Tag Archives: John Lithgow

CONCLAVE film review

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Spellbinding and poignantly reflective! It’s like House of Cards but with Cardinals and Nuns. Truly captivating.

Cardinal Lawrence has one of the world’s most secretive and ancient events, participating in the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

I feel the film strikes a delicate balance between reverence for the subject matter, yet provides us with a subtle critique of its institutional traditions. The story unfolds with deep respect for the gravity of the papal election. However, through its unfolding intrigue, the film also reminds us that faith should ultimately be centered on God rather than on rigid customs or political maneuvering. The narrative underscores how human ambition, secrecy, and tradition can sometimes cloud the true purpose of faith. And the plotting is meticulously structured. Every revelation is carefully placed, each character’s motivations are unraveled with precision, and the pacing ensures that the suspense never overshadows the film’s thoughtful meditation on spirituality and power. I also like how the screenplay both honors faith-based institutional traditions but challenges the audience to reflect on what truly matters in faith.

To me, the cast collectively delivers a compelling performative dimension that drives the captivating nature of this film. Feinnes, Rosselini, Tucci, Lithgow—what a powerhouse. The actors did a brilliant job of drawing audiences into the pomp, circumstance, and almost clandestine nature of the election of the Pope. Feinnes’ performance as Cardinal Lawrence was bold and convicting, yet incredibly nuanced at the same time. The other cast member I want to spotlight is Isabella Rossellini as Sister Agnes. And while the gravitas she brought to every scene, in which she was featured, allowed her to steel the spotlight, there were Amy moments—to my delight—that I could hear Lisle Von Rhouman from Death Becomes Her. 

I love how the characters are not merely realistic individuals vying for power within the Vatican but, a closer reading reveals something far more important in these characters: the key characters each represent broader themes of faith, morality, and human ambition. Each character serves as a symbolic force in the intricate balance between divine guidance and earthly maneuvering. Just to name a few: I see Feinnes’ Lawrence as the moral compass, Tucci’c Bellini as the political strategist, Lithgow’s Tremblay as the power seeker, and Rossellini’s Sister Agnes as the voice of reason or conscience. Each character represents different facets of power, faith, and human imperfection within religious institutions. Collectively, the characters offer audiences more than a quasi-political thriller, but a meditation on the true meaning of leadership.

The exquisite costuming and production design truly immerse us into the grandeur and secrecy of the Vatican. The costuming itself was a work of art that demonstrated careful attention to ecclesiastical tradition but also incorporated visual storytelling elements. The choice of fabrics, embroidery, and even the way the robes drape contribute to the film’s overall sense of realism and reverence, and serve as an extension of the setting and the personalities of the characters. As for the production design, every detail, from the richly embroidered vestments to the imposing architecture, reinforces the film’s solemn, high-stakes atmosphere. A key aspect of this visual achievement is the film’s use of Cinecittà Studios in Rome. Founded in 1937, it is one of the largest film studios in the world and has a rich, legendary even place in cinema history. Which I could go into for the rest of out time together. But suffice it to say, it was home to Liz Taylor’s Cleopatra and Isabelle Rossellini’s famous director father filmed at the storied studio. You can visit it, and its theme park today! 

I feel the film has a lot to say about a variety of topics. If I was to identify a few, I’d say there are themes and messages concerning faith and politics, which we witness in the actions of the cardinals, while ostensibly seeking to follow God’s will, we are reminded that they are humans influenced by personal beliefs, rivalries, and ambitions. While it’s a group of men in this film, in this situation, we can really extend this idea to any and everyone. I also like how the film explores the immense weight leadership brings with it. Probably what hit me the most was how the film was not so presumptuous as to posit answers or solutions, but rather more concerned about prompting introspection. It respects the sacred traditions of the Church while also questioning the imperfections of any human-led institution—which is all of them. The film suggests that true faith is not found in ceremony or power but in the individual’s relationships with God and his or her fellow man.

I love when a film transcends its premise. While the surface of a film can be intriguing, entertaining, funny, or scary, it’s what lies beneath the surface that offers a timeless cinematic richness. And Conclave is one of those films. It offers us a profound reflection on the world we live in, and the intricate dynamics that shape our daily lives. This film serves as a mirror to the struggles of leadership, morality, and power that permeate every institution—from politics to corporations, from religious organizations to personal relationships.

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

“Bombshell” Film Review

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Explosive! Bombshell is a brilliantly orchestrated and riveting film that takes you behind the scenes at Fox News in the months leading up to the oust of news business mogul Roger Ailes. Follow Megyn Kelly, Gretchen Carlson, and (fictionalized) Kayla as they battle the courts of public opinion and the seemingly impenetrable fortress of Fox News to take down the repulsive Roger Ailes. I went into this film prepared for a snark-filled satire, but what I was presented with was a meticulously written and directed docudrama that struck a fantastic balance between feature news story, so to speak, and motion picture. Although the film takes itself appropriately seriously, there are plenty of moments of levity that intertwine to strike the perfect tone. Where films tackling subjects as high profile and personal as this one occasionally fall victim to creating caricatures of real people and settings. Rather than limit the film to dramatizing the legal battle and cold hard facts, it uses the fictionalized character of Kayla to explore the psycho-social cost of being the victim of sexual harassment. So this film is just as much a human story as it is a recreation of an actual event. And it’s that human component that is explored through Kayla, Megyn, and Gretchen that gives this film incredible depth. There is no pretense in this film; it’s a raw, organic approach to adapting this story from the small screen to the big screen. You even get a few surprise cameos from some some familiar anchors and other personalities. Exemplary writing and direction is coupled with a highly effective stylistic cinematography and outstanding performances by the lead and supporting cast.

Bombshell is the dramatization of the downfall of Fox News mogul Roger Ailes that chronicles a group of women as they decide to take on the mastermind of the “fair and balanced” cable news network and the toxic atmosphere he presided over at Fox News.

There have been a few films in recent years that seek to dramatize and tackle the human cost of lecherous sexual harassment and abuse of power in the work place. But this is the first one to strike the perfect balance of PSA and dramatic plot. I love the irony all throughout the film, the stark contrast between “traditional values,” and “fair and balanced” approaches and the repulsive behavior behind the scenes. Yes, Ailes might look like a pioneer for women in that he was the first to truly give women the big anchor chair, but at a scaring and traumatizing cost. He was a sadistic magician of sorts with his “look at what my right hand is doing, meanwhile my left hard is truly pulling the strings.” Much like the news network that he built (and to his credit, he was a broadcast news business genius), the surface was not a reflection of the disgusting practices to craft this “family friendly” illusion. The truly scary portrait that this film paints is not limited to Fox News, but it is likely a reflection of the business of running a “visual medium” by in large. While much of what Ailes did was direct sexual abuse and harassment, he committed a lot of indirect abuse and harassment that leaves just as traumatizing a mark upon the women he abused. Much like Hustlers posited that the entire world is a strip club where a few are dancing while the majority are paying, this film also explores the dark, seedy underbelly of “sex sells” and sex appeal.

The performances are mindblowing! How Charlize Theron completely transformed into Megyn Kelly is nearly as uncanny as Rene Zellweger’s transformation into Judy Garland in Judy. You will swear that you are watching Kelly on the big screen. Theron not only nails the look of Kelly, but the tone of voice, rhythm of speech, and body language. She is truly captivating, and showcases her phenomenal acting chops. Here’s hoping for an Oscar nom for her! Although Megyn Kelly is the central character, she is supported by Gretchen Carlson brilliantly portrayed by Nicole Kidman and fictionalized Kayla, played by Margot Robbie. In the same vein of Theron’s excellent performance, Kidman also nails Carlson down to a science. When I watched Kidman on the Fox and Friends set, I swore that it was Carlson herself. Kidman brings out the strength of character and vulnerability of Carlson. It is clear that Kidman did her homework as well as her character did. Finishing out our trifecta of women at Fox is Kayla, an entry level staff member on various shows at Fox News. She is our conduit through which we experience the extend of Ailes reprehensible behaviors behind the scenes. She represents a young eager professional that can be found in many offices. She is the “everyman,” for all intents and purposes. This role gave her so much to work with, and she was able to demonstrate the wide breadth of her acting abilities. Such a versatile actor! I also appreciate the writing of her character for giving us a normal, every day, woman of faith. One whom isn’t prudish, judgmental, or pious. Her character was likable, sex positive, and NOT homophobic. However, she also highlights how many conservatives view Fox News. And you can feel her heart break as she falls victim to Ailes, that moment she realizes and experiences that the head of Fox News is a disgusting human being.

Not only do the women shine brilliantly in this film, but John Lithgow’s Roger Ailes is fantastic! It’s hard to praise such a disgusting man, but here we have to separate the actor from the character. Lithgow is one of the most charismatic and witty actors ever, and he convinces us that he IS Ailes. I can only imagine the difficulty in portraying such a villainous person. What stands out the most in the performance, aside from the image, is how much he humanized Ailes. Showed him to self-aware of his body image and how he, much like we, rationalize negative behaviors. But it’s this human side that makes Ailed even more frightening. He successfully turns Ailes from TV business diabolical genius to mob boss. Towards the end of the film, we get an appearance by Malcolm McDowell as Rupert Murdoch himself. Such a delightful surprise to see McDowell on the big screen again. His Rupert is on point! And in his brief time on screen, he commands it strongly.

The choice of cinematography was very interesting. The movie starts out as if we are at Fox News HQ on a tour of the facility and shows. Our guide is Megyn Kelly! She simultaneously walks us through the facility and provides poignant social commentary on the image and relationships of Fox News to the world. The manner that the camera moves throughout the scenes of the film is in a documentary fashion in the scenes that are real-life recreations of the actual events. When we are in a fictionalized part of the movie, then the camera moves in a more traditional manner for scripted motion pictures. This oscillation between objective and subjective makes for a dynamic experience. Instead of a clip show of headlines and what trended in social media during this time, the film goes deeper to reveal the heart of the issue: ultimate power. Tension and suspense are built effectively as the narrative unfolds in a gripping fashion. From the creative to the technical, everything about this film works flawlessly.

Ryan teaches screenwriting 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! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Pet Sematary” (2019) horror film review

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“Sometimes dead is better.” Unless you’re back from the dead with a vengeance! Brace yourself for the spine-chilling, immensely terrifying 2019 adaptation of the best-selling novel Pet Sematary by the legendary Stephen King. Whereas many remakes/reboots of earlier horror films often suffer, this one emerges from the soured soil as a force to be reckoned with. Directors Kevin Kolsch and Dennis Widmyer deliver a heartpounding rollercoaster of a nightmarish experience as Pet Sematary opens everywhere this weekend. Instead of a direct from page to screen adaptation, much like the fantastic 1989 original version (and yes, it still holds up), this version takes some creative liberties; however, the soul of the novel and even the 1989 version is clearly there. This creative latitude enabled the film to deliver new, surprising scares that are sure to frighten you. If you haven’t seen the extended trailers–DON’T–cannot say that enough. It’s best to go into this film with only the name and the initial teaser trailer in your mind. Not a spoiler, because it’s well known this this horror film and novel deals with loss, grief, and the uncanny (i.e. the return of the repressed), so the challenge of this adaptation was to force the conflict to derive from those issues and inspire the hellish events for which the story is well known. 2019’s Pet Sematary delivers in spades–quite literally. You will feel the ominous sense of dread from the moment the Creeds move into their new house and that feeling will stay with you as you are buried in a nightmare. This plot is solid.

I joined the popular podcast Mike Mike and Oscar to discuss this film, so click below to listen to the show. You are also invited to continue reading my written review.

Dr. Louis Creed (Jason Clarke) and his wife, Rachel, relocate from Boston to rural Maine with their two young children. The couple soon discover a mysterious burial ground hidden deep in the woods near their new home. When tragedy strikes, Louis turns to his neighbor Jud Crandall (John Lithgow), setting off a perilous chain reaction that unleashes an unspeakable evil with horrific consequences (IMDb summary). Sometimes dead is better. 

Let’s address the white ‘el’ephant in the room first. And I don’t mean the major plot twist changed from the novel and 1989 film that we saw in the trailer (c’mon, this is a well-known story and trailer at this point)–I mean the dialogue. Is the dialogue horribly bad? No. But it’s definitely the weak element in the script. Fortunately, this movie makes up for that with incredible windup, excellent deliveries, and the fact it is nightmarishly creepy. The pacing and tone are excellently crafted, and the visuals are fantastic. Never one does this film attempt to prove that it’s better than the original; in fact, it takes what many of us love about the original and use those moments as expertly designed fake-outs and false setups that are followed with something new and fun. So, it acknowledges the original without remaking it. Furthermore, it integrates many elements from the novel and original into the plot seamlessly. Achieving an overwhelming sense of dread from the very beginning of a horror film is quite difficult. That sense of unease is a combination of the atmosphere, setting, and ominous visual elements. Not five minutes into this movie, you are feeling that sense that something is definitely not right about this place. Yes, this is in part because many of us know what is to come; but even for new folks, the evil of this place can be felt all over your body. One of the creepiest scenes features the warped mirror image of an earlier cheerful moment, but it has been affected by the sour soil of the ancient burial ground.

While there isn’t much time to develop these characters, the writers were challenged with developing them enough for the story, and it works pretty well. The script isn’t quite as well-written as IT, but the margin of difference is not tremendously wide wither. As much of a fan of the original version as I am, there are areas that this version got better. For instance, the Zelda subplot–much more organically integrated into the main plot of Pet Sematary and even drives the main plot forward by revealing aspects to Rachel’s character. Two things for sure, these are two bad parents and Jud is an irresponsible neighbor. We don’t spend much time in the campus hospital where Luis Creed works, but we still get the big event of the passing of Pascow. Pascow’s character, whereas his harbinger of death or Jacob Marley (as so eloquently put by Mike Mike and Oscar) character isn’t as integral to the plot of this version, he looks more terrifying and doesn’t take a turn for the humorous. Of all the characters, I was most curious about John Lithgow’s performance as Jud. I was cautiously optimistic because Lithgow often has a way of delivering memorable performances, no matter how minor the role. His expression of Jud differs from that of Fred Gwynne’s but he still stays true to the character of Jud. And there are even moments that he channels Gwynne’s interpretation of the infamous neighbor. Just wish he had a Maine accent since he is still a local boy in this village (which is very close to Derry, according to a road sign). One of the best scenes in the movie take place as Lousi and Jud sit around a campfire, drinking, smoking and having an ill–fated heart-to-heart.

Contemporary remakes of earlier horror films often rely upon CGI versus practical effects. Cast that worry away because other than a few moments of CG, there are lots of fantastic practical effects from set design to the kills. There is such a high level of authenticity in everything the camera allows us to see, and even those moments that lie just off screen. Yes, there is still the inescapable supernatural factor in this story, but everything else is pretty well grounded in reality. From the parents building a fence to the proximity of the ancient burial ground, everything works to craft an authentic setting and characters. And yes, your Achilles tendon will still hurt in that famous kill. The directors truly seem to take into account that you cannot replace the way real light bounces off real objects and into the camera lens. Out two houses, the characters, and Church the cat exist in the time and space of each and every scene. With the exception a couple scenes that were not necessary or drawn out too far, they all work quite well to setup the following scene and point to the end of the film. There are moments that will cause you to look under beds, under stairs, and even analyze your pet more when you get home. For young audience members, watching this story for the first time, I imagine that they will be terrified just like I was when I saw the 89 one as a kid.

While I’ve read reviews claiming that this is the best Stephen Kind page to screen adaptation, I feel that other films have been more effective. Off the top of my head, I’d say that Misery is a better film both in terms of its cinematic critical value and faithfulness to the novel. Not to mention the Oscar-winning performance by Kathy Bates as Annie Wilkes! No mistaking it, 2019’s Pet Sematary is a good horror movie and one that has a moderate level of rewatchability. Highly recommend for horror fans!

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting 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!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“The Accountant” movie review

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theaccountantA moderately good investment of your time. The Accountant is quite the interesting crime drama that shows that math can be exciting and lead to dangerous adventures. Directed by Gavin O’Connor and starring a phenomenal cast including Ben Affleck, Anna Kendrick, J.K. Simmons, and John Lithgow, this film will keep your intrigue the entire runtime. What makes this film most interesting is the approach one might take when screening it. You can either approach it from a psychological/behavioral or a financial perspective. Although the plot is a little difficult to follow at times, the solid performances by the actors make the film one not to miss if you enjoy thrillers involving the government, covert ops, and savants. While some in the U.S. are shouting “make America great again,” Warner Bros. is shouting “make math sexy again.” From drop-dead shoot-out scenes to awkward comedic interactions, The Accountant will definitely have you thinking about it even after leaving the movie theatre. One the verge of being a non-linear film, the main plot does, at times, get lost in a few poorly integrated sub-plots. Definitely feels like one of those movies where important scenes that would have better supported or developed some of the sub-plots were left on the cutting room floor. The movie is not without its highlights. Affleck and Kendrick deliver outstanding performances that hold the film together. Whether it’s Affleck’s vacant expressions on his face or Kendrick’s WTF moments, the best part of the film is the talent on screen.

Talk about a double life. Accountant Christian Wolfe (Affleck) runs a small accounting agency in a nondescript strip plaza as a cover for his real work as an accountant and financial analyst for many organized crime groups. When the U.S. Treasury Dept begins to investigate him further, he takes on a seemingly normal client in an innovative robotics company. Forced to work with a beautiful and geeky in-house accountant (Kendrick), Wolfe is challenged with conducting a forensic analysis of the financial records in order to determine if there is embezzlement or money laundering occurring at the humanitarian robotics company. When he uncovers corruption, his life and the life of his counterpart is in jeopardy. Good thing Wolfe has an extensive background in martial arts and tactical armament.

Central to the plot of the film is the fact that our protagonist Christian Wolfe (Affleck) is on the autism spectrum. Although, he is on the high functioning end (often times diagnosed as Aspergers syndrome), Wolfe certainly displays classic signs of autism throughout the movie. More noticeable in his younger years, he still carries some of the psycho-social dysfunction into his adulthood. Wolfe’s father was a high-ranking official in the Army specializing in psychological warfare. He ran his home fairly, but with an iron fist. Both Wolfe and his brother were highly affected by the departure of their mother at Christmastime. The following years were hard on both of them. Coupled with–let’s be real here–daddy issues, Wolfe channels all his time and energy into military operations, martial arts, and psychological defenses. But, this intense training was forced on him by his father in order to combat the behavioral issues brought on by autism. After the death of his father, Wolfe decides to go from hero to anti-hero by making his living off organized crime but funneling his money into charitable causes. Although he may not have been racking up zeros in his bank account, he found other ways to be paid: valuable original artwork. The character of Christian Wolfe posts quite the dichotomy of attributes that create an interesting juxtaposition. One one hand, Wolfe is a ruthless criminal but not he other he is a humanitarian who appreciates fine art and loyalty.

There haven’t been many movies that fall into this sub-genre of drama. The Accountant is what you get when combining Batman with The Big Short. Because the film contains the classic elements and plot devices found in the aforementioned films, it has a little bit of an identity crisis. One of the flaws that besets this film is too much sub-plot. If the writer had spent more time developing the autism or concentrated on the daddy-issues sub-plot then perhaps the film would have flowed more smoothly. As it stands, the flashbacks introduce too much under-developed material into the high-concept plot. It’s almost as if the writer and director took a high-concept film and attempted to give it more emotional depth. The result is a fractured film that is interesting to watch and includes some dark comedy but suffers from coherent storytelling.

There aren’t too many choices at the cinema this weekend. If you are looking to laugh your ass off, then perhaps the Kevin Hart film will fit the bill; but if you are looking for an interesting film that highlights the potential and capabilities of those who are diagnosed as autistic and channel those abilities into a financial thriller, then The Accountant would be an excellent choice. Although there have been films featuring protagonists with physiological or psychological disabilities, this one is unique in that the main character harnesses the powers of the indirect affects of autism, and becomes an anti-hero who the audience roots for the whole time.