Author Archives: R.L. Terry

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.

COCAINE BEAR horror movie review

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Bonkers fun! Cocaine Bear is just what you imagine it to be: no holds barred carnage meets slapstick campy comedy. Inspired by the true story of a drug run gone wrong, this movie will keep you laughing from beginning to end. When it comes to the bear carnage, it’s delivers in spades; but, suffice it to say, the human characters are mostly annoyingly flat and uninteresting, save discount Officer Winslow. That’s not to say that you’ll be underwhelmed–quite the contrary–I’ve little doubt that you won’t laugh as much as I did! If you’re a fan of horror comedies, you’ll likely find Cocaine Bear to be in the vein of the brilliant Tucker and Dale vs Evil, but ultimately less cleverly written.

After a 500-pound black bear consumes a significant amount of cocaine and embarks on a drug-fueled rampage, an eccentric gathering of cops, criminals, tourists, and teenagers assemble in a Georgia forest.

Directed by Elizabeth Banks and written by Jimmy Warden, audiences will encounter a movie wherein the bear scenes were written first, and received the most care, while the human characters and stories mostly received demonstrably less care and attention. Fortunately, there are a couple of human characters that were crafted with more care, but most of them are flat and lifeless. Moreover, few of the characters will prompt you to care enough about their survival, and you’ll mostly be rooting for the bear.

If you’re interested in the true story upon which this movie is based, in real life, the bear OD’d after consuming the massive amounts of cocaine. That’s it. In fact, you can see the bear, wearing a hat, on display in a Kentucky mall. This presents the best possible setup for this movie, because the inciting incident is true, while everything else is completely fictionalized. This vast creative latitude is the perfect canvas on which to paint this wild and crazy movie! Cocaine Bear may not be one that earn the rewatchability that Tucker and Dale does, but it’s certainly one to watch on the BIG SCREEN with a group of friends, and just turn you brains off to enjoy the highly entertaining spectacle.

Come for the ridiculous setup and stay for the hilarious kills! From the moment the movie opens, you are queued into the story and antics you are about to encounter in the wild. But this movie would not be nearly as entertaining if it wasn’t for the heavy dose of comedy to act as an emotional reset between the kills. Everything about this movie’s plot is utterly ludicrous. And the character mix is equally bonkers. Wherein the movie could’ve be stronger is in the various character subplots and dialogue, and the human characters could have been more interesting.

But all in all, it’s a fun movie that will make you laugh and even jump!

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

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ANT-MAN AND THE WASP: QUANTUMANIA movie review

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Entertaining and world-building. Phase 5 of the Marvel Cinematic Universe launches with Disney-Marvel’s Ant-Man and the Wasp: Quantumania (AWQ). This (paint-by-numbers) adventure of epic proportions benefits from a small central cast, which allows for effective character arcs and development. Furthermore, the central cast is elevated to near purrrrrrfection with the incomparable Michelle Pfeiffer’s significant screen presence as the original Wasp Janet Van Dyne. For someone that can take or leave the MCU, simply knowing that Michelle Pfeiffer is in a pivotal role, is enough to get me to watch. Perhaps that is also like you. While this is not her first time returning to the superhero genre (first did it in Ant-Man and the Wasp), this is the first time that she is front and center, giving hope that we may yet still see Pfeiffer return to her career-defining role as the definitive Catwoman.

Ant-Man and the Wasp find themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that pushes them beyond the limits of what they thought was possible.

The latest installment in the MCU mostly functions as a standalone movie, but there is clearly world building to lay the piping for Phase 5. Now, I do not follow the comics nor have seen any of the TV shows, and I was able to follow sufficiently enough, which means that anyone that has seen the MCU theatrical movies will have sufficient knowledge to follow the journey. Yes, the visual effects are expertly generated by graphics engineers, but I am seldom impressed by entire worlds that exist within the confines of a computer. There is very little real set design, which mitigates the ability to become immersed in the Quantum realm. AWQ represents what happens when a single media conglomerate owns both Marvel and Star Wars because this movie feel like the combination of Star Wars and Avengers. There is even a scene right out of the cantina on Tatooine. To the superhero movie’s credit, the plot is simple and the characters complex, so it receives high marks for screenwriting mechanics.

Par for the Disney course these days, there cannot possibly be a movie released without a dose of the cynical worldview of applied postmodernism. For AWQ, this dose comes in the first sequence of scenes following the prologue. Cassie is in jail for antagonizing law enforcement that (we are told) launched tear gas into a (we are told) peaceful protest. This serves little to no purpose, and most certainly has no bearing on the plot; therefore, it was in there simply to check off a virtue signaling box. I can see what they were trying to do–trying to show that Cassie has the early signs of going down her father’s path of delinquent behavior. If Disney-Marvel wanted this to be more poetic and elicit greater empathy from the audience, then Cassie should have been shown engaging in petty crime not activism. This would have demonstrated that Scott’s lack of engagement as a parents (due to his personal brand and professional pursuits) has had a negative impact on Cassie’s development. Furthermore, this would have provided for a greater character arc when she in instrumental in saving the universe.

What a fantastic cast!! Cast highlights include (as mentioned earlier) Michelle Pfeiffer, Michael Douglas, and a surprise cameo from Bill Murray! This otherwise paint-by-numbers superhero movie is elevated by the contributions of these exemplary actors. Even if you don’t see all the MCU movies, I highly recommend the Ant-Man movies because they are far more character-driven than the others, and the small central cast benefits from time and attention paid to their respective interpersonal journeys that provide depth to the high concept plot. For the most part, the running theme of the Ant-Man movies generally revolves around the idea of fatherhood and (by extension) parenting.

If MCU fans were looking for their next big bad, then they will find the new archenemy bent on the destruction of the known universe, without going into spoilerific details, I can say that this new villain makes Thanos look like Bowser from the Mario games, with King Koopa being our newest main villain. Be sure to stay for both the mid and post-credit scenes as they raise the stakes to exponential levels.

If you’re looking for a fun movie that you can just kick back and enjoy, then this may be your ticket. I highly recommend watching it in a premium format (such as IMAX, Dolby, or XD) because the CGI sets will shine best with the best sound and screen at your local movie theatre.

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

KNOCK AT THE CABIN movie review

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Knock on a different cabin. M.Night Shyamalan’s latest horror film Knock at the Cabin attempts to explore thoughtful themes but the storytelling is clunky due to the poor plotting and contrived character development. Moreover, this is a case wherein film form is employed as a tool to compensate for underdeveloped meaning and story structure. Where the film excels is in the characters and casting. Yes, the character development is contrived, but I appreciate Shyamalan’s character mix. In particular, it’s a refreshing mix because the fact the parents are a same-sex couple doesn’t factor heavily into the plot nor become a sermon, like it so often does. It simply is and that’s it. Furthermore, the casting of not only the central parental couple, but all of the characters shines because of the realistic representation of everyman. Bautista is provided a platform to portray a much different character than he has in the past, which is fantastic to witness! He is given an conduit through which he can more freely exercise his acting chops. Visually, the film is striking; there is an emotive dimension to the montage of the motion picture and the cinematography. Again, the film form is outstanding! Unfortunately, the screenplay is lacking the same degree of thought that was found in the technical approach to crafting this film.

While vacationing at a remote cabin in the woods, a young girl and her parents are taken hostage by four armed strangers who demand they make an unthinkable choice to avert the apocalypse. Confused, scared and with limited access to the outside world, the family must decide what they believe before all is lost.

Knock at the Cabin excels in montage and cinematography because of how the eye of the camera oscillates between subjective and objective placement, much in the same way our own eye (and mind’s eye) operates in real life. Treating the camera as our own eyes allows Shyamalan a brilliant opportunity to bring the audience into the narrative. Unfortunately, this is hampered by the clunky storytelling. However, because of the stylistic choices for camera placement and scene framing, the film is successful in delivering an unsettling mood and suspense with the camera (in a Hitchcockian manner). Furthermore, the film proves to be exemplary in the area of montage (or dramatic film assembly) demonstrated by the stylistic choices that provide the film with steady pacing and guiding our focus from character to character or scene to scene. While the story may be lacking refinement, the editing crafts a visual narrative that is lean and mean.

Struggling narratively, the film fails to sufficiently provide thoughtful critique (or commentary) on any area on which it concerns itself. I don’t mean to sound vague, but to discuss the themes, symbolism, or commentary would require me to divulge spoilers. What I can say, without getting into spoilers, is that there is an attempt to critique: preconceived opinions or judgments of people, willful disbelief in the face of evidence, and toxic ideologies. I appreciate what Shyamalan set out to accomplish; it’s clear that this film was supposed to be a vessel to foster conversations about the themes and subtext, but no single area of theme or subtext was setup or developed adequately. We receive glimpses in the dots Shyamalan attempted to connect, but they are glimpses at best. Flashbacks are used as a tool to provide clarity on present conflicts, but that (often abused) storytelling tool is wielded ineffectively and wastefully.

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

80 FOR BRADY movie review

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Surprisingly gr80! (Okay, I’ll see myself out now, haha). No, seriously, 80 for Brady is way better than it had any right to be. That’s not to say I expected it to be bad–quite the contrary–I expected it to be cute and mildly entertaining. But in a twist (much like the showdown in the movie), it delivered a terrific, highly entertaining story with heart in the vein of 9 to 5 and Barb and Star Go to Vista Del Mar. One could even liken it to a feature length episode of The Golden Girls. And you know what? It’s inspired by a true story!

Four best friends live life to the fullest when they embark on a wild trip to see their hero, Tom Brady, play in the 2017 Super Bowl.

In a cinematic landscape of bloated, poorly paced, or intentionally pretentious films, 80 for Brady is a refreshing respite from the proliferation of 2.5+ hour pictures that so often forget simple plot, complex characters. The plot for 80 for Brady is simple, but the cast makes this one that will earn rewatches for years to come. While there is much to praise, the movie is not without its diegetic shortcomings. Where the movie could have been stronger is in the stakes and crises. The stakes and never quite high enough, despite some heavy material or consequences being hinted at, and the crises are never hopeless enough. There should always be that moment or two in which it looks as if the central characters are going to lose or the movie depicts them going to extraordinary or painstaking lengths to achieve the goal. In other words, the fabulous ensemble cast of characters needed greater opposition between them and their goal.

At the screening I attended, there was an audience member that was over 100 years old and she and her friends from the retirement home just had to see this movie! In fact, they are Tom Brady and Rob Gronkowski fangirls. Many of them has not been to a movie theatre in decades. But this movie inspired them to enjoy the cinematic experience once again.

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

PLANE action movie mini-review

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Not too plane; this non-stop action-adventure has some flavor. Received my annual dose of mindless disaster movie fun in the Gerard Butler captained Plane. Schlocky movies work best when they know precisely what they are, and rock it. Which is precisely what we have here, a sufficiently entertaining over-the-top disaster/rescue movie that understood its flight plan, and stuck to it.

Pilot Brodie Torrance (Butler) saves passengers from a lightning strike by making a risky landing on a war-torn island — only to find that surviving the landing was just the beginning. When dangerous rebels take most of the passengers hostage, the only person Torrance can count on for help is Louis Gaspare (Mike Colter), an accused murderer who was being transported by the FBI.

From takeoff to landing, Plane is exactly what you need to reset your cinema palate from the awards contender-heavy autumn to prepping for what 2023 cinema has in store for us. Strap in for Gerard Butler and Mike Colter to take you on a white knuckle adventure filled with CG squibs and death defying action. To be honest, as moderately enjoyable as the movie was, with some Die Hard dialogue and one-liners thrown in there, it would have increased the entertainment value significantly. All you need to know is that the movie is fun! Also, never forget that it’s perfectly fine for a movie to be entertaining for an hour-and-a-half and that’s it. Not everything needs to be deep, inspirational, thoughtful, avant-garde, or provocative. It’s when movies that are clearly schlocky try to be something grander, that they crash and burn. Think of Plane as some good ol’ junkfood. Perfect for one of those weekends wherein the weather is cold, snowy, or rainy.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida and Indie 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