Tag Archives: Paramount Pictures

SCREAM VI horror movie review

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Ghostface takes Manhattan. Mostly forgettable, S6REAM is neither bad enough nor good enough to be remembered. This forgettable installment in the SCREAM franchise is written by the brilliant Ready or Not’s James Vanderbilt and Guy Busick, but you wouldn’t know it from the contrived, clunky plot the two screenwriters developed. More violence does not a great horror movie make; the amped violence is employed as a tool to compensate for the vapid storytelling. Overstuffed with characters and lacking in any real suspense or thoughtful plotting, SCREAM VI is what happens when stories are dumbed down for TikTok attention spans and those that eat up YouTube trash. The Ready or Not duo should have spent more time understanding why Kevin Williamson’s excellent original screenplay works rather than creating some insipid fan fiction featuring the iconic Ghostface. Suffice it to say, SCREAM 6 is enjoyable enough for legacy fans, but remaining invested in this movie will undoubtedly prove to be an exercise in tolerance for the absurd. 

Four survivors of the Ghostface murders, leave Woodsboro behind for a fresh start in New York City. However, they soon find themselves in a fight for their lives when a new killer embarks on a bloody rampage.

The SCREAM franchise is famous for its (usually) thoughtful social commentary on the horror genre (more specifically, the slasher); by extension, these meta observations are applicable to society in general. Scream VI provides commentary on franchises and (to my delight, as a film professor) film studies! In fact, Samara Weaving’s character is a film studies professor with an expertise in horror (just like me!). What’s ironic is that for all the knowledge the screenwriters demonstrate in a critical analysis of tropes or patterns of a horror franchise, this movie fails to provide anything meaningful to add to the conversation.

The detrimental problem in this lack of anything new is that the movie loses any kind of real thrill; moreover, it loses any ability to resonate with audiences because of failing to tap into those most primal fears at the bedrock of horror. The very tropes the movie highlights are the very tropes that form obstacles that the movie never overcomes. Furthermore, the problematic screenwriting feels like a copy of a copy of a copy of a copy rather than anything innovative. It doesn’t redefine what it means to be a franchise, it falls victim to the same parasitic infection innate in most franchises.

One promise the movie’s publicity makes—and fulfills—is the amped up violence, both in terms of body count and level of trauma. And there are most certainly going to be those that use the violence as a barometer for satisfaction in watching the film. This is a flawed evaluation method because it has little to nothing to do with the actual storytelling methodology nor quality. Due to the exponentially increased violence, the pacing of the movie is in high gear the whole time, leaving little to no room for emotional resets or breathing room to build suspense or any tangible tension. S6REAM is a lackluster offspring of Wes Craven and Kevin Williamson’s desperately trying to evoke an affection for the legacy property. 

Because of the overstuffed cast, there is little time to develop any level of empathy for the characters. The only characters to have any real agency are Gale Weathers and Samantha Carpenter. Even Kirby’s character (whom gets a highly anticipated return) is lacking in dimension or growth arc. Other problems in casting include Jena Ortega whom I cannot take seriously as a final girl because she may as well be Rey from Star Wars for all her invincibility and lack of flaws. I never felt once that her life was in any real danger. An important quality for a final girl is strength, failure, and resilience. Tara is lacking in all these important qualities.

Scream VI (and the predestined Scream 7) may prove to be the nails in the coffin for the slasher. It will take a screenwriter(s) or director that cares about going back to the roots and building upon the soul of legacy properties or the tropes to breathe life into the former screen king of the horror genre. In other words, screenwriters and directors that care about story integrity. 

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

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TOP GUN: MAVERICK motion picture review

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What a picture! Cinema at its finest! Top Gun: Maverick is the high energy, funny, exhilarating motion picture cinemas and audiences need–and–it’s full throttle heart! Furthermore, the absolutely brilliant combination of screenwriting, directing, and all the technical elements combine to acknowledge and build upon the nostalgia without resting its laurels on it or hiding behind the cultural and cinematic touchstone that was the original Top Gun. I didn’t know a long-awaited sequel more than 30-years from the original could be THIS good–in fact–it’s better than the original. We are talking Wrath of Kahn compared to Star Trek the Motion Picture here. Maverick represents that some stories, characters, and themes are truly timeless. Even the most casual fans of the original will be touched by everything this film has to offer. I cried several times, and I am not alone. Multiple fellow critics have remarked this film moved them to tears as well. Familiar, yet fresh doesn’t begin to capture the magnitude of diegetic and cinematic success of delivering the surprisingly perfect experience of this film that could very well be on its way to Best Picture of the Year nominations. Maverick is the film that we need as a country, as a world right now! Its plot is equal parts character and action-driven, and no scene or character is wasted or simply inserted to satisfy some nostalgia checkbox. Not only a love letter to the cinematic phenomenon that was Top Gun, it’s ostensibly a love letter to the cinematic experience in terms of scale and scope of the adrenaline-pumping high-flying adventure! We need this film at such a time as this. It’s an uplifting, positive, constructive motion picture for all! Fly, don’t walk to your nearest cinema that offers premium formats like IMAX or Dolby to experience this epic story on the BIG SCREEN.

After more than 30 years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. Training a detachment of graduates for a special assignment, Maverick must confront the ghosts of his past and his deepest fears, culminating in a mission that demands the ultimate sacrifice from those who choose to fly it.

What is Top Gun: Maverick‘s secret ingredient, wherein lies the magic that made this motion picture work on every single level? The answer: there is no single element. Maverick an incredibly rare lightning in a bottle sequel! Moreover, it’s a lightning in a bottle film period. But if I was to hone in on what I feel is the reason why this film is as impactful, humorous, and exciting as it is, then I’d place a little more credit on the power of Peter Craig and Justin Marks’ screenplay! Yes, Joseph Kosinski’s direction and Tom Cruise’s creative producer guidance play a major roles in the visual storytelling, this action movie owes the depth of its storytelling to the screenplay. While we could boil down the screenplay to a combination redemption-hero story, there is so much more to Maverick than that.

Since this is at the beginning, it’s not a spoiler. The film opens in a nearly carbon-copy to the original, down to the text on screen, Top Gun theme, Danger Zone, and sequence of shots. The mention of the opening is incredibly important for you to know. There is no doubt that Kosinski and Cruise intentionally crafted the throwback opening to channel the nostalgia factor at the very beginning. This must be distinctly understood, or nothing wonderful can come from the story Craig and Marks wrote for you. From the very beginning, audiences are invested in this story because their nostalgia adrenal glands have been stimulated. And as far as direct throwbacks, that is pretty much were it stops. Is that to say there aren’t a few strategically placed (and very brief) flashbacks sprinkled throughout the film? No, there are perfectly setup and executed flashbacks and visually and dialogue-driven references (and Easter eggs) used in the film, but they are supportive, yet pay off dramatically. No moment or reference from the original is simply used to remind you that this is a Top Gun film.

Simple plot, complex characters. It’s a lot easier said than done. When teaching screen writing for film or situation comedies, I drive this point home nearly as often as dramatize don’t tell. The plot of this film is very simple: thwart the enemy from illegally enriching uranium. The depth of the film comes from the well-written and developed characters. And our characters in this larger than life film are few in number. And because it’s not overstuffed with lead and supporting characters, the characters are each given agency (granted, some characters are given a higher degree of agency than others, but my point is that they have purpose, needs, wants, and flaws). Because I am avoiding spoilers, I am not going to go into any details because you need to experience these characters for yourself.

There are many rich themes in this film. From a commentary on advancement in technology versus the human spirit to a commentary on not being so quick to discount the wisdom of those who have come before, to an exploration of redemption, ego, and sacrifice, there is something for everyone! The screenwriters chose to focus on telling a good story and not any of these things. Yes, these elements add immense richness to this motion picture, but at the end of the day, it’s simply a great story with excellent plotting.

Undoubtedly, something you’re looking forward to is all the aerial cinematography! It helped make the original the visual spectacular that it was! And that same quality is true in Maverick, but with an exception. It’s an extension of the storytelling NOT the focus of the film. The film isn’t saying “here, check out my stunning, high octane cinematography and effects (which are used to cover up a mediocre story);” it’s saying to audiences, “hey, check out my stunning, high octane cinematography and effects that pair excellently with my powerful, compelling story!” The attraction isn’t the cinematography or editing (tho, both are exceptional), the attraction is/are the story, plot, and characters! You will be moved by this film, and driven to laughter, tears, and excitement!

Again, don’t miss seeing. Top Gun: Maverick on–not only on the big–the BIGGEST SCREEN in your area! If you sleep on this film, and wait for it to hit Paramount+, then you will deprive yourself of what is the greatest cinematic experience since, since, since I don’t know when.

Ryan teaches Film Studies and 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! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

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

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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!

Follow him on Twitter: RLTerry1

“Rocketman” Movie Musical Review

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

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

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

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

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

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

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

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“A Quiet Place” horror film review

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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.