Tag Archives: R.L. Terry

“Jurassic World Fallen Kingdom” movie review

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“Your (executives) were so pre-occupied with whether or not could, they didn’t stop to think if they should.” Ironic, isn’t it. A haunting but accurate assessment by Dr. Ian Malcolm. Let me say first, Jurassic Park is my favorite movie of all time, followed closely by Sunset Boulevard and Psycho, so it’s difficult to separate fanboy me from critic me. However, I shall do my best to keep my personal bias in check. As a longtime fan of the franchise that captured my imagination as a kid and with the original filled with depth, irony, tragedy, and more, I was excited as I sat down in the theatre last night to watch Jurassic World Fallen Kingdom (JWFK). And suffice it to say, my friends and I enjoyed our time and felt entertained; however, it’s simply not a great movie. And it pains me to write those words. At the end of the day, the movie suffers from a poorly written screenplay. Some may even describe the screenplay as a generic, vapid paint-by-the-numbers summer popcorn crunching blockbuster movie. The movie is not without its thrills, but I wish more attention was paid to the plot. Director J.A. Bayona takes suspension of disbelief to far reaching levels. The life of this franchise is in the balance; how I hope it finds a way to overcome the weak sequels since the strong original in 1993 that still holds up (and I’m not talking about the technology). Reasons for why it holds up could be entire articles in and of themselves (a lot has to do with the screenplay), but we are here to talk about JWFK.

Three years after the destruction of the Jurassic World theme park, Owen Grady and Claire Dearing return to the island of Isla Nublar to save the remaining dinosaurs from a volcano that’s about to erupt. When the search and transport operation meets with capitalistic opposition, the mission takes them to an underground arms market, they must stop the demented auction from placing humanity it mortal danger. During their covert operation, they encounter terrifying new breeds of gigantic dinosaurs, while uncovering a conspiracy that threatens the entire planet.

Unlike the soft opening of Jurassic World, the sequel begins with an opening scene similar to the tone of the opening of Jurassic Park. Encouraging, right? It’s dark, filled with tension, and ends with a kill. All this, and it doesn’t feel overstuffed with dinosaurs. Like a screenplay should, it hooks the audience without lots of gimmicks. The focus is on the drama, and not simply “look what we can do with dinos.” After this scene, I was looking forward to the rest of the movie. And even in the senate hearing with Dr. Ian Malcolm, this could’ve been used as a great setup for a dynamic ethics debate but it was not followed through. Like other ideas of Colin Trevorrow’s, many turning points, characters, and events are introduced but not developed. These elements often play off as mere plot devices to hurriedly cause something to be able to happen without having to truly develop it. Every character is flat. No dimension to anyone or anything, really. I cannot help but take note of the many opportunities that Trevorrow had to truly craft a cinematic story, and ostensibly ignored it. In an effort to help the vapid screenplay, J.A. Bayona attempted to add dimension to the flat plot but only so much can be done to fix a flawed story.

Examples of characters as mere plot devises are systems analyst Franklin and paleo-veterinarian Zia. Both were setup to be developed further beyond their main skill, but were abandoned. They exist only so two important actions can happen, but that is the extent of their respective development. Such wonderful opportunities to include strong characters, buy they are left as flat as the plot, lacking in any subplot or goals of their own. There is also a fantastic opportunity to provide some exposition on the days before John Hammond’s innovative theme park resort destination. We meet his former partner Benjamin Lockwood, and he explains how the first DNA was extracted in a state of the art lab in the basement of his mansion. There is also a nostalgic shot of a model of the original park’s Visitors Center, complete with Jungle Explorers and the famous gate. Although we have lost Sir Richard Attenborough, there is certainly ways of crafting a flashback to the first time DNA was extracted or even just a few moments of exposition through dialogue to learn about the early days and ultimately why Hammond and Lockwood split. We are given a reason that likely led to the split, but I imagine there was more to it, including the direction to go with the dinosaurs. Again, this is another example of exposition and dimension lost. Could’ve been used as character building and development time.

On the topic of nostalgia, there is plenty of fan service in the movie. Lockwood delivers a line taken directly from Hammond at the end of Lost World and we get to revisit the site of the Jungle Explorer that T-Rex pushed over the retaining wall in the original. There are other moments as well that remind me of the raptor kitchen and more. Furthermore, there are moments in the movie that act as a mirror to the original. Instead of seeking to lock the dinosaurs up, the goal is to free them. But I won’t get into details.

Whatever Universal and Amblin are doing presently, they need to stop and throw out the playbook from Jurassic Park III, Jurassic World, and now JWFK. I liked Jurassic World well enough but I thought the next installment was going to be more gripping, thrilling, exciting, but it went out with a whimper. I was cautiously optimistic when I heard it was going to be darker, closer to the horror that was the original 1993 blockbuster, but it wasn’t terrifying at all. And what parts were creepy, were already shown in the trailer (but that’s the marketing company’s fault, not the director or writer). Crichton is likely rolling over in his grave right about now, rest his soul. The next writer in the Jurassic franchise needs to be someone who understands what it takes to create a great story that CAN sell tickets and reach blockbuster status while holding up years down the road. Take the iconic Tim Burton Batman and Batman Returns, for examples. The reason why these, especially Returns, hold up so well is because Returns is a classic Tim Burton film that happens to have Batman characters, whereas the original is a Batman movie directed by Burton. So, the third installment in the Jurassic franchise needs to attach a writer and/or director who can write/direct a science-fiction horror movie that happens to have dinosaurs and legacy Jurassic Park characters.

While many critics are calling for this franchise to go extinct, this film scholar believes strongly that it can be saved. Much like Claire and Owen are determined to save the cloned dinos from a second extinction, Universal and Amblin need to go back to the beginning and study WHY the first one worked well. The short answer is the screenplay, followed by casting, and lastly the directing. An approach could be to write the screenplay without dinosaurs; write a solid, compelling narrative. Make sure there is a clearly defined goal with clearly defined opposition to the goal, simple plot, and complex characters. Then find places to add in the dinosaurs as anti-heroes. It’s far more effective to retroactively add dinos in and modify the screenplay than write it with a focus on seeing dinosaurs and write a story around them. The former is narrative-heavy with supporting, terrifying action sequences whereas the latter is spectacle heavy with a one-dimensional narrative. Subtext, subplot, and theme need to be infused back into the Jurassic franchise.

At the end of the day, I enjoyed myself. I did not feel as if my time was wasted. You know what, I had fun. And for that, I appreciate the movie. It may not have truly memorable characters or scenes, but it was a fun watch. If more fans speak up, perhaps the next film will go back to its DNA and deliver a sequel that would make the original proud.

For my review of Jurassic World click here.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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Twitter: RLTerry1

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Blumhouse’s “Upgrade” movie review

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Black Mirror on crack. That is precisely what Blumhouse’s Upgrade can be likened to. Outstanding commentary on the convergence of humanity and technology that provides many thought-provoking moments. Best known for its horror, this action thriller from Blumhouse will have you on the edge of your seat the entire time. Rooted in classic science-fiction, this thriller will also deliver a healthy dose of dark comedy, heart-pounding action, and acutely shockingly violent scenes. Writer-director Leigh Whannel crafts a brilliant motion picture that is one part vigilante Robocop and another part Dr. Frankenstein’s Monster. On the surface, Whannel’s thriller comes across as a B-movie done well, but it contains prolific content that will likely inspire conversations about the relationship between humanity and technology. Perhaps it was not the intention of Whannel (co-creator of Insidious and Saw) to write a motion picture steeped with commentary on the human condition and a harbinger against allowing technology to fuse with our minds and bodies, but there is certainly material here to discuss those deeper topics. Bumhouse’s Upgrade is certainly a big screen experience, so catch it while it is there!

Set in the not-so-distant future, cars drive themselves, pizzas can be printed at home, and Alexa is built into your house. After dropping off a completely rebuilt 1980s Firebird Trans-Am at a client’s hosue, Grey Trace (Logan Marshall-Green) is left a quadriplegic following a brutal car accident and mugging that also leaves his wife dead. While recovering in the hospital, Grey is approached by a major tech company owner about an experimental surgery that is theorized to enable Grey to regain his motor skills. It worked! Only now, Grey’s realized that he has cat-like agility and reflexes as well as increased strength. With his newfound abilities, Grey seeks to assassinate those he blames for his wife’s death.

Better have an iron stomach in order to watch this thriller, because Whannel prefers shocking moments in abundance. Whereas this film is certainly not a horror–as the intent of the film is NOT to horrify audiences–it certainly contains elements borrowed from horror films in order in increase the level of threat. A director friend of mine from Germany characterized the film has having tones of a John Carpenter movie combined with Drive by Nicholas Winding Refn. Though set in a possible near-future, the cinematography, score, and lighting are quintessential 1980s. No surprise as 80s is en vogue in our movies and TV shows. Grey’s “everyman” character archetype enables audiences to identify with him quickly, thus root for him as he takes the law into his own hands to avenge the brutal death of his beloved wife. It’s the simple revenge plot that enables Whannel to build a complex character delivering dark humor and visceral violence.

Definitely an entertaining science-fiction thriller! If you enjoy TV shows like Netflix’ Black Mirror and movies like Drive, Halloween, Frankenstein, and Robocop, then you’ll certainly like Blumhouse’s Upgrade.

“Life of the Party” movie review

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Positively uplifting! Melissa McCarthy and Ben Falcone’s comedy Life of the Party releasing everywhere today is a quintessential Mothers Day flick that you can take your mom to and enjoy together this Sunday afternoon. McCarthy shines as the brilliant comic she is in this film. Whereas she is typically the brunt of the jokes in the film’s she and her husband often cowrite together, this film provides McCarthy with a platform to truly showcase her talents as a comedic actor who can not only play the butt of the humor but also the vixen who’s captured the eye of a hot frat guy as she sets out to complete her education. McCarthy’s brand of comedy–that authenticity, candidness, optimism–that we have come to know and love, will have laughing and empathizing throughout the movie.

Although themes such as inspiration, determination, and resilience are not uncommon for a comedy, I appreciate many tropes often associated with fish-out-of-water plots were abandoned for something more unconventional yet infectiously charming. Instead of ultimately changing herself for the world around her or changing the world to fit her, she finds her place in the world and creatively directs it to make room for her. Whatever your age, you will likely find yourself connecting with one or more of the characters in this film as it proves that you are never too old to learn something new or complete that which you chose not to earlier in life. From acoustic guitar tunes to Cyndi Lauper and even a surprise performance by Christina Aguilera, the music will have you dancing in your seat. Watch as nervous, scared girls who are afraid of unknown elements in school, grow to become incredible women who form meaningful relationships and heal from tragedy. Each of the principle cast is unique in some way, and it’s these traits that setup conflict and allow the comedy to flow from the conflict naturally. From McCarthy’s Deanna’s endearing vampire-like roommate who low key longs for a friendship to the girl who is also a non-traditional student because of being in a coma for eight years, the film is filled with a colorful cast of likable characters and of course Deanna’s ex and mistress who we love to hate.

McCarthy is joined by comedienne Maya Rudolph and the pair of them dominate any scene they are in together. It never feels overwhelming because they are both saying precisely what you and I are thinking. The two of them exhibit kind of friendship that perhaps your closest friend and you desire to have. Although there is a mild degree of suspense, the film derives most of its energy from the brilliant cast’s reactions to the varying conflicts throughout the film. As there is not much to analyze in this film, you’ll find this review far shorter than my usual ones. But, I desired to write up a piece on it because it’s been largely panned by most critics. Variety and I seem to be among the few who find so much that’s “right” with this film as opposed to what’s “wrong.” Maybe it’s not terribly deep, but it boasts a simple plot with complex characters that provides McCarthy with an opportunity to show a different side to her trademark comedy. With honors!

“Tully” film review

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A no holds barred, unapologetic story of the realities of motherhood. Focus Features’ Tully starring Charlize Theron is a brilliant film that shies not away from what being a mom is truly about during postpartum depression, a subject seldom touched on in film or TV. Directed and written by Juno’s Jason Reitman and Diablo Cody respectively, this film represents the best work of Reitman and Cody since the groundbreaking Juno which was followed up by the outstanding Young Adult, and showcases just how incredibly diverse an actor Theron is. See her in a role unlike her typical roles as she so incredibly authentically brings to life a middle-class working mother who is faced with many obstacles as she rears her three kids, one of which is a newborn. As a male, I cannot begin to fathom just how difficult it is to be a mother (or by extension, a single father); but after watching this film, I have a whole new respect for the many hats that a mom has to wear in order to manage a household. Some might even say that this film is so incredibly effective at laying out the hardships of being a mom, that it may work better than more conventional birth control. However, the film is not only about the trials of motherhood, but it also spends time on the joys. Tully is what I characterize as a dark comedy that has some truly terrifying moments.

Already the working mother of two kids, one of which displays signs of a developmental disorder, Marlo (Charlize Theron) is not pregnant with baby number three, in what her brother identifies as an “unplanned pregnancy.” Marlo’s wealthy brother desires to help his sister by gifting her a night nanny in order to help Marlo through the rough transition of a newborn in an already chaotic house. Marlo’s husband is hardworking, makes lunches, and assists his oldest daughter with her homework, but fails to understand that Marlo needs to be taken care of as well. In order to not go completely insane during postpartum depression, Marlo reluctantly decides that she could use the night nanny that her brother offered to pay for. Hesitant to the extravagance of having a nanny at first, Marlo forms an unexpected bond with the unconventional, challenging hipster Mary Poppins named Tully.

No pretense about this story of motherhood. Cody’s brilliant penchant for self-deprecation, dry humor, and stark naked emotion is witnessed once again in Tully. I cannot think of a present screenwriter that could have created such a compelling story. Unlike her timeless modern classic Juno, Cody shies away from the comedy you may be accustomed to seeing from her, and focus on the darker side of being a mother. And it works superbly. I laughed, cringed, and cheered during the film, and so did many of the others in the audience. There is an authenticity in this story that is seldom seen in other melodramas. Possessing a raw, gritty narrative, Tully will have you empathizing quickly with the struggles Marlo continues to face throughout the film. There is so much that is praiseworthy in this story; but unfortunately the sharp, precision that supports the first two acts becomes a little dull during the realization (or resolution) on the third act–the same chutzpah that was in the DNA of the majority of the movie is not as apparent at the end. What Tully lacks is a well-defined external goal. The weak end game is uncharacteristic of Cody, as both Juno and Young Adult had solid realizations. As I tell my screenwriting students, dealing with life is not a goal (it’s incidental). Still, everything else about this film is effectively compelling.

Theron displays a genuine, uncompromising commitment to character in this motion picture. Aside from the fact she literally put on 50lbs for the role (that’s right, no fat suit), she provides audiences with a fearless portrayal that is both vulnerable and fiery. Coupled with waves of mania, anger, and complete exhaustion, Theron delivers a razor-sharp performance that will leave you breathless and bleeding from the unbridled intensity and emotional rawness. In this slice of life story, there was certainly the room to demonize Marlo’s husband, the sister-in-law, the former roommate, and school principal, but Cody includes these individuals that many moms actually have in their lives but chooses to focus on the physiological and emotional struggle of Marlo as she recovers from her unplanned pregnancy. Of course, there is a brilliantly funny scene of Marlo confronting the pretentious private school principal. It’s the kind of encounter that many of us want to have with those who refuse to shoot straight and annoyingly avoid confrontation because they are so afraid to be candid, and it just comes off as a facade. Theron’s ability to completely sell a mother on the verge of a breakdown who’s constantly facing situations in which she asks herself how-the-hell-am-I-going-to-get-through-this is unparalleled. I cannot think of another movie that has a character quite like Marlo in Tully.

The film’s title character is a Mary Poppins of sorts that comes to the aid of Marlo when she is at her wits’ end. You may be wondering why the film is named after the night nanny instead of Marlo. For the same reason Mary Poppins is the name of the story that is really about Mr. Banks. Marlo may be the central character, but Tully (Mackenzie Davis) is so incredibly instrumental in supporting Marlo through this time. Furthermore, she opens her mind to new possibilities and the joys of being a mom, even when Marlo isn’t feeling it. Tully embodies that free spirit that many of us have or had in our 20s that somehow gets lost as we get older. Tully enables Marlo to channel her younger self in an effort to be emotionally healthier for her kids. Taking care of yourself first so you can be there for your kids, is one of Tully’s many messages to Marlo. There is a whimsy about Tully that is contagious, and will put smiles on the audience’s faces amidst the majority of the film’s darker moments.

You’ll encounter all the different kinds of people that an emotionally struggling mom has to deal with on a regular basis. From an out-of-touch snobby sister-in-law to a husband who just doesn’t get you, from a pretentious and absurdly conflict aversive school principal to a former roommate, the film provides commentary on how each of these kinds of relationships affect a mom who’s trying her best to keep sane and not murder everyone. The film even touches on how having a kid with a developmental disability is physiologically and psychologically draining, even though you love your kid unconditionally. It’s important to note that Marlo’s husband is shown to be an active participant in his family by way of, not only his financial support, but being there for his kids in the evening and helping to make lunches. However, he does withdraw to playing video games after the kids have gone to bed; but that’s because he is like many fathers that are unaware that their spouses need to be comforted, cared for, and shown appreciation during this rough transitional time. Hopefully, after watching this movie, fathers will have a better idea of what their spouse may be going through. One of the strongest themes one can write into a film is a commentary on what it means to be human–the human condition–but seldom has a film been so specific to comment on what it means to be a mother. In this respect, Tully is provocatively groundbreaking.

Such a perfect film for the upcoming Mothers Day weekend. Even if you are not a mom or (let’s not forget) single father, there is something to learn from this film because you may have a mom or single father in your circle of friends or family. Never before has a film stripped away all the magic of motherhood at the time when your kids are little. No frivolous, ostentatious gender reveal parties, gym moms-to-be, or ridiculously lavish baby showers for this mom. Why? Because those are events and experiences typically found on Pinterest, in the movies, or reserved for upperclass society that is hasn’t a clue what it’s like to be a struggling mother balancing her full-time career and being a full-time mom. Tully tells it like it is for so many, and why it is such an outstanding motion picture.

Ryan is a screenwriting professor at the University of Tampa. If you like this article, check out the others and FOLLOW this blog!

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Twitter: RLTerry1

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The Strangers Prey at Night (2018) movie review

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Terrifyingly good! “Is Tamara home?” If those words haunted your memories for months after the first time, you’re in for another round of terror. The original is the only nightmare-inducing horror movie to frighten me so much that it was years before I could watch it again. Of course, I was also much younger and did not appreciate horror films to the extent that I do today. Although the sequel is not AS terrifying as the original, it is still incredibly intense and takes your adrenaline for a good ride. Even after the movie ended and I was leaving the auditorium, my heart was still racing. There isn’t anything innovative or in particularly memorable about the movie except the high tension level the whole time, but it does approach the rape-revenge horror movie plot with a new twist. What I appreciate about this modified home-invasion horror plot is just how much fun it is to watch with everyone else in the auditorium. Ordinarily, Thursday night pre-screenings of horror films (and many other genres) are not completely booked, but the two shows at the Thursday night preview were nearly sold out. Should you choose to check into the creepy trailer park, you’re in for some solid scares.

On Mike and Cindy’s way to take their daughter McKinzie to a boarding school along with their son Luke, they check into a lakeside trailer park owned by Cindy’s aunt and uncle. Unbeknownst to them, they are checking into their worst nightmare as masked individuals stalk and prey upon the unsuspecting family. Even before one hand of cards can be dealt, the family receives a visit from a mysterious girl. Creeped out by the visit, the family begins to suspect that something is wrong. Shortly thereafter, the family finds themselves in a desperate fight for survival as three masked psychopaths seek to quench their insatiable thirst for blood. “Why? Well, why not???”

For the sake of not spoiling anything, I’m going to keep this one on the shorter side. But I wanted to touch on the plot because it differs from the pacing and structure of the original. Whereas the first movie (2008) was mostly a cut and dry home-invasion, this one takes the home-invasion in a different direction and adds in rape-revenge.

On the former, the setting of The Strangers Prey at Night is a whole trailer park and not just a single house; however, there are a few times throughout the movie that the family finds themselves close quarters with the three masked psychopaths. Despite this similarity with the original, this film does not provide nearly the level of claustrophobia that our central characters had in the first one. Still, the extreme confinement can be found in this installment because there is just one way in or out, and the rest is surrounded by a fence. Instead of just a home being invaded, an entire campground is under the siege of bloodthirsty psychos. In a way, this is far more dangerous because there are more places to hide, and therefore your senses will be greatly heightened to the world around you.

My latter point regarding the type plot found in this horror film points to a new take on the rape-revenge plot. Now before you question what I am talking about (for those who are unfamiliar with the term), the rape-revenge plot is characterized by the victim of a violent crime turning on his or her would-be killer and becoming the attacker him or herself. A couple great examples of this are in the films Last House on the Left and the grindhouse classics like Spit on Your Grave and Death Proof. Essentially Act I consists of the male or female character being raped (or another violent act such as torture or attempted murder), Act II follows the rehabilitation (or mostly, anyway) of the victim, and Act III features the male or female victim enacting revenge on and/or kills the rapist (or torturer). The aforementioned theme is found within the plot structure but does put the film’s unique flavor on it. To reveal what the twist is exactly would reveal too much about the movie.

Interestingly, this installment leaves the end open enough for a followup. Not entirely sure The Strangers needs to become a franchise–it really doesn’t–but it’s definitely set up to continue to make money with subsequent releases. If you’re looking for a solid fright night that does NOT principally rely upon jump scares, and successfully increases the tension throughout the movie that will keep your pulse rate racing, then this is definitely a movie for you. I also appreciate that the movie does not rely upon gore to make it a “horror” movie, but actually uses twists, turns, and anticipation to deliver the terror.