Tag Archives: R.L. Terry

JURASSIC WORLD: REBIRTH movie review

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Possesses dino DNA, but missing strands and sequences, leaving an uneven and forgettable movie. Jurassic World: Rebirth begins with an intriguing enough premise, but the characters are poorly written, which is then amplified by way of a subplot that only serves to clutter the story. After a rough first two acts–except for a thrilling and fantastically written T-Rex chase scene (that was part of Crichton’s original novel and script for Jurassic Park)–the third act is surprisingly exciting and suspenseful, and at times terrifying.

Zora Bennett (Scarlet Johansson) leads a team of skilled operatives to the most dangerous place on Earth, an island research facility for Jurassic World. Their mission is to secure genetic material from dinosaurs whose DNA can provide life-saving benefits to mankind. As the top-secret expedition becomes more and more risky, they soon make a sinister, shocking discovery that’s been hidden from the world for decades.

Perhaps Koepp’s screenwriting works best when the original version of a script is written by the novel’s author (which, I know wasn’t possible for this movie in more ways than one), and he then crafts the original version to be more effective for the screen. To put it simply, no one knows what is going on or when/where they are. Harsh? Not really, when the movie opens with lazy exposition through on screen text describing an event that happened 17 years ago…keep that in mind, 17 years (placing it in line with Jurassic World not Jurassic Park). But then the characters talk about the research and development facility as if it was connected to the original park–not possible. Even popcorn movies should adhere to the logic of their own world building. It’s as if no one thought about the events that unfold in this movie, and how they relate to the previous movies. Kind of basic storytelling logic.

There are many elements of this movie that fail to make any logical sense (and again, that is the logic setup by the movie itself) or are setup, and never developed or connected to any motivation or stakes. To go into them, would take too much time.

Aside from logic problems, the movie is plagued by poorly written characters, an extraneous, shoehorned subplot, and weak first and second acts (with one exception in the second act that was thrilling). While I appreciate the minimalistic cast of characters compared to the cast of characters in all the Jurassic World movies, there are two competing groups that are pretty much independent of one another and could have each been in their own movie altogether. Yet, somehow, they are sloppily fused together in this movie. For argument’s sake, we’ll call them the Mercenaries and the Family. The Mercenaries and their outside/action plot are fine–I’d even go so far as to say ‘that’ story is sufficiently interesting. The Family and their plot felt extraneous and ultimately of little importance to anything that happened. It’s as if there were two different movie ideas (1) centered on the Harvesters and (2) the Family. And I think either by itself would have made for a better movie than putting them together. These decisions left the movie feeling muddled and crowded.

There is a T-Rex sequence in the second act that is fantastic! It very much harkens back to the sci-fi horror-adjacency of the original movie. Of course it helps that Crichton’s original Jurassic Park novel and screenplay thereof contained a similar sequence. Fun fact: this sequence in the novel and original Crichton screenplay served as the inspiration for Jurassic Park: The Ride at Universal Studios parks. It plays out wonderfully in this movie, like a short film in and of itself, because it’s setup well, developed strategically, and resolved thrillingly.

Even though there are a couple of characters that are almost fun or compelling to watch (almost), the rest are more disposable than a red solo cup at a frat party. You’ll find yourself rooting for the dinosaurs to win. Of all the characters, there is one particularly so annoying and deplorably behaved, that you’ll want the first dinosaur you see to pick him off, (and question why on earth his girlfriend would be with him and why the dad would let the boyfriend walk all over him–answer, bad writing). Other characters are one-dimensional or the casting choice never sells the character. All around, there are many character and casting problems, resulting in a movie wherein you’ll hope the next dino attack happens soon–and preferably ends with one less character.

Where the movie “finds a way” to leave you on a high note, is in the third act. Despite the slapdash screenwriting throughout the first and second acts, the third act is wildly entertaining and even at times, terrifying! It almost compensates for the first hour and forty-five minutes. The (weird) dinos are “monsters” again, and the various chase sequences each offer something different (even though one is a recreation of the Kitchen Scene from the original movie). The stakes are raised and the level of terror leaps off the screen. So often, movies start well and fail to stick the landing; with this one, it fails to stick the launch but definitely sticks the landing.

SUffice it to say, if you took the first two acts from The Lost World: Jurassic Park, and paired them with the third act from Jurassic World: Rebirth, then you’d actually have a pretty good, memorable movie.

As an OG Jurassic Park fan (and Lost World apologist, except for the third act), I hate having to write reviews such as this one for a franchise installment. But, the more I thought about this movie, the more stupid it became. I suppose it’ll make for a fun enough 4th of July weekend watch, but doesn’t do much beyond that.

Perhaps, these movies will “find a way” back to greatness one day–doubtful as it seems.

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

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

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

MISSION: IMPOSSIBLE–THE FINAL RECKONING film review

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What a picture! Mission: Impossible–The Final Reckoning is an exhilarating end to a 29 year old journey. The scale and scope of the final chapter in Tom Cruise’s tenure as Ethan Hunt is out of this world. Beyond any shadow of a doubt, the cast and crew of this film delivered their best to “all those that [they] will never meet.” That’s us–the audience–we are those they will likely never meet. Such a fitting climax to one of the biggest franchises ever to hit the big screen. For everything the movie did right and excellent, it’s not without some shortcomings in the screenwriting. While the first act starts off a little clunky, it does eventually falls into place during the first act. Additionally, fans of the franchise will love the narrative connections to the preceding films, particularly Mission: Impossible and Mission: Impossible III. This is truly a cinematic spectacle deserving of every second on that big silver screen. Tom Cruise proves that he is still the definitive movie star.

Ethan Hunt and the IMF team race against time to find the Entity, a rogue artificial intelligence that can destroy mankind.

Writer-director Christopher McQuarrie brings Mission: Impossible (in its current incarnation) to a climactic close after 29 years. More than delivering a bombastic conclusion to the genre-defining franchise, he connects this film to all the preceding M:I films through both plot and character. Every moment feels earned–this movie and the cast and crew thereof–spare no expense of time or money in providing audiences with a spectacular cinematic experience that reminds us why big screen stories need the BIG SCREEN. Even though I do take issue with McQuarrie’s screenwriting in the first act–the first 15 minutes, or so, do feel a little disjoined and rushed–thankfully the remainder of the first act does fall into place. Not only do the characters have heart underscoring all the electrifying action sequences, the filmmakers involved in this have a heart for the audiences around the globe.

The IMF (Impossible Mission Force) oath reads, “We live and die in the shadows, for those we hold close, and for those we never meet.” And, in this movie, I don’t think that it merely means that the covert operatives and spycraft engineers carry out their missions behind the scenes of life, the way in which the line is delivered, I am all but certain that it’s a wink or nod to the audience indicating that McQuarrie, Cruise, and everyone involved make motion pictures for those they know, their friends and family, and everyone else out in the world that they may likely never meet. There is probably no other working actor out there that so vocally champions cinema like Tom Cruise. This is particularly true during and after COVID with his release of Top Gun: Maverick. Even in a press conference wherein Cruise was asked about the proposed international filmmaking tariffs by a reporter, and he redirected them to The Final Reckoning, because “we’re here to talk about the movie.” The trademark charisma, physics-defying stuntwork, and charm that Cruise brings to the screen serves as evidence why he truly is the definitive movie star working today.

Picking up in the months following the train incident from Dead Reckoning, The Final Reckoning thrusts audiences right into the middle of a world on the brink of WWIII. The entity has infected the internet and it looks like the end of the world, as we know it. Once again, Hunt is being hunted down by his government (and probably other governments too) because he refuses to let the United States have the key that would potentially give them control of the entity’s source code, because no one should be entrusted with that level of power or responsibility–not even Hunt and his IMF team. Ethan Hunt continues to stand up for what is right, the greater good even when it is the most unpopular stance or opinion to hold. Hunt and his team desire to destroy the entity so no one has access to its power and the entity cannot destroy the world so it and Gabriel can remake it in their image. The Final Reckoning forces us to look inward, and ask ourselves how we would react when faced with a world on the brink of disaster. Could we resist giving into our innate self-centered nature, even when disguised as the most logical choice? This movie is a challenge to humanity to always hold onto hope even when it appears to be impossible.

After the clunky start to the movie, the narrative begins to find its tone, pacing, and direction. I wouldn’t be surprised if there is a “McQuarrie Cut” that adds in cut scenes at the beginning. Other than the stars themselves, the star of this movie is practical effects and filmmaking themselves. The CGI is minimal, and is rarely front and center. McQuarrie and Cruise lean into practical effects, mechanical magic, and other elements that give the film a tangible dimension. You cannot replace the way real light bounces off real objects and into the camera lens in this outstanding motion picture. The Final Reckoning is as much a celebration of the decades-old franchise (and TV show even before the original movie in 1996) as it is a celebration of classical filmmaking. Even the scenes and sequences that felt a little too death-defying or unrealistic, they certainly feel naturalistic within the world on screen (though, I’d be lying if I said that some came a little close to being even unbelievable in a Mission: Impossible movie). Even thought he aerial stuntwork in this movie is the most intense we’ve seen, this movie also includes a lot of underwater stuntwork and action sequences. And I must say that is’t he dark, claustrophobic underwater sequences that had me on the edge of my seat. It really is nothing short of incredible what McQuarrie, Cruise, and their teams were able to do in this motion picture.

For fans of the franchise, particularly those that have rewatched the whole franchise leading up to this moment, there are characters from the past that appear in substantive ways and even plot points that were never fully explored int eh past are brought full circle. Few, if any, characters feel like one-dimensional space-fillers–which can easily happen in an action movie–every character has a purpose, has a motivation. We care about our central characters’ survival, we experienced a gut-wrenching death in Dead Reckoning, so we know that these IMF agents are human, they can die. All the more reason why we are completely invested in their survival.

Even though we may get a Mission: Impossible movie in the future, maybe even one with one or more of the IMF team members from this original run of movies, Cruise has stated, in not so many words, that this movie represents his final Mission: Impossible movie in which he is the star. If we have future M:I movies, I’d like to see him make an appearance or play a supporting role, because Tom Cruise IS Mission: Impossible. What I love about these movies is that they seek to entertain first and include any more thoughtful ideas or questions in the subtext or emotional drivers of characters. Entertainment first. So many movies nowadays have such a cynical view of life and traditional values, but here is franchise built on that which brings us all together as a community. High concept? Sure, but that high concept nature of the M:I movies has never meant a meaningless or vapid experience. These movies, and others like them (regardless of genre), are what cinema is all about. And I am sure going to miss looking forward to the next Mission: Impossible movie.

Thank you Tom. And thank you McQuarrie and past writers and directors for 29 years of unparalleled thrills and excitement on the silver screen.

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