Category Archives: Horror

FINAL DESTINATION: BLOODLINES horror movie review

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Deliciously terrifying! Final Destination: Bloodlines is a sleek, thrilling experience that delivers heart-pounding, nightmare inducing fuel that feels familiar yet fresh. And underscoring the outside/action plot is an emotionally-driven family drama. You’ll root for their survival! After a decade-long hiatus, the Final Destination franchise roars back to life with Bloodlines—an edge-of-your-seat, high-octane installment that doesn’t just rest on its laurels on its signature Rube Goldberg-esque kills; rather, it dares to deepen the mythology and inject real emotional stakes. This isn’t just a parade of spectacularly elaborate kills; Bloodlines brings humanity and emotional vulnerability to the forefront, making every death feel earned—and every survival all the more desperate.

Plagued by a violent and recurring nightmare, a college student heads home to track down the one person who might be able to break the cycle of death and save her family from the grisly demise that inevitably awaits them all.

Bloodlines doesn’t reinvent the “Final Destination” wheel, but it certainly retooled the 26yo engine. It’s faster, more furious, and surprisingly emotionally compelling—a rare horror film that makes you care who dies and how. (Except for perhaps Julia–pretty sure everyone applauded when she met her demise). By blending the franchise’s signature fatalism with real human drama, it proves that even after all these years, Death still has some fresh tricks up its sleeve. And it’s that “heart” that makes this installment different from the rest. After the original and traumatizing second movie (never drive behind a logging truck ever again), this is the first installment to inject an emotionally resonant core into the narrative. Despite the family drama, it’s clear that everyone cares about each other, even though some distance has grown between some of them. And the fact they care about one another compels us to root for their survival.

But what about the kills? The deaths, of course, are still inventively gory and meticulously choreographed—this is a Final Destination movie, after all—but they’re no longer the sole draw nor does the camera linger too long. Instead of being a schlocky bloodbath from beginning to end, this Final Destination movie is more punctuated with the death scenes, and never feel like the scenes themselves–the kills are more like buttons on a dramatic sequence that delivers sufficient setup, development, and resolution. Each death in Bloodlines serves a narrative purpose, reflecting character choices and emotional arcs. When someone dies, it’s not just shocking—it hurts. The deaths are all the more painful because our characters matter. Each character is given a moment to breathe, before the inevitable occurs. Character decisions matter; their respective relationship with each other and the world around them matter. When they die, it doesn’t feel like a spectacle; it feels like a loss (except for you, Julia, I think that was a gain).

Directed by Zach Lipovsky and Adam B. Stein, Bloodlines brings a more mature tone to the franchise without losing its pulse-pounding suspense. This isn’t just death coming for the next in line—death is unearthing long-buried histories, and the characters are forced to confront more than just their mortality–they are forced to confront family secrets. The screenplay benefits greatly from being measurably more character-driven than plot-driven, which bestows upon this movie a narrative quality seldom experienced in the Final Destination franchise (or nearly any horror franchise this far into its franchise). The film also expands the franchise’s mythology in subtle, intriguing ways, threading in ideas about fate as something both predetermined or inherited. Without diving too far into exposition, Bloodlines cleverly explores what it means to be marked—not just by death, but by family history.

And I’d be remiss if I didn’t mention the final appearance of the late horror great Tony Todd. Like Vincent Price, Todd’s mere presence in a horror film added a qualitative dimension that could not be replicated by any other actor. Todd’s contributions to horror and science-fiction TV (namely Star Trek) are many and each delivered with class. RIP.

Final Destination: Bloodlines isn’t just a refreshing return to form—it’s a redefinition. It proves that slasher-adjacent (which this is; we just don’t see the slasher) movies can be character-first without losing the terrifying or nightmare-inducing edge. Bloodlines also subverts our feelings about being a survivor in a horror movie–sometimes the scariest thing isn’t dying–it’s questioning why you’re still alive.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. 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

DEATH OF A UNICORN horror comedy mini review

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Loads of fun! Death of a Unicorn is Atypical for A24 in all the best ways possible. It’s entertaining, well-written, and smartly balances horror and comedy. While it delivers the social critiques and commentary that are par for the A24 course, the outside/action plotting is strong!

When a man and his daughter accidentally hit and kill a unicorn with their car, his boss tries to exploit the creature’s miraculous curative properties — with horrific results.

While the first act drags a bit, the rest of the movie is a wildly engaging roller coaster ride as folklore and the contemporary world collide in a unicorn gorefest that simultaneously explores the flawed nature of a self-centered moral compass and acts of greed disguised as altruism. Knowing very little of actual unicorn mythology and lore, this movie piqued my curiosity to learn more about these magical creatures because the literary and cultural history is rather fascinating.

Looking to the unicorns themselves, this movie employs a combination of both practical and digital effects to bring the illusive creatures to life. By combining puppetry and computer generated imagery, the unicorns feel lifelike and the reactions from the cast appear to be borne out of genuine fear and desperation for survival. Speaking of the cast, I feel that Rudd and Ortega were miscast in the movie. I don’t buy either one of them in their respective roles, and feel that a better casting may have helped the delivery of the first act.

Clearly, writer-director Alex Scharfman has a fondness for old school creature features, and I can appreciate much of how he adapted the classic creature feature to fit a contemporary sensibility. Death of a Unicorn could become a modern creature feature that is revisited throughout the years–only time will tell.

What I appreciate most is that you can read the whole critique on big Pharma and abuse of natural resources and exploitation of wildlife, BUT you could just as easily enjoy it for the Jurassic Park-inspired survival story. Honestly, it did JP better than JP3 onward.

While I may not be high on the first act or the casting of the two leads, this is still one of my favorite A24 films. In fact, it probably ranks as the most entertaining A24 release for me.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. 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

THE WOMAN IN THE YARD horror movie review

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Immersive setting and thoughtful premise meets with poor plotting. The Woman in the Yard is a haunting reflection of trauma, grief, and loss that accomplishes little beyond delivering unsettling imagery. The rich southern gothic atmosphere draws viewers into the story, but the experience ultimately falls flat due to poor writing. That said, I appreciate what the film tries to do with its intriguing premise, but the insufficient plotting and meandering diegetic direction hamper what could’ve been a rather fantastic psychological horror film.

Ramona (Danielle Deadwyler) becomes crippled by grief after her husband dies in a car accident, leaving her to care for her two children alone in her rural farmhouse. Her sadness soon turns to fear when a spectral woman in black (Okwui Okpokwasili) appears on her front lawn, warning her “today’s the day.” As the mysterious figure creeps closer and closer to the house, Ramona realizes she must protect her children from the evil woman who simply won’t leave them alone.

In the vein of The Others, this film takes place in an isolated house in the countryside featuring a mother and her kids. Except instead of leaning into a New England gothic aesthetic, The Woman in the Yard exudes a rich, dimensional Southern gothic atmosphere. From the house to the yard to the ominous, mysterious woman in black, this film draws us into the story. Unfortunately, the story into which we are drawn, leaves much to be desired.

If I were to simply focus on the atmosphere of and settings within the film, The Woman in the Yard would rank highly for me, but it’s disappointing that such a rich world is wasted on such a vague plot and meandering narrative. Even the performative dimension is compelling. All four performances of the main (and pretty much only) cast members were solid. I only wish they had been given more to do in order to drive home the themes of the film.

I opened with comments concerning the various themes in this film concerning grief, loss, and trauma, and I enjoyed how these internal feelings were externalized for the audience. The use of mirrors, shadows, and (digital) double exposure gave this film a tangible, experiential depth. But, regrettably, the imagery and performative dimension is pretty much all that we get in this film, for the plotting is weak and lacks discernible direction.

Without getting into spoilers, our central character of Ramona must battle the various affects of the trauma incurred from the car accident that left her injured and her husband dead, which have manifested themselves in the woman in black and related paranormal and supernatural occurrences in the isolated Georgia farmhouse. She is challenged to resolve that which she is battling in order to provide for her children after the tragic passing of her devoted husband and father to their kids. Just like those that experience a life-changing traumatic event (often in the aftermath of a tragic accident) begin to reflect upon their life and examining their impact on and relationships with others, Ramona is reflecting upon her life. The psychological process of reflecting on life is dramatized in and expressed through the use of mirrors, mirrored imagery, and (what in analog terms would be) double exposure. This part of the film works incredibly well! But the plotting isn’t there to sufficiently support it for storytelling cinematic storytelling purposes.

The woman in black is a paranormal manifestation of something in the film that I cannot reveal as to avoid spoilers, but I loved this character! She is creepy, intriguing, mysterious, ominous, and more of what makes a great monster in a horror movie. Between the Southern gothic atmosphere and the woman in black, I very much expect to see this movie adapted into a Halloween Horror Nights house. The character of the woman in black is rather terrifying, yet you won’t encounter much in the way of traditional scares. Her character (and her chair) are so thoughtfully crafted that her mere presence is enough to send adrenaline through your body. In terms of “rules” for a monster, they are established early on, and everything to follow functions within those rules. I would not be surprised if the woman in black is borne out of real folklore, because so much of what happens feels connected to campfire ghost stories and superstitions.

While The Woman in the Yard may lack in the plotting department, it delivers many elements that can be sufficiently enjoyed. It may not be one that I will revisit any time soon, but I still enjoyed the movie well enough.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. 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

HEART EYES horror movie review

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Slashtastic! Heart Eyes is the don’t miss holiday horror movie this Valentine’s season. Whether you’re a romantic or a cynic, there is something in here for everyone. The blend of romance and horror will, like Cupid’s arrow, find its way to the heart of slasher fans. Move over Coal Miner to make room for a new killer on the Valentine’s scene. Directed by CollegeHumor’s Josh Ruben and written by Christopher Landon (Happy Death Day), Michael Kennedy (Freaky), and Phillip Murphy (Hitman’s Wife’s Bodyguard), Heart Eyes seamlessly blends cliches from both romcoms and slashers, resulting in a movie that is sure to find its way onto rewatch lists every Valentine’s Day.

A masked maniac with glowing, red heart-shaped eyes returns every Valentine’s Day to terrorize unsuspecting couples.

The screenwriting is efficient and effective, and wastes no time in drawing audiences into this properly paced story. The kills are over-the-top–almost campy–and the romanic comedy bits are cheesy–in all the best ways possible. But this movie isn’t just about thrills and kills, because the central characters are surprisingly well-developed, and you’ll be rooting for their survival. So sure, some of the plot beats are formulaic, but this is a formula that has worked for over four decades, and demonstrates that genre movies have a timeless quality–a charm–about them that keeps us coming back for more screams.

Much like we saw with 2023’s Thanksgiving, Heart Eyes does the slasher right. Not only does it check off all the boxes for a classically written slasher, it also checks off boxes for a romantic comedy. Perhaps the movie leans more into its horror genes than it does its romcom genes, but it still strikes a well balanced genetic sequence for your entertainment pleasure. Starting with a classic romantic comedy opening, but as soon as it steeps for just the right amount of time, then upending it with a campy and gruesome slasher sequence, informs audiences precisely that for which they are in store for the rest of the movie. It sets the tone right up front, so you’re willing to buy everything else the movie throws at you.

The plotting is both sound as does the slasher reveal right. Yes, in hind sight you can make the observations that Heart Eyes took from this or that slasher, but that’s the beauty–it follows the formula but still keeps it engaging. Never once did I feel that it failed to keep my interest–even when I called the identity of HEK. I liked that this movie felt like classic slasher. We get it all: a big event that kicks everything into gear, a central character with a well-defined external goal driven by an internal need, and a character of opposition. This movie benefits from solid screenwriting and a director that seeks to entertain first and underscores the superstructure with thoughtful material for conversations about romance and relationships in the subtext. The stakes are high: survival! And throughout the movie, the stakes are raised, reminding us that no one is safe and even our final girl can be injured or killed.

Both of our central characters are well-developed. Olivia Holt’s Ally and Mason Gooding’s Jay are relatable and compelling. Are the characters particularly deep? No. But are they sufficiently developed to give these slasher characters human dimension? Yes. Both are strong and vulnerable. Furthermore, Ally feels like an “everyman” that is thrown into a situation in way over her head, but the setup is quite believable. I also like comedic irony in that she works for a jewelry company but has grown disillusioned by romance after being dumped by her boyfriend. Perhaps you work for a company that advocates for or sells something of which you are now cynical. Alternatively, Jay may come off overly optimistic and idealistic, but through that, we also learn that he as fears and vulnerabilities too. My point is, the principle players in this slasher are written with dimension, so you are rooting for their survival.

The most memorable slashers have a trademark mask, weapon, or sometimes both, which is the case with the Heart Eyes Killer (HEK). I’ve no doubt that HEK will find a place amongst the pantheon of slasher icons. After a long time of no new entries into that circle, we had John Carver added in 2023 and now HEK. Heart Eyes is a horror movie made by slasher fans for slasher fans, and its refreshing to see that the horror staple is still alive and well. Through movies like Thanksgiving and Heart Eyes, modern audiences are reminded that genre movies can be just as entertaining or thoughtful as the arthouse movies that are slowly becoming the mainstream. Funny–the movies that used to be the mainstream (i.e. slashers) are slowly finding their way into the arthouse cinemas, while the prestige pictures that used to be confined to the arthouse cinemas are slowly becoming the new mainstream.

Thematically, the movie explores disillusionment in and with romance. From an opening scene that underscores the realization that images captured by a camera are not always reflexive of reality to the cynicism that can grow out of broken relationships to accepting that an idyllic romance may just be possible, it’s all in this movie. Through the apparatus of the slasher, the writers and director are able to explore love and romance in a variety of ways that are rather poignant.

If your idea of a Valentine’s date is dinner followed by a scary movie, then this movie fits the bill! It works as both. Happy Valentine’s Day!

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. 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

COMPANION horror movie review

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A wild, albeit predictable ride. New Line Cinema’s Companion, written and directed by Drew Hancock, is an entertaining cautionary tale on how ultimate control, ultimately corrupts. Moreover, the film provides a thoughtful critique on the (in this case) deadly consequences of attempting to exert that desire for ultimate control over an individual, thus rendering mute their unique individuality. The film also paints a provocative portrait of the relationship between humanity and artificial intelligence (and androids) by establishing a seemingly controlled environment that then devolves into one of chaos. This progression reflects the overarching theme of attempts at ultimate control by underscoring the illusion of the ability to exert ultimate control over the human spirit, even if that “humanity” is housed within an artificial intelligence. Hancock’s screenplay is lean and mean, and nicely balances the horror elements with both lighthearted and dark comedy. Even though many of the plot beats were predictable, the movie still succeeded in remaining engaging and fun–just goes to show that there is a beauty to genre movies.

A weekend getaway turns bloody and violent when a subservient android that’s built for human companionship goes haywire.

Hancock’s film effectively blends elements of horror and comedy to explore contemporary anxieties surrounding individualism, artificial intelligence, and the ethical implications of control for the purposes of subjugation. Audiences are challenged by the plot and characters to reflect on the moral responsibilities involved in the creation and control of artificial-sentient beings. By prompting the audience to consider the consequences, the film is positing questions concerning the very nature of humanity and the desire and limits of control. Furthermore, the film demonstrates that when given seemingly ultimate control, that primal desires for ultimate control surface, thus reminding us that we have to learn to be generous, kindly, and altruistic because we are naturally born rather selfish and self-centered. Ultimate control, ultimately corrupts. Without reasonable checks and balances, the results of absolute control can be negative and quite possibly even deadly to the human spirit.

As artificial intelligence increases in human-like problem solving and expression, we have to ask ourselves how far will be go to both create and control artificial intelligence as it slowly approaches android-like technology. Will androids be controlled like a typical robot or mindless automaton or will they be granted sentient status like Data on Star Trek: the Next Generation‘s critically acclaimed episode “The Measure of a Man”? Without derailing from my review of Companion too much, I am reminded of this outstanding Trek episode that actually does a much better job of addressing topics of autonomy and control than Hancock’s film. The episode critiques the idea that beings created for a (even at one time, pre-determined) purpose (especially artificial ones) can be controlled or owned. Data’s ability to choose his own destiny is at stake. Captain Picard argues, in the trial that is convened to determine Data’s humanity, that intelligence, self-awareness, and consciousness make someone a sentient individual, not merely their biological nature.

Where I feel that Hancock’s film falls short is in its social commentary is the limitations it places on itself in its expression of the themes with which it underscores the plotting and characters. For the greatest impact, it should have been more consistent in the exploration of ultimate control over a seemingly sentient individual. Instead of crafting a film that could be more broadly applied, Hancock’s story falls into the trap of being too focuses on a overly generalized stereotype of particular individuals versus crafting a narrative that was more broadly concerning itself with depicting robbing sentient beings of their individualistic humanity–their free will. The sharpest criticism is clearly aimed at one particular character (and the demographic they represent). But eventually the idea of control over an individual snares another group. And for a moment, there was hope that Hancock was extending his critique to be more inclusive, but it returns to being focused on the original demographic group. This extension would have been a reminder that anyone can find themselves drawn to how far one can push the limits of control over a lover, friend, or other platonic, professional, or romantic relationship. It’s a trait that runs through everyone, and we have to learn to control our innate selfish and self-centered behaviors with which we are born.

While I have some reservations in the consistency and accuracy of theming in the film, Companion remains a solid horror films that serves as a reminder of the consequences of exerting ultimate control over an individual. The pacing, plotting, character development, and technical elements work together very well to keep the audience entertained on this wild ride.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. 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