Author Archives: R.L. Terry

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About R.L. Terry

Ryan “Professor Horror” Terry teaches film studies and screenwriting at the University of Tampa. He holds graduate and undergraduate degrees in film and media studies. He has regularly published film reviews since 2014 and has been a featured speaker at Tampa Bay Comic Con, Spooky Empire, and the historic Tampa Theatre. His work has appeared in both political and entertainment magazines.

THE BEST CHRISTMAS PAGEANT EVER movie review

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A heartwarming reminder of the importance of community. The movie also delivers a thoughtful critique of misplaced values. Based on the beloved 1971 children’s novel by Barbara Robinson, this big screen adaptation is a solid way to kick off the holiday season with a Christmas movie that is sure to fall into the annual movie rotations for many. Although the screenwriting demonstrably lacks refinement, there is still much to like about the movie. After a rocky first act, the movie finds its tone, despite the rough dialogue and poor pacing. Over all, it is an enjoyable movie that I will likely watch again before the Christmas season is over.

The Herdmans are six siblings who have a reputation for being the worst kids in the world. However, when they take over the local church Christmas pageant, they just might teach a shocked community the true meaning of Christmas.

Tonally, this movie falls somewhere between A Charlie Brown Christmas and A Christmas Story. While this movie may not have the same degree of memorable scenes that will find their way into the cultural zeitgeist, there are moments of hilarity and thoughtful poignancy. The movie shies not away from spotlighting the various prejudices and classism that permeate every town, particularly small towns and even amongst the imperfect people that makeup a church, but also uses the various social dynamics, at play, in the film to show how we can change for the better–after all, this is a redemption story. But it’s not a redemption story in the way we have seen in the past, with characters like Scrooge; rather, this is a redemption story about characters that talk the talk, but struggle to walk the walk. Moreover, this redemption story also follows those that are angry with the world and take out that anger and resentment on those around them. All around, this movie is full of imperfect people across the spectrum that need a wakeup call.

The movie works best when it leans into naturalism, but occasionally falters or feels uneven when it tries to strike a balance between typical faith-based movies and more mainstream ones. Some of the characters and conflicts feel like relatable albeit exaggerated versions of real life, while others feel incredibly forced and unnatural. From what I can remember, the Herdmans are more–how shall I say–earthy and raw in the book than in this film adaptation. And while we get glimpses of this, it would’ve been nice to have witnessed more of their behavioral aberrations to drive home how different they were perceived to be from their community. It’s here where we witness that Dallas Jenkins may be a better producer than director.

Bringing her trademark blend of strength, vulnerability, and sense of humor is Judy Greer as Grace, our house mom that unwittingly takes on the biggest event in her small town. All around, the principle cast is solid with a few standout performances. Some of those standout performances are from Knylee Heiman as the manic and terrifying Gladys, Beatrice Schneider as the crass Imogene, and Lorelei Olivia Mote as the self-centered diva Alice. The characters that work best are those that demonstrate stylistic differences compared to the rest of the cast. In other words, it’s the character actors that stand out in this film–and for good reason–they are both funny and act as an exaggerated reflection of real life people. We each know of people in our own lives that feel like these move people. I feel that if more characters were given something to do by the screenplay or director, that the performative dimension would’ve been above average.

Thematically, the movie reminds us that family and community traditions (particularly at Christmastime) are an important part of the human experience; however, the movie continues the conversation by its provocative reminder that traditions devoid of love and flexibility can become a trap or even a monster. It’s not the tradition itself that is important; it’s the love and community building that is most important. The tradition is merely a vessel through which we can extend love to one another. Just like Charlie Brown and his friends are reminded that Christmas is about the birth of baby King in a nondescript manger in a lowly town and, by extension, the radical changes He will bring to the world through His birth, life, death, and resurrection, the townsfolk in Emmanuel (the town in the movie) are reminded that Jesus was born for everyone, including the Herdmans, “the worst kids in the world.” And that we should care more about one another than we do keeping traditions the same simply for the sake of tradition.

After watching the movie, I am inspired to go back a reread the book. I remember reading it as a kid, and I imagine perhaps other kids of the 70s, 80s, and 90s remember reading the book as well.

Ryan taught Film Studies and Screenwriting at the University of Tampa for over eight years and has a book releasing next year titled Monsters, Madness, and Mayhem: Why People Love Horror. Recently, he has taken over 90.7 WKGC NPR in Panama City, and will be launching a film talk show soon. Additionally, he 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! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

JOKER: FOLIE À DEUX movie review

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Audacious reach undercut by horrendous storytelling. Director Todd Phillips’ Joker: Folie à Deux, which is a sequel to 2019’s Joker, delivers on both a spectacular shot composition and a compelling performative dimension, but falters nearly everywhere else.

The film demonstrably hopes to communicate a sense of gravitas, but it just comes off as a disjoined mess that is punctuated with musical numbers. The musical numbers themselves are actually the most enjoyable parts of the movie, with their blend of Broadway standards, gospel-inspired music, and even energetic swing. But the storytelling, complete with slapdash plotting and cynical, anarchist tone, is simple unbearable. The real joke here is on the audience, for sitting through this cacophony of fragmented plots and characters. Lady Gaga shines brightly–no real surprise there–but Phoenix’ Joker just painful to watch, despite the exceptional quality of his performance. Additionally, the film’s deplorable depiction of law enforcement is inexcusable, even though Phillips attempts to justify that dynamic dramatically. Aside from the abysmal storytelling, the film is blatantly anti-cop, which perpetuates negative, dangerous propaganda associated with our brave men and women serving and protecting our communities. That’s all I have to say about this film. Do yourself a favor, and find something else to watch this weekend at the cinema.

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

ChosenCon 2024 Review

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by Jennifer Wead

“Have you seen The Chosen?” is not a question you would have had to ask the more than five thousand people who arrived at the Orlando World Center Marriott last weekend for ChosenCon 2024. The hotel/conference center was fully dec’d out in teal and black (the official colors of The Chosen). Actors and crewmembers wandered about the concourses interacting with fans. Various panels entitled “Gates of Hell: The Devil’s in the Details” and “Welcome to Bethany” drew long lines of fans waiting to enter the conference rooms to hear behind-the-scenes stories.

This is the second year for ChosenCon, and based on the fan response and slate of upcoming projects announced by Dallas Jenkins during the convention, the studio does not appear to be easing up on the pedal any time soon. 

The first season of The Chosen debuted in 2019 and has been steadily growing in resources and fans since then. It is notable for being mainly crowdfunded. The studio is continually raising the qualitative bar on the landmark series, and has witnessed tremendous growth amongst fans and production resources over the last year. Contrary to how one may think a Biblically-inspired show may be received by mainstream Hollywood, it is continually receiving accolades from those in and, perhaps more surprisingly, outside of the faith. More and more celebrities and influencers are commenting favorably about the show, such as superstar Blake Shelton and even the hosts of The View.

My first experience with The Chosen goes back to its first season. I had seen some of the advertisements on Facebook but just thought it was probably another sub-par faith-based project. It wasn’t until my cousin and author told me I should take some time to actually sit down and watch it that I relented. I have been a believer for many years, but I generally had two expectations when it came to this kind of media, either (1) it would be, as stated earlier, sub-par and cheesy or (2) it would be a complete misunderstanding or misrepresentation of Scripture and Christianity. 

Needless to say, I spent the entire first episode waiting for something to disappoint me. Nothing really did. In fact, it touched me. So, I gave the next episode a chance. And the next. And the next. Each episode not only faithfully recreated iconic moments in the Bible but also did it in a way that defied expectations. The characters seem like real people and not just stained-glass window paintings. In general, The Chosen gives backstories to many of the characters. While we may not know the actual true-life activities of all the people written about in the Bible, The Chosen tries to fill in plausible stories. This is all done in an effort to make the well-known stories in the New Testament hit harder. Furthermore, they will often tie in flashbacks to the Old Testament. The stories also seem to surprise me. You may wonder: How can a Bible show be surprising? There shouldn’t be any spoiler alerts! It is not always what is happening but more of how it happens that can surprise you. 

However, while the show did assuage my initial misgivings, it was really the people involved that converted me into an actual fan. I try not to mindlessly accept everything that people write about the Bible or other faith-based media, so I felt that I would need to discover the motivations of this group of creators before I gave it my allegiance. What I found was authenticity. The creator of the show, Dallas Jenkins, was honest and humble about the writing process and always answered questions about why he and his co-writers (Tyler Thompson and Ryan Swanson) adapted stories in a certain way. He didn’t shy away from hard questions but he was also not the sort of person who would be blown about by every opinion. Dallas sees his job as pleasing God first. He also was clear from the beginning—in fact it is stated in the very first episode of the show—that this is not the Bible, nor is it meant to be a replacement of the Bible. 

I have been to two ChosenCons, participated in the filming of the Feeding of the 5,000 and nothing I have seen has made me think otherwise. Every actor, crewmember, and writer are passionate about the project, even though many of them come from different faith backgrounds. They tear up in gratefulness when speaking about the project and try to make genuine connections with the fans. Every actor I spoke with was thoughtful and passionate about portraying their character in the right way. They spoke of finding purpose and fulfillment in their part. Some of the crewmembers are getting to be just as famous as the actors themselves (at least among the fans who came to ChosenCon).  

The producers of The Chosen are just as passionate about sending their show out to fans around the world too! The Come and See Foundation is dedicated to funding the show as well as getting it translated into 600 languages (they have around fifty to sixty now, which makes it the most translated show of all time, surpassing Baywatch, the previous record-holder).  Outside of the US, some of their biggest markets are Brazil and Latin America. 

The Chosen is four seasons into their planned seven season run. Season five has already been filmed and is in post-production. Season five centers on Holy Week with Season six dealing with the crucifixion and season seven the resurrection. On Friday night, Dallas announced a rebranding of their studios as 5 & 2 Studios with plans to create more relevant faith-based content, which include a children’s animated show (The Chosen Adventures), a Bear Grylls adventure show (The Chosen in the Wild with Bear Grylls), shows about Moses and Joseph, and, finally, the much-anticipated show about the Acts of the Apostles (The Way of the Chosen). Of course, with the Bible being as lengthy as it is, there is no shortage of material from which they can pull in the future. 

As someone who grew up with a dearth of well-written faith-based material but who always appreciated a TV show that could pull you in, it is exciting. If the quality remains the same, they will be able to continue growing as they have. I have enjoyed every episode I have watched, and it is truly hard to pick a favorite. So, my final question for you is: “Have you seen The Chosen?” 

THE WILD ROBOT movie review

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Wildly heartfelt and uplifting! Universal and DreamWorks Animation’s The Wild Robot is among the best films of the year, period. Director Chris Sanders delivers a truly compelling and smartly written fish-out-of-water story about found family and being more than the sum of our parts–or programming. Easily on track to make my Top 10 Films of the Year list. Based on the book by the same name, DreamWorks Animation hits a homerun with this outstanding animated motion picture that will challenge you, thrill you, and tug at your heartstrings.

Shipwrecked on a deserted island, a robot named Roz must learn to adapt to its new surroundings. Building relationships with the native animals, Roz soon develops a parental bond with an orphaned gosling.

I’ll admit it up front, I cried. It really is such a beautiful animated motion picture that likely rocketed its way into my best films of the year list. Not since The Iron Giant have we had an animated motion picture with such gravitas. While I still feel that 2016’s Kubo and the Two Strings remains the best animated motion picture in the last ten years, I must say that The Wild Robot is solidly my No.2 pick. The strength of this picture is in the compelling story, relatable characters, and efficient plotting (sometimes a little too efficient). My only real negative criticism of the film is the pacing in the first act; while refreshingly lean, some scenes and sequences needed a little more room to develop and breathe. Even though The Wild Robot shares little in common with The Iron Giant‘s plot, it shares Iron Giant‘s heart and soul.

Fish-out-of-water premises have been a staple of cinema for nearly as long as films have been around. So the real challenge for writers and directors is to find original ways of expressing these foundational ideas. And what is precisely what we have in this film. There are actually three fish-out-of-water narratives within the film, and the film is better for them because each of these layers adds personal and interpersonal complexities to character relationships with the world in which they finds themselves and amongst each other. The films provides thoughtful commentary on what it is like to both be in a world that is unfamiliar and have unfamiliar tasks thrust upon oneself.

Furthermore, this film depicts the importance of adapting to one’s environment and overcoming obstacles, even those that are innate. I also appreciate what the film has to say about self-determination and taking personal responsibility for one’s circumstances and one’s mistakes. Fish-out-of-water stories are some of the most relatable, because we have all been placed in an unfamiliar environment, and know how that can feel. It’s a terrifying prospect to be dropped into a world that is alien to us, and the film does not shy away from the challenges, joys, and even the tragedies that can befall us.

Another narrative area of strength in the film is challenging us not to quickly pass judgment on that fish-out-of-water when they find themselves in your world. Or to presume that one’s past behavior is always an indication of how that person (or animal, as it were) will always behave. Yes, past behavior can indicate predisposition to moral and ethical aberrations, but that does not mean that redemption is not to be considered a possibility. I love how the film paints a portrait that we can change, if we have the will and support to do so. It rarely comes naturally, we have to work at it. We have to work at overcoming natural behaviors that may not be constructive and ultimately selfish. We are more than the sum of our parts–or our programming.

To a lesser extent, there is come social commentary on the relationships between the work place and the employee and even cultures that decry the individual in exchange for group think. Without getting into spoilers, the film depicts imagery of how some, if not many, companies treat and feel about their employees. How a company does not view the employee as an individual; rather, as a means to an end, just another cog in the machine that will be disciplined for any individuality or unique expression. But not before the company assimilates the knowledge of that employee, particularly those that do think outside the box. Difference will not be tolerated. That is the feeling of many companies and even governmental systems. The film challenges these ideas by showing cooperation between diverse groups, even groups that are naturally enemies. Furthermore, the film demonstrates how differences can be overcome or even set to the side in order to serve, protect, and survive.

Lastly I’d be remiss not to touch on the global idea of the film, which is the concept of found family. Throughout the entire film there are images of the important role one’s found family fills in life. Found family is that family-like unit that may not be blood-related, but very much fill the same role as a more traditional family in one’s life. It’s a group of friends that have a relationship that goes beyond typical friendship, and includes family-like dynamics. Sometimes these are formed because someone feels rejected or neglected by their real family, and find family with a close group of friends. Other times, and I’d venture say most of the time, a found family can be formed out of the significant distance between you and your family of origin. So when in a new place because of school, work, or even military transfer, it’s important to form a strong bond with friends (or a friend’s family) to fill that important role even when separated from one’s family of origin. We are creatures that have an innate need for connection and companionship.

I cannot recommend The Wild Robot enough! Don’t miss seeing this incredible animated motion picture on the big screen.

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

SPEAK NO EVIL horror movie review

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An entertaining and terrifying thrill ride. Blumhouse and Universal’s Speak No Evil, starring James McAvoy, excels in plotting and atmosphere but falters in character building and development. Based on the Danish film by the same name, director James Watkins’ version is a methodical and spellbinding descent from dream to nightmare. The highlight of the film is McAvoy’s completely manic performance that is simultaneously comedic and unsettling. Whilst Watkins attempts to bestow upon the high concept narrative thoughtful social commentary on image, isolation, and identity, the commentary is inconsistent and lacks the gravitas to truly be compelling or provocative.

A dream holiday turns into a living nightmare when an American couple and their daughter spend the weekend at a British family’s idyllic country estate.

That which is most personal is most relatable, and can be the most terrifying. And what can be more personal and relatable than the need for a relaxing vacation in the peaceful countryside? That is precisely where this decent into a nightmare begins. Speak No Evil may take its time (albeit justified) in setting up the conflict, but once that second act kicks into gear, it is a nonstop thrill ride into isolation and violation. Keep the cast small, the film is able to spend sufficient time in developing the plot and keeping with proper pacing for the tight storytelling. From the very beginning, the piping is laid for everything that audiences will encounter in the second and third acts, with every shot, scene, and sequence pointing towards the shocking conclusion.

Violence on screen is minimal; however, when it hits, it HITS. But that hit isn’t always visual; many times it is psychological in nature, which in many ways, is even more terrifying. Throughout this film, the terror on screen is transferred into the minds of the audience. Part of that is because of the degree of relatability in this story. Many of us have been on vacation in a new place or even moved to a new place unfamiliar to us–perhaps in or to another country–and we are often desperate for friendship or companionship of any kind in order to begin to feel more at home. Therefore, the setup of this film is one to which many of us can relate–and that’s what makes it particularly terrifying. The thought that we could unwittingly befriend a monster.

While the social commentary on isolation, identity, and image is inconsistent and weak, I appreciate what Watkins was trying to do; although, there is one aspect of the film that was screaming for a redemption arc that was so obviously squandered (and actually hurt the quality of the film). Speak No Evil depicts many expressions of isolation. Isolation from friends and family, isolation from the urban core, isolation within one’s family. And it’s this isolation that greatly heightens the level of suspense and terror.

Additionally, the film depicts the identities (or facades) that we project to the world when we are hiding something or feel insecure because we wield it like a sort of armor. Moreover, this identity can also harbor inconsistencies that lead to a lack of authenticity and meaningful motivation. Perhaps this identity is merely a facade that is intended to make others feel uncomfortable or to project an image that sets one apart simply out of fear of being found out as little more than keeping up with what’s trending on social media. Furthermore, the attempted commentary on image is depicted in a variety of ways throughout the film.

The weakness in the film is found in the character building and development. Not with all the characters, but enough that it mitigates the potential of the film to deliver a compelling story. Without getting into spoilers, I want to discuss where the film had an opportunity an an effective character redemption arc, but pandered to what’s presently trending in movies instead of providing a constructive character arc that would’ve benefitted the film by adding a since of compelling meaning. Strong characters are not strong because those around them are weak; to craft a strong character through that methodology makes for a weakened (and less compelling) character because ostensibly standards have been lowered.

Strong characters are at their strongest when other characters are strong, complete with dimension as well. There is a character in the movie that lost their job, and have been personally struggling with feelings of anger, inadequacy, and failure–that is completely relatable as it is very much a human response to losing ones income and livelihood. Where the film fails is setting this character up to overcome the feeling of failing their family and at life, but never doing anything with it, and merely reinforce weakness. I imagine this was done to make their counterpart appear stronger. But it amounts to lazy storytelling that reinforces negative imagery.

The character that is the most entertaining is James McAvoy’s Paddy. I cannot think of any other actor working today that could’ve brought this character to life nearly as well as McAvoy. In an otherwise par for the course performative dimension in the film, he brings a kinetic energy that draws audiences into the macabre, twisted tale. From the very beginning, we can tell that there is something a little off about his character, but never enough to know precisely where he stands. When he goes full-on manic mode, we are in for the ride because he makes us laugh and gasp in horror all at the same time.

Everything about this movie would make for a fantastic house at next year’s Halloween Horror Nights at Universal Orlando and Hollywood. The farmhouse at the center of the movie is a labyrinth and hints at a variation of the hillbilly horror aesthetic. I can see how this film’s characters and setting could adapt well to an HHN house, so I would not be surprised if we see this intellectual property featured at next year’s HHN.

Speak No Evil may lack dimension that could’ve made it a more compelling narrative than what we received; however, it’s still an entertaining thrill ride that will have you laughing and screaming. A solid popcorn horror movie that has some degree of rewatchability.

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