Tag Archives: romance

THE FALL GUY action movie review

Posted on by
4

Explosive fun! Universal Pictures The Fall Guy is one wild ride that connects with audiences! The thoughtful blend of self-referential humor and over-the-top, if not cheesy, action sequences work in tandem to entertain and thrill audiences. At the heart of this movie is a throwback-style romcom that is destined to warm even the most cynical of hearts. Moreover, this action-picked motion picture serves to spotlight the unsung heroes of many movies, the stunt performers, without whom we would not have the high stakes, death defying action sequences that we have today. And not just today, stunt performers have played a significant role in filmmaking since the beginning. The Fall Guy is a lively movie that whisks you off for the ride of your life that stumbles a little along the way, but sticks the landing.

After leaving the business one year earlier, battle-scarred stuntman Colt Seavers springs back into action when the star of a big studio movie suddenly disappears. As the mystery surrounding the missing actor deepens, Colt soon finds himself ensnared in a sinister plot that pushes him to the edge of a fall more dangerous than any stunt.

Such a crowd-pleasing cinematic spectacle! The summer blockbuster season is off to a strong start with this bombastic movie. Since I rarely watch trailers, I was unsure of what to expect, but I had a delightful time with this movie. The humor is mostly character-driven, but there are slapstick moments and almost camp-levels of action sequences that also serve as fuel for laughter. It’s a fun, popcorn flick that makes you laugh and smile all while being enthralled by the high-octane action. Some action movies that are devoid of humor or a romantic subplot can feel exhausting or shallow. Not the case with this one! This is both due to the strong writing and performative dimension.

More than an action/romcom, it also serves as a backstage movie, because of being set on a film set. And even more specifically, the technical achievement by camera operators, special effects technicians, and stunt performers. The movie spotlights the real danger that stunt performers face on set and the innate risks that come with this under-appreciated line of work. There is a human dimension to stunt work that so often goes overlooked, and The Fall Guy demonstrates the intrinsic value of stunt work and the real people that push their bodies to the limit to achieve action with dimension instead of simulated action in a computer.

The characters and the performances thereof elevate the entertainment value of the movie. Which is an important element because the screenplay does falter here and there from poor pacing. Some scenes are a little longer than they need to be while others are perhaps a little shorter than what they ought to be, which impacts the effectiveness of the exposition. But where the screenplay struggled, the cast makes up for the shortcomings! That’s not to say it’s a poorly written movie; quite the contrary, it’s mostly solidly written, just stumbles here and there. Emily Blunt and Ryan Gosling demonstrate excellent chemistry, and their relationship mountains and valleys feel genuine. They both share fantastic comedic and dramatic timing that crafts characters with dimension.

There is one particular line, that many may interpret as a throwaway or lacking in significant value, that I feel compelled to highlight. A character at a club states something to the effect of “movies try to be real, whilst cartoons know they aren’t real.” And the character prefers cartoons for that reason. This line was smartly written and delivers a important if not self-referential (or meta) message. Very little about The Fall Guy is supposed to feel real; it’s supposed to look like a fantasy set in the real world. What the movie is, is naturalistic. Everything happening in this film feels at home within the world of the movie. And yes, many, if not most, contemporary movies try so hard to not look fake or unbelievable. When movies should feel comfortable to take us to unbelievable heights to thrill us with entertaining, heart-warming, or scary stories. Being realistic is vastly overrated. There is a time and a place for it, but movies like The Fall Guy remind us of the value of a good story, regardless if it feels realistic in the real world.

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

BONES AND ALL horror adjacent movie review

Posted on by
Reply

Intriguing concept, poorly written. The highly anticipated film from director Luca Guadagnino (Call Me By Your Name) leaves a mediocre taste on the palate. Moreover, Bones and All represents another example of the result of concentrating more on atmosphere and technical elements than on strategic storytelling and proper plotting. “A day in the life of…” or simply “dealing with life” is not a goal; therefore, a plot it does not make. Vapid dialogue and lack of diegetic purpose plague this rather gothic romance. However, the gore is handled tastefully. The most pleasant surprise in the film is the cameo by veteran horror actress Jessica Harper of Suspiria fame! She may only be on screen for a few minutes, but her performance will captivate audiences! Unfortunately, the rest of the film is largely forgettable. In contrast to many other films this year that greatly exceed the two hour runtime, this one clocks in at a sluggishly paced two hours and ten minutes.

Love blossoms between Maren (Taylor Russell), a young woman on the margins of society, and Lee (Timotée Chalamet), a disenfranchised drifter as they embark on a 3,000-mile odyssey through the backroads of America. However, despite their best efforts, all roads lead back to their terrifying pasts and a final stand that will determine whether their love can survive their differences.

While the concept is interesting (although Warm Bodies did it better), the execution is sloppy. And I am not talking about the dining habits of our central characters. I’m talking about the disregard for screenwriting conventions. There are many refreshing ideas in the film, but the ideas are not fleshed out sufficiently. I applaud the film for delivering an original expression of an extension of the zombie genre, but I wish the story had been better paced and structured–oh yeah–an external goal for the central characters would’ve been nice too.

Although the film boasts solid casting choices (especially the Harper cameo), the visual aesthetic the central characters bring to the screen is not supported by compelling talent or character arcs. There simply wasn’t much to these characters; they are borderline one-dimensional. Lots of potential for depth, but the characters are largely the same at the end as they are at the beginning.

For all the potential for the film to serve as a social commentary on feeling alone in the world, the film never thematically lands on any particular ideology or observation of society. Extrapolating from the thematic evidence the audience is given, the film is most likely attempting to craft a story depicting when someone feels alone in the world, but surprised to find out that they are not. When relationships with your fellow man (be it platonic or romantic) are actually possible.

Despite the film taking place in the late 1980s (an era that is growing blasé as a setting for film and TV), it shares a lot in common with gothic romances because of the subject matter. Seems like every other movie releasing takes place in the 1980s, which is beginning to become tiresome and unimaginative. But, I suppose we have Stranger Things to thank for that. On the topic of visual aesthetics and production design, the film’s various midwest settings feel like a character in and of themselves. I appreciate design most when you can see the hand of the artist.

Perhaps Bones and All works better as a novel because it is overwhelmingly internally driven. Not having read the novel, I can merely infer what may have been lost in the novel to screen adaptation. Most likely what is lost is that which cannot be shown on screen, so I cannot fault the screenwriters for that. Where I do find fault is neglecting a proper outside/action story driven by a plot that points and builds to a climactic showdown and resolution. We have plenty of internal need (aka inside/emotional story), but simply dealing with life or finding love is not sufficient for purposes of compelling cinematic storytelling.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. 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

TICKET TO PARADISE romcom movie review

Posted on by
1

Refreshing and utterly delightful! George Clooney and Julia Roberts shine in Ticket to Paradise! Not only does this outstanding romantic comedy deliver a highly entertaining and heartfelt performative dimension, the script is solid! Excellent plotting for the familiar yet fresh story paired with dialogue that snaps, crackles, and pops! It’s an honest romcom featuring authentic true-to-life characters (albeit slightly exaggerated for dramatic purposes) that will resonate with audiences across the relationship spectrum. Whether you are a in new love, still in the honeymoon phase, or a cynic, you will find characters and predicaments that are inspired by real life. It’s been a long time since the romcom dominated cinemas, but Ticket to Ride is a great example of the classic romcom being reimagined for today’s audiences. And you know what? It’s fun for the whole family! Just goes to show that a comedy can be good, clean fun and still deliver laughs and heart. With a lean, mean script and brilliant casting in the lead and supporting roles, let this be your ticket to cinemas on your next date night!

A divorced couple teams up and travels to Bali to stop their daughter from making the same mistake they think they made 25 years ago.

Ticket to Paradise manages to seemingly do the impossible with an genre that sees few well-written directed, and acted examples nowadays, it simultaneously checks off the conventions and expectations audiences have of a romcom–yet–it delivers a story that will surprise you! Furthermore, this movie entertains audiences with a subject matter so seldom touched by romcoms–new love versus cynical love. Oh, there have been moves that have tried such as Love Actually, but this one strikes all the right tones. Over the last few years, we’ve seen some excellently written romcoms such as Last Christmas and I Want you Back. And if you enjoyed those two as much as I did, then you are sure to enjoy this one!

What’s better than a smartly written romcom with excellent casting? Well, one that takes place in an exotic landscape, of course! You may find yourself booking your next vacation to Bali after watching this movie, and for good reason, it looks like paradise. While there is nothing particularly remarkable about the cinematography, the setting serves as its own star. From sunrises to sunsets and all the crystal clear water in between, you will wish you had ordered a maitai to enjoy along with the movie. It’s easy to see why anyone would be tempted to fly to Bali on vacation and desire to stay. What I appreciate about the cinematography is that it could have so easily been distracting by increasing stylistic approaches to capturing the action and setting, but it never overshadows the story, which is why we go to the cinema, “the greatest art in the world is the art of storytelling” (C.B. DeMille).

Clooney and Roberts’ chemistry is uncanny! They’ve always played off each other so incredibly well. Such a natural couple, whether in love or fighting. And their relationship (or lack thereof) in this movie is completely believable. Of course it’s exaggerated for dramatic purposes, but this IS a romcom. Think of their relationship as real life, but edited. I’ve read some critics that have claimed the story is weak and the only redeeming dimension of this movie is the chemistry between Clooney and Roberts. Suffice it to say, that is an unfair evaluation, because the script gives them everything they need to deliver the laughs and a great story. Moreover, their respective characters have depth and dimension. Yes, there is an element of whimsy in their delivery and in the character mix, but again, this is a romantic comedy. We want to see a romanticized version of real life, but these characters and story work because they also exhibit human dimension, feelings, reactions, and flaws.

I highly recommend Ticket to Paradise! In a year that has had few stand-out movies, this is definitely one of them. Perhaps we will see more smartly written and cast romcoms return to the cinema, because as important as heavy films are, lighthearted ones are just as important because they provide an emotional balance.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. 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

THREE THOUSAND YEARS OF LONGING mini review

Posted on by
4

More like an hour and forty-five minutes of boredom. In a gorgeous-looking film all about the very concept of storytelling, ironically, this film struggles to tell a good story. With so much promise, and a fresh expression of the legendary tales of djinn (genies), this movie should have been able to deliver a fantastical story. Unfortunately, it suffers from poorly organized and structured plotting. A story is there, but there is lacking a map to navigate from beginning to end. Swinton and Elba demonstrate excellent on-screen chemistry; I’d really like to see them star in a future film together. Three Thousand Years of Longing starts with an intriguing first act, but the second and third acts are sloppily executed. The inverse approach to the Tales of Arabian Nights is not enough to generate substantive interest in the fates of the characters. Again, the setup is interesting. Ostensibly, Elba’s djinn takes on the role of Scheherazade, and regales Swinton’s narratology (the study of story) professor of his 3000 years as a djinn, and the trauma therein. There simply isn’t enough character development for the film to serve as a character study nor is there enough plot to serve as a commentary on the mountains and valleys of love. That’s not to say there isn’t any magic in the film; the cinematography, editing, and visual effects are incredibly impressive!

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

Follow him on Twitter: RLTerry1

THE LOST CITY adventure movie mini-review

Posted on by
2

The lost screenplay. The whole time Loretta (Sandra Bullock), Alan (Channing Tatum), and Abigail (Daniel Radcliffe) are searching for the legendary fire crown on a mysterious, obscure volcanic island in the middle of the Atlantic (that simultaneously is developed enough to have an airport and tourism economy), I was left wondering if the writers and director lost the screenplay, and just made it up as they went along. Clearly this film is an attempt to reimagine the adventure-romance classic Romancing the Stone, but lacks nearly everything that makes the aforementioned one of the best written screenplays of all time. What The Lost City does have is undeniable chemistry between all of our lead and supporting cast. And it’s this chemistry that will keep you from completely tuning out. A screenplay with a well-paced, structured story and well-developed characters can always have the funny bumped-up; whereas a screenplay that is a laugh-a-minute has a much more difficult time bumping up the plot and characters. Unfortunately, the latter is a more accurate description of this movie better suited for direct-to-streaming than a theatrical run. When the funny is rooted in bit or gag-based humor, it simply can’t sustain a movie’s energy and entertainment value. The release date is also puzzling. Since this movie is a romance of sorts, it would have made more sense to release in February for Valentine’s Day. Nothing is left to subtext…it’s all right there on the surface, requiring nothing of the audience. Furthermore, so little is required of the actors that all look like they are completely bored with the story and phoning-in performances. Interestingly, the best-developed character in the movie is Alan (Tatum), and that’s not saying much. Believe it or not, there IS a good movie (on the level of Romancing the Stone) in there somewhere–the characters and story are thoughtful and fun–but the poorly written screenplay holds the movie back from the potential that was clearly there.

Ryan teaches Film Studies and Digital Citizenship 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