MISSION: IMPOSSIBLE–THE FINAL RECKONING film review

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What a picture! Mission: Impossible–The Final Reckoning is an exhilarating end to a 29 year old journey. The scale and scope of the final chapter in Tom Cruise’s tenure as Ethan Hunt is out of this world. Beyond any shadow of a doubt, the cast and crew of this film delivered their best to “all those that [they] will never meet.” That’s us–the audience–we are those they will likely never meet. Such a fitting climax to one of the biggest franchises ever to hit the big screen. For everything the movie did right and excellent, it’s not without some shortcomings in the screenwriting. While the first act starts off a little clunky, it does eventually falls into place during the first act. Additionally, fans of the franchise will love the narrative connections to the preceding films, particularly Mission: Impossible and Mission: Impossible III. This is truly a cinematic spectacle deserving of every second on that big silver screen. Tom Cruise proves that he is still the definitive movie star.

Ethan Hunt and the IMF team race against time to find the Entity, a rogue artificial intelligence that can destroy mankind.

Writer-director Christopher McQuarrie brings Mission: Impossible (in its current incarnation) to a climactic close after 29 years. More than delivering a bombastic conclusion to the genre-defining franchise, he connects this film to all the preceding M:I films through both plot and character. Every moment feels earned–this movie and the cast and crew thereof–spare no expense of time or money in providing audiences with a spectacular cinematic experience that reminds us why big screen stories need the BIG SCREEN. Even though I do take issue with McQuarrie’s screenwriting in the first act–the first 15 minutes, or so, do feel a little disjoined and rushed–thankfully the remainder of the first act does fall into place. Not only do the characters have heart underscoring all the electrifying action sequences, the filmmakers involved in this have a heart for the audiences around the globe.

The IMF (Impossible Mission Force) oath reads, “We live and die in the shadows, for those we hold close, and for those we never meet.” And, in this movie, I don’t think that it merely means that the covert operatives and spycraft engineers carry out their missions behind the scenes of life, the way in which the line is delivered, I am all but certain that it’s a wink or nod to the audience indicating that McQuarrie, Cruise, and everyone involved make motion pictures for those they know, their friends and family, and everyone else out in the world that they may likely never meet. There is probably no other working actor out there that so vocally champions cinema like Tom Cruise. This is particularly true during and after COVID with his release of Top Gun: Maverick. Even in a press conference wherein Cruise was asked about the proposed international filmmaking tariffs by a reporter, and he redirected them to The Final Reckoning, because “we’re here to talk about the movie.” The trademark charisma, physics-defying stuntwork, and charm that Cruise brings to the screen serves as evidence why he truly is the definitive movie star working today.

Picking up in the months following the train incident from Dead Reckoning, The Final Reckoning thrusts audiences right into the middle of a world on the brink of WWIII. The entity has infected the internet and it looks like the end of the world, as we know it. Once again, Hunt is being hunted down by his government (and probably other governments too) because he refuses to let the United States have the key that would potentially give them control of the entity’s source code, because no one should be entrusted with that level of power or responsibility–not even Hunt and his IMF team. Ethan Hunt continues to stand up for what is right, the greater good even when it is the most unpopular stance or opinion to hold. Hunt and his team desire to destroy the entity so no one has access to its power and the entity cannot destroy the world so it and Gabriel can remake it in their image. The Final Reckoning forces us to look inward, and ask ourselves how we would react when faced with a world on the brink of disaster. Could we resist giving into our innate self-centered nature, even when disguised as the most logical choice? This movie is a challenge to humanity to always hold onto hope even when it appears to be impossible.

After the clunky start to the movie, the narrative begins to find its tone, pacing, and direction. I wouldn’t be surprised if there is a “McQuarrie Cut” that adds in cut scenes at the beginning. Other than the stars themselves, the star of this movie is practical effects and filmmaking themselves. The CGI is minimal, and is rarely front and center. McQuarrie and Cruise lean into practical effects, mechanical magic, and other elements that give the film a tangible dimension. You cannot replace the way real light bounces off real objects and into the camera lens in this outstanding motion picture. The Final Reckoning is as much a celebration of the decades-old franchise (and TV show even before the original movie in 1996) as it is a celebration of classical filmmaking. Even the scenes and sequences that felt a little too death-defying or unrealistic, they certainly feel naturalistic within the world on screen (though, I’d be lying if I said that some came a little close to being even unbelievable in a Mission: Impossible movie). Even thought he aerial stuntwork in this movie is the most intense we’ve seen, this movie also includes a lot of underwater stuntwork and action sequences. And I must say that is’t he dark, claustrophobic underwater sequences that had me on the edge of my seat. It really is nothing short of incredible what McQuarrie, Cruise, and their teams were able to do in this motion picture.

For fans of the franchise, particularly those that have rewatched the whole franchise leading up to this moment, there are characters from the past that appear in substantive ways and even plot points that were never fully explored int eh past are brought full circle. Few, if any, characters feel like one-dimensional space-fillers–which can easily happen in an action movie–every character has a purpose, has a motivation. We care about our central characters’ survival, we experienced a gut-wrenching death in Dead Reckoning, so we know that these IMF agents are human, they can die. All the more reason why we are completely invested in their survival.

Even though we may get a Mission: Impossible movie in the future, maybe even one with one or more of the IMF team members from this original run of movies, Cruise has stated, in not so many words, that this movie represents his final Mission: Impossible movie in which he is the star. If we have future M:I movies, I’d like to see him make an appearance or play a supporting role, because Tom Cruise IS Mission: Impossible. What I love about these movies is that they seek to entertain first and include any more thoughtful ideas or questions in the subtext or emotional drivers of characters. Entertainment first. So many movies nowadays have such a cynical view of life and traditional values, but here is franchise built on that which brings us all together as a community. High concept? Sure, but that high concept nature of the M:I movies has never meant a meaningless or vapid experience. These movies, and others like them (regardless of genre), are what cinema is all about. And I am sure going to miss looking forward to the next Mission: Impossible movie.

Thank you Tom. And thank you McQuarrie and past writers and directors for 29 years of unparalleled thrills and excitement on the silver screen.

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

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

Another Simple Favor and Fight or Flight

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I’m a bit behind in getting reviews posted; it’s been a crazy last 3-4 weeks, but here are a couple mini reviews of two recent watches.

Another Simple Favor

Another Simple Favor is a stylish and entertaining return to a world of couture crime and suburban secrets, but it’s not nearly as smartly written, sharp, or thrilling as A Simple Favor (one of my favorite films from 2018), but thanks to its two leads, the sequel is still a cocktail worth sipping on a weekend afternoon.

When Paul Feig’s original A Simple Favor debuted , it was a stylish shock to the system—an unholy blend of mommy-blog satire, noir thriller, and fashion-forward camp, anchored by magnetic performances from Blake Lively and Anna Kendrick. Paul Feig returns to the world of pastel lies and killer secrets in a much-anticipated sequel aiming to rekindle that same twisted charm, but the sequel is plagued by poorly written dialogue and a plot that is a little too far fetched. While Another Simple Favor delivers its share of glitz, twists, and giggles, it doesn’t quite capture the original’s lightning in a martini shaker.

Stylistically, this movie keeps much of what worked the first time around: the runway-inspired couture costumes, the popping soundtrack, and family drama, but it feels more like a knockoff this time around than fresh and original. Blake Lively continues to own every scene as the enigmatic Emily, oozing charisma and menace in equal measure. Kendrick, once again, brings a nervy charm to Stephanie, whose sunny exterior masks a deep well of insecurities and ambition. But the key difference between the two films lies in tone and tension. Where the first film felt like a genre-bending noir-spired surprise—veering from domestic drama to murder mystery to black comedy—the sequel often feels underwhelming in comparison. Narratively, it misses the mark set by the original. The plot doubles down on absurdity and globe-trotting intrigue, but it occasionally sacrifices emotional stakes for spectacle.

Despite this, Feig’s direction remains confident and it is still an entertaining movie. Fans of the original will likely enjoy the ride, even if the destination feels slightly less fresh.

Fight or Flight (2025)

Fight or Flight is ridiculously fun from takeoff to landing. The high flying action/comedy is a no holds barred, wildly entertaining ride that is absolutely bonkers. It’s the kind of movie that, on one hand, looks like a complete train wreck, but then you realize how smart it actually is. Equal parts absurd, exhilarating, and unapologetically over-the-top, it charges headfirst into chaos and never looks back. It’s one adrenaline pumping genre movie that even has a little hart.

From its opening scene, the film gleefully abandons logic in favor of sheer, unfiltered spectacle. Josh Hartnett is in his element here, and is having a complete blast along the way. But that’s part of the charm. The film doesn’t care if it makes sense; it just wants you to have a good time at the cinema. And you will. Fueled by a knowing wink and turbo-charged editing, the movie manages to turn cinematic chaos into something wildly entertaining. It’s bonkers. It’s brash. But oh so fun!

The script, while clunky in places, knows what it is. Most of the characters are caricatures, but the performances bring charisma where nuance is lacking. Leads Hartnett and Charithra Chandran ground the film in (some modicum of) naturalism, which is important to note because of how absurd nearly everyone and everything else is in the movie. Their performances and characters ground the chaos sufficiently enough, and provide moments of emotional reset.

For those willing to look a little deeper into the movie, there is a rather scathing thread of commentary on the exploitive nature of the origin of some of the items we use everyday, not thinking of the labor it takes to mass produce. While this movie could have very well limited itself to a bonkers action/comedy, it includes some thoughtful content.

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

DROP (2025) movie mini-review

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“Drop” in on a lot of fun at the cinema. Universal and Blumhouse’s Drop is a highly entertaining Lifetime-esque thriller that requires a prescription-strength dosage of suspension of disbelief. With a charming cast and adrenaline pumping suspense and tension, Christopher Landon’s latest movie delivers an engaging time at the cinema.

Violet is a widowed mother who goes to an upscale restaurant to meet Henry, her charming and handsome date. However, her pleasant evening soon turns into a living nightmare when she receives phone messages from a mysterious, hooded figure who threatens to kill her young son and sister unless she kills Henry.

If you enjoy the Lifetime movies of the 2000s, then this is right up your alley. The stakes are high and you’ll empathize with our central character of Violet, and root for her and her family’s survival. Because the lead cast quickly makes a meaningful connection with the audience, the plot holes (and there are many) almost feel irrelevant because the movie’s strength isn’t so much in the realism of the plot as much as it is in the naturalism of the plot. The movie is disconnected sufficiently enough from reality that it functions as an escapist picture, therefore the fact that there is little to no way this plot could ever happen due to the ridiculous nature. Between the high camp, high stakes, and charming cast, Drop blends the aesthetics of a high-budget thriller with the emotional pitch of a Lifetime movie—often to hilarious and unexpectedly entertaining results.

From writer-director Christopher Landon, Drop is directed with the kind of slick, over-serious tone that almost dares you not to laugh, Drop thrives in that uncanny cinematic space where implausibility meets irresistible entertainment (a.k.a. the Lifetime movie formula). The film is not so much interested in realism as it is in emotional immediacy—and it serves it with gusto. What makes Drop work is the sheet Oscar-level commitment. In an era wherein movies that typically fall in the vein of this one, wink at the audience to cue them in on the joke, this movie never acknowledges the absurdity of the premise. Which proves to be the winning hand, because the audience’s experience is surprisingly immersive. The stakes may be inflated, but the emotions feel real in the moment, and that’s what keeps viewers engaged. it to be consumed by its tornado of drama.

Even though the movie never becomes self-aware of its absurdity, that isn’t to say that the campy levels of plot devices and drama don’t play a role–on the contrary–the movie’s absurdity is its strength. Whether you’re watching in genuine suspense or howling with friends at the sheer audacity of it all, Drop delivers. And it’s way more fun than it has any right to be. Solid as the plot is from a storytelling mechanics perspective, it definitely defies conventional logic. But the movie completely surpasses any expectations I had going into the movie. Drop is a deliciously unhinged suspense thriller that feels like a Lifetime movie on a Red Bull bender—highly recommended for fans of unintentional camp and cathartic chaos.

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 KING OF KINGS animated film review

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Surprisingly good! Masterful storytelling, stunning hand-drawn sequences, and emotional depth are at the heart of King of Kings. Delivering a rich tapestry of contemporary CGI-derived imagery fused with hand-drawn animation, the visual storytelling creates a distinctive style that feels both modern and timeless. King of Kings is a star-studded animated feature that follows Charles Dickens as he regales his son with the “greatest story ever told.” The scale and scope of this story is not typically one that can effectively fit into a runtime of just over an hour and a half; but in the vein of the critically acclaimed Prince of Egypt, the film’s narrative is lean yet never sacrifices diegetic nuance or quality. The impact of the film is aided by a stellar voice cast and characters that are relatable, vulnerable, and ultimately human. This compelling feature film brings history to life for audiences in one of the strongest and most engaging cinematic adaptations of the gospel.

Renowned writer Charles Dickens shares the story of Jesus Christ with his son, Walter. As his father narrates the stirring tale, Walter becomes captivated with the events of Jesus’ life.

King of Kings strikes a tone and pacing that defied any expectations I had for this film. From beginning to end, the film remains engaging. The film’s opening sequences establish the setting and stakes with efficiency, drawing viewers into its world without overwhelming exposition. The narrative unfolds at a steady rhythm, alternating between introspective character moments and energetic action sequences. The excellence in screenwriting and direction is witnessed in the effective oscillation between the serious or reverent and brief moments of levity or comedy. By punctuating scenes and sequences with humorous emotional resets allows for emotional beats to resonate whilst keeping the momentum alive. Despite the film’s epic scope, the story never lingers too long in one place. Key moments in the gospel story are given the space they need to land with full impact, without feeling rushed or drawn out. The climax builds with a gripping intensity even though the story and history are well-known. The film’s showdown culminated in a resolution that is both satisfying and emotionally powerful.

Among the cinematic elements that surprised me the most when I watched this film was the star-studded cast that includes Kenneth Branagh, Uma Thurman, Oscar Isaac, Ben Kingsley, Mark Hamill, and James Bond himself Pierce Brosnan. Additionally, the film’s original song is recorded by Broadway royalty Kristen Chenoweth. The compelling performative dimension elevates the film beyond its breathtaking animation. Each actor brings a distinct energy to their respective role, seamlessly blending emotion, gravitas, and authenticity to create a truly immersive cinematic experience. Whether delivered by a leading or supporting actor, each line of dialogue is delivered with conviction, making even the quietest moments resonate with emotional power. The collective efforts by the cast and director breathe a discernible heart and soul into the film.

There are many layers to the visual storytelling in King of Kings. Ostensibly, we have a story within a story because the film opens with Charles Dickens delivering a dramatic reading of his titular novella A Christmas Carol, later he tells his son the story of Jesus from birth to resurrection. Within this story, there are sequences that dramatically depict the exodus and Adam and Eve’s expulsion from the Garden of Eden. Each layer of the film as a whole are delivered with their own distinctive aesthetic. And within this aesthetic, the characters feel like an extension of their respective worlds rather than merely an extension of the artists drawing and programming the movie. The character animations are fluid and expressive, capturing subtle facial movements and gestures that bring an incredible level of realism to the performances. Battle sequences explode with kinetic energy, yet remain clear and visually stunning, avoiding the chaotic clutter that plagues many action-heavy animated films. The combination of motion-capture technology with traditional animation techniques results in characters that move with breathtaking realism while retaining an artistic, almost mythic quality.

Just in time for Easter, King of Kings reminds us that we, in the words of Chenoweth’s song, want to “live like that.” In a world that often feels so cynical and self-centered, comes an adaptation that challenges us to examine our lives and grow in how we impact the community and world around us. Jesus challenged the pious, bureaucratic leaders that built religious empires and He also made a difference in the lives of the discarded and ignored individuals in His community. Whether you go into this film a Believer or not or whether you emerge a Believer or not, there is little doubt that the actions of Jesus will challenge you to be a better person to friends, neighbors, colleagues, and members of your community.

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