Mario Puzo’s The Godfather Coda: the Death of Michael Corleone

A testament to the timeless, evolving art of theatrical motion pictures! Cinematic genius Francis Ford Coppola reedits and retitles the past in the exclusively theatrical release of Mario Puzo’s The Godfather Coda: the Death of Michael Corleone. Whoa, that was a mouthful. I can see why it didn’t exactly work for most marquees back in 1990. I appreciate Paramount gifting us with a limited theatrical run, which is positively the best way to experience and return to the complex world of the Corleone family. For those that are uncomfortable attending the cinema, The Godfather Coda will be available to own on physical media in the coming weeks. Other than the title, the most significant changes from Godfather: Part III are to the beginning and ending. But throughout the film, Coppola reedited and rearranged scenes so that this “director’s cut” is leaner than the original version. The Godfather series is no stranger to re-releases and supercuts for premium television. It’s as if this masterpiece is a work of art that Coppola is never truly satisfied or finished with, allowing him to tinker with it through the decades. One can liken his reedit of this film with his remix of Apocalypse Now. Since the very end is different from the original, I will not address the changes other than to state that it feels much more complete, and satisfying both narratively and emotionally.

In terms of the main action plot, this reedit is still about an aging Michael Corleone whom strives to abandon his old ways and become a legitimate businessman and philanthropist by developing a foundation and bailing out the Catholic Church’s crippling bank. Unfortunately, his personal journey of morality and redemption does not bode well for ancillary organized crime arms of the greater mafia. And thus, he becomes a target within the world he godfathered. Although concentrated in this installment, the global story in The Godfather saga is one of morality and redemption. As I regularly point out to my students, you may not agree with the business practices and skewed worldview of the Corleone family, but you have to admire the respect for tradition, family, and order. And in their own way, they adhere to strong moral and ethical values; and it’s that devotion to moral and ethical principles that we can admire. The collective history of The Godfather saga is as storied and illustrious as the history of the Corleone family itself. When discussions about the very nature of cinema are in discourse, The Godfather saga is one that is often cited as an example of a film that is the very definition of cinematic.

Harkening back to key moments from Godfather I/II, the reedits allow the film to better and more effectively mirror iconic and character-defining moments from the–let’s face it–stronger first two films. From opening the film on a party to intercutting violence against a high-profile public event towards the end, The Godfather Coda is a thoughtful exploration of dramatic irony and foreboding omen. By engaging in the art of montage (French for assembly), Coppola demonstrates how assembly can greatly impact the experience of the motion picture. Same story, but assembled differently in order to create a leaner, more coherant narrative. Upon watching The Godfather Coda, fans of Part III will appreciate how the plot is less (not far less, but less) convoluted than the original. Although there are still screenwriting and directing missteps, that are ostensibly ghosts from the past that will always be present, the changes greatly improve the story.

The coda to the Corleone family saga is a deeply moving cinematic motion picture that reminds us of the power of cinema. While even recut, it doesn’t match the level of critical and cultural success of the first two films, it is still full of excellence in visual storytelling for the silver screen.

Ryan teaches screenwriting and film studies 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! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

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“Rocketman” Movie Musical Review

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

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

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

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

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

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

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

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“A Quiet Place” horror film review

Heart-pounding. Spine-chilling. A creepy creature-feature that will leave you speechless. The demonstrable excellence in terrifying visual storytelling can effectively be summed up by the queen of silent film herself Norma Desmond, “we didn’t need dialogue, we had faces” (Sunset Boulevard). A Quiet Place truly earns its place among “certified fresh” horror films. Not since Don’t Breath and 10 Cloverfield Lane have I encountered such a thrillingly intelligent motion picture. Writer-director John Krasinski’s post-apocalyptic horror masterpiece showcases the power of visual storytelling within the horror genre. Furthermore Krasinski brilliantly channeled the soul of the iconic (mostly Universal Pictures) silent and early horror films for his modern interpretation of the creature-feature. No gimmicks here. Only a solid plot that builds an incredible, immersive cinematic experience upon the foundation of a simple plot with simple limitations. Simple plot, complex characters. That basic screenwriting principle is where so many filmmakers and writers go astray. Film is a visual medium, often supported by well-crafted, lean dialogue, and this film has visual storytelling in spades. This film represents one of the best examples of embracing the concept of “show don’t tell.”

Shhhh. Don’t make a sound. One family finds themselves surviving a post-apocalyptic world now inhabited by an alien species that hunts by sound.

There has certainly been a resurgence of exceptional horror films over the last few years. I mentioned Don’t Breath and 10 Cloverfield Lane earlier, we also have the Academy Award nominated Get Out from last year and many others. While many may shrug their shoulders at horror because it is a proliferated genre with many cheep, tawdry horror flicks, this same genre can be incredibly intelligent in how it makes an observation of society and offers commentary, a new perspective, or provides a means to a discussion. Some of the most critically acclaimed films over the decades have been horror. Being among the first films commercially released, horror has also stood the test of time and provides audiences with a experience that challenges worldviews, provokes physiological responses, and fuels nightmares and imaginations.

One of the most brilliant aspects to A Quiet Place is the film’s innate ability to instantly hook the audience with loud silence. Going into the movie, audiences know that the arachnid-like creatures kill anything within an earshot. Therefore, the audiences hang onto every bump, snap, or thud as the tension rises and suspense is drawn out to terrifying levels. Impeccable audience engagement. It takes a special kind of movie to completely immerse the audience into the world of the film in a multidimensional way. In terms of viability of the film and cross-promotion, this movie certainly has what it takes to be a popular and successful adaptation for a house at Universal’s Halloween Horror Nights or Busch Gardens’ Howl-O-Scream. Definitely has a place among the best horror film experiences to date.

The successful suspense and tension building can be attributed to seldom getting a good look at the alien-arachnid-like creatures. Had the audience seen the creature repeatedly throughout the film, it would lose fright value. As Hitchcock stated, “there is nothing scarier than an unopened door.” Meaning, the filmmaker’s ability to transfer the terror on screen to the minds of the audience is far more powerful and impressive than relying upon on-the-nose scares and jump-scare gimmicks. Well-crafted suspense and rising tension carries far more weight, and has the ability to support a narrative so much more effectively than a cheap scare. Although the atmosphere in this film may remind you of Don’t Breath, and rightly so, Krasinski’s film does not quite measure up to the macabre, terrifying atmosphere that Fede Alvarez provided audiences; however, Krasinski’s A Quiet Place is extremely close to the aforementioned and deserves the accolades that it has received.

In terms of how to closely read A Quiet Place, the film provides exceptional social commentary on the perils parenting and, by extension, protecting one’s offspring. In fact, I imagine that the experience for parents watching this film exceeds the levels of terror felt by those of us who do not have kids. There is also plenty of material on how far a parent is willing to go in order to protect their children. I also appreciate the film’s commentary on expected mothers, and how they stop at nothing to protect their unborn child from that which seeks to do it harm. Responding to and working through grave tragedy is another heavy and shocking subject matter in the film. We all respond to death differently; many of us grieve differently than one another. Some bottle up all the negative feelings for fear of how to deal with them, and others blame themselves because they feel that there is something that could’ve been done differently to protect a lost loved one. On a lighter note, the film also provides metaphor on how to work with and handle your older kids when they seek to push the boundaries–boundaries that may be dangerous and place them in harm’s way. There is so much here to talk about, and I have just touched on the surface. That is why horror is the best genre for creatively exploring psycho-social constructs and other observations about humanity and the world in which we live.

Quietly make your way to your seat in the auditorium. A Quiet Place is definitely a film to be experienced on the big screen with a theatre full of others who seek to be frightened. Enjoy the refreshing originality of a film that could have so easily went by way of so many other creatures features that lack anything memorable, and just blend into the background with countless others in this subgenre of horror. It may not have the well-defined external goal and end game of Don’t Breath, but it is certainly exciting and fun! You’ll certainly be absorbed into this terrifying post-apocalyptic world, where YOU are afraid to go bump in the night.

“Allied” movie review

alliedQuite the duplicitous plot! Robert Zemeckis’ Allied released by Paramount Pictures is a thrilling tale of espionage and love. We have certainly seen a few different “spy” movies over the last couple of years; some more about espionage and others more about the drama that ensues afterwards. Fortunately, Allied feels like a genuine spy movie that actually contains espionage. The production design and costumes are a beautiful throwback to the fabulous 40s. You’ll find yourself reaching for a glass of champagne and swing dancing to Benny Goodman’s timeless big band jazz hit Sing, Sing, Sing. There is one city synonymous with WWII, espionage, and romance and you will appropriately return to that iconic city of Casablanca in Allied. This is definitely not a reimagined Casablanca but there are indirect references to that movie sprinkled throughout this new story. Films like this one require top notch talent, and both Brad Pitt and Marion Cotillard deliver outstanding performances to accompany this staple in film genres. Not limited to the love story between Pitt’s and Cotillard’s respective characters, the movie also includes some deadly shootout scenes and dangerously close encounters with the Nazis behind enemy lines.

Commander and intelligence officer Max Vatan (Pitt) is stationed in the famous city of Casablanca in French Morocco where he teams up with French resistance movement leader Marianne Beausejour (Cotillard). Impressed by her ability to so effectively blend in and create her authentic cover, Vatan soon finds himself falling in love with his partner. Following the assassination of a Nazi ambassador, Beausejour and Vatan flee to London to start their life together. Everything is going beautifully for the happy couple in their second year of marriage with a child when Vatan’s superiors confront him with the suspicion that Marianne is in fact a Nazi spy. Refusing to believe it to be true, Max must now conduct his own investigation into his wife’s history to protect the ones he loves so dearly.

I absolutely adored the look and feel of the film as it echoes the era of the Golden Age of Hollywood. Although this movie plays off a tad listless as a result of failing to elicit a strong emotional response from the audience, it is not without it outstanding elements. It benefits from solid acting and beautiful cinematography as well as some fantastic symbolism. Robert Zemeckis’ talent for visual storytelling is clearly visible in this period film. The weakness in the ability to successfully leave a lasting emotional impact on the audience is in the writing and executive producership of Steven Knight (Eastern Promises). For films that are not as much about the spectacle as they are the drama between characters and the challenges faced therein, it is vitally important that the personal/interpersonal relationships transcend the screen and directly impact the audience. All the makings were there for a deeply moving cinematic story, but it just doesn’t quite make that transition from the mostly superficial and distant.

Mirror, mirror, on the wall…(interesting fun fact: this misquoted line from Snow White is actually “magic mirror on the wall”). But, I digress. The strategic use of mirrors is an  incredible use of visual storytelling and symbolism. For those who have studied film or literary rhetoric, the mirror is a classic means of conveying duplicity (two sides, faces, etc of a character). Even without knowing that this was a spy movie, I would have been able to infer that from how the mirrors are shot and placed within the composition of the 24 frames a second. When using powerful symbolism as part of the visual story, it conveys so much more meaning in a scene than words could actually describe. Mirrors have long sense been a powerful metaphor even before moving pictures. But motion pictures allow for a greater use of the importance it plays in a cinematic story. Not limited to duplicity, mirrors can also be used as a metaphor for self-reflection. Whether talking duplicity or reflection, the mirror aids in conveying so much to the audience in this movie.

Ordinarily, I am not a fan of classic films getting remakes; however, there are always exceptions when the core or essence of the film is held in tact but the production design, direction, and cinematography are brought up to speed with contemporary cinema. If you’re a fan of WWII era films or the timelsss spy movie, then you will definitely enjoy Allied. After witnessing the significance of Casablanca in this movie, I am actually looking forward to a remake if there ever is one. Provided. That the overall look and feel of the movie is in line with classical motion picture storytelling. I could definitely see Robert Zemeckis directing a remake of Casablanca. Occasionally there are directors who can strike the balance between a classic tale told through contemporary technology, and Zemeckis definitely struck that balance in Allied.

Don’t allow the weak writing to dissuade you from watching it; there is actually a lot to enjoy in this film. After the slow burn during the first act, acts II and III are full of intrigue and suspense.

“Arrival” movie review

arrivalposterYou’ll want to see it again. Prepare yourself for an extraordinary cinematic journey in this science-fiction thriller complete with commentary on the human condition. From the exhilarating cinematography to the incredible awe-inspiring visual effects, Arrival will have you hooked from the very beginning. Based on the book Story of Your Life and Directed by Denis Villeneuve (SicarioPrisoners), Arrival boasts an outstanding cinematic experience that is as much cerebral as it is visceral. Your very perceptions of time and memory will be questioned and force you to open your mind to endless possibilities. Poignantly, this film takes you on a journey that will show you that we need to change and that we can change. On the verge of avant-garde, Arrival pushes the limits of traditional visual storytelling and creates an innovative method for conveying social commentary within the science-fiction genre. Following the final fade to black, you’ll want to discuss this film with your friends. Reignite your sense of wonder. Arrival is more than a story; it’s an experience!

After twelve egg-like unidentified objects land on earth, the U.S. Government calls upon expert linguist Dr. Louise Banks (Amy Adams) and theoretical physicist Ian Donnelly (Jeremy Renner) to crack the mystery and develop a means of communication with the homogenous alien species. While much of the world is on the brink of an all-out assault on the aliens, Banks is determined to establish a rapport and open communications with the species. Starting with basic words and working up to complex sentences, Banks knows she has to learn the aliens’ language in order to better understand why they have come. When things take a turn for the worst, Banks and Donnelly have precious little time to stop countries from engaging in battle with risk of war. With so little time to unravel the mystery of why the aliens are here and what they want, Banks will find herself on a mind-blowing journey of her own.

You’ve just got to see it. There is so much that I want to talk about, but it would spoil so much of the film. I’ve mentioned before that there are great ‘movies’ that are mediocre ‘films,’ but this is a prime example of an excellent movie AND brilliant film. The brilliance of this film is not in the stunning visuals, although that is certainly part of it; the brilliance lies within the cinematic and experiential storytelling. During the big reveal at the end of the film, your mind will be blown. You’ll find yourself wanting to watch it again to more clearly understand the strategic placement of the pieces of the puzzle. During a time in which the country appears so incredibly fractured, this film will provide audiences with a renewed sense of wonder and appreciation for that which one may not fully understand. Making the tough calls and putting one’s life at risk of what is right is also woven throughout this story. The theme of Arrival is not fully realized until the latter half of the film. More than a surface-level story about that which I cannot mention without giving it away, this film possesses a dynamic range of themes just beckoning for interpretation. As this film bares much similarity to avant-garde cinema in the reimagining of traditional storytelling, it will evoke a powerful emotional response.

Amy Adams and Jeremy Renner deliver outstanding performances in the lead roles. Taking center stage for most of the film, Adams breaks new ground as an actor in this role that is nearly a complete departure from most of her other roles. Both Adams and Renner display excellent chemistry in their respective characters. Although Adams is the central character and responsible for the drive of the plot, Renner is strategically placed to reinforce the affects Adams’ character has upon the plot. Forest Whitaker also plays a strong colonel and was an excellent choice for his role as well. The success of the cast can be attributed to both the outstanding direction from Villeneuve and the incredible screenplay by Eric Heisserer. Bradford Young’s cinematography is so simple but yet so beautiful and profound. It is of no surprise that this film is being touted as one of the best movies of the year and has a nearly unprecedented 100% on Rotten Tomatoes.

Whether you are a linguist yourself or just enjoy an exhilarating cinematic journey, Arrival is definitely the film to catch this weekend. For the Star Trek TNG or Voyager fans out there, you will find that Arrival possesses some of the same great content that sets Star Trek apart from other science-fiction shows due to the human condition being central to the overall plot. If you enjoy movies that prompt you to revisit how you perceive your life, time, or space, then you will not be disappointed. There are so many levels to this film. You’ll likely find yourself wanting to see it again after fully realizing the innovative plot. Hopefully this film receives some Oscar noms in the upcoming award season.