Tag Archives: Universal Studios

DROP (2025) movie mini-review

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“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

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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.

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 WILD ROBOT movie review

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Wildly heartfelt and uplifting! Universal and DreamWorks Animation’s The Wild Robot is among the best films of the year, period. Director Chris Sanders delivers a truly compelling and smartly written fish-out-of-water story about found family and being more than the sum of our parts–or programming. Easily on track to make my Top 10 Films of the Year list. Based on the book by the same name, DreamWorks Animation hits a homerun with this outstanding animated motion picture that will challenge you, thrill you, and tug at your heartstrings.

Shipwrecked on a deserted island, a robot named Roz must learn to adapt to its new surroundings. Building relationships with the native animals, Roz soon develops a parental bond with an orphaned gosling.

I’ll admit it up front, I cried. It really is such a beautiful animated motion picture that likely rocketed its way into my best films of the year list. Not since The Iron Giant have we had an animated motion picture with such gravitas. While I still feel that 2016’s Kubo and the Two Strings remains the best animated motion picture in the last ten years, I must say that The Wild Robot is solidly my No.2 pick. The strength of this picture is in the compelling story, relatable characters, and efficient plotting (sometimes a little too efficient). My only real negative criticism of the film is the pacing in the first act; while refreshingly lean, some scenes and sequences needed a little more room to develop and breathe. Even though The Wild Robot shares little in common with The Iron Giant‘s plot, it shares Iron Giant‘s heart and soul.

Fish-out-of-water premises have been a staple of cinema for nearly as long as films have been around. So the real challenge for writers and directors is to find original ways of expressing these foundational ideas. And what is precisely what we have in this film. There are actually three fish-out-of-water narratives within the film, and the film is better for them because each of these layers adds personal and interpersonal complexities to character relationships with the world in which they finds themselves and amongst each other. The films provides thoughtful commentary on what it is like to both be in a world that is unfamiliar and have unfamiliar tasks thrust upon oneself.

Furthermore, this film depicts the importance of adapting to one’s environment and overcoming obstacles, even those that are innate. I also appreciate what the film has to say about self-determination and taking personal responsibility for one’s circumstances and one’s mistakes. Fish-out-of-water stories are some of the most relatable, because we have all been placed in an unfamiliar environment, and know how that can feel. It’s a terrifying prospect to be dropped into a world that is alien to us, and the film does not shy away from the challenges, joys, and even the tragedies that can befall us.

Another narrative area of strength in the film is challenging us not to quickly pass judgment on that fish-out-of-water when they find themselves in your world. Or to presume that one’s past behavior is always an indication of how that person (or animal, as it were) will always behave. Yes, past behavior can indicate predisposition to moral and ethical aberrations, but that does not mean that redemption is not to be considered a possibility. I love how the film paints a portrait that we can change, if we have the will and support to do so. It rarely comes naturally, we have to work at it. We have to work at overcoming natural behaviors that may not be constructive and ultimately selfish. We are more than the sum of our parts–or our programming.

To a lesser extent, there is come social commentary on the relationships between the work place and the employee and even cultures that decry the individual in exchange for group think. Without getting into spoilers, the film depicts imagery of how some, if not many, companies treat and feel about their employees. How a company does not view the employee as an individual; rather, as a means to an end, just another cog in the machine that will be disciplined for any individuality or unique expression. But not before the company assimilates the knowledge of that employee, particularly those that do think outside the box. Difference will not be tolerated. That is the feeling of many companies and even governmental systems. The film challenges these ideas by showing cooperation between diverse groups, even groups that are naturally enemies. Furthermore, the film demonstrates how differences can be overcome or even set to the side in order to serve, protect, and survive.

Lastly I’d be remiss not to touch on the global idea of the film, which is the concept of found family. Throughout the entire film there are images of the important role one’s found family fills in life. Found family is that family-like unit that may not be blood-related, but very much fill the same role as a more traditional family in one’s life. It’s a group of friends that have a relationship that goes beyond typical friendship, and includes family-like dynamics. Sometimes these are formed because someone feels rejected or neglected by their real family, and find family with a close group of friends. Other times, and I’d venture say most of the time, a found family can be formed out of the significant distance between you and your family of origin. So when in a new place because of school, work, or even military transfer, it’s important to form a strong bond with friends (or a friend’s family) to fill that important role even when separated from one’s family of origin. We are creatures that have an innate need for connection and companionship.

I cannot recommend The Wild Robot enough! Don’t miss seeing this incredible animated motion picture on the big screen.

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

SPEAK NO EVIL horror movie review

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An entertaining and terrifying thrill ride. Blumhouse and Universal’s Speak No Evil, starring James McAvoy, excels in plotting and atmosphere but falters in character building and development. Based on the Danish film by the same name, director James Watkins’ version is a methodical and spellbinding descent from dream to nightmare. The highlight of the film is McAvoy’s completely manic performance that is simultaneously comedic and unsettling. Whilst Watkins attempts to bestow upon the high concept narrative thoughtful social commentary on image, isolation, and identity, the commentary is inconsistent and lacks the gravitas to truly be compelling or provocative.

A dream holiday turns into a living nightmare when an American couple and their daughter spend the weekend at a British family’s idyllic country estate.

That which is most personal is most relatable, and can be the most terrifying. And what can be more personal and relatable than the need for a relaxing vacation in the peaceful countryside? That is precisely where this decent into a nightmare begins. Speak No Evil may take its time (albeit justified) in setting up the conflict, but once that second act kicks into gear, it is a nonstop thrill ride into isolation and violation. Keep the cast small, the film is able to spend sufficient time in developing the plot and keeping with proper pacing for the tight storytelling. From the very beginning, the piping is laid for everything that audiences will encounter in the second and third acts, with every shot, scene, and sequence pointing towards the shocking conclusion.

Violence on screen is minimal; however, when it hits, it HITS. But that hit isn’t always visual; many times it is psychological in nature, which in many ways, is even more terrifying. Throughout this film, the terror on screen is transferred into the minds of the audience. Part of that is because of the degree of relatability in this story. Many of us have been on vacation in a new place or even moved to a new place unfamiliar to us–perhaps in or to another country–and we are often desperate for friendship or companionship of any kind in order to begin to feel more at home. Therefore, the setup of this film is one to which many of us can relate–and that’s what makes it particularly terrifying. The thought that we could unwittingly befriend a monster.

While the social commentary on isolation, identity, and image is inconsistent and weak, I appreciate what Watkins was trying to do; although, there is one aspect of the film that was screaming for a redemption arc that was so obviously squandered (and actually hurt the quality of the film). Speak No Evil depicts many expressions of isolation. Isolation from friends and family, isolation from the urban core, isolation within one’s family. And it’s this isolation that greatly heightens the level of suspense and terror.

Additionally, the film depicts the identities (or facades) that we project to the world when we are hiding something or feel insecure because we wield it like a sort of armor. Moreover, this identity can also harbor inconsistencies that lead to a lack of authenticity and meaningful motivation. Perhaps this identity is merely a facade that is intended to make others feel uncomfortable or to project an image that sets one apart simply out of fear of being found out as little more than keeping up with what’s trending on social media. Furthermore, the attempted commentary on image is depicted in a variety of ways throughout the film.

The weakness in the film is found in the character building and development. Not with all the characters, but enough that it mitigates the potential of the film to deliver a compelling story. Without getting into spoilers, I want to discuss where the film had an opportunity an an effective character redemption arc, but pandered to what’s presently trending in movies instead of providing a constructive character arc that would’ve benefitted the film by adding a since of compelling meaning. Strong characters are not strong because those around them are weak; to craft a strong character through that methodology makes for a weakened (and less compelling) character because ostensibly standards have been lowered.

Strong characters are at their strongest when other characters are strong, complete with dimension as well. There is a character in the movie that lost their job, and have been personally struggling with feelings of anger, inadequacy, and failure–that is completely relatable as it is very much a human response to losing ones income and livelihood. Where the film fails is setting this character up to overcome the feeling of failing their family and at life, but never doing anything with it, and merely reinforce weakness. I imagine this was done to make their counterpart appear stronger. But it amounts to lazy storytelling that reinforces negative imagery.

The character that is the most entertaining is James McAvoy’s Paddy. I cannot think of any other actor working today that could’ve brought this character to life nearly as well as McAvoy. In an otherwise par for the course performative dimension in the film, he brings a kinetic energy that draws audiences into the macabre, twisted tale. From the very beginning, we can tell that there is something a little off about his character, but never enough to know precisely where he stands. When he goes full-on manic mode, we are in for the ride because he makes us laugh and gasp in horror all at the same time.

Everything about this movie would make for a fantastic house at next year’s Halloween Horror Nights at Universal Orlando and Hollywood. The farmhouse at the center of the movie is a labyrinth and hints at a variation of the hillbilly horror aesthetic. I can see how this film’s characters and setting could adapt well to an HHN house, so I would not be surprised if we see this intellectual property featured at next year’s HHN.

Speak No Evil may lack dimension that could’ve made it a more compelling narrative than what we received; however, it’s still an entertaining thrill ride that will have you laughing and screaming. A solid popcorn horror movie that has some degree of rewatchability.

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

ABIGAIL horror movie review

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Fangtastic! Universal Pictures’ Abigail is a wildly entertaining, classically-inspired horror movie that you can really sink your teeth into. It delivers old school vampire movie elements with a contemporary sensibility. Ostensibly, it’s the metaphoric child of Dracula (1931) and The Horror of Dracula (1958). From beginning to end, the terror and laughter continually draw you into the story. Tonally, it strikes a great chord. The narrative never takes itself too seriously; however, it never devolves into parody either. It’s an effective blend of the atmosphere and music of an old school Universal monster picture and the increased gore of Hammer studios. Underscoring the blood-curdling outside/action story is an internal story with a redemptive message and even a little heart.

A group of would-be criminals kidnaps the 12-year-old daughter of a powerful underworld figure. Holding her for ransom in an isolated mansion, their plan starts to unravel when they discover their young captive is actually a bloodthirsty vampire.

From the moment the film opens, I was hooked! It opens with a solitary ballerina gracefully dancing on the stage in an empty auditorium; but what makes this scene particularly alluring is the original Dracula score (selections from Tchaikovsky’s Swan Lake) underscoring the entire opening sequence. It’s a deceptively simple scene that draws us into the beauty of the dance and music. Not only does the iconic music play at the beginning, but variations of it serve as a significant part of the movie’s score. This scene could be made greyscale, and edited to look like it was shot on 1930s 35mm film stock, and I’d almost buy that it was shot nearly 100 years ago.

While the movie may start out in the city, it doesn’t take long to venture into the countryside where a foreboding Tudor style estate serves as the main location for the events of the film. Again, Abigail is channeling Universal’s roots in classic horror by placing our relatively small cast in an isolated expansive estate that could’ve very well been used in a Carl Laemmle/James Whale motion picture. All that was missing was the eerie setting being draped in a dense fog rolling off the moors. As the characters wander through the imposing countryside mansion, the movie effectively established the rules by which the film will live by as it delivers its screamtastic narrative.

Without getting into plot specifics, I can tell you that it’s a simple plot with complex characters–so the best kind of cinematic story! Each and every character is sufficient developed, and quickly. The movie wastes no time at any point. It’s a lean, mean script that snaps, crackles, and pops. Not only is the world build, complete with rules, but the logic of the movie follows the rules and boundaries that it setup for itself during the first act. And while the movie does adhere to many classic vampire tropes, it also subverts some expectations. But not too many. There is one, in particular, to which I feel that it should’ve adhered but identified a way around it for dramatic purposes. But otherwise, I like that it pretty much stuck to the vampire playbook that has been used since Bram Stoker penned the seminal novel.

While there is a lot of blood, I wouldn’t say that it is a particularly violent picture. When the violence and gore hit–they hit–but it’s not gratuitous to the point of exhaustion from the visceral gore and projectile blood. I’d say it’s along the lines of Ready or Not levels of violence/gore. It’s never delivered in a manner that feels disturbing or disgusting; like with the tone, there is a consistent tongue-in-cheeky quality in the fighting or kill scenes. There are some fantastic skills and scenes that I hope make their way into the HHN (Halloween Horror Nights) house that this movie is destined to become this year or next.

the comedy is effectively delivered scene after scene. There is a great combination of humorous dialogue and visually-driven humor. Lots of hilarious image juxtapositions and an over-the-top quality to much of what is experienced. The movie is full of exaggerations, twists, and reversals. Whether the punchline is delivered in an argument or a sight gag, it’s done incredibly well by writers and directors that care. There is one scene that I particularly enjoyed, and it’s the vampire dancing with a headless corpse to the Dracula score. It’s just so ridiculous that you will undoubtedly laugh!

Despite the wildly entertaining qualities of this movie, it is not without some heart. One of the characters learns that constantly feeling like the victim of their circumstances is not constructive, and sometimes the best thing to do is move forward, freeing oneself from the prison of victimization. It was a nice touch that didn’t feel forced, but rather earned by the character.

You don’t want to miss seeing Abigail on the big screen, because the experience will not be the same at home. If you’re a fan of both Universal and Hammer horror, then you’ll want to make sure to watch Abigail in cinemas.

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