“Unhinged” (2020) Movie Review

Unbridled blunt force carnage. Academy Award winner Russell Crowe’s rampage-filled Unhinged hits theatres this weekend. And if you’re in the mood for a throwback B-movie well-suited for the indoor big screen or a drive-in theatre, then hop in the driver’s seat. Unhinged is the kind of movie that is so bad yet is actually a lot of fun–the one time you will ever watch it anyway. There are really only two acts in this movie; the rushed setup with an attempt to attach some deeper meaning to the gnarly violence that starts immediately and the lengthy showdown. But you won’t care that it’s a shallow, vapid plot; you are there for three reasons (1) to see Crowe go absolutely bonkers (2) the unhinged brutal, cringy no-holds-barred violence and (3) the scarily realistic car chases through this unnamed city in this unnamed state only known as America’s Heartland. The manner in which The Man stalks Rachel (and later, her son) reminds me of the same pattern of actions we get in many horror movies. While this movie is not a genre horror movie, it is very much horror-adjacent. Moreover, this horror-adjacent movie nearly follows the same tropes as a slasher. Slasher? That’s right. And get this–I found this particularly interesting–Russell Crowe’s lumpy misogynist is credited only as The Man, and where have we seen such a vague, anonymous description of a character before? John Carpenter’s original Halloween with Michael Myers being credited as The Shape. When viewed as a horror-adjacent movie, you will likely enjoy it more. The fact that we are never told much about The Man’s motivations, makes his over-the-top kills, his look, and his barbaric behavior incredibly campy. It’s this level of camp that makes the movie serviceable, and even fun during the violence and high-impact car chases; one could say the car chases are fast and furious. Director Derrick Borte delivers a guilty pleasure action-thriller that is sure to keep you entertained for its relatively short fun time. He knows precisely what kind of movie he’s direction, and rocks it! And you now what, it looks like the director and Crowe has a fun time making this schlock fest. Even actors of Crowe’s repute need a cathartic movie every now and again.

Unhinged is a horror adjacent action-thriller that is built upon something we have all experienced–road rage. Only, this story takes everything you have ever feared about what could happen after you honk your horn to bizarrely unpredictable levels culminating in a terrifying conclusion. Rachel (Caren Pistorius) is running late taking her son to school when she meets The Man (Crowe) at a red light. When the light turns green, he sits there. After she lays on the horn a few times, races past him, and gives him that look, you now the one (as we’ve all done it), she finds herself and everyone she loves the target of a man whom, in his own words, feels invisible and is looking to leave his mark on the lives of those whom dismiss him, in deadly games of cat and mouse.

The movie starts with a stylistic montage depicting violence in the streets of America, particularly road rage. Incidentally, this movie seems to have predicted the current and recent outburst of violence in the streets, months prior. So for some, these images may hit a little too close to home. Or perhaps they will be a wakeup call for how we treat one another, because you never really know if the person standing next to you is about to go over the edge because of continued brushes with trauma. Often times, an opening montage such as this one is used to prime the pump, if you will, in order to setup social commentary or other existential critique on the events that are about to unfold. Unfortunately, this setup really goes nowhere, except to remind us that we really never know next to whom we are standing, or sitting in your car. Early on in the film, just before the deadly cat and mouse road rage game sets into full motion, The Man comments that (and I am paraphrasing), “people nowadays feel as though they should ever have to apologize to anyone for anything.” And perhaps there is a nugget of truth in that because apologies do seem to be fewer in number than they used to be. Newsflash: sometimes we are wrong or have wronged someone else, be it intentional or unintentional. So, apologies and forgiveness should be in our arsenal before grudges and rage.

Talk about bloody. This movie sets the bar ridiculously high with its opening scene of The Man obliterating his axe wife, her lover, followed by torching the house. But the bar doesn’t stop there; the ante literally keeps going up. This man displays the most extreme forms of sociopathy, and he is virtually unstoppable, just like a classic horror slasher in the vein of Michael or Jason. Perhaps he isn’t lurking in the shadows, isn’t wearing a mask, doesn’t have a trademark weapon, or doesn’t come with catchy music, but he is still a slasher! Even when he is shot, he keeps going. And is always right on the bumper of Rachel. While you will likely not care about ANY of the characters in this movie, you will enjoy the campy slasherness of The Man. Unfortunately, The Man also doesn’t give us any reason to root for him, as is the case with Michael, Freddy, or Jason. The Man is a disgusting representation of toxicity of every kind. But, he does know how to put on a show for the audience.

Word to the wise, should you encounter a vehicle sitting at an intersection when the light turns green, I wouldn’t honk your horn. If you do, then you may unleash a sociopath that will literally stop at nothing until you apologize.

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

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Sinister Summer 2020 “I know What You Did Last Summer” Retrospective

Keep your eyes on the road or else you may find yourself running from a meathook-handed serial killer. It’s been 24 years since I Know What You Did Last Summer convinced us to pay attention to the roadway at night after our July 4th celebrations; interestingly, this is consistently one of those 90s horror movies that is either loved or despised. Won’t find much middle ground here. Personally, this ranks highly for me when talking 90s horror. While this movie has not seen the legacy and timeless influence that SCREAM has, there is still a lot to like if you are a slasher fan or simply enjoy the excellent chemistry in our lead ensemble cast in this incredibly fun slasher. For instance, we would not have Scary Movie if it wasn’t for I Know and Scream, we may not have the Hash Slinging Slasher from Spongebob Square Pants. Sure, if you think too much about the plot, it falls apart, but isn’t that the case with many slashers? Everything from the twists and turns, to the suspense, to the red herrings, a murderer screaming “you’ve got no place to hide,” not to mention the classic horror score, deliver a movie that is fun to watch, highly entertaining, and even rewatchable.

Last summer, a group of four partying teenagers accidentally strike a fisherman in the middle of the road. But instead of alerting the police, they dump his body in the ocean to cover up their crime as they all go their separate ways after high school. This summer, one of the friends receives a letter confronting them with the crime—I know what you did last summer. While tracking down the author of the letter, one of the secret-sharing group of friends is ironically run over by a man with a meat hook. The terror only increases from there, as the killer with the hook continues to stalk the rest of the friends.

While many horror movies take place around Halloween, other holidays have their own share including Black Christmas, My Bloody Valentine, and even the 4th of July, which brings us to day’s Sinister Summer selection! While I love to watch Jaws every July 4th, I also enjoy rewatching, the quintessential 90’s slasher I Know What You Did Last Summer. Written by Scream co-writer Kevin Williamson, directed by Jim Gillespie, starring a then-allstar cast including: Buffy the Vampire Slayer’s Sarah Michelle Gellar, Jennifer Love Hewitt, Freddie Prinze Junior, and Ryan Phillippe. Despite the R-rating, the violence is quite minimal in this movie, and that’s what I want to highlight here. One of the most telltale elements of most 80s/90s slashers is the entertaining, explicit, and even campy gore! Surprisingly, you won’t find a prolific amount of gore and violence in I Know but the implied violence works very well to drive up the tension and suspense as we try to solve the mystery of the identity of the hook-handed slasher before all the friends meet their demise.

While some horror movies are just plain scary, this one provides audiences with a story that is worth investing time and interest. There’s nothing supernatural about the scares in this movie, there’s nothing particularly grotesque either, and the atmosphere is not inordinately creepy or ominous. The real horror in I Know is not the meat-hooked slasher, but the helplessness of our central characters. Moreover, each of them feels completely helpless as they desperately try to figure out what’s going on and what to do about it. It’s one part serial killer and one part mystery. There is a ticking timebomb plot device employed in this movie, which translates to a race against the clock at the night of the 4th of July approaches. One by one, the slasher dressed in a rainslicker and fishing hat is picking off our high school friends as the anniversary of the inciting incident comes to pass. Often this movie gets compared to Scream and found to be wanting; however, this is an unfair comparison because there isn’t any movie (especially from this decade) that will be as good as Scream. Some people forget that Williamson wrote both Scream and IKWYDLS. But if this movie is looked at of its own accord and not in comparison with the decade-defining Scream, then it is able to be recognized as the classic that it actually is.

Believe it or not, there is a hidden strength in the story that rarely gets talked about. It’s a great psycho-social commentary on perception as reality and the cognitive elopement of a young adult. Moreover, I Know’s real genius is in how it confronts each of the lead cast with questions that all of us ask ourselves. It functions very well as a study of every individual teen’s mental state. Just like the characters in the movie, we (the audience) are wondering exactly who can be trusted. The central themes in this movie center in and around concepts such as: if you make a mistake, you should own up to it or else it will grow to haunt you; you will never forget a grave mistake you made, and should instead confess it; and if you now the right then to do, then you should do it. In summary, each of these posited ideas can be traced back to varying degrees of self-centeredness. Knowing who to trust, self-centeredness, and whether to stand up and fight or flee are all ideas that are such a part of growing up during the transition from teenager to young adult. Fortunately, this movie does a brilliant job of exploring these ideas through the vessel of a slasher. Whether in this movie or in real life, if you do not address your past, it will most certainly come back to haunt you. There is also a clear message of not driving while intoxicated; again, something that some young people struggle with and most assuredly encounter or perhaps are tempted to do.

It really doesn’t get anymore 90s than this movie. And perhaps that contributes to why it is looked at with more disdain than with fondness. While Scream takes place in the mid-90s, Williamson’s script and Wes Craven’s direction give it a timelessness that works even 24 years later. From the costume designs to soundtrack to the teenage angst, there is so much mid-90s in this movie. And unfortunately, much of that does not hold up; however, this movie should be seen as a product of its time. I mean, if for no other reason, we ALL know what you did last summer because it’s all over your social media. No longer does that accusation hold much threat.

Before you dismiss all of the plot and design elements and dialogue as unable to transcend the decades, I want to highlight a few elements that do. One of Jennifer Love Hewitt’s lines about her boyfriend Ray delivered while they are on the beach at night, “we can’t all sit in a Village coffee house and ramble esoterically on a laptop” could have very well come from a more recent slasher movie. The movie’s even ahead of its time in regards to the present socio-political climate in which we find ourselves, [referring to the slasher’s weapon] “the hook is really a phallic symbol, ultimately castrated.” And who doesn’t love the flagship, quotable line of “what are you waiting for, huh, what are you waiting for???” This line worked great then, and continues to hold up almost as well as “do you like scary movies?” Williamson certainly knows how to pen a line of dialogue that completely defines the movie.

When on one hand, it should be easy to dismiss this movie as a Scream ripoff, the movie saves itself from being completely dismissed because it knew precisely what it was, and unapologetically rocked it.

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

Follow him on Twitter: RLTerry1

“Black Christmas” (2019) Horror Movie Review

The gift of the season too horrible for even Scrooge, pre-visits from the Christmas spirits. It’s pretty much a horror movie that Krampus gives away because it is so horrifyingly bad. Last year, I watched for the first time and reviewed the Bob Clarks’ cult classic Black Christmas (1974), and found it to be an outstanding horror film. Then I watched the 2006 remake and thought that no remake could be as bad as that one. I. Was. Wrong. Enter: Black Christmas (2019). This movie is a prime example of bludgeoning the audience with a message/agenda 2×4 with a complete disregard of proper storytelling. Gone is the terrifying atmosphere of the original or schlockyness of the remake. All that we have here is a post-modern sexist message of hate full of one-dimensional characters. To say that there is a plot–even a bad one–is a vast overstatement. This movie is neither entertaining nor empowering. If you watch it, you will ask yourself what Jason Blum and Universal Pictures thinking. I suppose they are thinking of a potential house at Halloween Horror Nights 30 next year. And on that note, I agree that this movie will translate to a fun HHN30 house. But that’s pretty much it.

There is ZERO subtext, no nuance, no likable characters, and when it takes a supernatural turn, you will sit back with your eyes rolling around. And let’s address the PG-13 rating. Had this been rated R, then the kills would have at least been a little better, as they are, they lack anything memorable. A horror film, like this one, rated PG-13 simply works against it from the onset, not to mention the travesty the (if you can call it this) story is. This movie does the title Black Christmas harm. If for no other reason, perhaps the good thing to come out of this one is that horror fans will seek out the original! This movie’s heavy-handed cash grab and irreverent treatment of the #MeToo movement is offensive in and of itself. How can anyone take the movement seriously when movies like this perpetuate an obnoxious caricature of it??? Speaking of perpetuating negative development, this movie also preaches a sermon of post-modern sexism in which women can say anything about and do anything to a man simply because he is a man. However, if a movie like this were made that gender swapped the characters, then it would be protested to the highest degree.

I’m not here to negatively critique this movie because I dislike the agenda-driven message, but I am here to provide a review of a poorly written and directed movie. Being a cis gay male, I often identify with female characters, but I couldn’t connect to any one of these women. As far as acting, it’s par for the course for a bad horror movie. To call this movie a slasher, is disrespectful to the genre. It is not a slasher. Had this movie stuck to the original plot, but brought it into the 21st century, then I think it could have actually been pretty good. Such a great opportunity to play around with an iconic property. In terms of the representation of women, horror has always been on the forefront, a pioneer in writing strong female characters that are brave, smart, vulnerable, and cunning all at the same time. So I am not sure why this movie felt the need to preach strong female characters. Hello! The term “final girl” is derived from horror films. Where this film could have been clever is to subvert our expectations and have a “final boy” and female villain instead, if it truly wanted to flip this property on its head. The female empowerment message could have easily come from that setup. A female slasher killing off frat guys that mistreat their girlfriends or hookups. That already sounds better.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

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“Knife + Heart” French Horror Review

As heard on One Movie Punch

Brian de Palma’s Dressed to Kill meets William Friedkin’s Cruising in this 1970’s inspired French slasher. Throw in a splash of Black Christmas and the concept of dealing with the heartbreak of loss, and you have this spectacularly haunting slasher. To the casual observer, this film might seem like an auteur’s masturbatory dream; but upon closer examination, the many layers to the story reveal a motion picture that is just as concerned with its messages as it is the medium through which it expresses the narrative. At the center of this film is one poignant message of social commentary: the panic of being gay in a potentially hostile world. While the killings are explicitly violent, the sexuality is not. Gonzalez keeps the focus on the mystery of the identity of the serial killer preying on the actors of the blue films within this film instead of the sexuality being in the forefront of the plot. It’s just as much a whodunit as it is a campy slasher movie.

For the podcast review, click HERE.

It’s Paris, summer of 1979, and gay porn producer Anne finds herself suddenly single when her editor and lover Lois leaves her. To win her back, Anne sets out to produce her most ambitious film yet with her assistant producer, the flamboyant Archibald. Following the brutal murder of one of Anne’s stars, she gets caught up in a bizarre “Black Dahlia” like investigation that turns her life upside-down. When more and more of her stars wind up victims of the sadistic killer, she finds herself in a whodunit of cinematic proportions.

There is also a time capsule of sorts in this film as it takes place in 1979, just before the AIDS crisis, much like Cruising. But this — what could have so easily been simple a throwback gay exploitation horror film — is a comprehensive motion picture that uses the setting of Paris 1979 to reflect upon the present state of affairs for the queer community, and the world in which they live today. As the content of this film is extremely dark, there was need to inject some comedic relief into it in order for it not to become too heavy. So while you may be cringing at the kills, especially the first few ones, you will have moments of levity that keep the emotional rollercoaster going. Moments of comedy are very important to a horror film. If a heavy horror film lacks moments that make you laugh, then it becomes too heavy and off putting.

Clearly inspired by the films of Argento, de Palma, and even Kubrick, Gonzalez shows a command of the screen and the power of the moving image coupled with emotion communicated through colors, shapes, and angles. Despite being made in the 21st century, the film has an exquisitely recreated vintage sound, look, and feel. The dream-like colors, horror tropes, and synth score composed by M83 work together to create a film that is truly “dressed to kill”. In terms of the screenwriting, the film’s opening is extremely strong and expertly hooks the audience. Following the shocking opening, the plot and characters seem to take a backseat to the imagery, emotion, messages, and directorial style.

Gonzalez may look similar to de Palma and Friedkin, but he lacks their emphasis on a narrative that showcased exemplary character drive supported by the action plot. Evidence of this lack of direction and plot can be witnessed in the film’s repetitive scenes in acts two and three. After such a terrific first act, the second and third acts don’t play out as effectively, and often feel like they’re in a holding pattern. Even the kills eventually lose shock value because the uniqueness fades after a while. While the film successfully depicts the horrors of being gay in a world that wants to see you dead, the plot feels thinly stretched.

However, holding the film together, and keeping it gripping, is the character of Anne, because her performance is outstanding. We may not fully buy into why she does what she does, because so much seems to be so unrealistic even for that time; but she definitely comes across as a real person through whom we connect to the story. We’ve all been heartbroken, so we can identify with her trauma following being dumped by Lois.

In short, “Knife + Heart” does so many things very well, but the plot is not executed with the same caliber as the film’s visuals. Perhaps it is due to having bits and pieces of so many different genres and even plots. Essentially, Gonzalez tries to balance a tormented lesbian love story against a homophobic serial killer movie. Both point to the message of being gay in a hostile world; but had the focus been on one or the other, instead of both, then narratively, the film would have worked better. Thankfully, the artistic achievement of this film works to compensate for the lack of proper pacing and plot development. For fans of immersive artistic horror or erotic whodunit films like the original Suspiria, The Black Dahlia, Cruising, or Muholland Drive, this is definitely one to check out.

Knife + Heart is included with Shudder (highly recommended for horror fiends like me) or available for rent on Amazon Prime.​

  • Rotten Tomatoes: 82% (Certified Fresh)
  • Metacritic: 69
  • IMDb: 6.3
  • One Movie Punch: 6.0/10

Podcast: onemoviepunch.libsyn.com/episode-542-knife-heart-2018

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“MA” Horror Movie Review

A delightfully disturbing and thought-provoking Carrie meets Misery horror movie. Oscar-winner Octavia Spencer delivers an outstanding performance; however, the movie is unfortunately hampered by a weak screenplay with flat characters. In short, the reason to watch this movie is for the terrifying performance by Spencer, solid world-building, and commentary on high school bullying and teen sexual assault. Tonally, MA is a throwback to 70s and 80s slasher horror complete with the slow-burn windup, off-beat comedic schticks, and a descent into gnarly violence. Not all the kills cause you to wince as the screen holds your eyes hostage in the pleasurable unpleasure, one of the kills will leave you cheering–no seriously, it will. Built upon the premise of the sins of the parents will be visited upon the children, the screenplay does not hold back when taking us to some very dark places that fester with anger, fear, and resentment. With so much going for it, it’s unfortunate that the movie suffers from on-the-nose dialogue, leaving little room for subtext. Furthermore, most of the characters lack significant dimension that could have propped up this movie. Some interesting relationship dynamics and backstory are touched on, but never followed through in a meaningful way. While Spencer is truly the glue holding this movie together, there are some highlights worth discussing.

A lonely middle-aged woman befriends some teenagers and decides to let them party in the basement of her home. But there are some house rules: One of the kids has to stay sober, don’t take the Lord’s name in vain, and never go upstairs. They must also refer to her as Ma. But as Ma’s hospitality starts to curdle into obsession, what began as a teenage dream turns into a terrorizing nightmare, and Ma’s place goes from the best place in town to the worst place on Earth. (IMDb)

While most of the characters lack any true dimension (except Ma), the ensemble cast is comprised of some highly relatable characters. At the forefront of the cast is our title character of Sue Ann (or Ma). If you are coming to this movie as a single individual over 30, then you will likely identify with her by empathizing with her backstory and understanding what it’s like to feel that life is a parade passing as you wave it by. Furthermore, Sue Ann suffered repeated bullying, rejection, and even teen sexual assault that left a lasting psychological trauma. Or maybe you are the former popular high school Erica who moved away from her jerkwater town to Los Angeles, lived a wealthy life, just to wind up a divorcee and back in your hometown as a cocktail waitress. Perhaps you are the new girl at school Maggie, who grew up in Los Angeles but now is back in dismal Ohio during your junior or senior year of high school because your dad left your mom (Erica) for another woman. You could be the Regina of your group of friends, the dude bro, or the all American boy with a touch of geek. Whatever your high school experience or how it affected your adulthood, there is likely a character with whom you can identify.

Although the film could have commented more on the PTSD associated with high school bullying in a more meaningful way, and derived even more horror from it, it does serve as an exploration of the real, lasting effects on the psyche. A brief character analysis of Sue Ann reveals someone who is trying to capture that which evaded her in high school: the parties, the romance, the care-free friends. Because of the abominable treatment of Sue Ann by many of her classmates in high school, she suffered a trauma that mitigated her ability to socialize properly and psychologically mature. Therefore, as she grew older, she was constantly reminded of that which she could not experience in high school. So, when she saw a moment to reconnect with her youthful self in being needed by the group of teens outside of the gas station to buy alcohol, she seized the opportunity. Of course, the fact that our all American boy Andy is the son of the guy she crushed on in high school, definitely helped her make the decision to help. Unfortunately, her high school crush was responsible for the sexual assault she endured. A sin for which both father and son would pay. It doesn’t take long for the teens to see the cracks in Sue Ann’s fragile veneer. While the teens enjoyed Sue Ann’s party house and the charismatic Ma, things were fine. When they rejected her, things took a grave turn for the worst. And just like that, she was reminded of the torment from their parents in high school and began to plot her revenge on both the teens and their parents. In this respect, she is a little like Freddy Krueger because in A Nightmare on Elm Street we have the concept of the sins of the parents will be visited upon the children.

If you went or are going into Ma with the desire to see a terrifying horror movie from start to finish, then I need to warn you that this is a slow burn horror movie. Not, that slow burn is without its intrigue and suspense, after all, this is where the world and relationship building happens. However, this movie does not reach its horror status until the third act. But once the horror hits, it hits hard–gnarly even. Even the kills/tortures that you saw in the trailer still pack a powerful punch. Most of kills are nightmarishly real. Very little visual effects here; you get the benefit of some highly authentic practical effects. Yes, even the lip sewing scene. Probably one of the most disturbing torture and kills involves animal blood; this moment is nice homage to both Misery and Carrie, but not a copy of either. There is a poetry to the tortures and kills. No one is targeted out of sheer happenstance, but targeted because of whom or what they represent. The sins by which Sue Ann judges the teens or parents are directly connect to or represented in the manner in which they meet their demise. More than the creativity in the actions of Sue Ann, the reasons why she feels the way she does are the most interesting. Even though we should be disgusted at the actions of Sue Ann, we cannot help but empathize with her because of her troubled history and past trauma. She wants what any of us want: to love, have our love returned, and be accepted.

Is it a great horror movie? No. But is is a solidly good one? Yes. If for no other reason, you watch Ma for the outstanding performance by Octavia Spencer! She is absolutely captivating and will leave you with many WTF moments. Interestingly, this is not Spencer’s first time in a horror movie; she was in Rob Zombie’s Halloween II. I hope that we get to see her in more horror movies in the future because she did such a fantastic job with this one. If you’re looking for a fun, popcorn horror movie that–to its credit–does have some thought-provoking content, then you’ll enjoy Ma.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry