Magic has been a popular theme in various forms of media for centuries. From books to movies to video games, magic has captivated audiences by its ability to transport them to incredible worlds where anything is possible. While traditional magic, such as wizards casting spells or witches brewing potions, has always been prevalent in media, there has been a recent rise in unconventional forms of magic. Unconventional magic refers to magical abilities or powers that go beyond the typical spells and potions associated with wizards and witches. These unconventional forms of magic often involve unique and imaginative concepts that push the boundaries of what we traditionally think of as magic. They add a fresh and exciting element to stories, captivating audiences in new and unexpected ways.
They add a fresh and exciting element to stories, captivating audiences in new and unexpected ways. One example of unconventional magic is elemental magic, where characters have the ability to manipulate and control the elements such as fire, water, earth, and air. This form of magic has been featured in various media, from the popular Avatar: The Last Airbender series to the video game franchise, The Legend of Zelda.
The curse of bridge hollow book
It can be tempting to grade gateway horror on a curve. Horror fans want to give films the benefit of the doubt if there’s a chance they will make younger viewers fall in love with the genre we care about so much. With director Jeff Wadlow’s THE CURSE OF BRIDGE HOLLOW, written by Todd Berger and Robert Rugan, that grade falls somewhere in the middle.
The film has its issues: the story framework is rather weak and unoriginal, the film speeds past its most compelling images without allowing the audience enough time to appreciate them, and the script includes two bafflingly unnecessary uses of the “g***y” slur. Still, there are strong set pieces and fun moments, and the film is saved by a personable cast with strong chemistry and comedic talent, along with some impressive special effects and creature designs. THE CURSE OF BRIDGE HOLLOW may not become a Halloween classic, but — for the most part — it’s an enjoyable bit of spooky fun.
Sydney Gordon (Priah Ferguson) is a 14-year-old reluctantly moving from Brooklyn to the small town of Bridge Hollow. Her dad Howard (Marlon Wayans) is the town’s new science teacher, and her mom Emily (Kelly Rowland) is a lawyer-turned-bakery owner. Howard has made all of Sydney’s decisions for her so far in life, pushing her to join the science team and making her take karate classes rather than ballet as she wanted. Now that she’s growing up, though, Sydney wants to make her own way in life, which includes celebrating Halloween despite her dad’s objections to how “ridiculous” it is.
Unfortunately, Sydney’s celebrations include lighting a cursed lantern she finds inside their new house, which brings back the spirit of town legend Stingy Jack and the evil curse that accompanies him. The curse brings all the decorations in the Halloween-obsessed town to life, and Sydney and Howard must join forces with their new friends and neighbors to fight Stingy Jack’s evil army and save Bridge Hollow.
The dynamic tension between Sydney and Howard is the driving force of the film, and both Ferguson and Wayans do a good job with their respective roles. Sydney feels slightly less fleshed out as a character than Howard does, but that’s kind of the point: she’s still figuring out who she is as a person, especially as someone who has lived her whole life under the weight of her dad’s expectations. Wayans, unsurprisingly, is very funny in the film, taking what would typically be the straight-man role — the skeptical scientist thrust against his will into doing battle with supernatural forces — and turning it into an interesting mix of straight-man and comic relief. He also pays homage to his brother, Damon Wayans, and references one of his iconic roles from In Living Color, when Howard faces off against a demonic, axe-wielding clown and deadpans, “Homey don’t play that.”
Nods and quick references fill the film’s script, as THE CURSE OF BRIDGE HOLLOW brings up some interesting ideas but never really delves into them with any depth. The Gordons are a Black family moving to a predominantly white area, but beyond a few quick references — Howard says that “Bridge Hollow smells like apples and a hint of white privilege,” and the high school’s Principal Floyd (John Michael Higgins) has a “Coexist” sticker on his bicycle in a clear (and funny) jab at white liberalism — the film doesn’t have anything else to say on the subject.
Similarly, it brings up a fascinating religious issue but drops it with bizarre abruptness. In a surprising turn of events (light spoiler alert!), Principal Floyd turns out to be a Satanist. He claims merely to be a “collector” of occult items, since he is a school official in a predominantly Christian town and therefore can’t admit to being anything nearly as “controversial” as a Satanist. After the evil curse is defeated, though, he immediately disavows Satan and informs the town priest that he’s now on his “team.” It’s a puzzling, whiplash-inducing character arc that seems to serve only as a way for the plot to move from points A to B, since Principal Floyd conveniently owns the grimoire that our heroes need in order to defeat Stingy Jack.
The sequences where Sydney, Howard, and their allies fight the evil forces are the highlights of the film. Mystical red light spreads Stingy Jack’s evil like a poison throughout the town, bringing Halloween decorations like witches, zombies, and giant spiders to life. Howard gets a moment to shine when he singlehandedly defeats a whole football team of killer skeletons with a chainsaw, and Sydney has a similar moment of bravery when she saves her dad from a spider the size of a Buick. The creature designs, particularly in the murderous clowns and in Stingy Jack himself, are chilling, and they make the biggest case for THE CURSE OF BRIDGE HOLLOW as worthy gateway horror. They’re just the right combination of creepy and cool, and they should satisfy older horror fans (many of whom will recognize those Killer Klowns) as well as younger viewers new to the genre.
The quality of the effects and the creature designs make it especially frustrating, though, that the film seems opposed to showing off its best set pieces and visual compositions. When Sydney and company head to the high school carnival on their quest to stop Stingy Jack, the aforementioned axe-wielding clowns chase them through a maze. We see an overhead shot of the group moving from one neon-lit room to another, searching for a safe exit as clowns chase after them. It’s a visually arresting shot, and it adds a lot of suspense to the film, but the film cuts away from it far too quickly for the viewer to appreciate either its beauty or its tension.
The same thing happens at Principal Floyd’s house: a lamp falls over and the viewer sees Howard against a wall as the shadows of evil skeletons threaten him. It’s an impressively creepy moment and perhaps the most striking shot in the whole film, but once again the movie cuts away before we can fully register what we’re seeing. It’s disappointing for a film with a script that feels rather slapdash at times to seem so disinterested in its remarkable visual elements that could make up for the film’s narrative weaknesses.
Therein lies the issue with THE CURSE OF BRIDGE HOLLOW. With a few tweaks here and there — the removal of the gratuitous slurs, another pass or two on the script to strengthen the story, and more care shown for the film’s best shots — this could be a great new family film for Halloween. As it stands, it’s still a fun, spooky movie with lots of laughs, some gentle scares, and an engaging cast. But while it could have been a full-size candy bar in your trick-or-treat bag, THE CURSE OF BRIDGE HOLLOW ends up as a bite-size piece of off-brand candy that you don’t mind having if you can’t trade it for something better.
THE CURSE OF BRIDGE HOLLOW is now on Netflix.
Sydney Gordon (Priah Ferguson) is a 14-year-old reluctantly moving from Brooklyn to the small town of Bridge Hollow. Her dad Howard (Marlon Wayans) is the town’s new science teacher, and her mom Emily (Kelly Rowland) is a lawyer-turned-bakery owner. Howard has made all of Sydney’s decisions for her so far in life, pushing her to join the science team and making her take karate classes rather than ballet as she wanted. Now that she’s growing up, though, Sydney wants to make her own way in life, which includes celebrating Halloween despite her dad’s objections to how “ridiculous” it is.
Elemental magic adds an exciting dynamic, as characters can create or harness natural forces to their advantage, leading to thrilling battles and breathtaking displays of power. Another form of unconventional magic is technology-based magic. In a world heavily reliant on technology, it is no surprise that writers and creators have explored the idea of magic intertwined with futuristic inventions. This type of magic often involves characters who possess the ability to manipulate or interact with advanced technology in ways that defy conventional laws of science. In movies such as the Marvel Cinematic Universe, characters like Iron Man and Doctor Strange showcase this fusion of magic and technology, creating unique and visually stunning effects. Additionally, unconventional magic can also take the form of unique abilities or powers that are specific to individual characters. These powers can range from telepathy and shape-shifting to time manipulation and astral projection. The possibilities are endless, allowing writers and creators to come up with inventive and captivating abilities that make their characters stand out. Unconventional magic in media brings a new and refreshing twist to traditional magical narratives. It challenges the norms and expectations of what magic can be, fostering creativity and expanding the possibilities for storytelling. By pushing the boundaries of what is considered magical, these unconventional forms of magic create captivating and immersive worlds that continue to captivate audiences worldwide..
Reviews for "The Evolution of Magical Archetypes: Unconventional Heroes and Heroines in Media"
- Emma - 1 star - I was really excited to read "Unconventional magic in media" as I'm a huge fan of magic and fantasy. However, I was sorely disappointed. The book promised to explore new and unique forms of magic, but instead it offered nothing more than cliché spells and tired tropes. I was hoping for fresh ideas and innovative concepts, but instead, I got the same old stuff I've seen a hundred times before. It felt like the author took the easy way out and didn't put much effort into creating something truly unconventional. Overall, a major letdown.
- James - 2 stars - While "Unconventional magic in media" had an intriguing premise, it fell flat in execution. The book lacked depth and failed to provide any meaningful analysis of magic in various forms of media. Rather than delving into the complexities of unconventional magic systems, the author merely scratched the surface, leaving the reader wanting more. It seemed like a missed opportunity to truly explore the potential and possibilities of magic in media. I was left feeling unsatisfied and underwhelmed. Unfortunately, I cannot recommend this book to those seeking a deeper understanding of unconventional magic.
- Samantha - 2.5 stars - I was expecting "Unconventional magic in media" to be a groundbreaking exploration of magic systems in films, books, and TV shows. However, I found the book to be quite underwhelming. The author failed to provide any fresh insights or analysis, and instead relied on rehashed examples that have been discussed ad nauseam elsewhere. The book lacked originality and felt more like a compilation of existing information rather than an original work. I would recommend looking elsewhere for a more in-depth exploration of unconventional magic in media.