Unknown's avatar

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.

“Bridge of Spies” movie review

BridgeofSpiesA spy movie with very little in the way of intrigue and espionage. Touchstone, DreamWorks, and 20th Century Fox’s Bridge of Spies is a very traditional biographical film. There is nothing innately wrong with it, but there lacks anything truly remarkable or memorable either. Tom Hanks plays a very Tom Hanks character and Spielberg provides us with a very classy historic movie. Perhaps it is all just as well because the Cold War was a war of information and not high powered action. And, that is pretty well what you get in this movie. The most thrilling scenes are ones that are already in the trailer. Even James Donovan’s (Hanks) testimony before the U.S. Supreme Court was anti-climactic. Despite the fact it is based on a true story, for cinematic purposes there should have been more emotionally trying scenes or surprise. We seldom get Cold War era movies, so this is a nice addition to historic/bio pictures. Although the descriptive “thriller” has been attached to this movie, I do not find sufficient evidence in the movie to support such a claim. It is a moderate drama–neither heavy nor lite. Perhaps if John Grisham had written a book on this event and that book adapted for the screen, the film would play off more accurately as a spy thriller. As it stands, it is a historic drama. Nothing more, nothing less.

Bridge of Spies is about a Cold War era spy swap in the late 1950s in East Berlin. Suspected Soviet spy Rudolph Abel (Mark Rylance) is apprehended by the FBI in New York and placed under the counsel of successful insurance attorney James Donovan (Hanks). In an effort to show due process, even to suspected spies, the U.S. government provides Abel with a trial by his peers. Following a conviction, Hanks persuades the sentencing judge to allow Abel to live in the event they need him as leverage to trade for captured suspected American spies in Soviet Europe and Russia. Quite the brilliant move because an Air Force pilot and graduate student were both captured by the Soviets shortly after the apprehension of Abel. Follow Donovan as he makes his way to one of the most dangerous parts of Europe during the height of the Cold War in an effort to successfully negotiate a spy swap.

There really isn’t much to add besides what I have already mentioned in my opening. This movie is very par for the course. Hanks and Spielberg provide us with the quality that we are accustomed to receiving from them. I was never bored during the movie, but I was never on the edge of my seat either. Typically, I look to espionage movies for some sense of surprise or intrigue; but, this one plays it like a typical drama based on a true story. As this is not a story or event that many Americans likely know about, it provides insight into what many of the operations during the Cold War may have been like. I do feel that the dialog and character development were lacking. Hanks and the rest of the cast pretty much remain static through the whole movie. Often in movies based on true stories, I like to see dynamic character arcs or redemptions. What I find in this movie is a realistic depiction of this event that likely felt more intense at the time than what is shown of the screen. Perhaps that is it. Maybe, I would have liked the movie a lot more had there has been a pronounced thrilling nature or contained emotionally intense scenes.

If you are looking for a thrilling movie of government espionage, then this is not it. If you are looking for a well-produced biographical movie based on a true story, then this is it. I am certain that Tom Hanks plays the role of Donovan accurately and I commend him for bringing this real-life American hero alive for the screen. At the end of the day, this is a good example of an accurate biographic motion picture and Spielberg proves that he can deliver a classy true story as well as he can an action-adventure movie.

“Crimson Peak” movie review

CrimsonPeakNo flowers in this attic. From the studio that pioneered the horror film back in the early days of cinema, comes the truly avant-garde German expressionist film Crimson Peak. Universal and Legendary Pictures provide us with a thought-provoking classically produced horror film that contains prolific imagery that invites interpretation, even from the most veteran of film scholars. Visionary director Guillermo Del Toro lives up to his reputation as a master of the macabre. Although the dialog and acting are weak, the film is beautifully shot and will constantly have you on the edge of your seat in anticipation of what is about to happen. This is definitely one of those horror films that will undoubtedly make its way into film appreciation classes because of the vast material there is to dissect and explore. There is also a very self-reflexive element in the movie that is quite fascinating to think about. Not your traditional Halloween fair or ghost movie, this one part ghost story and one part mystery film is still a remarkable addition to the horror library because of the adherence to the very essence of what makes a horror film great.

Crimson Peak is about Edith Cushing (Mia Wasikowska), the daughter of a wealthy engineer in Buffalo, NY who is swept off her feet by the charming old English money Baronet Sir Thomas Sharpe (Tom Hiddleston). Following tragedy in Edith’s life in Buffalo, she marries Sir Thomas and moves to the countryside estate of Allerdale Hall in Cumberland, England with Thomas and his highly aristocratic sister Lady Lucille Sharpe (Jessica Chastain). Despite Sir Thomas’s family name, he and his estate, built upon clay mining, are virtually bankrupt. Hoping that she can help to revitalize Thomas’ family estate, Edith begins to move her assets over to England; however, after a series of encounters with specters of the night in the dark and dank mansion, she begins to feel like something is terribly wrong and her very life may be in danger of meeting the same fate as the ghosts and ghouls.

One of the most noticeable elements of the movie Crimson Peak is the commitment to a truly classically produced horror film in the vein of German expressionism and the avant-garde. Interestingly, it is highly appropriate that Universal Pictures released this film because the founder of Universal Carl Laemmle made it a staple of early horror films released by the then fledgling studio. Although there is no one single definition of what indicates a German expressionist film, common characteristics are: using extreme distortions in the production design to indicate inner feelings or subtext, a very dark and moody style of filmmaking, strategic placement of lighting to create harsh shadows, unique and emotional architecture, and creating a sense of disorientation. Tell tale signs of this cinematic influence in Crimson Peak‘s production design can be seen in the very design of Allerdale Hall. Due to the very artistic nature of German expressionism, there is also a high degree of avant-garde because of the experimental production style, particularly in how it relates to the mystery at the center of this movie.

Although there are many positive elements in this film, some of the negative elements are the underdeveloped dialog and, by extension, the acting, lack of exposition, and at times sloppy editing. Common in German expressionism and avant-garde cinema are these characteristics. Note, that does not excuse the film for not delivering but does help to understand why they can be found in such a high budget movie directed by such an accomplished director. Had the dialog been better developed and even fifteen more minutes of exposition (or backstory) has been added, then I feel the acting would have increased in quality and delivery. As far as the occasional sloppy editing, there is no explanation and could have definitely been carried out with more finesse. Part of what makes this such a beautifully macabre film is the cinematography and production design. There are even sequences that will genuinely make you squirm and cringe at the highly visceral action with a hint of gore.

If you are looking for a traditional ghost story, this is definitely not the movie for you. To quote Edith, “the ghosts are a metaphor.” However, if you are looking for a great movie that embodies the thrills and chills of the Halloween season, then this is one to catch in theaters this month. Because of the expressionistic style of filmmaking, I can definitely see the advantage of and recommend watching it in IMAX (provided it’s the 2D version). It has a little of everything that a well-written horror film needs: death, romance, disorientation, and mystery. For the filmmakers or film scholars out there, prepare to have your mind stimulated as you attempt to interpret what the various symbols mean beyond the more superficial plot of the story.

“The Martian” movie review

TheMartianHouston, we have a problem…with Ridley Scott’s directing. Despite the fact that his is an extremely well-known name among directors and both “Alien” and “Gladiator” are critically acclaimed films, Scott just keeps proving over and over again that he can create a very visual movie with a star-studded cast; but, his films over the last decade have just not held up to the hype behind his name or the caliber of director he used to be. The Martian is a prime example of when junior executives at motion picture studios decide that a given plot/sub-genre is popular and keep cranking them out. The problem is, by the time the studios pick up on what the public wants, when the next copycat film gets released, often times the public is tired of that kind of movie. This makes the third epic space movie in three years. Pretty sure both Matt Damon and Jessica Chastain just used their same costumes from Interstellar. One thing’s for sure, if NASA was looking for a film to showcase their brand in an indirect effort to increase funding and rally support for the essentially mission-less organization, this may not have been the best one. In many ways, it just showcased their bureaucracy and inefficiency. Perhaps, space travel should be mostly conducted by private organizations with some infrastructural support on the federal level.

The Martian is about rescuing Mark Watney (Damon) a stranded astronaut-botonist on Mars after a research expedition was abruptly cut short due to an unforeseen storm. The Mars research team, led by Commander Lewis (Chastain), heads back to earth on not knowing that the comrade they thought dead was now completely abandoned on the red planet. Following some minor self-surgery, Watney realizes that he will have to learn to survive on Mars until he can be rescued by growing his own food and repairing the communication technologies in order to make contact with NASA. After NASA discovers the Watney is alive and in reasonably good condition, they must mount an effort to deliver supplies and get him home. Following some failed attempts, NASA eventually teams up with the most unlikely of players in the space game as a collaborative effort to work together for the greater good.

Now I know what you may be saying, ‘this guy doesn’t like most high concept, popular movies.’ That is definitely not the case at all. However, I feel that high concept films often suffer from under-developed plots and poorly executed directing. Just because you have a handful of hits such as Alien, Blade Runner, and Gladiator, doesn’t mean that you should be given a pass for all subsequent films. That’s what I and other critics have noticed with his theatrical releases over the last decade. I just don’t think movie-going audiences needed another space movie after Gravity and Interstellar. Certainly not a film about a rescue mission or one with two of the same actors in similar roles from last year. The Martian is definitely beautifully shot, and that is of no surprise, since Scott’s films are often filled with stunning cinematography and production design. If only the actors were just as exemplary in their respective roles. Most of the more prominent roles were just under-developed. Don’t highlight a particular character if there is no real reason for the special attention.

Although you may be thinking that I didn’t like this movie at all, you would be mistaken to rush to that conclusion. In fact, there are definitely a few reasons why I liked certain elements of the film. I thoroughly enjoyed the commitment to real science in this science-fiction story. That was my biggest negative criticism of the plot of Interstellar. In the plot of the aforementioned, we were asked to constantly engage in the suspension of disbelief and blindly accept scientific information that was never explained or even made logical sense within the world of the film. Fortunately, The Martian played out as a believable film that is taking place not that far into our future. Throughout the film, the science is explained in carefully crafted exposition that is seamlessly integrated into the plot. Never does it feel that we are to blindly accept some science or logic just for the sake of moving the plot along. The believability of the plot and production design is what helps this film succeed as a good example of a science-fiction theatrical release.

As we gear up for Oscar season, I hope that this isn’t what we are to expect: movies that have many great elements paired with poor direction overall. If for no other reason, The Martian shows us how we could colonize Mars and travel back and forth. Although his performance wasn’t stellar, Damon pretty much holds the audience’s attention through the use of comedic relief during some of the most stressful times in the movie. For the aeronautical and and jet propulsion communities, this is a good example of research and development in the area of space exploration.

“Maze Runner: The Scorch Trials” movie review

MazeRunner2Charged with middle child syndrome; verdict: guilty of being an aimless, but certainly not boring, sequel in a YA franchise. Maze Runner: The Scorch Trials is an exciting second chapter in the Maze Runner trilogy. Unfortunately, the non-stop action and thrilling nature of the movie is paired with a mediocre plot frocked with a lack of narrative direction, character development, and exposition. No doubt, the movie is far more entertaining than the first one; however, it just plays off as a filler movie with little to offer up in the way of supporting and moving the story along. Although we finally get a closer look into WCKD and what their goals are, there is still no explanation as to why a maze or how some are immune to the scorch virus and others are not. I suppose we have to wait for the third movie to find that out. In terms of sequel quality, this falls somewhere between Insurgent and Catching Fire. I feel the biggest problem with similar movies is that it perpetuates the idea that teenagers are extra special and adults don’t/refuse to understand them (although, these guys are clearly in their 20s).

Maze Runner: The Scorch Trials takes place right after The Maze Runner as our group of guys and girl are rescued from the maze. Dylan O’Brien reprises his role as Thomas, the courageous leader, and attempts to adjust to his new surroundings. Thinking that WCKD is behind them Thomas meets Aris (Jacob Lofland) and discovers that all is not as it seems in their new home. After witnessing teenagers leaving and not returning, Thomas and Aris lead our glade survivors on a mission to break out of the facility. Nearly stopped by the leader of the facility Janson (Game of Thrones’ Aidan Gillen), Thomas and his friends escape the clutches of WCKD once again. Only this time instead of the lush glade, they are confronted with an unforgiving landscape of scorching sun and towering sand dunes. After encountering zombie-like creatures, Aris and Thomas lead the group toward the WCKD resistance in the mountains. Despite defeating the ravenous creatures from the maze and once again escaping from WCKD, nothing has prepared the group for what lies in the desert.

The best feature this woeful sequel has going for it is that it is never boring. From the moment the movie opens to the time it closes, you will probably never yawn and even jump from time to time. Think about this installment as I am Legend meets The Hills Have Eyes meets The Divergent Series. There is even a scene that looks like it leaped right out of the trailers on The Lost World: Jurassic Park. I’ve often commented that sequels in a trilogy are required to be the meat of the series. It often should include the backstory, exposition, and character development needed to launch the series into the final chapter. In many ways, The Scorch Trials is an efficient sequel in the YA franchise, but it lacks the inspiration required to be a good or great sequel. Excellent examples of sequels that were both effective and inspirational are The Empire Strikes Back, The Two Towers, and The Prisoner of Azkaban. I was hoping to see some growth amongst the characters, but all of them pretty well seemed to be just as they were in the first film.

One of the fun ways to approach typical YA movies is by reading them as depicting real-world situations as an analogy. Caution: this may give away a reveal in the movie a little, but I feel that this movie can be read as social commentary on the current state of the U.S. social security dilemma. Won’t go into anymore detail than that because I do not want to spoil one of the turning points. Not that YA movies provide answers to real-life problems, but they can often allow us to look at hot-button sociopolitical topics from new perspectives. Another positive element of this genre is that it has inspired young adults to read who otherwise may not have desired to read for pleasure. Beyond the pages of the books that inspire YA movies, the movies are often produced in such a way that they are fun to watch no matter if you are 15 or 45. Even though I don’t feel The Scorch Trials was a great sequel and showcases obliquely motivated characters aimlessly moving from one place to another and very little actually advances the plot or shows direction, it is a fun movie to watch and will definitely keep you entertained for the more than 2hr runtime.

Unsure as to why 20th Century Fox chose mid-September for the release of this movie that feels like it should have been released in May, it is definitely one to catch in theaters because it will lose a lot of its appeal on the smaller screens in our homes. Be sure to re-watch the first one because it picks up right where the previous one ended. Oh yeah, you’ll definitely like the high caliber visual and special effects that are usually not associated with this genre.

“The Visit” movie review

TheVisitOver the river and through the woods to grandmother’s house we go…You’ll never think of visiting your grandparents in the same way ever again. I just have to say, congratulations M. Night Shyamalan for making a triumphant return to the horror genre. Blumhouse and Universal Pictures’ The Visit is a found footage/documentary style horror film that has a lot to offer as we slowly gear up for the Halloween season in the coming weeks. The film successfully pairs blood curdling thrills with belly laughs. What can be more terrifying than a visit to grandma and grandpa’s that has gone terribly wrong??? Sometimes the best horror films are those that take what is otherwise non-descript or safe and twist it around and turn it inside out. And, that is what you get with The Visit. One of the best parts of the movie is that the–what you thought were spoilers in the trailer–are not quite as they seemed and will still catch you off guard. Perhaps next time you visit your grandparents, you may not want to leave your room after 9:30 in the evening. This is especially true if your grandparents live way out in the sticks where the only connection to the internet is an ethernet cable.

After years of separation and ignoring one another, a single mother (Kathryn Hahn) makes contact over social media with her estranged parents in the woods of Pennsylvania. Reluctantly, she decides to allow her kids Becca (Olivia DeJonge) and Tyler (Ed Oxenbould) to take a train to visit their newly discovered grandparents against Mom’s better judgment. The timing works out because Mom has a new boyfriend that has invited her on a cruise to escape the snow and bask in the sun. Upon arrival in their grandparents’ jerkwater hamlet, Becca and Tyler soon become concerned about their grandparents’ bizarre behavior. Rules like stay out of the basement and don’t leave your room after 9:30 in the evening are just the beginning of the strange and terrifying encounters that lurk behind corners and under porches. Fearful for their lives and virtually cut off from the outside world, Becca and Tyler must carefully and skillfully escape the warm kitchen, delightful cookies, and old world that has them trapped.

Okay, at first I was disappointed that it was going to be another found footage or point-of-view documentary style movie. Unless I had missed something, the preview did not lead me to believe that it would be shot POV. I was hoping for a traditional narrative that was shot mostly objectively. However, as I watched the movie, I actually found the documentary style shoot to work for the film quite well. Took a little getting used to, but in the end, it was a great method for telling this terrifying tale of a visit to grandma’s. Although the pacing does start off on the slow side, it picks up and will have you sucked in before you know it. From the moment that you meet grandma and grandpa, you know that there is just something not right. And, just like a good horror or suspense movie should, you won’t know that that is until the end of the movie during the climax–you most likely won’t see it coming.

One of the many positive elements of the movie is Shyamalan’s ability to integrate humor with the terror. One minute you will be laughing along with the kids, and the next you will shoot right up out of your seat with fright. There are even parts that will gross you out while other parts of the film contain mouth-watering homemade delights. They all work together to disorientate the audience. One of the best methods to ensure a scare is to keep the audience off balance. This way, you can hit them with a jump scare here, a warm moment there, and sneak in from behind and scare them. The disorientation allows for the narrative to build up to the most horrific elements of the movie. It’s like, the audience is in the midst of a horror movie before they know it. Building suspense is paramount to a well-written horror film. Not that jump scares aren’t important, but a film should very rarely ever build a foundation upon solely them. Building suspense lasts, a jump scare is like a firecracker–lows up quickly and dissipates just as fast.

If you are in the mood for a fun horror film before hitting Halloween Horror Nights at Universal Studios Florida/Hollywood or Howl-O-Scream at Busch Gardens Tampa/Williamsburg, or just want to put on the movie movie on your boyfriend or girlfriend, then definitely check out The Visit while it is in theaters.