Tag Archives: Marvel

SPIDER-MAN: ACROSS THE SPIDER-VERSE movie review

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Oh, what a tangled web [they] weave…with this cacophony of story threads. The highly anticipated sequel to the Best Animated Feature Oscar-winning Into the Spider-verse opens this week, but unfortunately, it suffers from a bad case of sequelitis brought on by a gluttonous consumption of excess. Spider-man: Across the Spider-verse works in title only–and all too well, as it were. The title says it all, and that is precisely what audiences get in this comic philhar-tragic symphony in the key of overindulgence.

After reuniting with Gwen Stacy, Brooklyn’s full-time, friendly neighborhood Spider-Man is catapulted across the Multiverse, where he encounters a team of Spider-People charged with protecting its very existence. However, when the heroes clash on how to handle a new threat, Miles finds himself pitted against the other Spiders. He must soon redefine what it means to be a hero so he can save the people he loves most.

Across the Spider-verse is what happens when a story idea doesn’t pass the elevator pitch litmus test (wherein an idea can be explained sufficiently enough in three-minutes or less). Quite simply, there is such a proliferation of story webs that there is virtually no plot–there is certainly no resolution before the (and this isn’t a spoiler) cliffhanger ending. Story webs lead into story webs that leads into even more story webs. Suffice it to say, it’s as if writers and producers took every incarnation of Spider-man comic series, threw them into a blender, and served the concoction o audiences. Unless you are read up on decades of Spider-man comics, you will be hard-pressed to follow any storyline. Perhaps the better expression of a collision of Spider-verses would have been in a television series that could have explored a different thread of comics each season.

Clearly, Sony took the extremely positive reception of the first one, focussed on recurring praises, and amplified those to the nth degree. Never mind that more than the visual expression of the story, plotting is crucial to structure, pacing, and coherency. The animators and artists are showcasing brilliance in animated filmmaking, but the clear evidence of screenwriting is nowhere to be found. Without a well-defined central character, a well-defined external goal, and a well-defined character of opposition between the central character and the goal, there is no plot–merely a sequence of loosely connected scenes or fragments of ideas. A fever dream, if you will.

While Across the Spider-verse suffers narratively, it certainly excels in the art of animation. The stylistic animation and editing is outstanding! Much like with the first movie, this one takes the emotive detail found in a single frame of a comic book (or graphic novel) and combines that approach with hand-drawn inspired motion picture animation. There are certainly problems with the story (or stories, as it were), but Sony Pictures Animation has demonstrably shown commitment to the boundless imagination and capabilities of animation. Across the Spider-verse, in how it is expressed in this movie, can only happen within the world of animation. In no way could this movie be expressed in a live-action way. Perhaps the writers were asleep at the wheel, but the animators gave each universe of Spider-man characters its own color palate and animation style.

Make sure to watch Across the Spider-verse in a premium format at your cinema, because the strength in this animated movie has little to do with the story as much as it does the stylistic animation. When a film, animated or live action, strikes a balance between style and substance, it can be enjoyed on the big or small screen without detracting from the storytelling; but when the movie struggles narratively but excels in form, then experiencing it on the big screen is the best approach.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and 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! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

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GUARDIANS OF THE GALAXY VOL.3 movie review

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Whoa! That’s a lot of movie, and a lot to unpack. While James Gunn’s MCU swan song Guardians of the Galaxy vol.3 works well as an allegory of the Third Reich, exploring the atrocities of that nightmarish ideology and movement, the superhero movie is greatly lacking in entertainment value.

Still reeling from the loss of Gamora, Peter Quill must rally his team to defend the universe and protect one of their own. If the mission is not completely successful, it could possibly lead to the end of the Guardians as we know them.

The story is emotionally manipulative and many scenes and dialogue are inappropriate for young audiences. (As a reminder, kids are NOT little adults; kids are lacking in critical thinking skills). Furthermore, the movie suffers from squeezing too much plot into a single movie–the film overstays its welcome by about 30–45-minutes.

Clearly, James Gunn loves theses characters, and I can tell that he is a writer that genuinely cares (a trait I spotlight in my screenwriting classes), but I feel he forgot that a large segment of his MCU audience is comprised of kids, whether he accepts or likes that fact or not, and should have considered that dynamic when crafting this story. A storytelling element that is common amongst the MCU, especially within the Guardians of the Galaxy previous two movies, is levity. There is too little levity to counterbalance the dark elements of the movie. As such, the movie is incredibly heavy and sucks all the joy out of going to the cinema to attend a superhero movie. The movie is not completely without redeeming qualities or uplifting moments, but they are vastly outweighed by the somber tone of the movie as a whole.

Even though the film’s incredibly dark visual elements and themes are tastefully handled for older teen and adult audiences, as whole, this MCU installment is not appropriate for kids. If the movie’s marketing made it a point that this Guardians of the Galaxy movie was not for kids, I wouldn’t have a big a problem with content of the movie, but it’s the fact that kids were not dissuaded in any way from attending this, insofar as I am aware. When Deadpool first released, there was an entire tongue in cheek campaign to remind parents and siblings that this Marvel movie was not for kids–tastefully handled. Perhaps the studio dropped the f-bomb and increased the crass language and violence as a means to warm kids up to Deadpool 3, but that is a completely unhealthy approach as is disrespectful of what it means to be a child and young.

Looking to another franchise with which a whole generation of kids grew up, the Harry Potter movies became more mature as the seminole audience grew. Which is important, as life IS complicated and success, grief, loss, death, and disappointment are part of the human experience. However, the movies never became overly violent, increased crass language, or went to too dark a place (without counterbalancing it with levity and more lighthearted moments). Guardians of the Galaxy vol.3 is representative of the direction Marvel and Disney are going, and it’s not good nor healthy. If the MCU wants to create more movies that are adult in nature, then do that–but don’t take what has appealed to kids and decide to increase the more mature content. As I understand it, there is a whole universe of Marvel characters, and I am confident that a sub-franchise can be started that is geared towards mature audiences from the onset. And when kids get older, they can choose to eventually experience the Marvel movies that were, at one time, inappropriate for them.

What I found most fascinating about the movie is the commentary on the Third Reich (and for those that don’t remember, that is the ideology turned movement that was manifested by the Nazi party). Without going into great detail, one of the common practices at Nazi-controlled concentration camps was to further medical science by experimenting on the prisoners. Unfortunately, some of what we know today, some of the advancements that we use for healing today, came out of those nightmarish compounds. The idea was to learn from the experiments in order to increase the life experience of the master race perfect–correct that which was flawed. Moreover, the idea of a master society was carried into the idea of creating a utopia (something the Nazis had in common with the Soviets). But of course, utopia is an impossibility, and the pursuit of it often comes at the cost of life, individuality, and freedom.

The big bad villain in this movie known as the High Evolutionary is representation of and analogous with Hitler. At the core of the High Evolutionary’s goals and ambitions is the same ideology that drove and inspired Hitler. Furthermore, his speeches that feel they could have been written for a modern day Hitler. I appreciate what James Gunn did here, because it is monstrously challenging to craft a story around such heavy subject matter. Analogy and extended metaphor are outstanding tools to use in storytelling to provide commentary on a topic without talking about it. The ideology that inspired Hitler didn’t go away with him and his party, but it’s still out there, and must be kept at bay. Fictional storytelling can be used as a means to explore an observation of reality that may otherwise be uncomfortable.

If only as much thought had been put into the sets and effects of the movie. Like the perennial house guest that has worn out their welcome but continues to return anyway, prolific CGI continues to be employed instead of showcasing the craftsmanship of practical effects, real sets, and models. I’ve said it before, and I will say it again, CGI can never replace the way real light bounces off real objects into the camera lens. When I look at a monstrous creation of CGI, I am never left with the feeling that I witnessed the hand of an artist—brilliant engineer, yes–artist, no. Furthermore, not only is the CGI screaming in your face, but the movie’s music and sound effects mixes are also deafening. The kid seated next to me had his hands over his ears for a good portion of the movie. There is nothing subtle or nuanced about this movie.

Guardians of the Galaxy vol.3 represents James Gunn’s MCU swan song as he is now working on DCEU (or whatever it’s going to be called) movies. And he certainly left an indelible mark upon the MCU because few other directors (if any) could have worked the magic he did with the Guardians, a one-time obscure Marvel comic series. While I have many reservations of taking your kids to see this movie, it is one that should inspire thoughtful conversations about the parallels the villain(s) shares with the Third Reich.

Guardians of the Galaxy review | Guardians of the Galaxy vol.2 review

Ryan teaches Film Studies and Screenwriting at the University of Tampa and 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! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

ANT-MAN AND THE WASP: QUANTUMANIA movie review

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Entertaining and world-building. Phase 5 of the Marvel Cinematic Universe launches with Disney-Marvel’s Ant-Man and the Wasp: Quantumania (AWQ). This (paint-by-numbers) adventure of epic proportions benefits from a small central cast, which allows for effective character arcs and development. Furthermore, the central cast is elevated to near purrrrrrfection with the incomparable Michelle Pfeiffer’s significant screen presence as the original Wasp Janet Van Dyne. For someone that can take or leave the MCU, simply knowing that Michelle Pfeiffer is in a pivotal role, is enough to get me to watch. Perhaps that is also like you. While this is not her first time returning to the superhero genre (first did it in Ant-Man and the Wasp), this is the first time that she is front and center, giving hope that we may yet still see Pfeiffer return to her career-defining role as the definitive Catwoman.

Ant-Man and the Wasp find themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that pushes them beyond the limits of what they thought was possible.

The latest installment in the MCU mostly functions as a standalone movie, but there is clearly world building to lay the piping for Phase 5. Now, I do not follow the comics nor have seen any of the TV shows, and I was able to follow sufficiently enough, which means that anyone that has seen the MCU theatrical movies will have sufficient knowledge to follow the journey. Yes, the visual effects are expertly generated by graphics engineers, but I am seldom impressed by entire worlds that exist within the confines of a computer. There is very little real set design, which mitigates the ability to become immersed in the Quantum realm. AWQ represents what happens when a single media conglomerate owns both Marvel and Star Wars because this movie feel like the combination of Star Wars and Avengers. There is even a scene right out of the cantina on Tatooine. To the superhero movie’s credit, the plot is simple and the characters complex, so it receives high marks for screenwriting mechanics.

Par for the Disney course these days, there cannot possibly be a movie released without a dose of the cynical worldview of applied postmodernism. For AWQ, this dose comes in the first sequence of scenes following the prologue. Cassie is in jail for antagonizing law enforcement that (we are told) launched tear gas into a (we are told) peaceful protest. This serves little to no purpose, and most certainly has no bearing on the plot; therefore, it was in there simply to check off a virtue signaling box. I can see what they were trying to do–trying to show that Cassie has the early signs of going down her father’s path of delinquent behavior. If Disney-Marvel wanted this to be more poetic and elicit greater empathy from the audience, then Cassie should have been shown engaging in petty crime not activism. This would have demonstrated that Scott’s lack of engagement as a parents (due to his personal brand and professional pursuits) has had a negative impact on Cassie’s development. Furthermore, this would have provided for a greater character arc when she in instrumental in saving the universe.

What a fantastic cast!! Cast highlights include (as mentioned earlier) Michelle Pfeiffer, Michael Douglas, and a surprise cameo from Bill Murray! This otherwise paint-by-numbers superhero movie is elevated by the contributions of these exemplary actors. Even if you don’t see all the MCU movies, I highly recommend the Ant-Man movies because they are far more character-driven than the others, and the small central cast benefits from time and attention paid to their respective interpersonal journeys that provide depth to the high concept plot. For the most part, the running theme of the Ant-Man movies generally revolves around the idea of fatherhood and (by extension) parenting.

If MCU fans were looking for their next big bad, then they will find the new archenemy bent on the destruction of the known universe, without going into spoilerific details, I can say that this new villain makes Thanos look like Bowser from the Mario games, with King Koopa being our newest main villain. Be sure to stay for both the mid and post-credit scenes as they raise the stakes to exponential levels.

If you’re looking for a fun movie that you can just kick back and enjoy, then this may be your ticket. I highly recommend watching it in a premium format (such as IMAX, Dolby, or XD) because the CGI sets will shine best with the best sound and screen at your local movie theatre.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and 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! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

BLACK PANTHER: WAKANDA FOREVER movie review

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Wakanda Forever a.k.a. Postcolonial Theory: the Movie. The overly long, poorly paced latest installment in the MCU feels disjointed. Black Panther: Wakanda Forever goes on forever, and ever, and ever, and ever, because the movie is overstuffed with subplots to nowhere and one-dimensional (or plot device) characters that serve little substantive purpose except to augment the runtime. About 45-minutes can easily be carved out of the movie, and the action plot would be largely unaffected. Other times, it feels as if entire sequences or scenes are missing, because the editing (montage or assembly) is choppy. The absence of the late Chadwick Boseman is felt from beginning to end, and the movie constantly struggles to find its footing as it moves forward in the MCU. The tributes to Boseman at the beginning and of the movie are tastefully, and reverently crafted. While the writing of the movie is insufferable, the performative element of the mise-en-scene is chiefly supported by the incomparable Angela Bassett. Wouldn’t be surprised to see her receive a Golden Globe nomination for actress in a supporting role next year. There is a good followup to Black Panther somewhere in this nearly 2.75hr movie, but it must’ve been caught up in the snap.

Queen Ramonda (Bassett), Shuri (Letitia Wright), M’Baku, Okoye and the Dora Milaje fight to protect their nation from intervening world powers in the wake of King T’Challa’s death. As the Wakandans strive to embrace their next chapter, the heroes must band together with Nakia and Everett Ross to forge a new path for their beloved kingdom.

The command performance by Bassett is the highlight of the movie! Every scene that features her instantly increases in quality and gravitas. With just one look, she steels the scene and convinces you that what she is saying or feeling is incredibly important. Unfortunately, the rest of the characters are largely one-dimensional and lack meaningful arcs or characters development. One of the biggest problems is the writers’ refusal to bloody your central character, which holds the other lead and supporting characters back from forming empathetic connections with the audience. Princess Shuri is nearly a deus ex machnina in and of herself. In other words, we have (Star Wars) Rey: Vol.2 featured in Wakanda Forever.

When characters are too perfect, too capable (to an uncanny level), and the writer(s) refuses to bloody the central character, then the characters lacks–well–character (or a believable human dimension). Meaning, there is little doubt the character will succeed, and typically success is paired with a false sense of dread or suspense that the character will undoubtedly achieve that which will make them a de facto superhuman. Simply stated, superhuman (or superhuman-like) characters are neither fun to watch nor do they service the plot in a meaningful way. More like characters as a plot device.

Functioning as an overt attempt at subtext, there is a constant reminder of the narrative’s embrace of the cynical postcolonial theory, which is the overarching idea of the systematic deconstruction of The West in order to save the other, thus erasing universal truths and metanarratives from the world.

The goal of postcolonial theory is to decolonize our world: the systemic undoing of colonialism in all its manifestations and impacts. Powerful, albeit difficult to support with logic, postcolonial theory is concerned with the critique of the affects when a dominant culture interjects its values, beliefs, and cultural norms upon another culture. Twice in the film, Martin Freeman’s character is referred to as a colonizer in a rather pejorative attempt at humor. Not limited to the relationship between Wakanda and the rest of the world (mainly The West), but the same overt parallel is dramatized between another important world in the movie and The West.

This theoretical approach to sociology and scholarly activism advocates that colonized people react violently in order to maintain their increasingly fragile mental health and self-respect. Postcolonialism has formed the radical foundation upon which many marxist politics are built. Objective knowledge (and by extension science, facts, universal truth)—that which is true for everyone, regardless of cultural values—is seen as unobtainable because knowledge is a construct of the dominant group’s worldview, and must be forcibly removed from the world. Which is a large part of the movie–the elimination of The West. This factors into two competing story threads.

But why is this a dangerous theory upon which to build an entire movie? The framework of postcolonial theory urges those that see themselves as oppressed (even if that oppression was decades or centuries ago), to abandon evidence-based, rigorous testing, research, and critical thinking in exchange for assumptions, subjective observations, and hypotheses. Ironically, postcolonial scholar-activists attack systems of power by erecting systems of power. The radical, proactive denial of the existence of universality actually pushes a different universality (hmm…sounds like a metanarrative…but aren’t those supposed to be bad?).

Another cynical theory that is manifested in this movie is feminist theory. Whereas I do not feel the need to spend too much time on this more commonly known theory, it’s important to note that all the lead and chiefly supporting characters are women–powerful–women, and all the villains are men–inept or evil–men. When writers craft a mix of characters, there should be room for both, as that would be more representative of real life. Both the X-Men and The Avengers showcase a great mix of both powerful, cunning, intelligent men and women. Therefore, general audiences can connect with a character(s).

Augmenting the runtime of the movie is both a subplot that ostensibly goes nowhere and a supporting character that is little more than a plot device. Without getting into spoilers, there is a subplot featuring Freeman’s Everett K. Ross that fails to add anything substantive to the movie. Just when you think it’s going to provide a reveal about a rather mysterious characters from other MCU movies and Wanda Vision, nothing happens. If you remove this subplot from the movie, little to nothing changes. Connected with this subplot is a supporting character that is (supposed to be) the MacGuffin. But the writers attempt to give this character gravitas. Unfortunately, but there isn’t enough substance to this character, thus rendered one-dimensional. Furthermore, this character could be removed without changing much. And what little would change, could easily be given to another character of plotting element.

No doubt that Black Panther: Wakanda Forever will be a huge financial success at the box office, but without the late Chadwick Boseman, the movie feels like a bunch of ideas from a woke writers room that were thrown against the wall, and forcibly connected as coherently as possible. But, the movie does create a way, albeit of little to no surprise, for the Black Panther to continue protecting Wakanda.

Ryan teaches Film Studies and Screenwriting at the University of Tampa and is a member of the Critics Association of Central Florida. 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. If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1

ETERNALS movie review

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An ambitious departure from the previous paint-by-numbers MCU films, but while it will attempt to distract you with impressive visuals (other than the Deviants), it’s a soulless film with a convoluted plot full of neo-liberal woke-pandering. Chloe Zhao’s The ETERNALS is the result of a writer/director concerning themselves far more with satisfying the rubric of check-boxes associated with toxic woke culture than telling a thoughtful or entertaining story. This is MARVEL Studios’ movie to demonstrate, through superficial virtue signaling, that they are onboard the Woke Express. Perhaps the idea of this movie sounded innovative in the echo-chamber meetings, but the execution leaves much to be desired. Diegetically, the prolific world building, MCU connectivity, and character development this movie needed to do, even the more than 2.5hr runtime isn’t sufficient, and ultimately feels like a DCEU-style rush job. Between the chaotic plotting, bad CG (those Deviants look like something right off the SyFy Channel), cosplay uniforms, dialogue lacking in any subtext, and the gross neglect for any nuance to the storytelling whatsoever, this movie is the product of an assortment of post-modern critical theories and not the imagination of a filmmaker. Clearly Zhao has an eye for cinematic composition, but her skills as a storyteller are not nearly as fine-tuned–certainly not for such a gargantuan superhero spectacle.

The Eternals, a race of immortal beings with superhuman powers who have secretly lived on Earth for thousands of years, reunite to battle the evil Deviants.

Dramatize don’t tell. This is the No.1 principle I teach in my film studies and screenwriting classes. And this important convention is broken at the very beginning of The Eternals. Very few movies have demonstrated that scrolling text in a prologue can pay off dramatically (i.e. Star Wars). It works in Star Wars because that is how the world was first introduced to the mammoth intellectual property, therefore, it becomes part of its branding (and is missed when it doesn’t happen). Moreover, there was no frame of reference prior to A New Hope; and since we were being plunged into the middle of the action, it was necessary to preface the story that was about to unfold. Audiences aren’t being introduced to the MCU–they’ve been in the MCU ostensibly since Paramount’s Iron Man. Therefore, this demonstrates a lazy approach to providing exposition that could have otherwise been integrated more thoughtfully into the main action story. Furthermore, this lack of dramatic exposition is problematic, not only at the beginning, but throughout the movie.

If there was a social media campaign or outcry about it in the last few years, you will find that box checked off in this movie. As I watched this movie (in IMAX, btw), I couldn’t help but envision a rubric, not unlike the kind many professors use for grading papers. Personally, I don’t use a rubric in my classes because satisfying requirements in that fashion does not tell me how you can apply what you learn in class to your topic; but rather, that you know the bare minimum you need to do in order to get the point(s). Think of it as a typical test. A typical test only demonstrates to the professor how much you can remember NOT how much you know or your level of wisdom (the application of knowledge). It’s as if Zhao held meetings with MARVEL Studios executives and staff to outline every woke box that needed to be checked in this progressive movie. I won’t go into all the examples because that would take up a paragraph in and of itself, but if there has been a push for representation, then you will find it here. And all those characters in one place means that most are not developed sufficiently and feel more like one-dimensional tokens than characters crafted by a writer who cares. That’s the problem here. Increased representation across the spectrum of humanity in cinema is very important, but not when it comes at the expense of the integrity of the characters themselves.

One of the hottest topics of discussion to come out of this movie is the inclusion of a PG-13 sex scene, which is long overdue in a cinematic universe such as this one, which is filled with HOT male and female characters in form-fitting uniforms. More than demonstrating to audiences that the MCU movies have grown up with their initial audience of teens and 20-somethings, this scene is important because it shows that these immortal beings have some humanity in them. Superheroes and supervillains are often not thought of as human, and even though we learn that these immortal beings aren’t exactly human, they do take on many characteristics of humans, and this scene is a refreshing reminder that superheroes have erotic passions just like the rest of us. There is a vulnerability about them.

Because of all the piping that is being laid in this movie (enough for at least two or three movies), the story feels incredibly rushed. It reminded of how the DCEU tried to complete with MARVEL, years after MARVEL had been in the MCU. The result was hurried world building. It took MARVEL years to build the MCU, but the DCEU tried to accomplish the same in a year or two. We have five stories here (1) its creation myth and early Mesopotamia (2) the time in Babylonian Empire (3) the time in the Aztec Empire (4) the Greco-Roman Empire, and (5) the present-day story. Each of these is incredibly important to the main action plot of The Eternals, and yet these otherwise rich settings are reduced to flashback fodder. There are easily three thoughtful movies that could have come out of the five aforementioned stories. The result is a single plot that cannot possibly accomplish everything that it needs to in order to effectively tell the story and do it justice. I’m still not entirely sure why the Deviants were attacking the Eternals; oh it was sort of explained, but like with much of the rest of the film, it wasn’t thoughtfully developed either.

If you are familiar with Middle Eastern or Greek mythology, you will enjoy the integration of some of the mythological stories with which you are likely familiar. From the Epic of Gilgamesh to Ikaros to Athena, you will learn that it’s the Eternals that inspired these stories. While we may never know precisely what inspired these stories in real life, they were likely inspired by real individuals, much like legends and lore are to this day. So, knowing that these powerful, immortal beings have been secretly living on earth makes since, and can be appreciated both through a historic lens and through the backstory of the main action plot of the movie.

There are two end-credit scenes, each setting up a new characters. I won’t spoil it (but don’t look at the IMDb either). One scene in at the beginning of the credits and the other is a post-credit scene.

Ryan teaches American and World Cinema at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in Tampa or Orlando, feel free to catch a movie with him.

Follow him on Twitter: RLTerry1