Tag Archives: Movie Review

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

DEATH OF A UNICORN horror comedy mini review

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

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

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

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

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

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

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

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

HEART EYES horror movie review

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

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

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

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

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

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

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

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

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

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

COMPANION horror movie review

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

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

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

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

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

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

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk about all things cinema. Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry

PRESENCE horror film review

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It’s, well, interesting. As soon as I saw that David Koepp was the screenwriter, I was instantly intrigued. While I’m hit or miss with Soderbergh, I’m generally hit with Koepp. But, I find this film’s apparatus to be more interesting than the story itself. While Presence is ostensibly a ghost story, it derives much of its intrigue–not from its narrative–but from its formal and technological apparatus. Soderbergh, known for his experimental approach to filmmaking, employs an innovative first-person perspective; however, this stylistic choice, coupled with Soderbergh’s meticulous control over framing, lighting, and movement and Koepp’s minimalist screenplay, resulted in elevating the film’s formal qualities above its forgettable plot and one-dimensional characters.

In short, the film is about a family that moves into a suburban house and becomes convinced they’re not alone.

The film unfolds through the perspective of an unseen spectral presence, effectively turning the camera into an active participant rather than a passive observer. This shift from traditional storytelling to experiential cinema foregrounds the act of seeing and being seen, inviting viewers to consider their own complicity in the voyeuristic aspects of horror. The film’s reliance on long takes and fluid camerawork creates an unsettling sense of omnipresence, emphasizing the medium’s ability to manipulate space and perception.

While Koepp’s screenplay is serviceable in its exploration of haunted house tropes, it often feels secondary to the film’s preoccupation with its own form. Koepp’s screenwriting is characterized by minimalistic dialogue and a structure devoid of conventional plotting. Rather than relying on his penchant for exposition-heavy scripts, Koepp wrote a screenplay that relied primarily on subtext and visual cues, thus inviting the audience to experience the story through mood versus visually-driven stimuli. The film’s thees such as literal and metaphoric isolation, family dysfunction, and the effects of trauma, feel much more like scaffolding for Soderbergh’s technical experimentation than an actual story. Koepp’s unconventional screenplay paired with Soderbergh’s experimental filmmaking results in a film wherein the mechanics of cinema take precedence over traditional storytelling.

Ultimately, Presence is most compelling when considered as an exercise in film form rather than a compelling story itself. The filmmaking apparatus generates a more profound engagement than its plot and characters, which hurts the potential this film had given its pedigree of talent. Soderbergh and Koepp crafted a film that is less about a haunted house and more about reimagining the voyeuristic capabilities of cinema itself. By leveraging cutting-edge camera systems and post-production techniques, Soderbergh set out to blur the line between observer and observed, in an attempt to create an uncanny sense of intimacy and detachment, but it failed to stick with this critic long after the credits rolled.

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