“The Invisible Man” Horror Film Review

You won’t believe your eyes! Finally, a remake of a classic horror film that has the soul of the original yet feels completely fresh. Just when the Universal Monsters were about to be sealed in their coffins and sarcophaguses for all eternity, following the abysmal Mummy remake in 2016, writer-director Leigh Whannell delivers an excellent horror film that proves to us that a remake of a classic film can work! While the Invisible Man may not be in the cultural zeitgeist to the same degree that Dracula, Frankenstein’s monster (tho, creation is more precise), the Creature from the Black Lagoon, or the Mummy are, he is the Universal Monster that is by far the most psychotic, sharing a lot in common with the modern slasher. Furthermore, the Invisible Man demonstrates negative psycho-social characteristics, when exhibited by people in real life and not in check, are utterly terrifying. Perhaps the trademark characteristic of the Invisible Man is his uncanny genius that ostensibly isolates him both psychologically and spatially from society; moreover, this self-imposed isolation gives way to the extreme superiority complex that fuels the disconnect with mankind. Unlike a psychopath, the Invisible Man is fully aware of what he is doing, so he is much more of a sociopath. Sociopaths are cognitively aware of the violent or otherwise destructive acts he or she is committing, and that makes them far more dangerous than psychopaths. In order to provide audiences with a new experience, not only does Whannell update the science behind just how the invisibility works, but he also shifts focus to a different central character. Instead of the Invisible Man, it is Elisabeth Moss whom takes center stage as our tormented central character. Keep your ever watchful eyes wide open because you will see that everything in the film is both incredibly interesting and has everything to do with the plot.

The Invisible Man written and directed by horror veteran Leigh Whannell is a remake of the classic Universal Monster horror film by the same name and an adaptation of the original novel by H.G. Wells. When Cecilia’s (Elisabeth Moss) abusive ex Adrian (Oliver Jackson-Cohen) takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. Her explanations fall on seemingly deaf ears as the evidence seems hollow. (IMDb)

The strength in this remake lies in the excellent screenplay by Whannell. While all the technical and creative elements work incredibly well, it is the strong visual storytelling and plotting that forms such a solid foundation for reimagining The Invisible Man for a 21st century audience. You will find elements of the classic film Gaslight, H.G. Wells’ original novel, and the original 1933 Universal film. Cecilia is a compelling character with immense depth because she is experiencing psychological and physical abuse that may have a supernatural component but feels unapologetically real, nevertheless. Whannell’s Invisible Man is a character-driven story that explores the psychological toll that one experiences when the world does not believe you, no matter how disturbing the evidence. In this case, it’s domestic abuse turned other mass violent acts, including murder, but it could just as easily be any number of major and minor abuses that are difficult to prove especially when the world doesn’t believe you. Moss’ Cecilia is a relatable character for anyone that has ever been unsuccessful in convincing the world of your trauma and abuse. She carries the weight of her abusive relationship around with her every minute of everyday. Even before Adrian was truly terrorizing her in a sadistic poltergeist-like fashion, his specter was already haunting her. This film provides an avenue for Whannell to explore the far-reaching abuse sustained by Cecilia at the hands of a–by the world’s standards–a great man of scientific achievement and intellect.

We see very little of the Invisible Man, but this only helps the film deliver outstanding tension and suspense. Because we cannot see the Invisible Man, we are constantly looking for him in every corner of the screen. Suspense is achieved through not relying on the actions of the Invisible Man, but rather on the absence of him. Once his capabilities are established, and we get that first glimpse into his sadistic actions, then we go relatively long periods of nothing from him. And that is precisely what this film needed! This staggering of Invisible Man moments delays what we are expecting, thus building solid suspense. Whannell takes a page out of the Alfred Hitchcock handbook by transferring the horror on screen into the minds of the audience. Here, the horrors are such much more visceral and lasting. The Invisible Man’s torments of Cecilia start out small and then grow with intensity. And not just the same kinds of torments, but strategically different ones that When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. every aspect of her life. His goal is to cut her off from everyone and everything, including her own sanity. Only then, can he control and manipulate her to the extent he desires. Each attack on Cecelia, or someone close to her, disconnects her from that which is familiar and makes her feel safe. Like a lion separating prey from the larger group, in order to move in for the kill, Adrian is calculating in his movements.

The score and cinematography are right out of a classic monster horror movie! Much like A Quiet Place relies upon the power of silence to heighten the senses and keep, The Invisible Man also uses strategically placed moments of silence to create a fantastic sense of unease that keeps you on edge. The score in this film does a terrific job of setting the mood and tone right from the very beginning; furthermore, the score feels like a direct extension of the emotional beats of every scene. The cinematography may not have anything in particularly stylistic about it, but the framing of each scene is perfectly executed. Each frame is so important to us because we are always looking for little signs of the Invisible Man. It’s like Whannell was playing a game with us! There are shots framed in such a way that you think the Invisible Man is going to make some kind of appearance, but he usually doesn’t. But you will be convinced you saw him, and that is such a fun part of the movie. It’s not only the plot that keeps us guessing, but each and every shot does the same!

Elizabeth Moss’ performance as Cecilia was nothing short of an outstanding achievement! From the moment we first meet her to her last frame, she delivers a compelling performance that will stick with you long after you leave the cinema What’s truly mindblowing is the fact she is playing off nobody (in real life anyway). It’s just her on that set and the film crew, and that’s it. Not only does she wow us with her terrifyingly convincing facial expressions, but her entire body is fully engaged in each and every moment. Never once do I see the actor, I see only her character of Cecilia. While I know Moss is an accomplished actor from her past roles, including last year’s Us, she surpassed all of my expectations of her acting. Her performance is right up there with Toni Collette’s in Hereditary. This isn’t simply a great delivery for a horror film, it’s a superlative performance for any film period. And it’s not just in her more manic scenes; even in the calmer scenes, the subtleties of each movement, twitch, glare are hauntingly authentic and leap off the screen. The central character of a motion picture is our conduit into the story in order to vicariously experience the plot and emotions. Moss’ Cecilia is relatable, genuine, and demonstrates equal parts vulnerability and strength.

Leigh Whannell’s The Invisible Man is a testament to the ability for a writer-director to take inspiration from a classic movie and reimagine it for a new generation while keeping the soul or the original alive. I don’t take issue with remakes of classic movies, but I do take issue with remakes that have no respect for the original source material. This film feels both fresh and familiar as it takes what the original did well, and use those elements in a modern way. The bones of the original and this remake are largely the same, but the muscles are developed differently in order to deliver a new story. While we haven’t been officially told that Universal’s Dark Universe is back on, the critical and box office success of this film may just reignite those embers that were snuffed out by the awful Mummy from the other year.

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!

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“1917” Film Review

Outstanding dramatic and technical achievement! 1917 is an anxiety-inducing, gripping motion picture. Sam Mendes’ direction is exemplary and the cinematography mind-blowing. Winner of two Golden Globes, and destined for Oscar nominations, this film is one that I highly recommend that you watch in Dolby or IMAX (if Dolby is not available in your cinema). While 1917 is not a horror film in the conventional sense, it delivers unparalleled wartime brutality that forces us to face the real horrors of war and never let up for the duration of the film. After the box office bomb that was Cats, Universal Pictures needed a homerun for both revenue and awards-possibilities. Suffice it to say, 1917 will rake in the award wins and nominations and the box office revenue that the legacy studio needs to keep financing/distributing original films of both mid and high budgets. This film is more than a cinematographic exercise of telling a feature-length visual story with one continuous tracking shot. Obviously there are moments of cuts (if you try to look for them); but for all intents and purposes, Mendes sells audiences on the tracking shot, even when the camera literally glides across the water. The film is both gorgeous in its technique and beautiful in the story. It’s not simply another war movie, it is a powerful experience that places you at the front lines of World War I. Compared to past films about WWI or WWII, I cannot think of a single other film that captured the atrocities of war and the unending violence and anxiety in nearly as brilliant or artistic a fashion. Tension will run high, and continue to ratchet up as the story unfolds. While much emphasis has been placed on the “single take” approach to shooting this film, there was the risk of the film not allowing for other elements of a good story; however, Sam Mendes delivers both a film that is shot brilliantly and one that delivers a dynamic, complex central character within a simple yet compelling plot.

During World War I, two British soldiers — Lance Cpl. Schofield (George MacKay) and Lance Cpl. Blake (Dean-Charles Chapman) — receive seemingly impossible orders. In a race against time, they must cross over into enemy territory to deliver a message that could potentially save 1,600 of their fellow comrades — including Blake’s own brother.

Let’s start out with the element that is being talked about more than anything else–and that is the cinematography by Roger Deakins. There is so much more to this film, but I want to address that aspect first. It’s not one continuous shot. And so what??? It is unrealistic to shoot an epic (much less war movie) in a single take for two hours. However, the film certainly feels like one continuous take more than 90% of the time. And to that end, the this technical achievement is phenomenal! While it may not be innovative (as it has been done before) how the commitment to the single take approach was was executed was outstanding! There is even a moment that our two central characters are navigating navigating around a giant crater and the camera glides across the water, never stopping before or after. Talk about fantastic! More than an exercise whether or not this could be accomplished as nearly flawlessly as it was, there is also the added benefit of the enveloping experience of being on that battle field with our characters, because there is no break. A cut or break could remind us that we are safely in the auditorium, but continuing the shot never allows for a break in the excelling rising tension for the whole film. All that said, I did experience a disadvantage of knowing about the whole one shot going into the film because I found myself looking for the moments when a cut happened. And it was ultimately a distraction in the beginning. As the film progressed, I was less obsessed with looking for the cuts and simply allowed myself to get lost in the film. So my advice to filmmakers and critics watching this film is to not look for those cuts as it could become a distraction.

Here’s where it’s met with some opposition from critics: the story (inclusive of characters). There has been some notion that the method of story execution (the aforementioned “single tracking shot”) prohibited traditional story, character, and plot development. While the single tracing camera approach does minimize the amount of time that can be covered (because the story exists mostly in real time) and the points of view from the camera, there is still a powerful story of courage and determination. It is clear that Mendes desired to do for WWI what Saving Private Ryan did for WWII, and in my opinion, he did just that–and more! We are introduced to our two central characters: one is determined (Blake) and the other apprehensive but compliant (Schofield). Without going into details that would get into spoilers, there is sufficient character development that shows a transformation in worldview and level of purpose and courage when these characters are faced with grueling conflict and setback after conflict and setback. Through the brutalities of war, these two characters, of which Schofield emerges as THE central character (with Blake chief supporting), we witness demonstrable growth that affects Schofield in such a way that he is forced to take certain actions that directly impact the plot and his personal development. I don’t mean to be vague, but it’s important that you go into the film with a little knowledge of details as possible.

Once our two soldiers are sent on their mission from the General to take orders to another company on the other side of what is referred to as No Man’s Land (through German encampment), it is a nonstop brutal adventure with stakes as high as life and death. Mendes shies not away from the gritty violence and total destruction of war. At one point, one of our main characters cuts his hand on barbed wire, then not long after, plunges his hand into the chest cavity of a corpse. And that is as tame as it gets–only gets more terrifying and brutal from there. Everything feels so incredibly real. Like, you should duck for cover yourself as the bullets and shells fly across the screen. If you choose to see it in Dolby (as I did), you will feel as though you are in the middle of the battle field and deep in the trenches along with the brave men fighting for the freedom of France and the rest of the world. Not since Saving Private Ryan has there been such a masterful war motion picture to hit the silver screen.

Don’t sleep on this film, even if you are not typically into war pictures. Take me for example. I am not ordinarily into war films (or sports movies). And yet, I find this one truly compelling! There’s an unapologetic authenticity in everything Mendes’ film has to offer audiences. Do yourself a favor and watch one of the best films of 2019/2020.

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!

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“Last Christmas” mini movie review

Just the Christmas gift we needed this holiday season! Don’t be so quick to judge a holiday movie by its trailer. Much like we so often judge a book by its cover or a streaming movie based upon its thumbnail image, the same can be said for Christmas movies that look like they belong on Hallmark channel but somehow got a theatrical distribution. Paul Feig’s Last Christmas, written by Emma Thompson, is a heartwarming Christmas movie that is surprisingly deep and thought-provoking. If you’re a fan of his work, like I am (except for the Ghostbusters that doesn’t exist), you are familiar with his innate ability to take what looks like one movie, but then deliver something entirely different but completely brilliant in the execution that subverts expectations. Take Spy or last year’s A Simple Favor for examples. If you haven’t seen either, do yourself a favor and watch them! I absolutely adore how this movie takes what could simply be another paint-by-the-numbers romantic dramedy but provides audiences with a memorable movie built upon a simple plot and complex characters that audiences are sure to connect with. Kate played by Emilia Clarke (aka Mother of Dragons) is simply a treasure! And her costar Henry Golding, who plays Tom, is one part moral-compass and one part love interest. Follow Kate on a transformational journey that explores how constantly playing the victim and blaming everyone else for your problems can lead to destructive behavior. I appreciate the unconventional approach to Christmas movies this one takes. It doesn’t hold back on the cynicism that many people have about life or about the holiday season. The movie depicts true-to-life people that experience real struggles within the family unit and from the outside. In addition to the interpersonal relationship conflict, Kate’s family is also from the former Yugoslavia. This is an important subplot in the movie because the movie seeks to comment on the prejudice that some refugees-turned-citizens experience, especially in the midst of political turmoil. Like I said, this Christmas movie is surprisingly deep. The most powerful Christmas story ever (other than the Nativity) is Charles Dickens’ A Christmas Carol, and why is that? Because it’s a story of redemption. If Scrooge can be redeemed, we can all be redeemed. Kate is our Scrooge in this story. Perhaps that is why so many people love it, it parallels A Christmas Carol in beautiful ways, yet it doesn’t–on face value–appear to be an interpretation of it. Do yourself a favor and plan to make Last Christmas part of your holiday season.

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!

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Halloween Horror Nights XXIX Full Review

You know it’s Halloween season when Universal Orlando’s Halloween Horror Nights opens! And this year, it opened earlier than ever. What a banner year it is! Opening weekend with my friends was an absolute blast. Over all, this was a solid year for the event that turns 30 next year. Although there lacks an official theme for HHN29, it is very clearly 80’s nostalgia, complete with the laser lights and electronica sounds that were such a quintessential part of the decade. The lineup of houses is outstanding; from fantastic original concepts to familiar and even historic licensed IPs, HHN29 has something for everyone. New for this year is the Halloween Marathon of Mayhem projection/water nighttime spectacular on the lagoon that has showings a few times a night. Don’t miss it! In addition to houses, the crowd favorite Twisted Tater is back; I remember all too well, last year, the iconic starchy snack was absent on opening weekend. Not this year! Although my friends and I had Express Passes, the general wait times were all mostly under an hour. That number will likely increase the closer we get to Halloween; but for right now, waits are reasonable.

If I was to sum up the experience of this year compared to years gone by, I would have to say that this year’s HHN is less scary than previous seasons. This sentiment appears to be shared by others as well. The trend to catering to younger (and by younger, I mean under 17) and their families began last year with the introduction of Stranger Things. Now, I don’t only go to HHN to be scared–that’s not really the point–yes, is that an added benefit? Sure! But when you watch horror movies on a regular basis and attend this most prestigious Halloween event each year, you’re naturally going to become desensitized to the scares. Therefore, it may become less scary over time, but I would have liked to have experienced more terrifying moments in some of the houses. While I am being negatively critical of the level of terror, I want to emphasize that this IS a solid year, and one that I’ve experienced three times this season and plan to attend more.

This year’s houses: Universal Monsters, Graveyard Games, Nightingales Blood Pit, House of a Thousand Corpses, Depths of Fear, Us, Yeti Terror of the Yukon, Ghostbusters, Stranger Things, and Killer Klowns from Outer Space

This year’s scare zones: Anarch-cade, Zombieland Double Tap, Rob Zombie Hellbilly Deluxe, Vikings Undead, Vanity Ball

Let’s start with my favorite house Universal Monsters! This was the house that I was most eager to experience even before the event began. And I am pleased to report that it exceeded my expectations. In a world of so many remakes and reboots of classic properties, this house delivered a fantastic experiential interpretation of the original monsters that started it all! You get The Hunchback, Creature from the Black Lagoon, Dracula, Phantom of the Opera, Frankenstein’s Monster, Bride of Frankenstein, The Mummy, and Wolfman. Every aspect of this house was planned and executed with detailed precision. We didn’t get some reimagination of these characters in such a way that the house sought to “improve” upon the source material, it was a beautiful display of Universal’s legacy of horror.

My pick for best original concept house is Graveyard Games! This house transports you to a beautiful gothic haunted cemetery that delivers the scares for which you’re searching at HHN. The level of detail in this house is truly outstanding. And it’s not just the undead that are hunting you down. It would have been all too easy to just have another cemetery filled with zombies or other minions of the undead, but here you find any and everything that goes bump in the night and more. This is a house that I could do over and over again, and never get tired of it. I love how much like a real gothic cemetery it feels and that the scares are some of the best at the event this year.

Nightingales Blood Pit is the sequel to Nightingales from several seasons ago. Here you will find yourself in the trenches and catacombs of ancient Rome where sinister, blood thirsty  birdlike creatures have taken over the city. Not even Rome’s famous gladiators are a match for these horrifying abominations. If there was an award given out for best facade, then this house would win! I absolutely love the production design on the outside of the house that (1) you can take pictures of and (2) it instantly begins to immerse you into the nightmarish world into which you are about to descend. All that was missing is the aroma from the scene where “the great library of Alexandria was burned” on Spaceship Earth at Epcot.

House of a Thousand Corpses (HOATC) is an outstanding translation from screen to attraction! This is another house with a great facade, and the best one I’ve seen on this building in years. HOATC delivers precisely what you desire to see in this house! Not only does it have some great hillbilly horror scares, but the casting is fantastic, especially the actors playing Captain Spaulding. The moment I walked into the lobby of the store and saw Captain Spaulding standing behind the desk, you could have told me that it was Sig Haig and I would have believed you. You get it all, blood, guts, the music of Rob Zombie and more.

Depths of Fear is likely the weakest house out of the lineup this year. And it’s not because the concept is weak as much as it is the execution. I get it. It was going for Aliens set underwater. But for most of the house, I wouldn’t tell if I was in outer space or in the depths of the ocean. If this was supposed to be a horror comedy house, then I think I would have liked it more, but I don’t think the comedy was intentional. Although the costuming, puppet design, and other effects were creative, they lacked anything truly scary. Maybe this was another house, much like Stranger Things, that was supposed to appeal to a younger audience.

You may find yourself in the US house at HHN29. Based on the popular Jordan Peele movie released earlier this year US takes a stab at adapting Peele’s movie into an attraction. And if you’re a fan of the movie, then you will most likely enjoy this house because it is virtually every major plot point from the movie. The design and attention to detail is right out of the movie. As I found the movie to be just okay, I also find this house to be just okay. I can certainly understand why it was chosen over Toothfairy (which was actually a better and scarier house concept, btw) because of the box office success.

Bring your parka if you want to survive the night in Yeti Terror of the Yukon. Universal Creative delivers another excellent original concept house, loosely inspired by last year’s Revenge of the Swamp Yeti in Slaughter Sinema. So much fun! Not only is this house full of traditional scares, but it is incredibly fun. Completely re-doable. Although you are inside a sound stage, you will feel as though you are braving the icy temperatures of the Yukon. One of my favorite scares is when a giant Yeti arm attempts to grab you from above. Completely unexpected! And the costuming is fantastic too.

Who’re you gonna call? GhostbustersFollowing Universal Monsters, this was the next house I was looking forward to most. And although I was pretty much able to predict what I was going to see in the house, it doesn’t take away from how much fun it was! Many people that are now fans of or regulars at Universal Orlando are unfamiliar with the former Ghostbusters special effects and stunt show that was located where Jimmy Fallon is now. After the house was announced, I was hoping that I would see the same optical effects that the movie and live show used to bring the world of Ghostbusters to a haunted house attraction. And you know what? Universal did just that! From the use of projections and mirrors to a giant StayPuff Marshmallow Man head that smelled of toasted marshmallows, the commitment to staying true to the movie (and even the previous live show) was outstanding.

Returning for a second year in a row is Stranger Things. This time, immerse yourselves in “a solute to all [seasons] but mostly [season two].” My followers who, are friends of Muppet Vision 3D at Disney’s Hollywood Studios will appreciate that reference. By all measurable accounts, season three of the hit Netflix series is the stronger one between 2 and 3; however, this house is three-quarters season two. In fact, Star Court Mall, for all intents and purposes,  comprises one room–disappointing. I’d say that’s the word that sums up my experience of the Stranger Things house this year. It’s unfortunate that it was disappointing to me because Season Three lended itself to horror so much that I thought for sure it would have been a more significant part of the house.

Continuing the pattern of a scare zone turned house, Killer Klowns from Outer Space (KKFOS) has lots of cotton candy and popcorn for you! As a scare zone this IP worked so incredibly well that I was cautiously optimistic for the house translation. The caution was because I felt that HHN28‘s Trick ‘r Treat worked better as a scare zone (HHN27) than house. I am pleased to report that as successful the scare zone for KKFOS was, it worked equally well if not even BETTER as a house! Everything about this house works incredibly well. From the campy costumes to most memorable moments from the movie, and even the sounds of popcorn and and aroma of cotton candy permeating every nook and cranny. If you suffer from a fear of clowns, then this is definitely a house where you can face your fears!

If there is an overall weak area of HHN28, it is the scare zones. Compared to year’s past, the scare zones seemed to not be as immersive as they usually are. I was told my a team member that some of the house facades and scare zone elements were removed when it was predicted that Hurricane Dorian was going to significantly impact Orlando. As I have only been to HHN opening weekend (Fri, Sat, and Sun), I have not been back to compare what is now there compared to opening weekend. Of all the scare zones, Rob Zombie’s Hellbilly Deluxe is the zone that offers guests the best experience. However, I would be remiss not to mention the brilliant laser and neon lights of Anarch-Cade! I loved the cabinet video games and all the lights that reminded me of an old-school arcade in a mall. The other zones are okay, so definitely don’t miss them. But the zones are the weakest part of the event this season. If for no other reason, they are lacking in scares.

Do not leave HHN29 without watching the Halloween Marathon of Mayhem nighttime spectacular on the lagoon. The nights I was there, it ran at 10, 11, and 12M. Although only about 10mins, it is a great way to pay tribute to Universal’s legacy of horror and each house that makes up HHN29. The music and lights are a direct extension of all the houses, full of 80s nostalgia and neon! If there is an area of improvement for the show, it would be to include some pyrotechnics. The water screens, fountains, and projections are great, but I would have liked to have seen some fireworks as well. Now I know that would be difficult with the show running multiple times, but I imagine that Universal Creative is innovative enough to develop a safe method for setting up the show to have pyro in each showing.

There you have it, folks! A complete review of Halloween Horror Nights XXIX!. As fantastic as this year is, I cannot wait to see what Universal has in store for HHN 30! Maybe we will see the return of past icons or even reimaginations of past houses. Horror Nights is running on select nights now through November 2nd. If you can afford to buy one of the frequent fear passes with express or just one night of express, then you will definitely increase your enjoyment level and minimize the negative stressors that come along with this annual event.

For my friend Dani’s review of HHN XXIX, please visit her blog too!

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!

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Twitter: RLTerry1

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Hagrid’s Magical Creatures Motorbike Adventure Review

I finally had the opportunity to experience #HagRide at the Wizarding World of Harry Potter at Universal Orlando Resort. After two previous attempts to ride the mindblowing attraction, I was able to mount my motorbike and be hurled into a world of adventure. My experience was enhanced because my sister and brother-in-law were visiting, and we got to ride it together for the very first time! Additionally, I was able to share the experience with my friend Dani (her review here) because she was just 30mins ahead of us in queue–we found out each other was at the park in queue for HagRide on Twitter–small world! If you’ve heard it characterized as a storycoaster, you’ve heard correctly. HagRide represents the best of coaster and dark ride technologies all rolled up into one innovative attraction that is unparalleled by any other I have experienced. And if you’re like me–averse to the proliferation of screen-based attractions–then you’ll be immensely delighted that this storycoaster is full of practical effects, sets, props, and groundbreaking animatronics. And to answer the question that is likely on your mind, I only waited for 1.75hrs. Would’ve been 1.5hrs but it was momentarily delayed–no surprise there. Is it worth the 3+ hour wait that many are still reporting? For that, I will not provide commentary; however, my brother-in-law who isn’t a big theme park fan because of the wait times said, and I quote, “that was worth the wait.” Thankfully we had unlimited Express Passes because we were staying at the Royal Pacific Resort, but HagRide does not offer an Express Pass queue nor does it open during the hour-early resort guest hours. Bottom line, this coaster is one that you do not want to miss during your visit to Wizarding World Orlando!

I feel that I have been in the Forbidden Forest ever since I began receiving the Press Releases containing artwork, progress photos, and descriptions of the highly anticipated addition to Hogsmeade at Universal Orlando. Every time I read about a new magical creature or the animatronics, I grew increasingly excited. Unfortunately yours truly still isn’t important enough to Universal to be invited to the media events, but I am glad that I at least get the media emails from the resort to keep up with the goings-on at the park. Thankfully, I can now provide you with the review of my first time on the motorbike (I rode the motorbike, my sister and brother-in-law were directly behind me in the motorbike/sidecar respectively). Although it is not fair to compare it to any existing theme park attraction because of its uniqueness, if you compare it to the two existing Harry Potter attractions, then it has the ride vehicle innovation of Forbidden Journey and the storytelling of Escape from Gringotts. The queue and attraction include more than 1200 live trees to truly immerse you in the forbidden forest. Longtime visitors to Islands of Adventure will recognize parts of the queue as belonging to the former Dueling Dragons turned Dragon Challenge coaster. I love looking for the remnants of the past as incorporated into new attractions.

The story begins in the queue–specifically–the preshow (from which, you are looking at 45mins to 1hr wait). Just as Dumbledore opened Hogwarts to muggles, the premise for the story found in Forbidden Journey, Hagrid opens his Magical Creatures class to muggles! Love the parallel there. During your tour, you will encounter magical creatures with which you are familiar and a brand new hybridization created by Hagrid known as Blast-Ended Skrewt. During the preshow, you also get a first-look at your ride vehicle, Sirius Black’s flying motorbike (that you can also see in the video on the Hogwarts Express as you travel from Diagon Alley to Hogsmeade). After the preshow and prior to mounting your bike, you continue to meander the labyrinth of hallways filled with dragon and other creature eggs, graffiti from Hogwarts Students dec the walls, yes even venders selling food and drink in queue because of the long wait time. Because Hagrid loves the students, their sneaking around and all, he is wokring with Arthur Weasley to finish the train of motorbikes that will take students and you out into the Forbidden Forest in large groups to see the Blast-Ended Skrewt. Of course, something goes terribly wrong and hijinks ensue! Prepare for the ride of your life as there are launches, twists, turns, and even some pitfalls along the way.

HagRide excels in both its delivery of the narrative and spectacle. It is both impressive from a technical marvel perspective and experiential one. The long and short of it is that HagRide is FUN! You will want to ride it again and again. Although you will probably not want to wait 3+ hours, time and time again. Whereas I do not typically scream on or truly get lost in an attraction, this one successfully transported me to the Forbidden Forest in both mind and body. I screamed and whoah’d multiples times! Not knowing what lies ahead held me in suspense, and delivered in spades, after every windup. I was holding onto the handlebars of the motorbike as if I was actually on one. If I closed by eyes, I’m confident that I would truly feel that I was on a motorbike zooming through a forest. Every moment, every prop, set piece, and turn earns your screams and laughter! You’ll be captivated by the production design and incredible animatronics the entire time and even after you exit the attraction!

Impressive. That is the one word, aside from fun, that truly captures what it is like to experience HagRide. The combination of technologies integrated into the design of the attraction has never been seen before. No flight simulator can replicate what Universal Orlando Resort was able to deliver in this attraction. There is even a moment that you shot up a nearly vertical ~70ft track section, just to pause for a few seconds then shot backwards through the dark–think Expedition Everest, but BETTER and more intense. That’s not the surprise that awaits you on HagRide, there are seven launches and a 15ft drop (won’t tell you were it is). There was such a huge possibility that the focus could have so easily been on the technology–see what we can do now–but I am pleased to report that the technical advancements never take away from the narrative. There is a perfect balance of spectacle vs narrative; the show and ride technology serve the park guest by enhancing the experience. HagRide effortlessly weaves the story into the mechanics of the attraction in such a manner that you will truly want to experience it again and again to witness what you may have missed on the first time around. I certainly need to return for more re-rides to continually take everything in.

With so much to see on HagRide, you will likely notice some detail in the queue or on the ride that you may have missed before. Definitely make the time to experience Hagrid’s Magical Creatures Motorbike Adventure!

You can catch Ryan most weekends at Busch Gardens Tampa, SeaWorld Orlando, Universal Orlando Resort, or Walt Disney World. So if you’re in the area, let him know and you can join him in the parks.

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

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