Category Archives: Movie Review

THE BATMAN movie review

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Emo Batman: the detective. Matt Reeves’ highly anticipated adaptation of the caped crusader hits cinemas this week, and it is sure to elicit quite the polarized opinions amongst fans. Some will undoubtedly enjoy the gritty, realistic expression of Batman in an attempt at crafting a neo-noir detective story while others will find it to be poorly paced, overly emo, and joyless. While I am seldom completely in one camp or another on a polarized film, I am certainly closer to the latter moreso than the former. I certainly appreciate this take on the caped crusader as a detective and the aesthetically dark film; however, I agree that it is poorly paced, overtly emo, and completely joyless. Reeves’ adaptation shines best in its character development and interactions; furthermore, it’s equal parts plot and character-driven, which helps in the thoughtfulness, but the poor pacing and lack of anything joyful hold it back from the potential it clearly had. Clearly, this film is positioning itself as the anti MCU in that it places far greater value on the aesthetic of the film moreso than the entertainment value or dialogue. After watching it, I am left wondering what a neo-noir detective Batman movie directed by David Fincher would look like? In my opinion as a critic and film professor, the only director to accurately capture the essence of what we love about the BatVerse is Tim Burton is his brilliant Batman 89, and Batman Returns.

Batman ventures into Gotham City’s underworld when a sadistic killer leaves behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator’s plans become clear, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the metropolis.

For some, the characters won’t feel like Batman characters as much as explorations of various forms of trauma; that stated, the characters have undeniable chemistry on screen, which makes them believable. The only characterization with which I take particular negative issue is Alfred; he is reduced from an integral element in the Batman mythos too little more than an expositional plot device. Costume wise, the new Batsuit works very well, and the Riddler’s costume is incredibly creepy, but Catwoman’s ski mask doesn’t work and The Penguin lacks any truly defining features. The Batmobile works great! It’s fantastic combination of a stock car (which Bruce Wayne would realistically have access to) and a little comicbook flare. While the score isn’t memorable, it offers some gorgeous orchestral movements that attempt to give this film gravitas. Still to this day, the best Batman score is Danny Elfman’s for 89 and Returns. The score of The Batman never feels like an extension of the characters, despite it being (as a musical composition) beautiful.

Since I am not a comicbook reader nor am I generally a fan of superhero movies, I do not feel that it is inaccurate to posit that idea that comicbooks and superhero movies were originally written and designed to be escapism. There was something special about being invited into a world similar to our own, but with a certain degree of whimsy that kept them entertaining and fun. The hand of the artist, an extension of their imagination is what seems to so often be missing in contemporary CBMs (comicbook movies). You have the agenda-driven post-End Game MCU on one side, and the overly dark, joyless DCEU on the other. Of course, there are exceptions such as Shang Chi and Wonder Woman. CBMs have strayed from their roots, and appear to have a blatant disregard for that which made them fun for mass audiences. From CBMs including elevated levels of colorful adjectives to reinforcing unfair characterizations which have a counterintuitive effect upon the idea of representation, it would be refreshing to have superhero movies that are entertainment and clever again, where there are suitable for older kids and teens, yet there are jokes, references, and double entendres that only adults will appreciate.

Who is the audience for The Batman? A question for which I am still searching for the answer.

Ryan teaches Film Studies and Digital Citizenship 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

UNCHARTED action-adventure movie review

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The Goonies meets Raiders of the Lost Ark in the moderately entertaining movie adaptation of the hit Uncharted video game series. Of course, therein lies a tonal problem: the movie is never quite sure what tone it wants to strike. Tom Holland and Mark Wahlberg star in the Ruben Fleischer helmed high-flying action-adventure movie that hopes you haven’t played or know much about the video game. Fortunately for me, I wouldn’t even know the cover art of the game, let alone anything about it other than the title. And that is probably why I enjoyed it as much as I did–but that isn’t saying much. #FilmTwitter was up in arms about the boyish Holland playing the grizzled Nathan Drake when the casting was announced. And while I cannot comment on his particular interpretation of the main character from the video game, I can comment on an inability to buy him as the character, as written, for the movie. It’s indicative of the trend of endowing teens and young adult actors (and by extension, characters) with the same qualities and experiences that come with age and experience. I’ll give him this, he is a charismatic actor. The slapdash storytelling comes across as a movie that feels more like a curation of cut-scenes from a video game, a problem that plagues most video game movie adaptations.

Nathan Drake and his wisecracking partner Victor “Sully” Sullivan embark on a dangerous quest to find the greatest treasure never found while also tracking clues that may lead to Nate’s long-lost brother.

What ultimately keeps this movie afloat is the witty, quippy dialogue, completely devoid of any subtext, but will elicit periodic laughter throughout the movie. While I know next to nothing about the video game, I did learn from a fan of the video game that there is a major element from the game that is completely absent from the movie. I won’t mention what that is in order to avoid spoilers. Be sure to wait around for the mid and post credit scenes that setup a sequel. If you do plan to see it, you’ll definitely want to watch it in the biggest premium format in your area. Many of the scenes, especially in the third act, deliver immense size and scope that are best appreciated and experiences on the biggest screen possible.

While I am unsure of the plot of the video game, the movie sets up an emotionally-driven subplot of the Nathan’s search for his long-lost (or gone) brother. But, it never feels that is plays any significant role in the main action plot. In fact, you can remove the whole search for his brother and the movie plays out the same. This is a movie that could have been a nice hybrid between The Goonies and Raiders of the Lost Ark, but it tries to be both of them instead of finding its own expression. Perhaps this is yet another example of how most video game adaptations simply don’t translate to the screen well, because the interactive element is missing.

At the end of the day, it’s a decent popcorn flick to experience in IMAX that is a perfectly fine way to pass the time on an afternoon.

Ryan teaches Film Studies and Digital Citizenship 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

DEATH ON THE NILE whodunit film review

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You’ll want to watch it again! Kenneth Branagh’s adaptation of Agatha Christie’s Death on the Nile takes everything you enjoyed about Murder on the Orient Express, and builds upon it to deliver a film that further proves that the subgenre whodunit remains timeless! Of course, much like with any murder-mystery or whodunit, it’s difficult to review without getting into spoilers. What I can tell you is that Death on the Nile boasts a stellar cast, exotic setting, and all the love and deception you want in a whodunit. Unlike the previous chapter in Branagh’s Agatha Christie adapted films, the Poirot we encounter feels more human. Contrary to previous TV and film adaptations, we witness the cracks in Poirot’s veneer, revealing his vulnerable side. Perhaps this may be another story with one of the best worst-kept secrets in literary history, but through Branagh’s direction and Michael Green’s screenplay, diegetic elements are added in order to entertain audiences with a fresh interpretation of the iconic literary work. Even after you learn who committed the murders aboard the luxury river cruise ship, you will instantly desire to watch again in order to find the clues that you missed.

Belgian sleuth Hercule Poirot’s Egyptian vacation aboard a glamorous river steamer turns into a terrifying search for a murderer when a picture-perfect couple’s idyllic honeymoon is tragically cut short.

There may be some naysayers out there that are unfairly negatively criticizing the (and I’ll be honest, somewhat predictable) solution to the mystery, you have to remember that this literary work and previous film/TV adaptations have been around for a very long time, and have served as significant influencers for all whodunits to come thereafter. Naturally, fans of the whudunit genre may be able to completely or partially guess the who, why, and how. The best way to enjoy this film is to go in as a fan of classical whodunits; if you do that, I am confident that you will thoroughly enjoy your time at the cinema!

Ryan teaches Film Studies and Digital Citizenship 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

I Want You Back romcom review

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Heartwarming! From the outstanding cast chemistry to the clever writing, you need to make I Want You Back part of your Valentine’s Day celebrations at the cinema (for the limited theatrical run) or on Amazon Prime Video. Much like Broken Hearts Gallery showed us that the romcom can be reimagined for today’s teen and 20-something audiences, Jason Orley’s I Want You Back is the romcom reimagined for 30-something audiences. If it can make cynics like me once again believe that my “plane mask buddy” (you’ll just have to see the film to get the reference) is still out there, you too will find the story incredibly endearing! While the classical American romcom has largely fallen out of favor with a significant portion of movie audiences over the last decade or so, there are films that take the foundation of what made the romcom such an American cinema staple, and upon it, build plots and characters that both resonate across ages and cultures and still deliver the quirks and laughs that are such a hallmark of the romcom. It’s been a long time since I’ve witnessed such excellent chemistry between an ensemble in a comedy, and it is the characters that will command a rewatch of this soon-to-be quintessential romcom, that will undoubtedly rank up there with the likes of Sleepless in Seattle, You’ve Got Mail, Two Weeks Notice and more.

Peter (Charlie Day) and Emma (Jenny Slate) are total strangers. When they meet, they realize they were both dumped on the same weekend. Their commiseration turns into a mission when they see that each of their ex-partners have happily moved on to new romances.

What makes this movie work so well is the focus on character-driven (or dramatic) storytelling. When the character(s) drives the plot, we refer to it as drama, while the action driving the plot is referred to as melodrama. Just a little film studies there, for ya. The movie wastes no time in establishing who our central and chief supporting characters are; this is an important screenwriting decision because it allows for the character reactions to drive the story in a manner in which we believe everything the characters do because the rules for the characters were established up front. You can get away with anything if you set it up appropriately.

Yes, there are melodramatic moments (and you will need to engage your suspension of disbelief), but every emotional beat and turning point is earned and delivered meaningfully. Meaningful. That is a description that is so often overlooked in comedies. When writers focus so much on laughs, the art of meaningful storytelling is lost. In the writers room, a strong story with well-developed plot and characters can always be punched up with laughs, versus a laugh-a-minute story with poorly-developed plot and characters, which has a problem requiring major diegetic surgery.

Authenticity! You will find the characters to be incredibly believable and real, with little to no pretense. Our leads and supporting cast feel like your coworkers, neighbors, and friends. We all have someone in our lives of whom the characters will remind us. In fact, you will likely see yourself IN one or more of the characters. When you can place yourself in the story, the degree to which it impacts you will significantly increase. And it’s even better when you can laugh along with the characters. But what makes these characters connect and resonate with audiences is the unexpected level of vulnerability the characters demonstrate. And it’s our vulnerabilities, our flaws and the ability to learn, grow, and experience redemption that makes us human.

Perhaps you are like me, a romantic cynic. So, your default setting is disdain and pessimism for anything that even has a hint of romance and erotic love. I find it difficult to connect with the typical romcom, even the great ones of the 80s, 90s, and early 2000s. Just feels like something so out of reach and unbelievable that I’d rather watch another horror movie. If someone like me can be touched by I Want You Back, then I know that it can touch even the most cynical. Personally, I see myself as two-parts Emma and one-part Peter. And it’s the prolific opportunities to connect with the characters that will cause this movie to find a place in your heart.

Ryan teaches Film Studies and Digital Citizenship 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