Category Archives: General Entertainment

Halloween Kills horror movie review

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Halloween Kills the momentum of H40 (aka, Halloween 2018), leaving audiences wondering why they should care about anything that happens. While the brutality is amped up to an 11 with a comedic touch, the plotting is a complete cluster that ultimately has little to no purpose. Twitter was all a’buzz with the news that the virtual screeners for press were delayed until Thursday evening; and after I saw Halloween Kills in the cinema Tuesday night, I can see why Universal made that strategic decision. It’s simply not good. Is that to say it’s a bad movie? No, it’s not bad; but the storytelling is a significant disappointment compared just how fantastic Halloween (2018) was. This sequel merely functions as filler material between Halloween and Halloween Ends. In a manner of speaking, Halloween could’ve ended with this one had the tertiary installment not already been shot. This movie doesn’t even try to justify its existence; it’s as if it knows that it’s bad, but did what it could to thrill audiences with the return of Michael Myers as much as possible. And he certainly delivers creative kills, some of which, have a hint of dark comedy. So if nothing else, you will be entertained by the brutality of The Shape, and even laugh at his twisted sense of humor. He’s no Freddy Krueger, but I like the touch of comedy in some of the kills.

The nightmare isn’t over as unstoppable killer Michael Myers escapes from Laurie Strode’s trap to continue his ritual bloodbath. Injured and taken to the hospital, Laurie fights through the pain as she inspires residents of Haddonfield, Ill., to rise up against Myers. Taking matters into their own hands, the Strode women and other survivors form a vigilante mob to hunt down Michael and end his reign of terror once and for all.

While this sequel is incredibly brutal, I appreciate how none of the kills are gratuitous nor does the camera linger on the violent acts or results thereof. However, the camera does linger on a subplot that is bonkers bad and pointless, except to provide social commentary on the negative impact of mob mentality. The idea of commenting on mob mentality shows that there was some attempt at thoughtfulness in the story; unfortunately, it was a slapdash attempt to provide substance in this otherwise forgettable sequel.

What makes a good sequel? That is perhaps the question that the writers, producers, and director David Gordon Green should’ve thought about when outlining this followup to the smash hit Halloween 2018. If there is already a predetemined trilogy, then the middle movie should deliver develop key characters and the plot should leave us with a feeling of all hope is lost. Now, this movie certainly leaves audiences hanging precariously at the end, and there is a very significant kill, but there is no substantive character development or meaningful plotting anywhere to be found. It’s simply a Michael on a rampage movie, with some moderately interesting exposition and backstory. What this movie did in 1.5hrs, it could’ve easily done in 20–30mins. While I may be exaggerating a little, it’s hyperbole to illustrate the fact there is so little substance to this movie. The plot is a real cluster.

What does work in the film? The kills. You will be highly entertained by the brute force in Michael’s kills. Massive carnage awaits audiences. No one is safe, and Michael proves that he truly is the unstoppable killing machine that is filled with evil. I appreciate how much care was put into the kills and how to show them. Wish that same level of care was found in the writing. You will also enjoy seeing familiar characters from the original film! And there is a particular character that I was absolutely delighted to see, because their appearance was completely unexpected–that I would actually see them! Those couple of moments made me smile.

After watching this movie, I still feel that Halloween H20 and Halloween 2018 are the stronger Halloween sequels. Between the two, I actually like H20 just a little more. Speaking of which, H20 has a much better story and more substantive character development than Halloween Kills. Furthermore, H20 is far more entertaining and fun to watch, not to mention the plot is significantly more structurally sound. There aren’t any real standout moments in Halloween Kills, and from what I can remember, no emotional nods to the original or Halloween II.

Perhaps the tertiary installment Halloween Ends will be the A Nightmare on Elm Street 3: Dream Warriors of the Halloween franchise. Even though Freddy’s Revenge is a better film than Halloween Kills, it’s still seen as a point at which ANOES may have died, but thankfully Dream Warriors swooped in to save the day with its outstanding characters, plot, and story. Many prefer Dream Warriors to the OG (not me, but I do place Dream Warriors as a close second behind the OG). Here’s hoping that the final film in this trilogy will have the soul of the original film but take us to new places.

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Ryan teaches American and World Cinema 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! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

DUNE (2021) Review

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Audacious sci-fi scale, but a vapid adaptation. Dune is a stunning sci-fi/action visual spectacle that delivers rich imagery and epic fight choreography; but falls short in translating the thoughtful, complex themes and mythology of the source material, which get buried in heavy handed exposition or are entirely cut. Dune (part one) is the first part of the of an epic sci-fi tale about Paul Atreides, son of Duke Leto of house Atreides and Lady Jessica, a sister of the Bene Gesserit who are sent by the Padisha Emperor from their home world Caladan to govern the Planet Arrakis after the Departure of House Harkonnen. If you haven’t read the book and this sentence sounds overly expositional and convoluted to you this is how you’re going to feel throughout 80% of the films dialogues. However, I’m sure you’re not going to see Dune for the dialogue and it has plenty to offer aside from that.

Director Denis Villeneuve wanted to make this a “Star Wars for adults” and with that he succeeded. Dune boasts impressive visuals and epic conflict but in a more mature manner than the Star Wars films. Instead of using colorful light sabers people are stabbing each other with actual knives. Still not much blood is seen, thanks to the film’s PG 13 rating, but that seems to be unavoidable in today’s industry. The Designs are kept very close to the book, especially the Ornithopters which actually have flapping wings unlike in previous adaptation by David Lynch. Some of it may be because of the improved technology after nearly 40 years but I believe the production designers were definitely trying to stay faithful to the source material. All in all the depictions of technology, lifeforms and other things will satisfy fans of the book, although the production design was a bit too monochromatic for my personal taste. The visual direction is similar to other works by Villeneuve: simple and effective. The camera itself is not here to show off. That’s what the Sandworms, spaceships and battles are for. The cinematography by Greig Fraser is dark and moody, which fits the more adult tone this film is going for.

Continuing with its mission to be an adult Star Wars, it’s also more complex editing wise with mystic visions by the protagonist Paul sprinkled throughout the film by Villeneuve’s frequent collaborator editor Joe Walker. The visual effects shots are done in similar manner to the rest of the camerawork. They are impressive but only there to move the story along and not at all show-offy. The hand to hand combat sequences, of which there are quite a few, most of which look very practical are impressive as well. One can clearly see the effort the actors put into making them appear so effortless. That also includes the main cast, no stunt doubles here! There is one early fight or rather training scene between Chalamet (Paul Atreides) and Brolin (Gurney Halleck) where their skills are put on full display.

Now the actors of which this film has many and many famous ones also did very well, even despite the fact that most of their job consists of spouting exposition and fighting. Rebecca Ferguson as Paul’s mother Lady Jessica being the clear standout and stealing every scene she’s in. Timothée Chalamet has his edgy teenager moment, which in this case fits the character who is still coming to terms with his new place in the complicated conflicts and power structures of Dune but doesn’t really have any other stand out moments. Zendaya, the other perhaps controversial star of this film, also doesn’t stand out much, neither in a negative nor positive way. Her character only really appears in the film towards the end so there’s not really enough to see for a final verdict.

Now on to the not so good aspects of the film. Although the conflict in Dune is still very complex and probably closer to Game of Thrones than Star Wars it’s still very simplified if not dumbed down compared to the complex political intrigues and power plays of the novel to fit the limited runtime of the film format. The complex world of the Dune universe also has to be explained to viewer somehow, which here is mostly done through expositional dialogue. The exposition is well integrated to the story as Paul, the protagonist is also learning about most of these things but it can become a bit overbearing as said before. This can leave viewers who are not familiar with the source material overwhelmed and confused about the particularities of the story and story world. Nevertheless the film should still be enjoyable as an epic sci fi tale about family, power and mysticism, even if it takes some time to understand surrounding lore. Hopefully this film will also motivate a new generation of Dune fans to dive into the world that Frank Herbert created in his books.

Written by German correspondent Leon Zitz.
Be sure to check out his Instagram to see what he’s working on!

007 James Bond: No Time to Die

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Epic! Everything you want in a James Bond movie!! Treat yourself to the premium format in your cinema for the final chapter in Daniel Craig’s Bond saga. With gripping action and ample espionage, No Time to Die is a wildly entertaining throwback in the vein of Golden Eye, but even better! Return to the Cold War era espionage in which the Russians are the baddies and operating out of secret bunkers, vodka martinis are shaken not stirred, the one-liners, and the Aston Martin has machine-gun headlights. Oh–yeah there is a song by Billie Eilish, but enough said about that. From sweeping establishing shots of exotic destinations far and wide to intimate character moments, the camera paints a beautiful portrait of Craig’s sendoff as our Bond for the last fifteen years.

Recruited to rescue a kidnapped scientist, globe-trotting spy James Bond finds himself hot on the trail of a mysterious villain, who’s armed with a dangerous new technology.

Is the plot melodramatic? Of course, but aren’t most of these movies??? Even though the plot is motivating the actions of the characters more than the internal needs and desires of the characters, there is a great relationship between the action plot and emotional drives. The film is larger than life, but never campy or goes to ridiculous proportions that take you out of the story. All the foundational elements that make a Bond movie a Bond movie are here, and will hook you from beginning to end. This final chapter in Craig’s journey as 007: James Bond is handled with immense care, and serves up all the touchstones that will tug at your emotions. Don’t wait for this to be on-demand, you want to see this on the biggest screen, in the best format possible in your area for the full cinematic experience. No Time to Die is a perfect blend of the best of the Connery, Brosnan, and Craig years, all wrapped up into one outstanding chapter in the franchise that has been entertaining us for over fifty years.

While I feel that Skyfall still has slightly more rewatchability and is the better film. No Time to Die is a close second to it, and was just as enjoyable as Golden Eye. Many consider Golden Eye to be among the best Bond films because of the classical approach to Bond it takes, yet delivers a story that is familiar and fresh simultaneously. Yes, the Brosnan Bonds go downhill from there (except Tomorrow Never Dies is a solid installment), but Golden Eye reintroduced a new generation to the character of 007: James Bond and everyone’s favorite Agent M, Dame Judi Dench (and she makes a cameo in this film–in the form of a portrait, but still). I appreciate when franchises retain the foundation of what made the original great, but build a new structure. And that is what we have here, hence why it checks all the boxes that you want in a 007 movie. These homages to classic Bond in no way feel campy, but rather feel like an old familiar blanket that you can wrap yourself in to feel comforted.

Of everything the film did incredibly well, I wouldn’t be doing my job if I didn’t mention that the plotting is a little on the weak side. Although you won’t feel lost, there are times that you will find yourself a little confused as to all the relationships between characters and how the sequence of events unfolds. We aren’t talking TENET confusing, but it is a little muddled in places where it feels like there was a transitional scene that got cut out as the theatrical release was being assembled.

Despite the mostly melodramatic plot, there are some great character moments that help to setup how a character may be used in the future or just a little more about their personal life that helps them to be more relatable and believable. While we do not know who our next James Bond will be, we may have been given a hint as to the characters that will be included in future installments. And for anyone that is worried that future 007 movies will not have James Bond, without detracting away from the present story, this film lays the groundwork that 007 is a designation and James Bond is the name of a real person. Furthermore, the studio is searching for the next James Bond next year, so James Bond isn’t going anywhere. That said, we do have a fantastic supporting character that will surely make a great spy for MI6 in the future, regardless of her designation. But I won’t get into details, because it is slightly spoiler-ish.

Do yourself a favor and watch 007: No Time to Die on the biggest screen and most premium format you can find in a cinema near you. It’s a BIG SCREEN adventure that deserves to be watched on the big screen.

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Ryan teaches American and World Cinema 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! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

Dear Evan Hansen Movie Musical Review

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Melodrama: the Musical! Dear Evan Hansen, based on the Tony award winning musical by the same name, is a movie for people who have struggled with social anxiety or depression, like musicals in general, or were unpopular in high school. So, pretty much everyone who was a member of the Drama Club. One of the most highly anticipated movies of 2021, this landmark Broadway musical loses much of its pizzaz once adapted for the screen. Every decade, there comes a time when Broadway musical adaptations are all the rage, but some stories simply work better on stage than screen. Not having seen the stage production, I cannot comment on elements that were lost, but it strikes me as a story that simply works better when performed live than captured on celluloid. Dear Evan Hansen is an emotionally manipulative derivative movie musical in the vein of 13 Reasons Why. But I have to say, even the dialogue in the aforementioned titular young adult TV series was more thoughtful. For all the film’s desperate desire to depict a socially-relevant, tough subject matter, it plays off as superficial virtue signaling whose veneer is merely two-dimensional.

Evan Hansen is an anxious, isolated high-school student who’s aching for understanding and belonging amid the chaos and cruelty of the social media age. He soon embarks on a journey of self-discovery when a letter he wrote for a writing exercise falls into the hands of a grieving couple whose son took his own life.

Much of the talent from the Broadway musical is carried over into the film. Most notably, actor Ben Platt, who plays the title character Evan Hansen. Let’s get the obvious out of the way. There’s been some skepticism and hate surrounding the movie ever since the trailer dropped, mainly because Ben Platt (27) is playing a high school student. Is it distracting? Very. But once you get past it, he does deliver a good performance. Obviously, he knows this character well, much better than the movie knows itself. Moreover, Julianne Moore and Amy Adams also deliver great performances as the mothers of Evan and Connor (the deceased boy), respectively. In addition to our lead and supporting actors, the film pulled from film industry talent as well in front of and behind the camera.

Also on board is Stephen Chbosky, director of acclaimed coming of age films The Perks of being a Wallflower and Wonder but he doesn’t bring that same level of thoughtfulness to this movie. Which was perhaps an insurmountable task not only because of the hype from the musical, but also because it’s such a heavy subject to touch upon. There are some interesting visual choices and innovative techniques like the way it portrays the internet but the emotions don’t always hit right. This film rides a fine line between drama and comedy and sometimes overshoots by having some scenes be too sappy and over dramatic and other scenes that make light of sensitive subjects like suicide, which might be off putting to some people.Perhaps he was strong-armed by the Broadway producers to execute scenes a particular way, but we can only speculate as to why he doesn’t seem to care as much about these characters as he did with his other young adult/coming of age films.

The well-known songs from the musical were certainly the highlight for audiences. Fortunately, the director chose to provide sufficient space between songs in order to allow for an emotional reset. Whereas the show-stopping numbers are usually performed with gusto, these songs were much more subtle. And like musical numbers should, each piece sufficiently moved the melodramatic plot forward. The amount of musical numbers isn’t a whole lot and none are these big showy sequences with choreography, but I like that. I’m not sure if the stage performance is like that, but the lowkey nature of those numbers fits well.

The film also threads a fine line between drama and comedy which makes it engaging but might also be off putting for some because it at times makes light of sensitive subjects like suicide.
The characters are not completely surface level but seem to represent the high school stereotypes of the 2010s (and 2020s so far); basically what the typical jocks, nerds, etc. were to generations past. Furthermore, this movie tries to paint a picture of the 2010s high school landscape, similar to what films like Mean Girls did for generations past, but ultimately falls short. The characters are not entirely two dimensional and different from those familiar archetypes of previous decades and certainly more “diverse.” For example, the popular, successful girl is shown to have some depth and the protagonist nerdy not really-friend makes an off hand remark which tells us he is gay they still mostly come off as a new set of stereotypes to populate the Gen Z high school.

All in all this movie still tries to tell a somewhat original story with memorable songs and performances. And it delivers a positive message about connection, which is something that everybody, not just young people, needs. This is especially true in these times. So, if this films sounds like something you’d enjoy then go see it; if it doesn’t, then don’t.

This review was written by Leon Zitz, German contributor to the R.L. Terry ReelView.

“The Eyes of Tammy Faye” Film Review

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The Eyes of Tammy Faye will penetrate to your soul. You may think you know Tammy Faye’s story, but go beyond the tabloids in Michael Showalter’s (The Big Sick) heartfelt, hilarious, honest film that paints a humanizing portrait of the ridiculed and often parodied Tammy Faye Bakker. You will undoubtedly be blown away by Jessica Chastain’s jaw-dropping performance as the “Queen of Eyelashes” in this powerful rise, fall, and redemption story. Tammy’s eyelashes may be fake, but there is nothing fake about this candid portrait of the late television icon. Playing the mastermind of the PTL Network scandal is Andrew Garfield in a showcase performance that will have you despising Jim, but praising the uncanny portrayal. The film highlights Tammy Faye’s genuine love for God and her love for people–everyone! Even in the 1980s, when the LGBT community had little to no voice, especially amongst fundamental evangelicals, she was a loving voice for them. While it would have been so easy for the film to have been devoid of genuine levity, audiences will find there are some hilarious scenes that work as fantastic humanizing elements, especially early on when Jim and Tammy Faye engage their lustful adolescent interests as hormonally charged young adults and newlyweds. Showalter, Chastain, and Garfield deliver a fresh perspective on Jim and Tammy Faye Bakker that depicts human beings, not one-dimensional caricatures of televangelism.

In the 1970s, Tammy Faye Bakker and her husband, Jim, rise from humble beginnings to create the world’s largest religious broadcasting network and theme park. Tammy Faye becomes legendary for her indelible eyelashes, her idiosyncratic singing, and her eagerness to embrace people from all walks of life. However, financial improprieties, scheming rivals and a scandal soon threaten to topple their carefully constructed empire.

I already want to see it again! And it’s definitely becoming an addition to my physical media collection. This narrative film is based on the award-winning documentary by the same name, directed by Fenton Bailey and Randy Barbato, and I suggest watching it as a companion piece. In many respects, the storytelling structure of The Eyes of Tammy Faye parallels the approach Craig Gillespie took in I, Tonya. In addition to the awards-talk around the performances, I would look to see this film in other conversations such as makeup, screenplay, and perhaps directing and picture. Showalter’s film explores the world of Tammy Faye, as seen through her unmistakable eyes; furthermore, he treats the character (the person) of Tammy Faye with respect as a flawed but loving woman rather than the heavy-makeup-wearing satirical and parodied caricature that many remember from the tabloids. Perhaps the thousands of times she said “God loves you” may have came across as insincere; but the truth is, she wanted the world to know that God and Tammy both love them.

Showalter’s candid picture gives Tammy Faye and Jim the full treatment as he takes audiences on a journey through their story, including the scandal that rocked a nation, whilst treating them with dignity and respect as they are–as we all are–flawed humans. This biographic drama seeks to understand (mostly Tammy Faye, but a little of Jim too) the Bakkers, not mock them or their work. Tammy Faye is a breath of fresh air in an environment polluted by stale, lifeless, and downright rotten individuals. From the beginning of the film, you learn that her faith in God and love of Jesus was not going to be defined by her circumstances or what people thought of her. If you told her she couldn’t, she would prove to you that she could. That is a trait that she could continue through her entire life, even after her scandalous fall from grace. You also learn that while she lived an opulent lifestyle, she was never defined by her material possessions. Oh don’t get me wrong, she loved her signature clothing style and trademark makeup and hair, but those things did not define her or her faith. Well, except for her eyes. She said “if you remove my [fake] eyelashes, I wouldn’t be me.”

While her husband was pulling the strings, she was doing everything she could to reach people for Christ; however, it was also clear that she loved the performance, the camera, and the microphone. If she hadn’t gone into televangelism, she very well could have been a Broadway star with her larger than life showmanship and personality. We also learn that Tammy Faye was likely unaware of the dishonest and illegal dealings of her husband, even though she at times suspected he wasn’t being honest. Chalk it up to extreme naivety. Despite no reports of Jim being physically abusive to Tammy Faye or their two kids, he was shown to be psychologically and emotionally abusive to Tammy Faye. Even to the extent that he used Tammy’s minor indiscretion with a Nashville music producer against her, to humiliate her on international television in an effort to raise more money because of her testimony. Tammy’s flirtation with the an elicit affair goes to show that we are all flawed individuals that toy with or fall victim to the same temptations, in whatever form they take. But we understand how and why Tammy Faye was tempted to search for love elsewhere; she was not appreciated as a person by Jim, but only as a tool to get more money out of PTL’s “partners.” Even when the reality of Jim would peak through, she never let that detour her from spreading the love of God to everyone in her signature style.

While we ostensibly watch the events of the rise and fall of the Bakkers through Tammy Faye’s eyes, in a similar fashion we did in I, Tonya, we also get glimpses of the story through Jim’s perspective when it serves to advance the emotional journey of the characters, especially when it comes to his complicated relationship with the then and now unlikable Pat Robertson and Jerry Falwell. For example, I did not know that it was Jim and Tammy Faye that started the 700 Club. But when the innovative Christian talk show became a popular program on the fledgling CBN Network, Pat Robertson placed them on a maternity/paternity sabbatical, but was actually steeling their show in a jealous power-grab. The Bakkers then started what would become the TBN Network, but were ran off from there too. Finally, they began the PTL Club (later massive, worldwide PTL Satellite Network), and the success of that venture would eventually spawn a 24-hour network, neighborhoods, and a theme park that would become the third most visited in the country after Disneyland and Disney World.

While PTL was growing by leaps and bounds, Robertson and Falwell were seething with jealously at the success of Jim and Tammy Faye, a motive that comes into play when they discover the payment of PTL funds for the hush-money regarding Jim’s affair. Little did Tammy Faye know that Jim surrounded himself with a conniving mafia-like group of “Christians” that sought to take down the power couple after they departed from the Robertson-Falwell fundamentalist agenda. This mafia-like mentality is most apparent when Tammy Faye televises the emotional interview with a gay AIDS patient, also a Christian pastor, on her show. She ends the interview with reminding the viewers that Christians are called to love as Jesus loved. It was shortly after that, that Robertson and Falwell actively looked for ways to dethrone the king and queen of televangelism. Of all the examples of Christians in the film, amongst the lead and supporting characters, Tammy Faye is the best example of how a Christian should love and act.

Chastain has instantly shot to the front of the Best Actress in a Leading Role category, and Garfield may find himself in the Best Actor conversations as well. Chastain disappears behind the trademark Tammy Faye makeup and delivers a larger than life performance! And since Tammy Faye, herself, was the definition of camp and larger than life, it’s an incredibly authentic, sincere performance. It’s easy to see how the LBGTQ community was drawn to the person of Tammy Faye then and now, because the LGBTQ community often greatly admires women who remain strong in the face of adversity. But Chastain’s performance of the person of Tammy Faye will undoubtedly inspire and win the admiration of all kinds of people from all walks of life. While Chastain is brilliantly portraying the character of Tammy Faye, we learn in the film (and in the documentary, the interviews, and PLT flips that many will undoubtedly pour through after leaving the film) that Tammy Faye wasn’t a character at all but one of the most genuine, sincere loving people that ever walked the planet. Chastain captures every nuance of Tammy Faye with uncanny precision.

Even the indelible Cherry Jones as Tammy Faye’s love-to-hate mother that was so often Tammy Faye’s harshest critic may be in the supporting actress conversations. She’s a scene steeler herself, much like Allison Janney was as LaVona Harding in I, Tonya. All the lead and supporting performances are perfectly executed, and the hair/makeup on everyone leaves an uncanny resemblance between the actors and the real-life people that are being portrayed. If Tammy Faye was still alive, I feel strongly that she would appreciate the film. Her son Jay appears to like the film from what I’ve read of his comments.

I’d be remiss not to mention, what is perhaps the most telling scene of who Tammy Faye was. Months or perhaps years after the collapse of the PTL Empire and all her fine things were sold (and house actually burned to the ground), and she’s driving a crappy Honda Accord and living in a rundown apartment, she pulls into her parking spot one day. And she gets out, she hears a few of the neighborhood punk teens making fun or her. She walks over to them, and graciously says, “if you’re going to talk about me, since I am your neighbor, you should at least shake my hand and meet me first; hi, I’m Tammy Faye” (or something to this effect).

What we have here is a brilliantly produced biographical drama that works as trifecta comprised of a cautionary tale, a redemption story, and film that provides social commentary on topics such as politics, religion, and patriotism as our country is becoming increasingly polarized on these subjects.

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Ryan teaches American and World Cinema 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! If you’re ever in Tampa or Orlando, feel free to catch a movie with or meet him in the theme parks!

Follow him on Twitter: RLTerry1