ELVIS biopic review

The King of visually spectacular biopics! Tom Hanks and Austin Butler deliver command performances that transcend impersonations and transform them into The Colonel and The King. You’ll want to sing along with this dazzling tribute to the King of Rock ‘n Roll from visionary director Baz Luhrmann. A landmark biographical motion picture for both the technical achievement and performative elements of the mise-en-scene; however, the screenwriting (inclusive of plotting and narrative) lacks the gravitas of the visual elements. Needless to say, my initial reaction to the film was higher than it is now that I’ve had some time to think on it. That’s not to say that I wasn’t impressed by it–I was! Parts of it, anyway. The more I thought about the screenwriting, the more frustrated I became with the film. Frustrated in that it felt like a hybrid biographical film meets documentary. Furthermore, the full impact of the story is hampered by the poor pacing. Perhaps Elvis would have made for a better limited run HBO series. Of course, then you’d not likely have Luhrmann at the helm, which is ultimately why this film works as well as it does. From his humble beginnings to Graceland and Vegas, the film includes milestones in Elvis’ legendary career. The influence of rhythm and blues and gospel music on Elvis’ life is witnessed throughout the filmWhile the storytelling may be weak, the sensory explosion of the film coupled with the performances are the reasons to watch this on the big screen.

Elvis Presley rises to fame in the 1950s while maintaining a complex relationship with his manager, Colonel Tom Parker.

What performances! Both Butler and Hanks are sure to wow you with their portrayal of The King and the Colonel. We could definitely see some Best Makeup Oscar nominations for both, especially for the Colonel. Other than when it was established that Elvis put on a significant amount of weight (but we cut back to Butler’s slender Elvis), he completely embodied the legendary entertainer. From his voice to his signature pelvic moves, everything about Butler screamed that he was truly Elvis. With so many impersonators out there, and some very good ones, it’s difficult for an actor to take on an iconic role such as this, and elevate it from impersonation to transformation. Fortunately for Elvis, Butler transformed with great authenticity. Moreover, Hank’s unbelievable transformation as the Colonel is on par with the Oscar award-winning hair and makeup of Jessica Chastain’s Tammy Faye last year in The Eyes of Tammy Faye. Although Butler certainly has the moves to drive you wild, it’s really Hanks’ story. Oh you get lots of Elvis, but the main action plot is really told from the perspective of The Colonel. Which is why there are narrative problems.

The movie opens and ends with The Colonel, with all the Elvis in the middle. Because of the competing plotlines, the movie suffers from poor pacing and clearly misguided diegetic direction. Audiences are never able to go as deep as they would like because as soon as we begin to focus on one element of Elvis’ or The Colonel’s life, we are then thrust into a different chapter in Elvis’ life. While that may seem like the movie to too quickly paced, it actually has the opposite effect by dragging it down. Stays too long in some places, whilst not enough in other places. BioPics like this often suffer from poor plotting, because they are ultimately a visualization of a Wikipedia page. Lots of information and chronological events, but little time and room to become emotionally involved with the characters. If this movie had not been about Elvis, and was just another tragic story of an entertainer from humble beginning, hitting it big, losing themselves, just to have a major comeback before an untimely death, then I would probably not care about these characters as much as I do. I am invested in them because of who they are, not because of the journey I witnessed in the film.

The technical achievement of the film is off the charts good! The stylistic cinematography and editing choices are Luhrmann’s signature style. It’s an experiment of the apparatus of film, and how it can be manipulated and crafted to take a typical BioPic, and transform it into a cinematic experience. And that’s what Elvis is, an experience! It is a brilliant combination of stagecraft and cinema. Yes, some of the sets look like they are on a stage, but that adds to the dimension and character of the film. It gives it this other worldly feel that wouldn’t be achieved simply by using all real places (as many still exist). Several times during the film, the cinematography and editing made me feel like I was literally at an Elvis concert! A sensory explosion that only Luhrmann could dream up. The down side to this approach is that there is so much emphasis on the visual elements and the technical achievement of the film that the actually storytelling suffers….sometimes feels like a bad television limited run series.

While I have my reservations with the screenwriting, there is no doubt in my mind how much fun I had with this film! Whether you’re a lifelong fan of Elvis or not, you will have a wonderful time!

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

“A Beautiful Day in the Neighborhood” film review

Outstanding motion picture that celebrates the power of kindness in a real tangible way. Marielle Heller’s A Beautiful Day in the Neighborhood starring Tom Hanks as Fred Rogers and Matthew Rhys as the skeptical journalist Lloyd Vogel. While you may think that this is a movie about the beloved children’s television host, Mister Rogers is a supporting character in this move that is truly about Lloyd Vogel’s personal journey through grief, forgiveness, and learning kindness. It’s a portrait about being human, and all the struggles and obstacles that come with it. Perhaps there has been no greater (non-documentary/bio pic) motion picture that has so accurately captured the human kindness at its best. Mister Rogers was not only an influential children’s television host, but he left a powerful legacy for everyone. And as the film points out, he was not a saint. He struggled with some of the same things that many of us struggle with, but he knew how to work at overcoming those negative feelings, thoughts, and reactions. Didn’t come naturally, he has to work at it just like you and I have to every day. What this film and last year’s No.1 documentary (IMO) Won’t You Be My Neighbor? have in common is just how genuine, how authentic Fred Rogers was. The man in front of the camera was the man behind the camera and at home. He never saw himself as playing a character on TV, he was himself. His almost uncanny emotional intelligence and ability to counsel the young and old alike is incredibly consistent. And it’s that consistency on and off camera that truly testifies to his heart and the legacy he left behind. Based on the real article in Esquire Magazine titles “Can You Say…Hero” by Tom Junod, this film can be categorized as historical fiction because the background is incredibly real but the foreground story is a fictionalized account based on the real-life interview and relationship between once-skeptical journalist Junod and Fred Rogers. Just as Mister Rogers would have wanted it, this isn’t a movie about him, it’s a movie about one of his neighbors and friends.

A journalist’s life is enriched by friendship when he takes on an assignment profiling Fred Rogers. Based on the real-life friendship between journalist Tom Junod and television star Fred Rogers.

Bring tissues! You are going to need them because this movie will undoubtedly touch you. And not just if you grew up (like I did) watching Mister Rogers Neighborhood on PBS. Even those who have no frame of reference beyond knowing his name will be touched. That was certainly the case with the friend that went with me to see this (and then Frozen II). He told me going into the movie that he has no idea who Mister Rogers was, but I assured him that he would enjoy the film. Occasionally, I would look over at him to see if he was an emotionally invested in the film as I was, and I couldn’t tell. It wasn’t until after the movie ended, and I was writing a tweet, that he told me how impacted he was by the film. That’s a powerful statement since this could have so easily been a film that connected best with those whom watched the show and others may have missed the emotional connection. I chalk that up to the timeless message of kindness, forgiveness, and emotional candidness of Mister Rogers. As important as his message was during the run of his show, it seems that it is needed even more greatly today in the tumultuous climate we now live in. Albeit fictional character, each of us either is currently or has been a Lloyd Vogel, hence why his character is highly relatable to general audiences. The help Mister Rogers provides Vogel transcends the screen into our own minds and hearts.

The film opens with a brilliant 4:3 recreation of the opening of Mister Rogers Neighborhood with Hanks in the title role. From the gentle piano music, camera sweeping over the miniature neighborhood, traffic light, and Mister Rogers opening his door to us with the iconic song “It’s a beautiful day in the neighborhood, a beautiful day for a neighbor. Would you be mine, could you be mine…” You may even find yourself singing along with Fred Rogers. I absolutely love how much this film ostensibly feels like a feature length episode of the beloved show. It begins and ends with a throwback to his brilliant show. The spirit of the television show can be felt throughout this film. I greatly appreciated the miniature recreations of “the neighborhood,” as well as New York City including Vogel’s neighborhood, Pittsburgh, and Vogel’s father’s neighborhood. Instead of showing us establishing shots of these places, Marielle Heller chose to use the same techniques employed by the set builders and production designers of Mister Rogers Neighborhood. And the wooden and cardboard miniature buildings, electric trolly, and planes suspended by (keyed out) dowel rods remind us of a simpler time when story and message were the most important parts of a picture. Using these models was an excellent way to transition from location to location.

While Mister Rogers Neighborhood favorites like Picture Picture, the trolly, Mr. McFeely, and the characters of the Land of Make Believe are all in it, none of these elements seek to steal the screen from the central character of Lloyd Vogel. He remains our central character for the entire time, because–quite simply–the film is about him, not Mister Rogers and his neighborhood of friends. Vogel has never forgiven his father for being a drunkard and philanderer; furthermore, he holds a strong disdain if not hatred for his father for leaving him, his sister, and their sick mother. While his father was out having an affair, Llyod’s mother died in the hospital. For these reasons, Llyod has a lot of emotional baggage that includes a general distrust for anyone whom is supposed to be a “good guy.” After receiving as assignment to profile Fred Rogers instead of his usual hard hitting, provocative, investigative pieces, Llyod goes into the cheerful WQED PBS studio in Pittsburgh with the intention to uncover Mister Rogers dark side and skeletons in the closet. It’s no spoiler to know that truthfully Fred Rogers did not have any buried scandals. He was the man you saw on screen. Lloyd is profoundly impacted by Fred’s authenticity and genuine desire to help people deal with their feelings. There are many moments that the table is turned and Fred becomes the interviewer and asks Lloyd some hard questions that initially upset Lloyd. It’s through Fred’s kind persistence and non-judgmental attitude that he breaks through to Lloyd in a way that Lloyd can do that hardest thing he’s ever done: forgive his father. It’s a real testament to those who may be carrying heavy burdens of grief, unforgiveness, or many other negative emotions, and how we can grow to deal with them and overcome to develop as a human being who can then help others. What we have here is a powerful, personal redemption story.

Tom Hanks was born to play Fred Rogers. Simple as that. Much like Mister Rogers, Tom Hanks also has the demonstrable reputation of being the nicest guy in Hollywood whom cares deeply for his family, friends, and fans. He’s even known to regularly help out on set between takes. There are literally dozens of stories of Hanks helping the grip guys, production assistants, and other below the line people on set. I cannot think of anyone else who could’ve played Fred Rogers more perfectly. Hanks performance successfully portrays Rogers as a real person whom, for all the wonderful things Rogers says and does, is–to paraphrase Roger’s wife–“an ordinary sinner just like everyone else…he just works diligently to overcome his vices.” This is one of Hanks best peformances because of how much he transformed into Fred Rogers in a way that you could almost swear that you were watching Mister Rogers on screen. Hanks and Renee Zellweger (in Judy) have both given us the best performances this year.

This movie challenges us to become better humans, whom care for those around us by listening, empathizing, and making the intentional decisions that will help us grow and develop. The movie also reminds me that I should pray for people by name every day. To be honest, that isn’t something that I do regularly. Another powerful line in the movie comes as Fred responds to Vogel in an initial interview question “what is the most important thing in the world to you?” And Fred responds with “…for instance the most important thing in the world to me is talking to Lloyd Vogel right now.” That line reminded me that when I am with my friends or family (or anyone for the matter), the most important thing in the world to me should be the conversation that I am having at that very moment. That’s going to be a hard one for me since I am constantly tweeting or “multitasking.” The life and legacy of Fred Rogers makes me want to be a better person. If Lloyd can change, then so can I.

Do not miss out on one of the most powerful motion pictures of the year. Definitely make it a part of your Thanksgiving next week, or even better, see it this weekend!

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 or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“The Post” movie review

The Fourth Estate, triumphant! Steven Spielberg’s The Post is a historic biographical drama depicting the story behind the infamous Pentagon Papers that set a monumental precedent in the US Supreme Court following a ruling in the favor of the freedom of the press. Probably the most significant ruling affecting journalism, this film goes beyond the cold, hard facts of the case and into the offices and houses of those who were responsible for shedding light on the lies the US government was spinning to keep the War in Vietnam going. In a manner of speaking, this film could be read as Spielberg’s ode to US journalism, and by extension, to the free press at large. While traditional ink and paper newspapers may be slowly becoming a thing of the past, Spielberg’s film shows that the press has an important place in a democratic society. Without the free press, a nation’s government could easily lie and maliciously mislead its people to serve its own gain. No surprise, Meryl Streep’s and Tom Hanks’ acting is simply brilliant; while the rolls may not seem incredibly complex, it’s the beauty in simplicity that demonstrates the excellent commitment to character that we all have come to respect over the years for these Oscar-winning actors. The Post is a historical drama brought to life for the screen through precise editing, beautiful cinematography, and a gripping score.

Unrest grows at home while the US is deep in the middle of the Vietnam War. With conflicting reports coming out of the warzone, the people of the United States have only the word of their government to assure them the war is going well but they have to continue sending the boys overseas to “win.” After a rogue journalist leaks papers from the Pentagon describing how the US is losing and it keeps sending boys overseas to keep up appearances to the New York Times, the attorney general places a restraining order on the iconic newspaper to prohibit it from publishing the classified material. After word of this unprecedented extension of power, the editor-in-chief of The Washington Post Ben Bradlee (Hanks) comes to have a copy of the papers and desires to publish them in order to show the American people what the government has really been up to. Only one small problem, the owner of The Washington Post Katharine (Kay) Graham (Streep), the first woman to own a major newspaper, is unsure if the papers should be published because she seeks to take the paper public and this could damage that–not to mention that she and Bradlee could go to jail. Go beyond the pages of a history book to witness the thrilling drama unfold as you find out just why The Pentagon Papers was such a big deal.

While many critics and fans of the movie are touting it as the “best movie of the year” or commenting to managers at cineplexes that it’s “amazing,” I am not convinced that it truly is “the best” or as “amazing” as it’s being heralded. Before you go questioning my taste in movies, I completely agree that The Post is an excellently made film–there is nothing wrong with it. For all intents and purposes, it is a perfect film. But just because it’s figuratively perfectly produced and directed, does not mean that it is “amazing.” In many ways, this movie reminds me of Spielberg’s Bridge of Spies. It too is a perfectly made historic drama (coincidentally also starring Hanks) that falls within the same subgenre of drama as The Post. When I think of a Spielberg film, I have come to expect a wow factor. And it’s that lack of a wow factor that troubles me in awarding this film with an accolade such as “best picture.”

Usually, there is a particular scene that evokes strong emotion, perhaps it’s a powerful monologue or heated emotionally-driven exchange between two characters, there are other methods for evoking an eruption of feeling and emotion within the mind and body. Never once did I feel my emotions run high with this film. And I happen to be an entertainment journalist, I teach media writing at a popular university, and spent time in broadcast news. I have a love for the media, the press, and publishing. I also spent time in a media law class in graduate school analyzing the very papers in question, and I still did not feel emotionally woken up by the film. I find the film very well written, produced, shot, directed, acted, scored–everything is done with extreme precision. But, that’s what I have come to expect from Spielberg, Streep, and Hanks. Yes, to be able to consistently deliver excellence is nearly uncanny; but when I know what to expect, it’s much more difficult to surprise or wow me. That’s what is missing from this film in my opinion–the wow factor.

On the socio-political spectrum, I find the commentary on women in leadership is brilliant! Quite happy that the film chose such an incredible woman’s story to tell so cinematically well. The character of Kay Graham is not only an inspiration to aspiring female leaders, but she is an inspiration to all who find themselves in positions of influence or power for which society does not feel he or she is suited. Whereas this prejudice can affect men and women, history has shown that is has affected women more. And this film is a breath of inspiration for young women who will become future leaders around the world. Brave. Kay Graham was an incredibly brave woman who fought the good fight and proved that she could make the tough decisions that are required in order to grow a company. I also find that The Post serves as a beacon of hope that the press is here to serve the American people in a day and time that our government’s leaders claim that the press at large is “fake news.” Newspapers are here to serve the governed NOT the governers. Let the Pentagon Papers be a sign that our leaders are not past deception even if it means sending our military to certain death in order to keep up appearances.

The Post is definitely a movie that all journalists should watch. And not just “conventional” journalists. But anyone who takes part in publishing written, audio, or video media content. Especially those who cover governmental affairs should watch this historical drama highlighting a huge turning point in the freedom of the press.

“The Circle” movie review

Tries for a perfect circle, but winds up more like an oval. Full of endless circular logic and irony, director James Ponsoldt’s The Circle depicts the story of a not-so-distant future, or perhaps an alternative present, in which one company dominates digital media, data gathering, and surveillance services. Based upon the four-year-old novel by author Dave Eggers, you’ll notice some stark similarities between this motion picture narrative and the smash hit TV series Black Mirror. The biggest difference between the two is that The Circle is fast-faced and poorly written whereas Black Mirror is a slow-burning but well-written anthology series. In addition to the similarities between the aforementioned, there are certainly elements of The Truman Show in this movie as well. With a powerhouse cast, brilliant composer (Danny Elfman), and excellent editing, The Circle appears to have what a blockbuster needs; however, the hollow characters, poor character development, fractured subplots, and overall diegesis hold the film back from reaching the impact that it could have had. Having taken a digital media and privacy class in graduate school, and published a few articles, this is a film that I was looking forward to in order to analyze how the social commentary or commentary on the human condition regarding reasonable expectations of privacy and big data were integrated into the plot. Sadly, the screenplay was not strong or developed significantly enough to provide big data and privacy discussions.

Mae Holland (Emma Watson) hates her job at the water company, so she is incredibly excited when her friend Annie (Karen Gillan) lands Mae an interview at The Circle, the world’s most powerful technology and social media company. Mae’s fear of unfulfilled potential impresses the recruiters at The Circle and she lands the opportunity of a lifetime. After Mae puts herself into harm’s way but rescued, thanks to The Circle’s newest surveillance and data gathering system, she is encouraged by the company founder Eamon Bailey (Tom Hanks) to take a more active role in technology development by participating in an experiment that puts Mae’s life on display for the world (in the vein of The Truman Show) to see. Once Mae turns on that camera, she has more “friends” than she ever imagined and becomes an instant online celebrity. Unfortunately, this decision will affect those closest to Mae and the negative ramifications will reach far beyond her inner circle and begin to impact humanity at large. Sometimes, people just don’t want to be found or be “social.”

For all The Circle has going for it, the weak screenplay keeps it from being the blockbuster that it so desperately wants to be. A great movie typically begins with solid writing, and that is what’s missing here. After five minutes (or so it seems) of opening title logos, perhaps that is indirect evidence that there were just too many hands in the pot, each trying to take the movie’s narrative in a different direction. Much like Frozen plays off like two different movies crudely sewn together, The Circle appears to be one movie for the first two acts, but takes an unexpected and unfulfilling turn in the third. A couple of conspicuous unanswered questions come after Mae meets TrueYou designer and founder Ty (John Boyega). He designed the platform that launched The Circle. At one point he asks Mae to meet him in a secret tunnel (where all the servers are stored) and tells her that “it’s worse than I thought.” Great opportunity to introduce intrigue, suspense, and more. The problem is that the audience is never told what Ty finds or what happens with what he found. You can remove that whole subplot and the movie remains the same. There are other subplots that are nicely introduced, but never carried out as well. Any or all of them can be removed and the film proceeds the same. Not good. If you can remove several subplots or unfulfilled turning points and the film’s diegesis remain largely untouched, then you have poor writing. The third act in and of itself leaves audiences with a hurried ending that does little to provide closure to the narrative; however, it does support the film’s circular logic and irony. Hardly satisfying.

In terms of the allegory here, The Circle is a Google-like company with Apple’s technology. Eamon Bailey is a Steve Jobs type innovator with characteristics of Mark Zuckerberg and Google’s Eric Schmidt. Thankfully, The Circle does not represent any one company, but rather combines all the most notable innovations and technological achievements of Google, Apple, Facebook, Instagram, and more into one globally dominating company. Antitrust issues are introduced early on, but again, that’s never fully developed. The movie highlights many issues faced by private citizens, governments, and digital data driven companies today; therefore, it sets the foundation for a movie that could have been thought-provoking, but the writing hinders that ability. The irony in the movie is for every digital answer to streamlining services or bolstering conveniences, a little privacy is eroded each time. Pretty soon, if one shares enough information, the idea of privacy is extinct. Privacy was central to the plot, but it just wasn’t handled in the most effective way. Concepts such as “off the grid,” self-proclaimed “celebrity,” and “calls to action” are displayed and discussed in the film, connecting this augmented reality to real-world issues each of us encounter or think about. One particularly interesting theme in the movie is deep friendship. Unfortunately, this was not fully fleshed as is the case with most of the movie; but still, it does get touched upon.

Exploring digital media and privacy is something I have written on within the last couple years. More specifically, I explore how entertainment media companies collect big data, and the privacy issues faced therein. In 2016, I published a short series of articles on the Walt Disney World Magic Bands entitled “Magical Data Collection.” You can read those articles by clicking HERE.

If you were hoping for another film like the brilliant Social Network, then you will undoubtedly be disappointed. Films such as The Circle should be memorable, but unfortunately this one is very much forgettable. Coincidentally, the movie itself is as hollow as the plot and characters.

Written by R.L. Terry

Edited by J.M. Wead

“Inferno” movie review

infernoFamed symbologist Robert Langdon is back in a fiery installment in the franchise that bears his name. Sony Pictures and Imagine Entertainment’s Inferno is a non-stop rollercoaster of an adventure film that combines art, history, literature, bio-medical science, and weapons of mass destruction in a heart-pounding thriller that makes academia and public health look sexy. As expected, Tom Hanks delivers an outstanding performance as the Indiana Jones of symbols and puzzles and the visual storytelling is excellent. From the moment the film opens with incoherent subjective flashes through the eyes of Langdon suffering from amnesia, shaky camera movements, and glimpses of disturbing apocalyptic imagery to the final showdown beneath Instanbul’s Hagia Sophia, Inferno will command your attention for the two-hour runtime. Unlike the two previous installments in the Langdon franchise, there is a conspicuous lack of commentary on organized religion by deciphering puzzles and revealing coverups and more of a focus on art history and rhetoric. This focus provides a far more believable plot than found in The Da Vinci Code and lesser so in Angels and Demons. With bio-medical warfare being at the center of this film, the movie paints a realistic portrait of how a Dante-spouting sociopath might try to fix the world’s problems by wiping out half the population with a destructive plague.

Waking up in a state of incoherency and amnesia in an Italian hospital in Florence, Robert Langdon (Hanks) is thrust into running–or hobbling, rather–for his life. Under the guidance and protection of a beautiful ER doctor (Felicity Jones), Langdon barely escapes with his life. Dazed and confused, Langdon must concentrate on piecing together a puzzle–no surprise there–but this time, the puzzle begins with how he got to Italy and why he is carrying a bio-medical tube. From puzzle to mystery, Langdon and Dr. Brooks (Jones) are forced into an adventure that blind-sided them. After discovering a connection between a dead sociopathic billionaire madman and the Italian poet Dante (The Divine Comedy), Langdon and Brooks race across Europe to stop a devastating plague from killing off more than half of the world’s population. Between stopping the plague and constantly under siege by the WHO (World Health Organization) and a private security firm, Langdon is truly racing against the clock to piece together his own life while making the connections in the puzzle left by the deceased sociopath to save the world.

Although in previous installments in the Langdon franchise have the symbologist traversing across Europe and even the world, this film’s plot is mostly concentrated in Florence. Home to some of the most notable works of art in the world, Inferno might work as an unconventional travel guide for the tourism industry in Italy. Far less cerebral than The Da Vinci Code and to a lesser extent Angels and DemonsInferno is far more visceral, exciting, and thrilling. The lack of religious/historic irony will definitely stick out to those who either read the books and/or watch the movies (I am the latte); however, that does not hinder the film’s delivery of an action-adventure taking place within the worlds of the arts and medical science. With the previous installment Angels and Demons being released in 2009, the high-impact feeling of Inferno is incredibly important because there has been such a long gap between the films. Still, the plot of Inferno does not have the finesse that both previous films have. Although this installment is incredibly enjoyable and entertaining, it lacks the opportunity to question, think, and analyze the mystery at hand.

Another contrast between this present installment and the previous two is the character-heavy plot. Occasionally, the film felt overrun with characters. Albeit, most of the characters are interesting and also possess brilliant minds, at times the plot is overcrowded. Perhaps that was intentional since the billionaire madman claims that the population should be reduced because of overcrowding the earth; however, it’s more likely that writer David Koepp and director Ron Howard were attempting to get as much of the novel on screen as possible. Not having read the novel, I am unable to comment on the translation from page to screen beyond inference. Despite the character-heavy plot, the film is not without the trademark art, history, literature, and enigmas that are synonymous with the Langdon series of books/films. Beginning with a reimagined map of Hell based on the one described by Dante in The Divine Comedy and illustrated by Botticelli, the film’s plot does come back to the puzzles but most of the time is spent being chased by nearly everyone.

The best part about this film is just how exciting it is. If you are even remotely interested in it, you won’t be disappointed. As this is a franchise, and franchises tend to have intentional or unintentional patterns of behavior within the cast of characters or similarly functioning plot devices, there are definitely elements in this installment that are found in the previous two. There is one plot twist that bares a striking resemblance to one in The Da Vinci Code. The non-stop action will likely kindle an interest in pursuing a career as an academic or official with the WHO. Perhaps, the study of symbols, numbers, and taxonomy, will be of greater interest to current students. There are just enough loose ends and unanswered questions that keep the film from being too predictable.

Looking for an exciting cinematic adventure for the weekend? That is, when you are not either at or recovering from a Halloween party. Check out Inferno! Not Halloween-themed at all, but it is a fun adventure full of excitement and you’ll learn a thing or two about art, history, and literature.