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F1 THE MOVIE film review

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Starts on high octane, finishes on fumes. From the exhilarating technical achievement to the fantastic cast chemistry to the underdog story of redemption, it would appear that the “formula” for F1 was of sound design and execution; unfortunately, the character development is rushed and the third act simply doesn’t offer the adrenaline-pumping suspense and action as do the firsts two acts.

In the 1990s, Sonny Hayes (Brad Pitt) was Formula 1’s most promising driver until an accident on the track nearly ended his career. Thirty years later, the owner of a struggling Formula 1 team convinces Sonny to return to racing and become the best in the world. Driving alongside the team’s hotshot rookie, Sonny soon learns that the road to redemption is not something you can travel alone.

If for no other reason, see this film on the biggest screen with the highest quality sound because Joseph Kosinski’s F1 is why the BIG screen was made. From beginning to end, the cinematography and editing deserve top billing for this picture because you will feel that you are right there in the crowd or with the drivers along the Grand Prix. Even if you know little to nothing about Formula 1 racing, you will never feel lost as there are sufficient context clues and exposition to keep you along for the 200mph ride. It would have been too easy to lean into the racing sequences, but the racing punctuates the rest of the story, so each and every time you are on the track of the Grand Prix, there has been an emotional and chemical reset from the previous racing scenes. Both the sound design and cinematography are outstanding in this octane-fueled motion picture.

The score from Hans Zimmer serves as a direct extension of both action and character in F1. His energetic score blends sweeping orchestration with pulsating electronic textures that wrap audiences in the big screen story. Zimmer’s ability to craft a human story inside a mechanical world is on full display in the film. Where his brilliance as a composer is witnessed most is in the rhythmic choices scene to scene. He employs musical motifs that emulate machinery or momentum, which in a sport where every millisecond matters, Zimmer’s percussive, syncopated techniques mirror the precision and stakes of the most elite motorsport. In a film that captures a motorsport that crosses cultural boundaries–a global sport–Zimmer’s score represents a cross-section of the various regions of the world that play host to Formula 1 and seamlessly transcends cultural boundaries, creating a sort of global score that resonates with audiences from around the world.

While the plotting is sound, and serves as the foundation for a compelling story, where the film suffers is in the character development and third act. The setup in the first act informs the audience of everything needed to understand our two central characters of Sonny and Joshua (Idris) and the two vastly different worlds in which they live yet are connected by the thrill and love of racing. Of course, this thrill and love is expressed differently based upon the difference in both generation and worldview. Everything needed for a compelling character journey formula is there, but falters in the third act. Underscoring the story is social commentary on our drive (or motivation) for pursuing a passion, be that a career or by extension, a hobby. And it’s in this motivation that we witness our central characters develop over the course of the narrative conflict.

Sonny is a cynical former (generation X) Formula 1 driver, that was once heralded as the newest star on the Grand Prix circuit. In contrast, Joshua “JP” is the (generation Z) talented and charismatic driver that is obsessed with his image (with help from his press manager). Both drivers excel in talent, but are each battling their own respective demons. Sonny and JP develop over the course of the film–each man’s worldview challenged. Sonny has to grow in team spirit and JP has to grow in humility. The character arcs on which both characters are traveling begin and even develop in compelling ways, even resonating with audience members that are somewhere on the spectrum between both individuals; but, the change in both characters is too rapid when the resolution comes in the third act. JP’s scenario appears to be the perfect canvas on which to paint a portrait of what happens when we lose focus on the love of a sport and rather find ourselves lost in the celebrity of it, lost in the toxic social media swamp. Sonny’s character arc feels more complete, but even his switch from where he was to where he ended resolved itself too quickly, losing the full impact that it could have had.

Kosinski’s casting decisions result in a cast that demonstrates excellence in chemistry. There is an authenticity in the relationships and dynamics among the lead and supporting cast. Never once, did I feel that I was watching actors–rather–I felt I was watching real Formula 1 drivers, crew, and investors. I completely buy the longtime relationship between Sonny and Reuben (Bardem), even though we spend minimal time on the history of their friendship. And the clashes between Sonny and the pit crew and directors never felt rehearsed or contrived.

Even though there are shortcomings in the third act, the film remains an exhilarating experience. Movies like this is that for which the BIG screen was created–to capture larger than life stories that most audience members will never face or experience.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk “where you can join the cinematic conversations frame by frame each week.” 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

JAWS 50: Celebrating Fifty Years of Cinematic Legacy

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“[We’re] gonna need a bigger boat” as we celebrate the 50th anniversary of the massive, radical game-changing effects of Steven Spielberg’s career-defining JAWS.

Jaws was the first official blockbuster. Looking back at the original crowds of 1975, you’d think the movie was a one-night-only big event. Hence the term blockbuster. The adjective blockbuster, commonly attributed to big summer movies, literally derives from the fact that queues for the box office wrapped around city blocks. It busted the block, so to speak. And the rest is history! Coupled with the summer release date and ticket sales, the allure of Jaws generated levels of enthusiasm and interest never seen before. The film took in so much money at its opening, that it nearly made up the entire production budget by the end of the first week. Furthermore, distribution and marketing companies began to use Jaws as a model for future marketing efforts in order to attempt to generate another blockbuster effect.

Fun fact, two years earlier The Exorcist commanded massive crowds of people that wrapped around blocks to see the provocative motion picture. But, the initial release of the film was rather small and it’s marketing was much more reserved. In contrast, Jaws‘ marketing was unlike anything that had been seen before and it’s initial release was a extreme wide release, and upon that initial release crowds were already wrapping around the block. The Exorcist may have achieved the massive crowds first, but it was earned over time; whereas with Jaws, it was instantly a blockbuster from day one.

Never before had there been such a popular and critically successful film in cinemas. Much in the same way Alfred Hitchcock’s Psycho is often credited, and rightly so, for being the first modern horror film and forerunner to the classic slasher; likewise, Spielberg’s adaptation of Peter Benchley’s novel Jaws is credited as the first modern creature feature horror film and forerunner to the blockbuster (or event movie). I am not negating King Kong, Creature from the Black Lagoon, or other predecessors; it’s important to take note of the word modern. Aside from excellent, visionary direction, both Psycho and Jaws have three important elements in common (1) powerhouse cast (2) strategic suspense and (3) a brilliant, oft-parodied, burned in your mind musical score.

Instead of building a thriller on shock value, disturbing imagery, or jump scares, author Peter Benchley’s screenplay for Jaws focussed on crafting a cinematic atmosphere that had an intimate, claustrophobic feel built upon well-crafted drama through character development and conflict, at the center of which is a little heart. Different from contemporary creature features, Jaws picks off swimmers in the single digits and those attacks all happen at a single beach on a small island off the coast of Massachusetts. And instead of an entire agency hunting down the man-killer shark, three unlikely men are forcibly thrown together in order to track down and eliminate the terror from the waters off Amity Island.

Simply stated, Jaws is thematically rich from beginning to end, and there is no way to capture all the nuances of the film in this section; however, I’d be remiss not to spend some time on the emotive power of the landmark horror film. At the core of Jaws’ expressive meaning, it explores themes of greed, scientific hubris, and the consequences of unchecked ambition. Suffice it to say, the most prominent theme in the film is the folly of man. The folly of man is expressed through the character-driven story more than it is the search and destroy of the shark.

Chief Brody’s fear of the water and his struggle to protect his community from the shark reflect universal anxieties about the unknown and the fragility of human safety. In a manner of speaking, Chief Brody journey is one of redemption for the death of the little Kitner boy. Matt Hooper represents scientific hubris and dangers of unchecked bravado. And Quint’s obsessive quest to hunt and kill the shark serves as a cautionary tale about the dangers of pride and arrogance, highlighting the destructive power of man’s hubris in the face of nature. Interestingly, all three men are seen as outsiders. Chief Brody and his family are new to town, Hooper is a white collar guy in a blue collar town, and Quint is socially an outsider, despite being a fixture in the community. During the 1970s, there were growing fears of outsiders coming into communities to upset the natural order of things.

Keeping the principle cast and environment small, Spielberg was able to focus attention on character development and interpersonal relationships in order for the drama to perform strongly and naturalistically. Big things do come in small packages. Coupled with the strong performances from the entire leading cast, this brilliant combination of cinematic elements works together to give us some of the most memorable lines, scenes, and cinematography in movie history. Furthermore, real people swept up into an impossible situation and foolish decisions enable the audience to identify with the characters and the setting in ways that make the terror feel all the more real and close to home–or the beach.

While Bruce is often thought to be the villain of Jaws–and no mistaking it, he is definitely an antagonist–I argue that the true opposition to the goal in the plot is Amity’s mayor. If we accept the goal is to apprehend or kill the man-eating shark, then Mayor Vaughn serves as opposing that action. Perhaps you’ve never thought of the true villain of Jaws being Mayor Larry Vaughn. A close analysis of the plot reveals that Jaws (Bruce) functions more as a catalyst for the principle conflict between Chief Brody and Mayor Vaughn. Other than the death at the beginning of the film, the Mayor is indirectly responsible for the remaining deaths. After all, it’s due to his utter complacency, negligence, and classic greed that led to the other deaths.

For most of the film, we spend far more time with Chief Brody’s continued conflict dealing with the social pressures, desires, and ill-fated decisions of his boss than we do with shark attacks. Mayor Vaughn fails to acknowledge the sheer gravity of the dangerous situation, and close Amity’s beaches in order to keep his citizens safe. Interestingly, even Jaws channels some of the anxiety of the 1970s. After all, the primary reason why Mayor Vaughn refused to close the beaches was because it would economically depress his town that literally depends on the summer dollars. In effect, he fed them to the shark. Seems like a villainous action to me. Bruce was just being a shark, Vaughn was the true villain.

Jaws forever changed cinemas and became the inspiration for countless other filmmakers. Another prominent filmmaker even cited it as part of his inspiration for a film that would be like a combination of Jaws and a haunted house, set in space where “no one can hear you scream.” In addition to serving as inspiration, many films have tried imitating it, putting their own spin on the premise. Even comedic satires featuring similar plot points have released over the years. The film’s box office success solidified Spielberg as a visionary director. Interestingly, the movie sparked a renewed interest in marine biology and conservation. Its timeless appeal continues to captivate audiences with thrilling storytelling, unforgettable characters, and groundbreaking practical effects. Jaws will forever hold a special place in the annals of film history and continue to be a holiday horror film that hundreds of thousands around the U.S. watch every 4th of July. 

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk “where you can join the cinematic conversations frame by frame each week.” 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

HOW TO TRAIN YOUR DRAGON (2025) movie review

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Timeless. Universal and DreamWorks’ live-action remake of the Academy Award-nominated How to Train Your Dragon (2010) proves that some stories continue to resonate through the ages. Of course, “ages” in this context is only fifteen years. Returning to helm this project, HTTYD veteran writer-director Dean DeBlois crafts a fantasy world that’s incredibly tangible–even the dragons. His combination of puppetry, practical effects, and CGI give the dragons and the land of Berk a naturalism that feels connected to the world on screen. While this live-action remake plays it very close to the original, in terms of scenes and sequences, the heartfelt story will still capture your imagination and serve as a fantastic film for Father’s Day this weekend.

On the rugged isle of Berk, a Viking boy named Hiccup defies centuries of tradition by befriending a dragon named Toothless. However, when an ancient threat emerges that endangers both species, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.

While it would be easy to chalk 2025’s HTTYD up to an exercise in business theory, given that much of the movie is shot-for-shot of the original, it would be disservice to the audience experience for those that may be seeing this story on the big screen for the first time. Because anyone under the age of 18 (if not 21) either wasn’t yet born or doesn’t remember watching it in the cinema in 2010. And this is a BIG SCREEN movie. If fact, I’d argue that watching HTTYD in a premium format at your local cinema is the best way to return to Berk, particularly if you did see the original animated film in cinemas (as did I). I’ve read reviews that fill the spectrum from “lifeless and lazy” to “better than the original;” neither extreme reaction or interpretation is entirely accurate, in my opinion. Given that much of the story is the same, all the way down to shots, scenes, dialogue, and sequences, I’m choosing to review the film as if watching it for the first time, as many will be watching it for the first time on the big screen.

Since the story is largely unchanged from the original, I don’t want to spend a significant amount of time on it; however, there are themes that leapt off the screen this time even more than when I first saw the original. Perhaps its’ because a lot has happened in our country and around the world in the last fifteen years.

In true allegorical fashion, HTTYD crafts a parable of prejudice and reconciliation that resonates with our contemporary sociocultural landscape. Through its depiction of dragons as misunderstood creatures feared and vilified by Viking society, the film speaks directly to the way some cultures and communities are often dehumanized by dominant cultures. Initially framed as mindless beasts bent on destruction, dragons embody the constructed image of “the other”—not inherently evil, but made threatening through narratives rooted in ignorance and fear.

Through Hiccups’s hero journey, our own fears and prejudices are challenges. His character arc hinges on that pivotal moment with Toothless when he is about to kill him. Not only does Toothless challenge Hiccups’s prevailing ideology, but reframes his worldview of dragons and the people of Berk entirely. “I looked at him, and I saw myself,” he says, distilling the film’s core thesis: true empathy begins when we stop projecting monstrosity onto others and instead recognize shared sentience. In contrast, his father Chief Stoick represents the institutional stronghold of fear and tradition. His transformation from dragon-slayer to dragon-defender is a microcosm of generational reckoning—a character arc that underscores how systemic prejudice can begin to unravel when met with vulnerability and truth.

Thematically, the film’s narrative expands beyond simplistic binaries of good and evil to explore the broader existential anxieties that provoke violence and division. In doing so, HTTYD transcends fantasy and enters the realm of social commentary. It reminds us that the instinct to “other” those who are different is not innate but learned—and, crucially, unlearnable. At a time marked by cultural polarization and survivalist rhetoric, the film dares to imagine a world in which peace is possible—but only if we choose empathy over fear.

Writer-director DeBlois crafts a Berk that feels like a real place, perhaps a place from our own world history. Instead of layer upon layer and scene upon scene of blue and green screens, DeBlois opts to eschew the sterile sterility of digital backlots in exchange for a fantastical world grounded in the tactile weight of reality. Rather than relying on synthetic blue-screen environments, the production team committed to crafting full-scale Viking arenas, longhouses, and coastal villages—sets brimming with texture, history, and atmospheric weight. Filmed on location in Northern Ireland, the practical environments not only enhance the visual authenticity but immerse the audience in a world that feels as lived-in as it is mythic. These tangible structures blend seamlessly with the region’s craggy terrain, lending the film a geographic and cultural specificity that deepens the narrative.

Likewise, the film’s flight sequences are not mere visual spectacle—they are balletic displays of aerodynamic realism. Thanks to a synergy between practical rigging and digital enhancement, the VFX team captures the exhilarating sweep and dive of dragon flight with a physicality rarely achieved in CGI-heavy cinema. Specialized camera systems were deployed to trace every soar and swoop with kinetic precision, preserving the wonder and danger of airborne movement. The result is not just believable—it’s breathtaking. This nuanced and layered approach to the fusion of practical and CGI effects was also in part what made the dragons feel incredibly real. Dragon puppets were used to inform the CGI timing, lighting, and choreography. Later, CG animators seamlessly replaced the physical heads with digital models, preserving actors’ eye-lines and interactions. Mason Thames is rarely acting opposite a tennis ball on a boom pole; his Hiccup is interacting with a dragon set piece that is fully articulate.

Whether the original breathtaking animated film is one that you’ve seen a dozen times or you’ve never seen the original, the live-action remake of the critically acclaimed HTTYD is worth your time at the cinema. Furthermore, this film would make for an outstanding diversion for dads and their kids over this Father’s Day weekend, regardless of ages. Some stories, characters, and themes are timeless, and can still speak to us years later.

Ryan is the general manager for 90.7 WKGC Public Media in Panama City and host of the public radio show ReelTalk “where you can join the cinematic conversations frame by frame each week.” 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

DANGEROUS ANIMALS (2025) horror movie mini review

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Sufficiently fun. Dangerous Animals is the kind of horror movie that is sufficiently fun and entertaining once, but not a movie that commands a rewatch. The premise is fantastic: a serial killer that kidnaps young tourists (usually young women) and feeds them to sharks as he uses a old VHS camcorder to capture the victim’s demise. Dangerous Animals takes inspiration from other movies such as Shark Night (2011), Cabin by the Lake. and even The Silence of the Lambs. Between truncated first and third acts, is a protracted second act that foils any suspense, tension, or proper pacing setup in the first act. Performatively, the film is quite good; had it not been for the compelling and entertaining performances, the movie would’ve fallen quite flat for me. Like with many indie films, the cinematography and editing outclass the screenwriting. The evidence of thoughtful directing is there, but its potential is hampered by the poorly paced and structured screenplay. This feels like a short film idea that was augmented to fit a feature length runtime. Without giving it away, there is a particular scene about a third of the way through the movie that is straight-up an homage to an iconic scene from Silence of the Lambs, which I really appreciated. Releasing on the 6th of June, if you enjoy shark and/or horror movies, then its worth checking out. But like I said, for me, as sufficiently entertaining as it was, it isn’t one that I am going to rewatch anytime soon.

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