Tag Archives: movies

CLUE: LIVE ON STAGE play review

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“I. Am. Your singing telegram (POW!)” here to tell you that you do not want to miss the hilarious hijinks of CLUE: Live on Stage! It successfully channels the film whilst crafting a new experience. And yes, all the iconic, quotable lines and slapstick moments are in the show!! It’s a laugh out loud riot that will uplift the human spirit!

Playing the Straz Center in Tampa now through June 2nd.

Designed for fans of the cult classic, complete with all the camp, but can still be appreciated by all! This stage adaptation of the beloved star-studded film owes its success to the playwriting that retained the soul and memorable moments of the film yet injected new dialogue, scenes, comedic irony, and physical comedy that together craft a familiar yet fresh experience. From the moment the play opens with the original theme music, you know that you will be in for an uplifting time at the theatre. Some stage adaptations of films neglect to include so much of what makes their respective film source beloved, such as the score, quotable lines, or slapstick humor; not true with CLUE. This is one of the best stage adaptations of a film that I have ever witnessed.

One of the subtle strengths of the playwriting is the inclusion of some meta humor such as characters carrying around the original board game detective notepads and even the game board. Other elements that elevate the meta humor of the play include musical cues and slight fourth wall breaking as if to nod to the audience that “we know you know.” The stage design is fantastic! Every inch of space is used efficiently and effectively to achieve the feeling of a vast mansion on a single stage. Furthermore, the design retains that beautifully gothic atmosphere that we associate with the iconic board game and campy film.

With such great cast/character chemistry in the film, I was curious if this adaptation would be able to capture even half of the magic. It pleases me to report that the cast’s chemistry is fantastic! And while they certainly recreate notable moments from the film, each of them puts their own spin on the expression of those moments. From “Let us out, let us out; let us in, let us in” to “Fla, fla, flames, flames on the side of my face” to “I. Am. Your singing telegram,” all those memorable moments are part of the stage production!

And if you were curious if the multiple endings from the film are included, that they are! But, the solution(s) are different than the film, so don’t think that you have it figured out. Even this faithful adaptation throws curve balls that will keep you on the edge of your seat.

I had such an incredibly enjoyable time with this play, and I know you will too. CLUE: Live on Stage is currently touring the country, so look for a showing near you! CLUE is playing the Straz Center in Tampa now through June 2nd, but checkout the CLUE website for when it will be touring in your area.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

FURIOSA: A MAD MAX SAGA

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A meandering cinematic spectacle. FURIOSA: A MAD MAX SAGA delivers on immersive scale and scope, but fails to deliver on a compelling narrative. It’s an exhausting, endless chase through a desert wasteland that’s as devoid of life as the plotless story itself. Clearly writer-director George Miller demonstrates a love for the dystopic universe of Mad Max, but the narrative lacks focus and direction. However, he makes excellent use of world-building and drawing the audience into the high octane action. The problem is, that perpetual high octane action results in a disconnect between the audience and the characters and plot because interest in action alone isn’t sustainable. Ultimately, the spectacular visuals do not compensate for strength of story.

Snatched from the Green Place, young Furiosa falls into the hands of a great biker horde led by the warlord Dementus. Sweeping through the Wasteland, they come across the Citadel, presided over by the Immortan Joe. As the two tyrants fight for dominance, Furiosa soon finds herself in a nonstop battle to make her way home.

The setup of this saga in the Mad Max universe works quite well. In fact, I was pleasantly surprised during the first few minutes of the film because it begins as a character-driven narrative. Unfortunately, that feeling wouldn’t last long. After a fantastic start, the first act slows to a crawl, with only the chase across the desert to provide any kinetic energy. It would’ve worked quite well had there been a balance between the action and character moments, or the inclusion of emotional resets. But once that chase begins, it pretty much does so without ceasing for the remainder of the 2.5-hour movie.

At is most basic elements, well-written story features a well-defined central character with an external goal, and opposition to that goal. In Furiosa, the external goal is setup to be Furiosa returning home (to the Green Place), but then it changes direction to become something else. The something else to which it changes is no longer substantively supported by the setup of the movie and character of Furiosa. Related? Yes. But I do not feel that the movie that began, is the movie that finished. The something else to which it changes could have very well been incidental to achieving the goal of returning home, but instead the movie goes in a different direction in order to match up to Fury Road.

The scale and scope of the film, and immersive atmosphere is truly commendable. The lengths that Miller and his cast and crew had to go in order to film in such a desolate environment was not easy. And the hard work of crafting a world out of a wasteland is exceptional. It is entirely possible that the weakness of story is a result of Miller being director, producer, and writer. Often times, when there lack sufficient checks and balances between writer and director, the story suffers. Simply stated, sometimes a story makes sense in the mind of the director, but they aren’t as gifted at capturing and supporting that story on paper as a writer. And the same can be said for writers whom try their hand at directing. Just because it works on the page, doesn’t mean it works on the screen.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

ROGER CORMAN: A Tribute

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Roger Corman was a trailblazer for independent filmmaking and left an indelible mark upon motion pictures. With a career spanning over six decades, Corman’s influence on the industry is woven into the very fabric of cinematic history. Not only was he a prolific filmmaker in the horror genre, but his decades-long career included science fiction and exploitation as well.

Despite working with limited resources, Corman churned out film after film through his assembly-line like process. In addition to his films, Corman was also responsible for launching the careers of some of the biggest Hollywood legends Jack Nicholson, Francis Ford Coppola, Joe Dante, Martin Scorsese, and many more. Because Corman simply loved movies and working with anyone that was hardworking and creative, many that would go onto A-list careers got their start working for him. Corman’s influence extends beyond his own films; his entrepreneurial spirit and willingness to take risks inspired generations of independent filmmakers to pursue their creative visions outside the now-defunct studio system.

Corman consistently demonstrated an innate passion for visual storytelling. And his particular flare for the screen led him to carve out a niche in the world of low-budget genre films. With an incredible eye for identifying talent and an unparalleled ability to transform low-budget schlock into cinematic gold, he became a pioneer of independent filmmaking, defying film business and production conventions and pushing the boundaries of cinematic art.

Looking at the filmography of pictures directed or produced by Corman, it’s clear to see that his work reads like a love letter to cinema itself, particularly within the horror and science-fiction genres. His films were often campy and fun. Just watching his pictures, it’s evident that he was having so much fun with everyone on set, both in front of the camera and behind the scenes. The plots were simple; but like a little black dress, he accessorized beautifully them to create memorable experience after memorable experience. His films, though often made with limited resources, possessed an undeniable charm and inventiveness that captured the imagination of audiences worldwide. Whether unleashing creatures from the depths of space or exploring the darkest recesses of the human psyche, Corman’s knew precisely how to take us to worlds unknown or unchartered territories of our own world.

Corman’s ability to create compelling narratives that maximized limited resources is unmatched by any other filmmaker. He perfected how to effectively blend genres and tap into the cultural zeitgeist with innovative, budget-friendly filmmaking techniques. Commonly found in his unique genre blends is a foundation in horror. Whether it was science-fiction, exploitation, film noir, or adventure movies, there is nearly always some horror adjacency found in the tone, plot, and characters. Monster from the Ocean Floor (1954), It Conquered the World (1956), Attack of the Crab Monsters (1957), Machine-Gun Kelly (1958), Bucket of Blood (1958), House of Usher (1960), Little Shop of Horrors (1960), and The Masque of Red Death (1964) are some of his best-known films. Even the films he chose to distribute delivered his authorship like Carnival of Souls (1962). From the silly to the serious, Corman made an intentional effort to keep up with changing tastes in cinema, and channeled his knowledge of the pulse of popular culture into his films.

Appearing frequently in Corman’s pictures (and the pictures of William Castle “king of the gimmicks”) was screen legend Vincent Price. His and Corman’s recurring collaboration is one of the most celebrated partnerships in the history of cinema. The talents of both men complemented one another perfectly, and they created some of the most memorable horror B-movies of all time. What made this partnership truly special was their appreciation of and respect for the material with which they were working. Corman’s trademark atmospheric storytelling and Price’s commanding screen presence worked seamlessly together to elevate the B-movie into cinematic art in every measurable sense by infusing it with sophistication, intelligence, and a touch of macabre humor.

You can catch some of his movies on SVENGOOLIE on MeTV on Saturday nights.

I had hoped to interview him for my upcoming book Monsters, Madness, and Mayhem: Why People Love Horror, but I will sadly not get that chance. But he leaves behind a legacy of love for entertaining people through the motion pictures he directed and produced. He was one of the last connections to the golden age of horror and science-fiction B-movies.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

INVASION OF THE BODY SNATCHERS (1956) Throwback Thursday Review

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A timeless, terrifying motion picture! Based on the Collier’s magazine serial turned book The Body Snatchers by Jack Finney, directed by Don Siegel, and produced by Walter Wanger (of Cleopatra infamy), this Allied Artists’ motion picture is the single best representation of the fears and anxieties of the 1950s. But the beauty of this particular picture is that its themes including the fear of conformity, loss of identity, dehumanization, loss of individuality, and even vulnerability are still relevant today, perhaps even more so than they were at the time this seminal horror film was released. 

In Santa Mira, California, Dr. Miles Bennell (Kevin McCarthy) is baffled when all his patients come to him with the same complaint: their loved ones seem to have been replaced by emotionless impostors. Despite others’ dismissive denials, Dr. Bennell, his former girlfriend Becky (Dana Wynter) and his friend Jack (King Donovan) soon discover that the patients’ suspicions are true: an alien species of human duplicates, grown from plant-like pods, is taking over the small town.

While this film sits comfortably in the horror/sci-fi subgenre, it shares a lot of characteristics in common with film noir. Between the recurring narration, a central character in over his head, and the fact events do not turn out favorably for the central character, it pulls on the best of the film noir apparatus to craft a highly unnerving cinematic story that prompts one to think about the state of the world around him or her. 

Perhaps in its day, Invasion of the Body Snatchers was a commentary on the threat of communism/socialism on the American republic, but that is not the only subject to which this film can speak to us decades later. Could it still be read as a warning against the threat of communism today? Sure. But, communism doesn’t look or act like it did back in the 1950s. That’s the danger inherent with famous allegorical films such as this one; the well-known danger is pigeonholing it into only ever meaning what it meant back during the days of the Cold War. When in fact, this film can be read as a commentary on a variety of topics, depending on the worldview of the audience member. 

Whatever the form the existential enemy takes, whether you choose to read it as a commentary on communism, socialism, nationalism, or woke-ism (more accurately defined as applied/reified postmodernism), this film speaks to that which is defined as a threat to one’s present existence. When we label what this film is about, we limit its potential to speak to us. So, it’s better to read the film through its various themes versus defining what the enemy is. From beginning to end, the film depicts events and behaviors that rob individuals of expression, identity, competition, entrepreneurship, and choice in exchange for homogeneity, group think, forced societal roles, and emotion. Ostensibly, this film is about an enemy that seeks to dehumanize and force conformity upon everyone—a world in which everyone is equal and exactly the same versus a world in which we are all equal but definitely not the same. The film demonstrates what happens when we are asleep to the threat of the enemy, and it comes in like a thief in the night. And when we finally recognize the threat, it’s all but too late for us, for humanity, for freedom.

The film begins laying the pipe for the second act reveal of the pod people all the way at the beginning. It’s a scene to which many may not pay particular attention; it’s the scene wherein Miles notices that the Grimaldi vegetable stand is no longer open. One of the characteristics of a society that demonstrates a lack of support or simply opposes free enterprise (or by extension the marketplace of ideas), is manifested in this imagery. Farmer Grimaldi abandoned his private farming business in exchange for supporting the planting and harvesting of the alien pods. Other disturbing imagery is the crisis between the second and third acts wherein Miles and Becky are told that the pod people (replicants of their human counterparts) mean them no harm and want to provide a peaceful existence. The real horror here is that the peaceful existence comes at the cost of freedom and one’s unique identity (all the traits that make one a unique man or woman). These pod people are devoid of any genuine emotion, only exhibit the pretense of it, and see individualism as a threat to their existence.

Invasion of the Body Snatchers is a call to action; it’s a wakeup call to all those that watch it to stand vigilant against tyranny, to stand guard against threats both seen and unseen that seek to undermine what it means to be human. Furthermore, the film posits the idea that the deadliest enemy may not be the one that can be viewed with the naked eye; rather, the deadliest enemy is the one that sneaks in unbeknownst to most individuals. Or maybe it comes disguised as something that sounds great on the surface, but only seeks the destruction of uniqueness, freedom of expression, the marketplace of ideas, and the human dimension of existence. 

Due to the timelessness of the message of this terrifying film, we are drawn back to it time and time again. We are reminded to stand guard against an enemy that seeks to destroy our very way of life. It’s a story of survival and the great cost of freedom. A recurring theme throughout the horror genre is the theme of survival, and Invasion of the Body Snatchers is a brilliant exploration of how to survive against mounting odds that appear unstoppable. Horror films have a way of causing us to rally, causing us to come together in support of our right to survive. There is no other genre that inspires us to fight the enemy like a horror film.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

ABIGAIL horror movie review

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Fangtastic! Universal Pictures’ Abigail is a wildly entertaining, classically-inspired horror movie that you can really sink your teeth into. It delivers old school vampire movie elements with a contemporary sensibility. Ostensibly, it’s the metaphoric child of Dracula (1931) and The Horror of Dracula (1958). From beginning to end, the terror and laughter continually draw you into the story. Tonally, it strikes a great chord. The narrative never takes itself too seriously; however, it never devolves into parody either. It’s an effective blend of the atmosphere and music of an old school Universal monster picture and the increased gore of Hammer studios. Underscoring the blood-curdling outside/action story is an internal story with a redemptive message and even a little heart.

A group of would-be criminals kidnaps the 12-year-old daughter of a powerful underworld figure. Holding her for ransom in an isolated mansion, their plan starts to unravel when they discover their young captive is actually a bloodthirsty vampire.

From the moment the film opens, I was hooked! It opens with a solitary ballerina gracefully dancing on the stage in an empty auditorium; but what makes this scene particularly alluring is the original Dracula score (selections from Tchaikovsky’s Swan Lake) underscoring the entire opening sequence. It’s a deceptively simple scene that draws us into the beauty of the dance and music. Not only does the iconic music play at the beginning, but variations of it serve as a significant part of the movie’s score. This scene could be made greyscale, and edited to look like it was shot on 1930s 35mm film stock, and I’d almost buy that it was shot nearly 100 years ago.

While the movie may start out in the city, it doesn’t take long to venture into the countryside where a foreboding Tudor style estate serves as the main location for the events of the film. Again, Abigail is channeling Universal’s roots in classic horror by placing our relatively small cast in an isolated expansive estate that could’ve very well been used in a Carl Laemmle/James Whale motion picture. All that was missing was the eerie setting being draped in a dense fog rolling off the moors. As the characters wander through the imposing countryside mansion, the movie effectively established the rules by which the film will live by as it delivers its screamtastic narrative.

Without getting into plot specifics, I can tell you that it’s a simple plot with complex characters–so the best kind of cinematic story! Each and every character is sufficient developed, and quickly. The movie wastes no time at any point. It’s a lean, mean script that snaps, crackles, and pops. Not only is the world build, complete with rules, but the logic of the movie follows the rules and boundaries that it setup for itself during the first act. And while the movie does adhere to many classic vampire tropes, it also subverts some expectations. But not too many. There is one, in particular, to which I feel that it should’ve adhered but identified a way around it for dramatic purposes. But otherwise, I like that it pretty much stuck to the vampire playbook that has been used since Bram Stoker penned the seminal novel.

While there is a lot of blood, I wouldn’t say that it is a particularly violent picture. When the violence and gore hit–they hit–but it’s not gratuitous to the point of exhaustion from the visceral gore and projectile blood. I’d say it’s along the lines of Ready or Not levels of violence/gore. It’s never delivered in a manner that feels disturbing or disgusting; like with the tone, there is a consistent tongue-in-cheeky quality in the fighting or kill scenes. There are some fantastic skills and scenes that I hope make their way into the HHN (Halloween Horror Nights) house that this movie is destined to become this year or next.

the comedy is effectively delivered scene after scene. There is a great combination of humorous dialogue and visually-driven humor. Lots of hilarious image juxtapositions and an over-the-top quality to much of what is experienced. The movie is full of exaggerations, twists, and reversals. Whether the punchline is delivered in an argument or a sight gag, it’s done incredibly well by writers and directors that care. There is one scene that I particularly enjoyed, and it’s the vampire dancing with a headless corpse to the Dracula score. It’s just so ridiculous that you will undoubtedly laugh!

Despite the wildly entertaining qualities of this movie, it is not without some heart. One of the characters learns that constantly feeling like the victim of their circumstances is not constructive, and sometimes the best thing to do is move forward, freeing oneself from the prison of victimization. It was a nice touch that didn’t feel forced, but rather earned by the character.

You don’t want to miss seeing Abigail on the big screen, because the experience will not be the same at home. If you’re a fan of both Universal and Hammer horror, then you’ll want to make sure to watch Abigail in cinemas.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie Film Critics of America. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry