DROP (2025) movie mini-review

Posted on April 16, 2025 by R.L. Terry

“Drop” in on a lot of fun at the cinema. Universal and Blumhouse’s Drop is a highly entertaining Lifetime-esque thriller that requires a prescription-strength dosage of suspension of disbelief. With a charming cast and adrenaline pumping suspense and tension, Christopher Landon’s latest movie delivers an engaging time at the cinema.

Violet is a widowed mother who goes to an upscale restaurant to meet Henry, her charming and handsome date. However, her pleasant evening soon turns into a living nightmare when she receives phone messages from a mysterious, hooded figure who threatens to kill her young son and sister unless she kills Henry.

If you enjoy the Lifetime movies of the 2000s, then this is right up your alley. The stakes are high and you’ll empathize with our central character of Violet, and root for her and her family’s survival. Because the lead cast quickly makes a meaningful connection with the audience, the plot holes (and there are many) almost feel irrelevant because the movie’s strength isn’t so much in the realism of the plot as much as it is in the naturalism of the plot. The movie is disconnected sufficiently enough from reality that it functions as an escapist picture, therefore the fact that there is little to no way this plot could ever happen due to the ridiculous nature. Between the high camp, high stakes, and charming cast, Drop blends the aesthetics of a high-budget thriller with the emotional pitch of a Lifetime movie—often to hilarious and unexpectedly entertaining results.

From writer-director Christopher Landon, Drop is directed with the kind of slick, over-serious tone that almost dares you not to laugh, Drop thrives in that uncanny cinematic space where implausibility meets irresistible entertainment (a.k.a. the Lifetime movie formula). The film is not so much interested in realism as it is in emotional immediacy—and it serves it with gusto. What makes Drop work is the sheet Oscar-level commitment. In an era wherein movies that typically fall in the vein of this one, wink at the audience to cue them in on the joke, this movie never acknowledges the absurdity of the premise. Which proves to be the winning hand, because the audience’s experience is surprisingly immersive. The stakes may be inflated, but the emotions feel real in the moment, and that’s what keeps viewers engaged. it to be consumed by its tornado of drama.

Even though the movie never becomes self-aware of its absurdity, that isn’t to say that the campy levels of plot devices and drama don’t play a role–on the contrary–the movie’s absurdity is its strength. Whether you’re watching in genuine suspense or howling with friends at the sheer audacity of it all, Drop delivers. And it’s way more fun than it has any right to be. Solid as the plot is from a storytelling mechanics perspective, it definitely defies conventional logic. But the movie completely surpasses any expectations I had going into the movie. Drop is a deliciously unhinged suspense thriller that feels like a Lifetime movie on a Red Bull bender—highly recommended for fans of unintentional camp and cathartic chaos.

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

THE WOMAN IN THE YARD horror movie review

Posted on March 28, 2025 by R.L. Terry

Immersive setting and thoughtful premise meets with poor plotting. The Woman in the Yard is a haunting reflection of trauma, grief, and loss that accomplishes little beyond delivering unsettling imagery. The rich southern gothic atmosphere draws viewers into the story, but the experience ultimately falls flat due to poor writing. That said, I appreciate what the film tries to do with its intriguing premise, but the insufficient plotting and meandering diegetic direction hamper what could’ve been a rather fantastic psychological horror film.

Ramona (Danielle Deadwyler) becomes crippled by grief after her husband dies in a car accident, leaving her to care for her two children alone in her rural farmhouse. Her sadness soon turns to fear when a spectral woman in black (Okwui Okpokwasili) appears on her front lawn, warning her “today’s the day.” As the mysterious figure creeps closer and closer to the house, Ramona realizes she must protect her children from the evil woman who simply won’t leave them alone.

In the vein of The Others, this film takes place in an isolated house in the countryside featuring a mother and her kids. Except instead of leaning into a New England gothic aesthetic, The Woman in the Yard exudes a rich, dimensional Southern gothic atmosphere. From the house to the yard to the ominous, mysterious woman in black, this film draws us into the story. Unfortunately, the story into which we are drawn, leaves much to be desired.

If I were to simply focus on the atmosphere of and settings within the film, The Woman in the Yard would rank highly for me, but it’s disappointing that such a rich world is wasted on such a vague plot and meandering narrative. Even the performative dimension is compelling. All four performances of the main (and pretty much only) cast members were solid. I only wish they had been given more to do in order to drive home the themes of the film.

I opened with comments concerning the various themes in this film concerning grief, loss, and trauma, and I enjoyed how these internal feelings were externalized for the audience. The use of mirrors, shadows, and (digital) double exposure gave this film a tangible, experiential depth. But, regrettably, the imagery and performative dimension is pretty much all that we get in this film, for the plotting is weak and lacks discernible direction.

Without getting into spoilers, our central character of Ramona must battle the various affects of the trauma incurred from the car accident that left her injured and her husband dead, which have manifested themselves in the woman in black and related paranormal and supernatural occurrences in the isolated Georgia farmhouse. She is challenged to resolve that which she is battling in order to provide for her children after the tragic passing of her devoted husband and father to their kids. Just like those that experience a life-changing traumatic event (often in the aftermath of a tragic accident) begin to reflect upon their life and examining their impact on and relationships with others, Ramona is reflecting upon her life. The psychological process of reflecting on life is dramatized in and expressed through the use of mirrors, mirrored imagery, and (what in analog terms would be) double exposure. This part of the film works incredibly well! But the plotting isn’t there to sufficiently support it for storytelling cinematic storytelling purposes.

The woman in black is a paranormal manifestation of something in the film that I cannot reveal as to avoid spoilers, but I loved this character! She is creepy, intriguing, mysterious, ominous, and more of what makes a great monster in a horror movie. Between the Southern gothic atmosphere and the woman in black, I very much expect to see this movie adapted into a Halloween Horror Nights house. The character of the woman in black is rather terrifying, yet you won’t encounter much in the way of traditional scares. Her character (and her chair) are so thoughtfully crafted that her mere presence is enough to send adrenaline through your body. In terms of “rules” for a monster, they are established early on, and everything to follow functions within those rules. I would not be surprised if the woman in black is borne out of real folklore, because so much of what happens feels connected to campfire ghost stories and superstitions.

While The Woman in the Yard may lack in the plotting department, it delivers many elements that can be sufficiently enjoyed. It may not be one that I will revisit any time soon, but I still enjoyed the movie well enough.

BLACK BAG film review

Posted on March 19, 2025 by R.L. Terry

A sleek and suspenseful espionage thriller. Steven Soderbergh teams up with screenwriter David Koepp to craft a cinematic world of intrigue and deception in Black Bag. The duplicitous nature of the film is witnessed in the gripping marital drama that underscores the covert spy activity. Rooted in themes of trust, betrayal, and the cost of secrecy, this film places audiences deep within the labyrinthine world of British intelligence, where loyalty is as much a weapon as it is a liability.

When his beloved wife, Kathryn, is suspected of betraying the nation, intelligence agent George Woodhouse faces the ultimate test — loyalty to his marriage or his country.

Michael Fassbender and Cate Blanchett lead the charge as George Woodhouse and Kathryn St. Jean, a married couple whose bond is tested when George is tasked with unmasking a mole inside the British National Cyber Security Centre (although not stated, the Centre is reminiscent of MI6). When suspicion falls on Kathryn, the mission becomes personal, forcing the couple into a high-stakes psychological chess match where every move could be their last. David Koepp’s screenplay strikes a deft balance between razor-sharp dialogue and simmering tension, drawing audiences into a narrative that is as much about human connection as it is about spycraft.

Fassbender delivers a layered performance, portraying a man caught between duty and devotion, while Blanchett’s enigmatic presence keeps audiences guessing until the final frame. Their electric chemistry brings an emotional weight to the thriller, grounding the high-stakes espionage with raw, personal stakes.

Adding depth to the intrigue is an exceptional supporting cast, including Naomie Harris as a perceptive psychiatrist and Regé-Jean Page as a brash but brilliant operative. Each performance contributes to the film’s palpable atmosphere of uncertainty, where shifting alliances and hidden motives drive the tension ever higher.

Soderbergh’s signature directorial style is on full display, with dynamic camerawork, crisp editing, and a refined aesthetic that gives Black Bag an effortlessly cool veneer. Complemented by David Holmes’s pulsating, jazz-infused score, the film moves with a rhythmic intensity that keeps the tension taut from start to finish.

David Koepp’s screenplay is a masterclass in taut, intelligent storytelling, seamlessly blending espionage thrills with deeply personal stakes. The interplay between George and Kathryn is laced with suspicion and longing, making every conversation feel like a battle of wits. Koepp’s ability to navigate shifting alliances and hidden motives ensures that no scene feels wasted, keeping audiences engaged in a labyrinth of deception. While the plot’s complexity demands careful attention, the payoff is both satisfying and thematically rich, cementing Black Bag as a sleek and sophisticated entry in the spy thriller genre. My only negative critique of the screenwriting is that Koepp’s screenplay does suffer from some poor pacing in the first act.

While he doesn’t play a prominent role in the film, seeing former Bond Pierce Brosnan return to (what we may as well call) MI6 was a nice treat and nod to his tenure as the definitive fictional British spy.

While some may find the intricate plotting requires a close watch, the payoff is worth the investment. More than just a spy thriller, Black Bag is a stylish, smart, and suspenseful exploration of trust in a world where deception reigns supreme. A must-watch for fans of sophisticated espionage cinema.

CONCLAVE film review

Posted on March 3, 2025 by R.L. Terry

Spellbinding and poignantly reflective! It’s like House of Cards but with Cardinals and Nuns. Truly captivating.

Cardinal Lawrence has one of the world’s most secretive and ancient events, participating in the selection of a new pope. Surrounded by powerful religious leaders in the halls of the Vatican, he soon uncovers a trail of deep secrets that could shake the very foundation of the Roman Catholic Church.

I feel the film strikes a delicate balance between reverence for the subject matter, yet provides us with a subtle critique of its institutional traditions. The story unfolds with deep respect for the gravity of the papal election. However, through its unfolding intrigue, the film also reminds us that faith should ultimately be centered on God rather than on rigid customs or political maneuvering. The narrative underscores how human ambition, secrecy, and tradition can sometimes cloud the true purpose of faith. And the plotting is meticulously structured. Every revelation is carefully placed, each character’s motivations are unraveled with precision, and the pacing ensures that the suspense never overshadows the film’s thoughtful meditation on spirituality and power. I also like how the screenplay both honors faith-based institutional traditions but challenges the audience to reflect on what truly matters in faith.

To me, the cast collectively delivers a compelling performative dimension that drives the captivating nature of this film. Feinnes, Rosselini, Tucci, Lithgow—what a powerhouse. The actors did a brilliant job of drawing audiences into the pomp, circumstance, and almost clandestine nature of the election of the Pope. Feinnes’ performance as Cardinal Lawrence was bold and convicting, yet incredibly nuanced at the same time. The other cast member I want to spotlight is Isabella Rossellini as Sister Agnes. And while the gravitas she brought to every scene, in which she was featured, allowed her to steel the spotlight, there were Amy moments—to my delight—that I could hear Lisle Von Rhouman from Death Becomes Her.

I love how the characters are not merely realistic individuals vying for power within the Vatican but, a closer reading reveals something far more important in these characters: the key characters each represent broader themes of faith, morality, and human ambition. Each character serves as a symbolic force in the intricate balance between divine guidance and earthly maneuvering. Just to name a few: I see Feinnes’ Lawrence as the moral compass, Tucci’c Bellini as the political strategist, Lithgow’s Tremblay as the power seeker, and Rossellini’s Sister Agnes as the voice of reason or conscience. Each character represents different facets of power, faith, and human imperfection within religious institutions. Collectively, the characters offer audiences more than a quasi-political thriller, but a meditation on the true meaning of leadership.

The exquisite costuming and production design truly immerse us into the grandeur and secrecy of the Vatican. The costuming itself was a work of art that demonstrated careful attention to ecclesiastical tradition but also incorporated visual storytelling elements. The choice of fabrics, embroidery, and even the way the robes drape contribute to the film’s overall sense of realism and reverence, and serve as an extension of the setting and the personalities of the characters. As for the production design, every detail, from the richly embroidered vestments to the imposing architecture, reinforces the film’s solemn, high-stakes atmosphere. A key aspect of this visual achievement is the film’s use of Cinecittà Studios in Rome. Founded in 1937, it is one of the largest film studios in the world and has a rich, legendary even place in cinema history. Which I could go into for the rest of out time together. But suffice it to say, it was home to Liz Taylor’s Cleopatra and Isabelle Rossellini’s famous director father filmed at the storied studio. You can visit it, and its theme park today!

I feel the film has a lot to say about a variety of topics. If I was to identify a few, I’d say there are themes and messages concerning faith and politics, which we witness in the actions of the cardinals, while ostensibly seeking to follow God’s will, we are reminded that they are humans influenced by personal beliefs, rivalries, and ambitions. While it’s a group of men in this film, in this situation, we can really extend this idea to any and everyone. I also like how the film explores the immense weight leadership brings with it. Probably what hit me the most was how the film was not so presumptuous as to posit answers or solutions, but rather more concerned about prompting introspection. It respects the sacred traditions of the Church while also questioning the imperfections of any human-led institution—which is all of them. The film suggests that true faith is not found in ceremony or power but in the individual’s relationships with God and his or her fellow man.

I love when a film transcends its premise. While the surface of a film can be intriguing, entertaining, funny, or scary, it’s what lies beneath the surface that offers a timeless cinematic richness. And Conclave is one of those films. It offers us a profound reflection on the world we live in, and the intricate dynamics that shape our daily lives. This film serves as a mirror to the struggles of leadership, morality, and power that permeate every institution—from politics to corporations, from religious organizations to personal relationships.

WOLF MAN (2025) horror movie review

Posted on January 20, 2025 by R.L. Terry

Underwhelming. Leigh Whannell’s second remake of a Universal Monster classic has about the same depth as a puddle of water and keeps your attention about as much. No mistaking it—there are some brilliant ideas all throughout this movie, but the connective tissue is simply non-existent. Clearly this movie is Whannell’s attempt at infusing a thoughtful family drama about generational trauma and broken relationships into the monster movie formula, but the screenwriting fails to support this attempt. Whannell has previously demonstrated that he can successfully remake a classic whilst retaining the soul of the original and adding a layer of modern sensibilities, because that is exactly what he did with the critically acclaimed and box office success of The Invisible Man in 2020. Also, would somebody please send Julia Garner a great screenplay? She is a phenomenal actress; but ever since she finished Ozark, she hasn’t been offered a cinematic vehicle in which she could best shine. She’s still the best choice for a Madonna biopic. But I digress. 2025’s Wolf Man certainly had the potential and pedigree to be an entertaining, thoughtful, and exhilarating horror movie, but the screenwriting simply isn’t there to support it. However, I’m sure it’ll make for a great Halloween Horror Nights house later this year.

Blake and his family are attacked by an unseen animal and, in a desperate escape, barricade themselves inside a farmhouse as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable that soon jeopardizes his wife and daughter.

Despite Whannell’s ambitious reach, his Wolf Man remake fails to capture the innovation and depth of the original (1941) and the popcorn entertainment of the 2010 remake. While it boasts a rather strong performative dimension and effective moments of terror, the film struggles with strategic plotting, thematic clarity, and consistent execution of film craft. From beginning to end, there are setups without any payoff and many filler scenes that pad an anemic narrative. Moreover, the first and third acts feel truncated in exchange for a protracted second act that lacks any meaningful character or plot development. This is one of those horror movies that has all the bones of a great and entertaining story, but the moments wherein the pot and characters should steep are nearly non-existent. It has all the markings of a first draft screenplay. And with Whannell’s name all over the billing from writer, to director, to producer, this film suffers from what plagues so many film’s these days: lack of accountability. I’ve said it before, most directors are not writers and most writers are not directors. There are of course exceptions, but I’d like to see more writers and directors working together instead of feeling that one has to be both in order to be taken seriously as an auteur.

One easy example to cite (that isn’t a spoiler) is something that happens at the very beginning of the film that spotlights recurring setups with lack of payoffs. As 12 year old Blake is walking with his domineering father through the woods, his father makes a big deal out of some mushrooms in which Blake was interested, noting that many mushrooms are poisonous. The degree to which Blake’s father draws attention to the mushrooms sets up the Chekhov’s Gun storytelling device–or rather–appeared to have set the stage. Nope. Those mushrooms never come back into play for the duration of the movie. Whannell should have either found a way for those mushrooms to payoff in the showdown or should have not drawn acute attention to them at the beginning of the movie. Why am I spotlighting this? Because it’s indicative of the recurring weak screenwriting mechanics that plague this movie.

You may have heard that many critics and fans have negatively criticized the wolf man’s appearance. I may not be able to speak positively of the movie’s story and characters, but I do feel the need to come to the movie’s defense here, because the movie is called Wolf Man, not An American Werewolf in London. Looking back to Lon Chaney Jr.’s iconic Wolf Man (designed by the legendary Jack Pierce), he was designed to be a wolf-like man, not a werewolf in the traditional sense. Thematically, it represented then (and still represents in this latest iteration), the “monster” within each of us that has to be controlled. I respect Whannell’s decision to keep with a variation of Jack Pierce’s original concept of the Wolf Man, and I feel that it works very well for this movie.

An area where this movie shines brightly is in the exquisite sound design. From the immersive sounds of nature in the forest to the changes in Blake’s sense of auditory processing, the sound mixing and design are fantastic. Of all the moments demonstrating strategic and effective sound design, where Whannell’s direction demonstrates the greatest thoughtfulness, is in the moments wherein Blake’s human senses begin to transition to canine senses. Aside from this transition faltering to allowing for room to develop, the idea of dramatizing this for the audience was innovative and paid off dramatically.

Even though I am an advocate for experiencing cinema in the cinema, this is one of those movies for which you should wait to be added to Peacock–which will probably be very soon.

R.L. Terry ReelView

A Scholarly Approach to Cinema and More

Tag Archives: Universal Pictures

DROP (2025) movie mini-review

THE WOMAN IN THE YARD horror movie review

BLACK BAG film review

CONCLAVE film review

WOLF MAN (2025) horror movie review

Share this:

Share this:

Share this:

Share this:

Share this: