Tag Archives: Warner Bros

“The LEGO Batman Movie” movie review

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legobatmanNonstop antics, action, and thrills! Warner Bros. and Ratpac Dune present a movie that is equally one-hundred percent Batman whilst still completely LEGO. From the moment the opening title sequence of logos appears under the voiceover of a self-aware Batman, this brilliant animated film will take captive your attention and draw you in with a batarang of perfectly choreographed fight scenes and incredibly well timed self-reflexive humor. The LEGO Batman Movie is an entertaining combination of a contemporary story on the backdrop of Batman nostalgia. Whether you are a fan of the show from the 1960s, the Burton universe (as I am), the dark world of Nolan, or Snyder’s, you will find strategically placed references that fit exceptionally well into this LEGO universe. While the film is aimed at a younger audience, there are humor, easter eggs, and allusions to the various Batman shows and movies for adults to appreciate. Underscoring the over-the-top high concept plot, is a heartwarming story of love, family, and friends. This Batman movie pulls out all the stops as most, if not all, Batman’s villains receive screen time as well as other members of the Justice League with Batgirl and Robin. Oh yeah, the Joker IS actually in this Batman movie! With a 90% on Rotten Tomatoes and an 8.1 on IMDb, this film is sure to be a huge success this weekend.

When after a failed attempt at a takeover of Gotham by the Joker (Zach Galifianakis) and his henchmen, Batman (Will Arnett) is all too happy to accept all the credit for stopping the squad of villains. However, this time is different. The Joker and his henchmen give themselves up to the new Commissioner [Barbara] Gordon (Rosario Dawson). When the law enforcement and people of Gotham conclude that there is no longer a need for a masked vigilante, Batman finds himself having an identity crisis. Meanwhile, at a party, Bruce Wayne accidentally adopts young Richard Greyson (Michael Cera), and now is faced with the challenge of balancing his newfound role as a parent with Batman’s penchant for crime fighting. With pressures from Alfred (Ralph Fiennes) and Barbara Gordon mourning in Batman’s personal and professional lives, he must work through these challenges in order to save the city. Only this time, he may not be able to do it on his own.

What’s not to like??? The LEGO Batman Movie is one of those animated films that is perfect for (1) the whole family and groups of friends, as well as (2) legacy and new Batman fans. Just the animation and production design are positively mind blowing. With few exceptions, every design in the film from people to buildings and vehicles can be created with those iconic plastic building blocks. Much like with the previous LEGO movie, other LEGO universes get screen time as well (some of which are mentioned by name and others are implied), such as Lord of the Rings, Harry Potter, Jurassic Park, King Kong and more. With all the characters in the film, the focus is never shifted from Batman and Joker. There are many rabbit trails the film could have gone down, but it always stays true to the central characters. Overstimulation is another risk in a film like this one; but, for all the action sequences and ensemble casts, never once does the film feel that it is way too much to take in and enjoy. On top of the brilliant animation and design, is solid writing with excellent character development. Crafting the vision is director Chris McKay. Selecting the right director to handle all the elements of a LEGO movie is no short order. And Warner Bros and Ratpac Dune made a killer choice in McKay who brought us Robot Chicken: Star Wars: Episode III.

One of my personal favorite elements from the movie is the nostalgia meticulously and strategically woven into the plot. If you grew up watching the show from the 1960s or even reruns with your parents, you will be surprised with the echoes of the past and how they fit in perfectly with this Batman world written by Seth Grahame-Smith et al. Even the pow, bam, zap sound effect bubbles make a cameo appearance. The LEGO Batman Movie offers the best of all the Batman stories over the years. As I am not familiar with the Batman comics, I imagine that there are comic book references in the film for the enjoyment of that audience as well. Not as self-aware as Deadpool, this film does contain a hint of self-awareness, but never takes the place of the foreground action; however, it supports the main story nicely. Even the costumes are representative of many Batman universes. For the most part, Batman’s costume is rooted in the one worn by Michael Keaton in Batman and Batman Returns, but Batgirl and Robin’s costumes, respectively, are more reminiscent of the show from the 1960s. Joker is an excellent combination of the, in my opinion, definitive Joker: Jack Nicholson but hints of the more recent Jared Leto and Heath Ledger Jokers are in his costume, makeup, and behavior. We even get a more accurate representation of Harley Quinn in this film. There is quite literally something for everyone in LEGO Batman.

Looking for a great film to watch this weekend that doesn’t involve some sappy victimized Stockholm Syndrome-esque warped love story? Then head to your local theatre to catch The LEGO Batman Movie on the big screen! What better way to spend the weekend leading up to Valentine’s Day than laughing with your date??? Even if you’re spending Valentine’s Batman style–flying solo–you will still have a great time at this movie.

“La La Land” movie review

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lalalandSimply dazzling! A beautifully produced motion picture musical that is sure to delight audiences around the world. Ryan Gosling (Sebastian) and Emma Stone (Mia) shine brightly in this self-reflexive modern romantic film set on the backdrop of a classically composed movie musical echoing the song and dance numbers that Busby Berkeley brought to the silver screen through Hollywood studio system powerhouse Warner Bros. Summit Entertainment’s La La Land will have you laughing one moment and crying the next in this roller coaster of emotions. Every aspiring professional who has the dream of a substantive career as an artist in the visual and performing arts–or just an artist in general–needs to watch this film. If you have ever been discouraged on your career path, or lack thereof, this film will aid in reigniting the flame that fuels your dreams of writing, acting, playing, or whatever your passion happens to be. Whereas many films similar to this one would have shot it as a period OR modern piece, this film is nothing short of a masterpiece that harnesses the nostalgic appeal of the classic musical with the power of modern cinematic storytelling.

Stories of struggling to reach your dreams are nothing new, but there is so much more to the story of Mia (Stone) and Sebastian’s (Gosling) respective goals of successful careers in the city of angels. Following a chance meeting at a night club in LA where Sebastian was playing a set list of traditional Christmas carols, Mia and Sebastian continue to bump into each other at parties and in the work place. The focus of this musical is on the everyday life of two struggling artists trying to make it in a city notorious for shattering dreams and breaking hearts. Mia and Sebastian must learn what is more important: chasing dreams of being in the spotlight or a once-in-a-lifetime opportunity for a beautiful love unmatched by any other.

Best part about Damien Chazelle’s La La Land? The old-school movie musical feel from the moment the film opens. From set pieces to matte paintings to the manner in which the cameras capture the story as the drama unfolds, this is both a modern story of romance and conflict and classic Hollywood musical. While some may find the cinematography, lighting, and editing to be nothing remarkable, the fact of the matter is that it required great skill and hundreds of hours of effort to capture the essence of an old Hollywood musical. To recreate a nearly extinct film genre, is an outstanding achievement in cinematic storytelling and deserves all the 9s and 10s this film is receiving from critics and fans alike. La La Land takes pages right out of the books of Busby Berkeley (Footlight Parade) and Gene Kelly (Singin’ in the Rain). Such a gorgeous combination of a classically structured and choreographed musical within a modern Hollywood. And the film could have easily rested its laurels on the technical and artistic achievements alone, but the film also possesses an incredibly beautiful love story between two aspiring artists.

In a modern studio system who appears all too often to be more concerned with franchise building, merchandising, theme park integration, and rebooting, this film is fresh, real, gritty, and endearing. In a climate so predisposed to the Star Warses, Harry Potters, Jurassic Parks, and Avengerses, this film brings with is a breath of fresh air that is nearly unmatched by any other film this year. While many are concerned with the lack of original stories coming out of Hollywood, may this film be a testament that masterpieces can still make their way into cinemas nationwide and not simply the art house theatre of the US’ largest metro areas. Although film is a visual medium and should not rely upon the score or songs to carry the bulk of the film (i.e. Frozen), this film is very much about the music. However, unlike films that integrate music in order to cover up poorly structured and developed writing, La La Land embraces the music as much a part of the story as the writing itself. In many ways, the film plays out like music and flows like a musical score. The way the cameras moves, the editor cut, and the blocking of the characters is very much like a musical staff, like the way music is composed and performed. But at the same time, the movie is not simply about the music but about the relationship between Mia and Sebastian; and furthermore, about their aspirations for the spotlight. Solid writing and a solid score.

The casting of La La Land could not have been more brilliant! Both Stone and Gosling successfully bring about that 1940s feel in a modern story. That could be due to the successes of both in 1940s era films prior. Stone in Magic in the Moonlight and Gosling in The Notebook. While both can successfully carry a period piece on their own respectively, together they are a powerhouse couple like Fred Astaire and Ginger Rogers. Their performances in this film were so incredibly natural, so real, and believable. At the same time, the actors are also very much contemporary–just like the film: classic yet contemporary. Even though the audience is well aware that Stone and Gosling are anything but struggling artists, they play their respective parts so convincingly that you’d swear that we were actually watching a pair of struggling artists who do desperately want a substantive piece of that Hollywood pie. A great screenplay possesses protagonists that the audience will love or love to hate, and the characters in La La Land connect so incredibly well with classic and contemporary audiences.

Inspirational. This film will help to inspire those who have a talent for storytelling, music, or writing to continue to work hard and remain dedicated to one’s craft because that is the only way that a career can pay off. The moment you stop trying is the moment that the dream dies along with settling for less. Not that day-jobs aren’t important. Certainly the importance of a day job is shown in the film, but it’s imperative that the day job never cause an artist to sell out or give up on the dream. Day jobs should fund imaginative dreams not eclipse them. There is much to love about this film; so much so that you will likely find yourself with a desire to watch it again. This IS definitely my pick for Best Picture as we head into award season with the holidays coming to a close.

“Fantastic Beasts: and Where to Find Them” movie review

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fantasticbeasts_1Spellbinding! Return to J.K. Rowling’s wizarding world in this fantastic film filled with phenomenal cinematic storytelling and mesmerizing magic. Warner Bros.’ Fantastic Beasts boasts incredible talent on and off screen that is sure to strike both a nostalgic cord with audiences as well as renew a sense of wonder in this new epic tale preceding the events of Harry Potter by more than six decades. From the flawless editing to the character dynamics, this film is definitely one to look for in the technical categories during awards season. Fantastic Beasts is also the first time that fans of Rowling’s wizarding world will witness a film based on an original screenplay and not a work of literature. After watching this movie that essentially extends a wildly popular and successful film franchise, it is clear that ‘the magic awakens’ in a manner that is destined to thrill the dedicated fanbase and ignite the passion of new fans. Whereas the last time a franchise was ‘awakened,’ it felt like a mashup of that which had been heard and seen before, Fantastic Beasts provides audiences with completely new characters in a new city facing all new challenges in a world that echoes the past but is clearly a new fantastical frontier.

Many decades before Harry Potter and Lord Voldemort would cross wands, across the pond a whole new world of witches, wizards, and fantastic beasts is beckoning for adventure. While on a rather academic expedition to locate, identify, and protect magical creatures, Newt Scamander (Eddie Redmayne) arrives in New York City to transport and collect the final creatures he needs to complete his zoologic study and publish his research. Unfortunately, this expedition is all but academic. After bumping into no-mag (no-maj/no magic) Jacob Kowalski (Dan Fogler) at the bank, Scamander mistakenly swaps briefcases with Jacob and unwittingly releases the magical creatures to roam about the big apple. With bizarrely unexplained events in the no-mag world causing people to pry into the magical world with risk of fully exposing it, Newt’s creatures become the target of the American magical congress. After bumping into an unlikely nemesis turned ally Porpentina Goldstein (Katherine Waterson) and her adorable sister Queenie (Fine Frenzy), teaming up with Jacob, Newt and his friends must capture all the magical creatures and solve the mystery of what is actually reeking havoc in both the magical and no-mag worlds.

Before analyzing the film’s content, I think it’s best to step back and look at the larger picture here. This is the first time that one of Rowling’s wizarding movies is not based on one of her novels, plays, etc. Furthermore, this also makes the fourth time, for all intents and purposes, in recent years that a popular film franchise with a highly dedicated fanbase is being extended (on the front and/or backside). The other three being: Star Wars, Jurassic Park, and to a lesser extent Star Trek; yes, there are other popular franchises that are being added to, but they are mostly perpetually continual ones like Marvel, DC, or the Scary Movies, etc. Although Fantastic Beasts was highly anticipated upon the initial teaser trailers and social media traffic, the elephant in the room was whether or not it would go by way of The Phantom Menace and Jurassic Park III or The Force Awakens and Jurassic World. Thankfully, this return to the wizarding world appears to be going by way of the latter! Still too early to tell if it will truly reignite a fandom in the way the extensions did for the Star Wars and Jurassic Park franchises respectively, but the storytelling is solid and refreshing. Extending a wildly popular but essentially complete franchise is a dangerous road to go down, but Fantastic Beasts is successful in its endeavor to return audiences and fans to a world of magic and adventure.

The first cinematic element you will notice in the movie is the editing, inclusive of special effects. The prologue sequence was an incredibly brilliant way to reintroduce the audience to the wizarding world. I thoroughly enjoyed the innovative approach to integrating the magical newspapers into the opening sequence following the prologue. Although I am not a fan of 3D movies–ordinarily–I imagine that this sequence would provide quite the high degree of spectacle if watching the 3D version (which I did not do). It would not be surprising if this film gives Rogue One a run for its money in the visual/sound effects, editing, and score categories during award season. One element I was specifically looking for was the use of practical effects, props, and animatronics since it’s a film about magical creatures. I watched an advanced screening of Allied immediately before watching Fantastic Beasts; so, be honest, I need to watch it again to locate and identify uses of practical effects or animatronics. But I believe that, to a small extent, some of the scenes including interactions between the human characters and creatures used animatronics. When animatronics and CGI are used in a film–especially in the fantasy/adventure or sci-fi genres–the result is authenticity and a realness that cannot be achieved otherwise.

Eddie Redmayne delivers an outstanding performance as Newt Scamander. Absolutely flawless. From the lack of eye contact to the facial twitches to the over-all manner in which he carried himself, Redmayne does an exceptional job of bringing this character to life. Not having any books to base his characteristics off of, it was important to provide audiences with a protagonist who was both entertaining to watch and find a place in the hearts of fans in two hours. Both were definitely accomplished. Joined by an amazing cast of chief and secondary supporting players, the brilliant direction of David Yates is seen in all the character dynamics throughout the movie. I greatly appreciate the lack of developed physical romance or attraction between Newt and Porpentina and instead the mild romantic subplot involve the sexy Queenie and lovable Jacob. The villains are nicely developed as well. Of course, the best part is not quite knowing who the villains are. Going into that in more detail will give away too much; however, there are many options for villains, anti-heroes, and allies so sometimes you will not be certain who’s an ally, villain, or anti-hero or someone who was thought to be a villain turn out to be a possible ally. Although there are definitely some predictable elements in the movie, there is sufficient enough unpredictability that it will keep you guessing and engrossed in the storytelling.

Prepare to be whisked away to J.K. Rowling’s wizarding world! I cannot wait to see how Universal Orlando/Hollywood will integrate this new series into the Wizarding World of Harry Potter into their parks and resorts. The famous Harry Potter Studio Tour in England may have some new additions as well. Fantastic Beasts and Where to Find Them is a delight for the whole family and is sure to generate new fans while appealing to and satisfying legacy ones.

“The Accountant” movie review

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theaccountantA moderately good investment of your time. The Accountant is quite the interesting crime drama that shows that math can be exciting and lead to dangerous adventures. Directed by Gavin O’Connor and starring a phenomenal cast including Ben Affleck, Anna Kendrick, J.K. Simmons, and John Lithgow, this film will keep your intrigue the entire runtime. What makes this film most interesting is the approach one might take when screening it. You can either approach it from a psychological/behavioral or a financial perspective. Although the plot is a little difficult to follow at times, the solid performances by the actors make the film one not to miss if you enjoy thrillers involving the government, covert ops, and savants. While some in the U.S. are shouting “make America great again,” Warner Bros. is shouting “make math sexy again.” From drop-dead shoot-out scenes to awkward comedic interactions, The Accountant will definitely have you thinking about it even after leaving the movie theatre. One the verge of being a non-linear film, the main plot does, at times, get lost in a few poorly integrated sub-plots. Definitely feels like one of those movies where important scenes that would have better supported or developed some of the sub-plots were left on the cutting room floor. The movie is not without its highlights. Affleck and Kendrick deliver outstanding performances that hold the film together. Whether it’s Affleck’s vacant expressions on his face or Kendrick’s WTF moments, the best part of the film is the talent on screen.

Talk about a double life. Accountant Christian Wolfe (Affleck) runs a small accounting agency in a nondescript strip plaza as a cover for his real work as an accountant and financial analyst for many organized crime groups. When the U.S. Treasury Dept begins to investigate him further, he takes on a seemingly normal client in an innovative robotics company. Forced to work with a beautiful and geeky in-house accountant (Kendrick), Wolfe is challenged with conducting a forensic analysis of the financial records in order to determine if there is embezzlement or money laundering occurring at the humanitarian robotics company. When he uncovers corruption, his life and the life of his counterpart is in jeopardy. Good thing Wolfe has an extensive background in martial arts and tactical armament.

Central to the plot of the film is the fact that our protagonist Christian Wolfe (Affleck) is on the autism spectrum. Although, he is on the high functioning end (often times diagnosed as Aspergers syndrome), Wolfe certainly displays classic signs of autism throughout the movie. More noticeable in his younger years, he still carries some of the psycho-social dysfunction into his adulthood. Wolfe’s father was a high-ranking official in the Army specializing in psychological warfare. He ran his home fairly, but with an iron fist. Both Wolfe and his brother were highly affected by the departure of their mother at Christmastime. The following years were hard on both of them. Coupled with–let’s be real here–daddy issues, Wolfe channels all his time and energy into military operations, martial arts, and psychological defenses. But, this intense training was forced on him by his father in order to combat the behavioral issues brought on by autism. After the death of his father, Wolfe decides to go from hero to anti-hero by making his living off organized crime but funneling his money into charitable causes. Although he may not have been racking up zeros in his bank account, he found other ways to be paid: valuable original artwork. The character of Christian Wolfe posts quite the dichotomy of attributes that create an interesting juxtaposition. One one hand, Wolfe is a ruthless criminal but not he other he is a humanitarian who appreciates fine art and loyalty.

There haven’t been many movies that fall into this sub-genre of drama. The Accountant is what you get when combining Batman with The Big Short. Because the film contains the classic elements and plot devices found in the aforementioned films, it has a little bit of an identity crisis. One of the flaws that besets this film is too much sub-plot. If the writer had spent more time developing the autism or concentrated on the daddy-issues sub-plot then perhaps the film would have flowed more smoothly. As it stands, the flashbacks introduce too much under-developed material into the high-concept plot. It’s almost as if the writer and director took a high-concept film and attempted to give it more emotional depth. The result is a fractured film that is interesting to watch and includes some dark comedy but suffers from coherent storytelling.

There aren’t too many choices at the cinema this weekend. If you are looking to laugh your ass off, then perhaps the Kevin Hart film will fit the bill; but if you are looking for an interesting film that highlights the potential and capabilities of those who are diagnosed as autistic and channel those abilities into a financial thriller, then The Accountant would be an excellent choice. Although there have been films featuring protagonists with physiological or psychological disabilities, this one is unique in that the main character harnesses the powers of the indirect affects of autism, and becomes an anti-hero who the audience roots for the whole time.

The Art of BATMAN RETURNS (1992): a retrospective movie review

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By far, still the sexiest Batman movie! With the reviews from fans and critics alike regarding this weekend’s release of the highly anticipated Suicide Squad ranging anywhere from horrible to moderately enjoyable, I decided to rewatch and review the Batman movie that is still considered by many, and yours truly, to be the most Batman out of all of them. Released in 1992, Tim Burton’s Batman Returns boasts a star-studded cast complete with the German expressionistic filmmaking style and gothic production design often associated with this iconic superhero franchise. The brilliance of Batman Returns can be witnessed in recognizing that Tim Burton provided audiences with an art house film masquerading around as a superhero Hollywood blockbuster. From the architecture to the costumes and cinematography, this Batman movie has more in common with art than a movie. Not that movies lack artistic appeal, quite the contrary–after all cinema is the art of visual storytelling; but there is a certain artistic charm that surrounds Batman Returns uncommon in other superhero movies. In other words, the focus was more on the art of a Batman story than the plot. Many comic book enthusiasts also regard this installment (as well as its predecessor) as very close to the comics in plot and visual design. Furthermore, hands down, the most memorable element of the movie is Michelle Pfeiffer’s Catwoman, and with good reason. Incredibly sexy, seductive, slightly psycho, playful, and conniving. Juxtaposed against Danny DeVito’s monstrous Penguin, Michael Keaton’s timeless Bruce Wayne/Batman, throw in the self-centered and ruthless Christopher Walken’s Max Shreck, and you have a brilliant cast bringing to life iconic characters under the direction of a then-visionary director before he became a parody of himself.

Beneath the streets of Gotham City lies a world of water, waste, and The Penguin. Abandoned by his wealthy parents, Oswald Cobblepot is raised by the Penguins of the former Gotham City Zoo. He grows to resent the world above and the blue bloods of society that cast aside those who they deem as undesirable. High above the sewers, Selina Kyle is nervously tending to her boss’ every need. Not the most meticulous secretary–oh sorry, assistant–she has failed her ruthless boss Max Shreck for the last time, and gets shoved out a window to be nursed back to life by cats. Both abandoned and left to die, but return to life with revenge and warped justice on the mind. During the annual tree lighting ceremony, The Penguin and his henchmen thwart the celebratory atmosphere with gunfire, looting, chaos, and violence. Valiantly defending the good citizens of Gotham, Batman fights off the havoc that The Penguin with which The Penguin is enveloping the city. However, all the public knows is the good, kindhearted Penguin with a love of public service? Although initially setting out to kill Batman, in an ironic twist of fate, sparks begin to fly between Batman and Catwoman AND Bruce and Selina. Revenge, love, violence, and trademark gadgets. This Batman movie has it all.

Even the most dedicated Batman fans will admit that this film certainly has cinematic problems. But why are the flaws in this movie somehow forgiven but the flaws in Batman v Superman or this weekend’s Suicide Squad held against them respectively? Rewatching this Batman movie reveals that it is likely held is such high regard by superhero movie buffs and fans of the comics alike due to of the A-list talent and the artistic or stylistic approach to this story. Because the focus of the film is definitely on the art versus the plot, narrative flaws can easily be overlooked as the experience of this film rests upon the feel and look of everything more so than the plot in and of itself. It is rare for a superhero film to also be so incredibly artistic. And that is why this particular Batman movie stands unique amongst all the others that have been produced over the decades. The passion for visual design is seen in every shot, every costume, and in the sexiness of the interpersonal relationships between the characters. Just like with interpretive art, various interpretations of tone, feel, message, and impression can be found throughout Batman Returns. Regarding the tone of the film, it repeatedly switches from a campy melodrama to tragic love story to action/adventure. In many ways, this film is representative or even self-reflexive of cinema from the 1930s to the 1950s. Paralleling the film’s repeated switches of tone and pace, the characters also change personalities, demeanors, and motives. Moreover, control over situations constantly changes hands throughout the movie. Whether as the audience or a bystander in the movie, it is difficult, at times, to discern the villain from the hero. The magic of this Batman movie is that it bridges the boundaries of so many different interpretations of the Batman universe over the years into a film that embodies the art of filmmaking.

Not a direct follow up to the successful 1989 Batman, this installment is often celebrated as the most Batman of the Batman movies; it’s the one that somehow manages to reflect more about the hero and his world than any other on-screen representation he’d enjoyed before or since. It’s a celebration of the Dark Knight that succeeds, in large part, by its refusal to go too dark, but remains off-kilter and uncomfortable, just enough, all the way through. Likewise, the villains are psychotic, larger than life, and legendary. From the tragic character of The Penguin thrown into the river in a warped Moses fashion on Christmas to the beaten down mousy secretary turned bondage clad 1990s feminist Catwoman, Batman Returns is a quintessential Tim Burton film before he just went way too bizarre in recent years. Both The Penguin and Catwoman can be seen as two different mirrors for our caped crusader. Penguin represents a child of wealth who was abandoned by his parents (not unlike our Bruce Wayne) and Catwoman represents the sensual side of Batman that we seldom get to see but we know it’s there because he is human. The combination of characters, settings, and behaviors makes this film a fun, erotic, and entertaining Batman movie. The stratified emotions, experiences, and interpretations provides audiences with a dynamic story that plays out beautifully on screen. In fact, the film is so entertaining to watch that you will likely forget that the pacing, plot, and structure of the film lacks critical value.

If you are leery about spending money to watch Suicide Squad this weekend, I suggest rewatching–or for some of you watching for the first time–Tim Burton’s artistic masterpiece Batman Returns. If for no other reason, you will enjoy the brilliantly sexy Catwoman, tragic monstrous Penguin, and the definitive Batman/Bruce Wayne as played by Michael Keaton. Such fantastic actors and characters!

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.

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