topics are discussed, as it relates to Shepherd’s loss, are absolutely perfect. In a seemingly binary world where you are either a red-blooded patriot or you’re anti-American, with no room for nuance or discussion, this film provides the platform to begin to realize that we are first human before we take sides.

Although I did not care for Linklater’s Boyhood, I can honestly tell you that this film is one that you don’t want to miss. Whether you are in a military family or not, this film offers a glimpse into a world that many people have to face on a daily basis. The genuine, organic approach to the hard topics in this film allows the humanity to shine through. Not speaking for ALL veterans, but the vets that were in the screening last night had high praise for the film. And the rest of us had many positive remarks and feedback for the screener hosts.

“The Glass Castle” film review

An organic, unapologetic emotional rollercoaster. Based on the novel by the same name written by Jeannette Walls, The Glass Castle provides audiences with a glimpse into the childhood, young adulthood, and then-present day life of Jeannette Walls. After watching the film and end-credit scenes of the real Jeanette and family, it is clear that the movie is supported by a screenplay that takes its inspiration from the tome-like book. From what I have read, this film successfully adapts the novel to the screen, inclusive of all the intangibles and the unseen or heard elements from the book. Furthermore, this film strikes a fantastic balance between family drama and biographical motion picture. For all that this film has going for it, it falls short of the big-budget tear-jerker that is expected of Destin Daniel Cretton after his hit Short Term 12. However, those who choose to see this gritty slice of life, who have not seen Cretton’s previous works, will likely miss just how safely objective this film is. Although you will likely identify with one or more of the characters, in general, audiences will feel that they are safely watching the events unfold from a removed vantage point. The danger in bringing a story like this one to screen is creating characters that are either too softened compared to the real people or too detestable. Fortunately, Cretton skillfully tells a story that plays as authentic as cinematically possible.

You can choose your friends and lovers, but you cannot choose your family. The Glass Castle is the film adaptation of the memoire authored by Jeannette Walls (the central character). Jeannette and her three siblings must learn to take care of themselves and survive life as their parents are free-spirited responsibility-adverse individuals who inspire and inhibit growth and education. When he was younger, their father generated a great deal of warmth, compassion, individualism, and creativity; but when he turned to drinking more heavily, he allowed them to go without food and watched over them like a warden watches over prisoners. Meanwhile, mom was completely disgusted with the idea of being a domestic so she allowed the children to care for themselves and even prepare her meals. Jeannette and her siblings faced great adversity growing up, but grew to become contributing members of society.

This is one of those films that you go into thinking that a particular actor or character is the main one, but in all reality, it is the antagonist, if you will, that is the main character. Jeannette Walls (Brie Larson) may be the author of the novel and a lead character, but it is actually Rex’s (Woody Harrelson) movie. On one hand, Rex is a brilliant father who is preparing his kids for the harsh realities of life and how to not fall victim to blending in or turning into someone you are not. On the other, he is a belligerent drunk who cares very little for the well-being of his children and even ships them off to live with his aged mother who is a child molester. Through all the struggles and setbacks, Jeannette and her siblings learn resilience and strength to face whatever life throws their way whether that is extreme poverty or molestation.

The Glass Castle relies upon switching between the present story and flashbacks to hone in on the relationship between Jeannette and her father Rex. Often times, flashbacks are used as means to lazily integrate exposition into the film or explain some other dynamic; however, much like the background story in Fried Green Tomatoes is just as interesting as the foreground story, the rotation between Jeannette’s childhood and her adulthood is performs well and creates quite the interesting dichotomy. Both have the central focus of showing the development or lack thereof in Jeannette’s and Rex’s relationship. Not that other relationships take a backseat, but there focus is squarely on Rex and Jennette. There is one particular scene in the film that deserves special attention, and that is the restaurant scene with Jeannette and Rose Many, her mom played by Naomi Watts. The degree to which this scene is pitch-perfect is almost uncanny. The tension, emotion, and cathartic release commands attention.

Ultimately, the strength of this film lies in the writing and lead cast. Only to a minor extent does the screenplay depart from the source material. And in doing so, the film is strengthened. For those who enjoy films in the vein of The Help, you will enjoy this story as well. To keep the film from being too dark, Cretton adds some feel-good moments to the film that do not attempt to sanitize the past but honors the complicated truth in Jeannette’s and Rex’s relationship.

Lights, Camera, MotionGate! A Look into Dubai’s Newest Theme Park

Dubai_Parks_mapWhile the themed entertainment industry continues to explode with new lands and attractions at the US’ biggest players, the luxury destination Dubai, UAE is throwing its hat into the ring. MotionGate may just be the competition that Disney and Universal were not expecting. Primarily including intellectual property (IP) from Sony Pictures, LionsGate, and DreamWorks Animation (now owned by Comcast), MotionGate will boast some of the most advanced attractions in the world. Starting out the gate with 27 attractions and shows based on some of the most well-known IP from the worlds of cinema and television, this brings the total attraction numbers to more than 100 when added to the existing offerings at Dubai Parks and Resorts (a government owned themed entertainment holdings company).

motiongate_image.fw_Unlike the public-private partnership of the parks in China, the government of UAE is uniquely positioned to capitalize on the wealth of the nation. That allure and wealth has driven millions of tourists from around the world to their nation as it is; factor in a world-class leading theme park, and those numbers will increase exponentially. This influx of revenue may actually pave the way for the non-wealthy classes of people to be able to enjoy the Dubai Parks and Resorts as additional flights, hotels, and transportation methods will be added. One of the biggest advantages that MotionGate has over its Disney and Universal competitors (Fox will soon be added to that as well) is that it is being constructed amidst digital, wireless, and multimedia technologies. Whereas the big boys have to modify existing technologies in attractions as they change, these parks are built with the latest technology which directly impacts efficiency of operation.  This same idea of being late to the game but a quickly asserted leader can be seen in nations like South Korea who only recently, relatively speaking, have had access to wireless internet technologies. As they did not have to adapt or modify existing legacy infrastructure, they built on current communications technologies and have a much faster, reliable, cheaper, and efficient ‘internet of things’ than the United States.

MotionGate_DubaiIn the vein of Walt Disney World and Universal Orlando, Dubai Parks and Resorts is a themed entertainment complex featuring separately themed parks. Specifically, MotionGate bares a striking design modeled after Magic Kingdom in that it is ONE theme park that contains five distinctly different themed lands that all center in and around the concept of motion pictures, filmmaking, and live entertainment. Each land, much like the ones at Magic Kingdom, has its own gateway, themed rides, restaurants, shows, and landmarks. Also, keeping with the Magic Kingdom layout, MotionGate contains the hub and spoke system. Unlike Universal Studios, Islands of Adventure, SeaWorld, or Busch Gardens, MotionGate employs the hub-and-spoke system in order to make maneuvering the park user-friendly and aesthetically pleasing to the eye. This provides opportunities for centralized entertainment offerings and landmarks. Prepare for the glitz, glamour, nostalgia, and excitement of the lands: Studio Central, LionsGate, DreamWorks, Sony Pictures, and the Smurfs’ Village. What makes this concept additionally interesting is the fact that MotionGate includes IP from different studios that are self-contained. Instead of taking the IP from the different companies and integrating them in more generically themed lands, each IP is contained within its respective land.

sony-motiongateOne cannot help but notice that the concept of Dubai Parks and Resort’s flagship theme park MotionGate resembles the original Universal Studios Florida or to a lesser extent Disney-MGM Studios. How so? If you are not familiar, both Universal Studios Florida and then Disney-MGM Studios were theme parks inspired by the idea of “what lies beyond the fifth dimension” (Tower of Terror, Disney); moreover, the story that exists outside of the frame–beyond mise en scene. In addition to attractions and shows inspired by filmmaking or theatre, both parks were also east coast counterparts to the Hollywood stages. Universal/Nickelodeon and Disney produced major motion pictures and television shows in the sound stages that are all but gone (or turn into conventional  attractions) in the 1980s and mid to late 90s. By 2000, most filmmaking and television production operations ceased because it was cheaper to move operations back to Hollywood and to other places like North Carolina and now Georgia. MotionGate goes back to the drawing board to resurrect a dying idea of turning filmmaking into an attraction. It truly holds up Geoff King’s studies and theories of “the cinema of attractions.” Universal founder Carl Leammle knew there was more to filmmaking than making movies. That’s why he opened his movie making ranch outside of Los Angeles to day guests to be entertained by special effects and stunt shows as well as watching the magic behind the camera.

20thCenFoxWorldIt is an exciting time for the themed entertainment and motion picture industries. For the longest time, Disney and Universal (Comcast) were the kings of cinema and TV based theme parks. Now, Dubai is becoming a heavy hitter and once MotionGate opens in October, the landscape has the potential to shift drastically. Now, the parks in the US will not only be competing against each other, but against heavy competition on the other side of the world in an area with much deeper pockets. All the while the word is focussed on the Word of Pandora, The Reign of Kong, Cobra’s Curse, Mako, Star Wars Land, Toy Story Land, and the unnamed new theme park under construction for Universal’s third park (not counting the forthcoming water park), MotionGate will open and create a whole new atmosphere of innovation amongst the chief players. In addition to the parks in Dubai, Fox is also entering into the game with their 20th Century Fox World opening in Malaysia in 2017. Also on the books is the 20th Century Fox World expansion to Zoo Miami AND another indoor Sony theme park in Wisconsin. With all these parks opening, there are more and more opportunities for careers in either cinema or themed entertainment. Or, a career that spans both (which is what yours truly is trying to do). I just love all the new completion because it will drive continued innovation. However, it’s also nice to see that we have a new park that is getting back to the roots of what started it all: motion pictures.