Tag Archives: R.L. Terry

THE EXORCIST: BELIEVER horror movie review

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The Exorcist: Caricature. Believer? How’s about unBelievably bonkers. The soulless derivative sequel to the original Friedkin masterpiece manages to be everything and nothing simultaneously. It’s a bastardization of the source material that demonstrates a gross lack of understanding on so many narrative and theological levels. Honestly, this movie could easily be Scary Movie 6.66 because of how unintentionally laughable it is. The characters are flat, the plot is all over the place, the tone is criminally uneven, and it’s disrespectful of the thoughtfulness of the original at every chance it gets. Representation matters. If David Gordon Green did not have plans to respectfully (albeit creatively) represent spiritual warfare and demonic possession, then he should’ve chosen another property to destroy.

When his daughter, Angela, and her friend Katherine, show signs of demonic possession, it unleashes a chain of events that forces single father Victor Fielding to confront the nadir of evil. Terrified and desperate, he seeks out Chris MacNeil, the only person alive who’s witnessed anything like it before.

I saw a comment on Twitter today calling for a petition to keep Green away form the horror genre, and I concur. Other than his surprisingly good Halloween H40, he has proven to be inept when helming a legacy horror project. William Friedkin’s The Exorcist remains the definitive possession film. While Friedkin was critical of the new religious right in the 1970s, he was still respectful of the rite of exorcism; he crafted a cinematic story about loss of innocence, crisis of faith, overcoming fear, the limitations of science, and the obstacles of religious bureaucracy. But at the end of the day, the film was grounded in Christianity wherein we find the rite of exorcism. Similar practices may be observed in other cultures and religions, but if you’re going to depict the rite of exorcism specifically, then the story needs to be respectful of and grounded in Christianity–not become a mockery of.

Ellen Burstyn is completely wasted in this film, and her character is in no way connected to the Chris MacNeil in the original. Last we say her, she underwent a journey of faith, going from someone mostly agnostic to someone that believed in the existence and power of God after the events of the original Exorcist. Now, she has no belief system and is rather laissez fair about faith, exorcism, and the like. She is a character without any conviction, therefore she has no drive and lacks spiritual grounding in any real sense of truth. If what you believe doesn’t matter, then there is no urgency to believe or batter personal demons in order to battle the real demon in the possessed girls. Furthermore, if it really doesn’t matter what one believes than it devalues all belief systems. Just because you don’t believe doesn’t mean it’s any less true. Besides the hodgepodge of MacNeil’s worldview, her character is greatly lacking in any dimension that would even help to hint at some modicum of compelling character.

When a movie tries to be everything to everyone, then it becomes about nothing and is for no one.

The cardboard character profile isn’t limited to Chris MacNeil, all the characters in this movie are lacking in anything that would make them compelling for the audience. I cared not whether any of the characters lived or died. Personally, I would have preferred the demon win and kill all the useless, lifeless characters. Although, that would only interest the nameless demon if the characters (or this film) had a soul. As it stands, the film and characters therein are soulless. Speaking of the demon being nameless, this is in direct conflict with the rite of exorcism. Whether one chooses to believe the demon possession (is incredibly rare but) real, the demon always has to be named, because having the demon’s name gives the exorcist power over the demon. The least Green could have done is give the demon a name. We are led to believe that it may be Pazuzu, because it recognizes MacNeil, but the name is never uttered by any character.

I found the movie unintentionally funny. With a few tweaks, it could have easily been Scary Movie 6.66. The plot and characters are just so unrealistic and ridiculous that the story and experience plays out at comedic proportions. Moments that were supposed to be scary were funny, moments that were supposed to be empowering were ludicrous, and the showdown was something straight out of Avengers: End Game. The Exorcist: Believer is Avengers meets The Rite meets a SyFy Channel original movie. The only meaningful connection this movie has to the original is the name, Ellen Burstyn, and a brief vomit-inducing cameo by Linda Blair. I’ve seen many other possession films that were way more interesting, entertaining, and thoughtful than this one.

Do yourself a favor, and if choose to watch this travesty, you should rewatch the original to cleanse your cinematic spirit of the demon that this movie will force upon you. While I suspected Halloween Horror Nights at Universal Orlando featured the The Exorcist: Believer house as a means to get people interested in the movie, clearly it was a move to compensate for how bad this movie really is. If it wasn’t for the house, I imagine far fewer people would want to see this abysmal use of a legacy intellectual property.

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

A HAUNTING IN VENICE murder-mystery movie mini review

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Starts well, but finishes sloppily. The creepy atmosphere and surprisingly good scares aren’t enough to save A Haunting in Venice from mediocrity. I applaud and even praise Kenneth Branagh for attempting to revive the classic Hollywood murder-mystery movie, but perhaps Christie’s works have been adapted and served as inspiration so many times, that it is nearly impossible to adapt them for the screen–and hope to deliver something new or refreshing. Compared to Branagh’s two previous Christie adaptations, this one excels in atmosphere and character, but the story is underwhelming. Moreover, most of the clues are for the audience and not for Poirot. There is little earned by Poirot in this movie; and what he does discover, often makes little sense logically. At the end of the movie, the audience is left wondering how and why what Poirot learned actually led him to the big reveal.

Probably the shortest review I have ever written. But with this past week being a combination of my birthday and dealing with a personal matter, I am unable to focus intently on this movie. Of course, it doesn’t help that it was neither good nor bad enough to be truly memorable.

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

BLUE BEETLE superhero movie review

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High energy! Blue Beetle is a charismatic superhero movie that delivers vivacious action, laughs, and heart. Undoubtedly, Blue Beetle will become a fan-favorite superhero in the coming years ahead. However, the full potential of this movie to forge new frontiers for heroes and characters we haven’t had on the big screen before is ultimately curbed by some character choices and recurring thematic expressions.

Jaime Reyes suddenly finds himself in possession of an ancient relic of alien biotechnology called the Scarab. When the Scarab chooses Jaime to be its symbiotic host, he’s bestowed with an incredible suit of armor that’s capable of extraordinary and unpredictable powers, forever changing his destiny as he becomes the superhero Blue Beetle.

Before you begin thinking that if you’ve seen one superhero origin story, you’ve seen them all, Blue Beetle manages to make fresh a familiar plot to keep audiences entertained. The strength of Blue Beetle is in the casting, lesser so the characters themselves. That’s not to suggest that none of the characters are crafted and developed well, but there are some odd character/screenwriting choices that mitigate the full impact the movie could have had.

Susan Sarandon and Xolo Mariduēna are the standout performances and characters in the movie. Sarandon’s villain and Xolo’s hero are a perfect match for one another. She was cleverly fiendish and he was humble and strong. For me, it’s these two characters and cast members that made the movie for me. I cannot think of two other actors that could have brought these characters to life as well as these two. It’s also incredibly poetic: a screen legend and a relatively newcomer to the big screen. The chemistry and narrative poetry between our hero and villain was excellent. Anytime I get to enjoy Sarandon’s performances on the big or small screen is a good day!

While the plot for this origin story is fairly standard, the method of expression and the character choices give it an air of originality. But it’s in some of the expression of themes and characters that the movie falters, curbing the full potential of the story. Specifically, this is witnessed in the comedic stylings of George Lopez and the recurring commentary and themes borne out of postcolonial theory. While Lopez’ character was intended to be the comedic relief, the method of expression of his comedy became obnoxious and even exhausting. Moreover, his character plays right into negative stereotypes that the movie could have easily avoided.

Likewise, there is conspicuous, recurring imagery and commentary on postcolonial theory that mitigates the positive affects of the movie. It’s as if the screenwriter was message first and plot second. Even when filmmakers desire to exhibit their personal interpretation of a worldview, it is important that the filmmaker employs more clever means of expressing these opinions.

To bring us around to a more positive note, there is a wonderful depiction of a father-son (and father-family) relationship, and I highly respect the movie for this. Far too seldom do we get movies that spotlight healthy relationships between fathers and their families (in this case, the focus is on the father-son relationship). It’s so very important in narrative storytelling to remind the world of the important role a father plays in his family. Does that mean mothers cannot provide the same emotive dimension? Of course not. But there are many more movies that depict healthy, constructive mother-family relationships. This was a brilliant opportunity to spotlight the love a father has for his family and the love the family has for him.

Blue Beetle represents an MCU type of storytelling in a DC movie, but DC still manages to make this expression of a superhero their own. I really like Jaime/Blue Beetle, so I hope that I see him on the big screen again.

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

THE LAST VOYAGE OF THE DEMETER horror movie review

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Fangtastic! Universal meets Hammer horror in a gothic tale that explores what may have happened on the domed Demeter carrying one thirsty passenger. While seemingly most contemporary horror movies take place in the real world, The Last Voyage of the Demeter transports us back in time to a fantastical world full of sailing vessels, ominous castles, and terrifying folklore. More than a backdrop on which the story unfolds, the atmosphere and sets are characters in and of themselves. If the gothic setting wasn’t enough, the score will certainly wrap you in the nightmare of this movie. If you love classic horror, this is right up your alley as it’s in the same ‘vein’ as such foundational early to mid 20th century horror motions pictures including Nosferatu and Dracula and even late 20th century horror pictures like the original Alien. While it remains to be seen if this is Universal’s second attempt at the defunct Dark Universe, between this movie and the Universal Monsters last at Epic Universe theme park (still under construction), the manner in which this movie ends certainly lends credence to an attempt to revive the dead Dark Universe.

After accepting mysterious cargo from an anonymous customer, the crew of The Demeter experience horrific events aboard the doomed sailing vessel as it makes it way from the harbors beneath the Carpathian Mountains to London.

Neither Bram Stoker, F.W. Murnau, nor Carl Laemmle included much information on the doomed voyage of the Demeter after it left the harbor beneath the Carpathian Mountains. All we know is that mysterious cargo (which we know is the coffin and/or dirt belonging to Count Dracula/Orlak) is dropped off and only the ghost of a ship arrives in London. And that’s the beauty of this movie, the filmmakers only needed to begin and end in the right places. Therefore, everything that unfolds on the ship is pure speculation and imagination. When adapting an existing IP, this is how it should be done. And while this is the best example in recent years of how to find new stories within an existing IP, Disney did something similar with Rogue One, which is my favorite in the Disney Wars movie universe.

We already know The Demeter and crew aboard are doomed, so the charm or terror in this movie isn’t what’s ultimately going to happen–rather–how is it going to happen. And director André Øvredal and writer Bragi Schut Jr. do an excellent job at making the events captivating and even surprising. No one is safe on the sailing cargo vessel, and I do mean no one. Our storytellers craft a narrative that is completely inspired by the past writings and movies yet it takes the story of Dracula to new levels, most of which I appreciate, though there are some elements of the story that I feel are not in line with established vampire lore.

Without getting into spoilers, it’s difficult to discuss what I would like to bring to to the discourse; however, I’d be remiss if I didn’t convey that there is a character we know from nearly all iterations of Dracule or Nosferatu that appears to be setup, but it’s never delivered. Without knowing the direction Universal is going with this movie, I must say that this was a missed opportunity to organically bring this character into what appears to be a relaunch of the Dark Universe.

Both Universal and Hammer horror are being channeled in this newest Dracula movie! You have the gothic stylings of early Universal horror coupled with the amped violence of Hammer horror. Working together, this two distinctly stylistic expressions of horror are used effectively in the crafting of the aesthetic and tone of this movie. Further evidence of the inspiration taken from early Universal and Hammer horror can be witnessed in the haunted house upon the sea concept. I am also reminded of Alien when I think of the setting, the claustrophobia, and the no escape dynamics of this movie. In Alien, it was a Xenomorph in space where “no one can hear you scream,” except we are in a sailing vessel at sea where no one can hear you scream.

As a huge horror fan, especially of the classics, I am eager to see where this movie takes Universal horror. Usually, I am not a fan of starting a franchise (when it is intentionally started), but this movie demonstrates that Universal may have learned its lesson from the failed launch of the last Dark Universe. I definitely see potential in this return to classic Universal monsters, and am along for the ride.

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

TEENAGE MUTANT NINJA TURTLES (2023) movie review

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Cowabunga, you’ll have fun! Whether or not you grew up with the Teenage Mutant Ninja Turtles (TMNT) 1980s animated television show, the comic books, or even the other movies, there is so much to be enjoyed in the new TMNT movie. At just over 1.5 hours, you’ll be invested in this Mutant Mayhem that functions as a standalone origin story, plus a foundation from which to launch subsequent sequels. While Shredder is not the villain, stick around for his subtle debut in a mid-credits scene.

After years of being sheltered from the human world, the Turtle brothers set out to win the hearts of New Yorkers and be accepted as normal teenagers. Their new friend, April O’Neil, helps them take on a mysterious crime syndicate, but they soon get in over their heads when an army of mutants is unleashed upon them.

Since I have not watched any TMNT shows or movies since the animated series in the 1980s, I can’t comment on what is or isn’t canon or what would or would not be, but I can say that from what I remember about the old show, this feels like a reimagination that is simultaneously fresh yet familiar. Perhaps some characters are interpreted differently for this movie than they have been in the past, but the character dynamics, conflict, and relationships make sense within this world. Nicely plotted and paced TMNT moves quickly and leanly–sometimes a little too leanly, but I digress. Most of the humor in the movie works well, but there is one recurring joke that does grow tiring to the point that the punch is less funny than it would have been had the joke been setup and developed more sleekly.

The movie is incredibly postmodern in the sense that the characters reference real life celebrities, TV shows, movies, etc. And while it was cute for a short while, the constant pop-cultural references grew a little tiresome. It’s like salt: fantastic in small amounts; unhealthy in large amounts.

I’ve said it before, and I will say it again, I cannot figure out why studios and writers insist on sprinkling in adult language in a movie that is undeniably geared towards kids (if for no other reason, it is released by Nickelodeon). Reminder: you do not need to include foul language (in however small amounts) in order for adults to watch…they are going to watch anyway, and maybe even be more inclined to introduce their kid(s) to the TMNT.

Suffice it to say, TMNT is a lot of fun, and if you’re looking for a throwback superhero movie with some heart, then I’ve no doubt that you’ll enjoy this movie.

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