“The Blackening” is directed by Tim Story (Fantastic Four, Think Like a Man) and stars Grace Byers (Harlem, Empire), Jermaine Fowler (Coming 2 America, Superior Donuts), Melvin Gregg (The Way Back, Snowfall), X Mayo (American Auto, The Farewell), Dewayne Perkins (The Upshaws, Saved by the Bell), Antoinette Robertson (Hart of Dixie, Dear White People), Sinqua Walls (Power, American Soul), Jay Pharoah (Saturday Night Live, Unsane), and Yvonne Orji (Velma, Insecure). This horror spoof is about a group of friends who gather together at a house for a Juneteenth party. When the tables turn, it is up for each one of these friends to survive to the very end.
It is time for me to beat a dead horse. If you are going to take that statement literally, I have a bridge in Brooklyn to sell you. To be clear, as I have said in other reviews, horror is not my most watched genre. There are several major titles that I have yet to see, and I usually flock to genres like science fiction, action, and comedy prior to it. Although if you look back at the 2022 cinematic calendar, movies like “Smile,” “Barbarian,” and “Nope” just to name a few, were amongst my favorites of the year. Of all the genres, horror may have been the clear winner. 2023 horror has only had few candidates that I have seen. To be fair, it is not fall yet. More will be coming. But of the ones that I have seen, none have had the spark that any of those movies did.
“M3GAN” was likable, and it had some decently executed commentary, but it also is not the most replayable film I have seen. Another horror comedy that came out recently, “Renfield,” was quite good. Though I had some minor problems with Awkwafina’s performance and even though it is funny, I would not call it laugh out loud funny. “Infinity Pool,” which came out early on in the year, felt like an instantly forgettable headache inducer. As great of a performer Mia Goth is, I cannot tell you one thing I enjoyed about “Infinity Pool” that stood out aside from that.
Now we have “The Blackening,” which much like “Renfield,” blends horror and comedy together but seems to extremify both of those elements just a bit more. Whereas “Renfield” could be described as a comedy, I would put “The Blackening” in the category of spoof. Now, I am pretty weak on spoof horror myself, so my expectations may have been somewhere in the middle. Although the more I looked at the poster, the more I lowered said expectations. Thankfully, we got a movie that appears better than its poster, but that is not saying much.
“The Blackening” calls itself a comedy horror. Unfortunately, it does neither of those things well. The jokes do not land and neither do the creeps. I have seen bad comedies and just as awful horror flicks. When you combine the two together in this case, it only delivers twice the disappointment. Two wastes of genres happen to be worse than one. It is simple math. This is not to say there are not inklings of entertainment at all. There is a chuckle here and there, and maybe one or two moments of genuine tension. The scene where the cast are all playing the board game for the first time may have been the highlight of the film. Between everyone’s performances and the pacing of the script, it is a genuinely tense, occasionally humorous instance in what is otherwise a below average film.
The biggest problem I have with “The Blackening” is that the characters, despite their respective actors trying their best with each one, feel interchangeable. Even if there are individual traits given to each character, they all feel like the same person in a different body. Maybe that is what makes them good friends, but it does not help when it comes to indicating things about them that stand out. I ended up caring about certain characters more than others. That is to the point where I likely did not give a crap if someone else ended up dying before the others did.
I saw this film a month ago during a free screening. Knowing what the results of said movie are, I do not think it is worth paying for. Maybe your reaction will be different. The film did get plenty of reactions at my screening ranging from laughs to gasps to hollers. If I had to pick a favorite reaction of mine, in the earlier half, one guy saw something that threw him off. Therefore, this allowed him to swear loud enough for the whole theater to hear. I am not usually for talking during movies in the cinema. But if it is reactionary, I can make an exception. Honestly, I kind of chuckled at his reaction. Speaking of being honest, I would truthfully confess that this guy’s reaction to said scare, may be have been funnier than most of the comedy this movie was trying to deliver. Although if there is one thing I noticed during my screening, and I do not know if this will be the case during yours because with the amount of movies out right now, it is that this movie may be interesting to watch with a crowd. The audible reactions were almost through the roof by the end. Knowing the two genres of this film, I am aware of their infinite subjectivity. Comedy and horror will sit different with each individual perhaps more than action. As of this writing, the film has an 87% critic score and 85% audience score on Rotten Tomatoes. It seems to be sitting well with a lot of people. I cannot say the same for myself. I do not know, I think while I may continue to recall the tension of some moments while the players were around the game board, I will equally recall the cringe that was induced whenever this movie resorted to a gag about reading people’s minds.
Going back to the end, my last critique to (literally) end this review, is that the ending is not satisfying. I have seen worse endings, I have seen better endings. However, this movie tends to wrap itself up too quick. Calling it anticlimactic would not be the right description, but that is the closest word that comes to mind. Basically when the movie ended, I felt indifferent. I was not angry, nor was I happy. The right word to describe my mood at such a point may be “content.” I want to leave a film feeling some sort of reaction. If I leave feeling silent, there better a good reason for it. A lack of passion for what I just saw is far from one of them. Again, the scores on this film are mostly positive. Perhaps you will feel different. Maybe go try the movie for yourself sometime and see if that is the case.
In the end, “The Blackening” came and gone like the wind. One moment it was in front of me, and in the next, I wanted to know if there was a better movie that I could watch. Speaking of better movies, if you look hard enough, you can find better comedy and horror titles. When it comes to comedy and horror blended together, “Renfield” just came out a couple months ago. That film delivers more laughs in addition to scares. It is no masterpiece, but it is worth the watch. There are a ton of movies out right now. Of those films competing for your hard earned money, “The Blackening” is not what I would call the prime candidate. I am going to give “The Blackening” a 5/10.
“The Blackening” is now playing in theatres everywhere. Tickets are available now.
Thanks for reading this review! Pretty soon I will have reviews for movies like “Transformers: Rise of the Beasts,” “The Flash,” “No Hard Feelings,” “Elemental,” and “Ruby Gillman, Teenage Kraken.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Blackening?” What did you think about it? Or what is a movie with a high Rotten Tomatoes score that you disagree with? Let me know down below! Scene Before is your click to the flicks!
“The Machine” is directed by Peter Atencio (Key & Peele, Keanu) and stars Bert Kreischer as himself, of sorts. Joining him is a cast including Mark Hamill (Star Wars, Kingsman: The Secret Service), Jimmy Tatro (Stuber, Home Economics), Iva Babić (The Last Serb in Croatia, Life Is a Trumpet), Stephanie Kurtzuba (The Wolf of Wall Street, Annie), and Jessica Gabor (Shameless, Grey’s Anatomy). This film is inspired by a stand-up routine and is about Bert Kreischer as he takes a trip to Russia, all the while continuously uncovering his past.
“The Machine” may have been the most last-minute purchase I have made as a moviegoer. I ended up going to see “The Machine” because I was at the theater with a friend to watch a press screening of “Spider-Man: Across the Spider-Verse,” only to be denied entry because of a capacity limit. We decided, with the options given to us, to go see this instead. Despite my bitter attitude, I tried to wear off the aftertaste of defeat and go into this film, albeit minutes late, with a fresh mindset.
“The Machine” is this year’s “Easter Sunday.” For the few of you who remember that movie, it is essentially an hour and a half of Jo Koy playing a hyped up version of himself and taking his stand up routine to the big screen, to less than stellar results. Having seen a number of stand up scenarios, including a few in person, I have learned that the crazier and seemingly far-fetched the story, the more appealing it can sound. Hearing someone talk about their time in Russia while reconnecting the dots of their past as a hyperactive, upbeat, heavily worded story, can be entertaining. In fact, as far as a pitch goes, if I were pitched the backbone of the story for this film, there is a good chance that I would consider greenlighting it. Much like a film I talked about recently, “Hypnotic,” “The Machine” is examplifies how an interesting concept can be fumbled in the execution.
“The Machine” has some likable elements intact. There are some occasional funny lines, the production design stands out at times, and Mark Hamill manages to steal the show every once in a while as Albert. If I have to name a favorite character in the movie, it would be him. I may be biased because I love Mark Hamill, but seeing the angle of him given throughout the picture made his character all the more appealing. Despite seeing Mark Hamill as other characters, I always harken back to Luke Skywalker when thinking about him. Therefore, seeing him drugged up in one scene, not to mention playing the part like a champ, caught me totally off guard. If there is any reason you should pay the price of admission for “The Machine,” Mark Hamill would have to be it. Everything else pales in comparison.
Another similarity I found between “The Machine” and “Easter Sunday” is that like Jo Koy, Bert Kreischer is a comedian I know very little about. But I have come to recognize that he has his fans. Having seen Jo Koy in “Easter Sunday,” I thought he was likable enough to the point where I would not watch a sequel to that film, but maybe I would go see him live and see how he does with that. I try to keep an open mind as often as I can, so maybe I would say the same about Bert Kreischer. A comedian, he may be. An actor, he is not. It is not to say he gives the worst performance I have ever seen, but after seeing Kreischer play an alternate version of his persona, I do not know if he has the strength to carry many productions down the road as a lead. In fact, having a more experienced actor like Mark Hamill play as significant of a character as he does here probably helps in some of the more important scenes to make everything feel a tad more immersive and realistic.
Kreischer faces the problem I feel a number of other comedians face, such as Kevin Hart or Kevin James, where they end up failing to disguise themselves and blend into the role they are given. To be fair, their material is often based in some form of reality and once you start typecasting a person, it is hard to stop. The difference between Kreischer and these two Kevins is that I have seen the Kevins in various productions over the years (and in standup, coincidentally), so inklings of themselves and their past characters will often show up in roles they take on down the road. Kreischer has minimal experience as an actor, and having seen this film, it kind of shows. He is in a word, serviceable. Nothing more, nothing less. That said, I am open to seeing him in another movie, but I doubt he will have any chances at an Academy Award in the next few decades.
If I had any other standout compliments to give to “The Machine” as a movie, I have to say I was delightfully surprised with some of the editing choices. “The Machine” has a quick, snappy pace to it, and a lot of the choices in the film’s edit reflect that. There are multiple creative uses of text and graphics. While this film may not have the most revolutionary jokes or action sequences, that is something I found myself delighted to see pop as much as it did.
Adaptations are everywhere you look these days. People often point out certain ideas that are originally made as books, video games, board games, and sometimes those ideas have a distinction of being “unfilmable.” While I have yet to see any of Bert Kreischer’s standup material, I can imagine his story about his time in Russia is ten times funnier as a standup routine. Similar to how some will claim a book is better than a movie, something interesting about standup is how it can often leave certain details up to the imagination. Sometimes visuals are involved, but it is usually a person talking onstage with a microphone. It is as simple as it gets, but it is the definition of turning nothing into something. “The Machine” takes that something and adds a lot more to it. One could argue that there may be an overabundance of something. This has helped Bert Kreischer build a fanbase based on his comedy. He could shock me in time, but for now, he should probably stick to that craft in particular.
In the end, “The Machine” is not offensive, nor is it a masterpiece. But to call it fine would be generous. I was not expecting much from this movie, but on the topic of expectations, I do not expect myself to watch “The Machine” again. Average comedy and okay action are not enough to make a good movie. There are plenty of other movies to watch in theaters right now, those might be better uses of your money at this time. I am going to give “The Machine” a 5/10.
“The Machine” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! You guys are about to get spoiled! Do not worry, I am not going to ruin “The Flash” for you, but that is one of the many reviews I have coming soon! In addition I will also be reviewing “The Blackening,” “Transformers: Rise of the Beasts,” “No Hard Feelings,” and “Elemental.” I will also be attending an early screening of “Ruby Gilman, Teenage Kraken” on Saturday, so whenever I am able to review that film, I will share my thoughts on that as well. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Machine?” What did you think about it? Or, who is your favorite comedian? One of my favorites right now, is one I have tickets to see in Boston in November, specifically Jimmy Carr. He is raunchy, dark, and knows his way around an epic comeback. Let me know your favorite comedian down below! Scene Before is your click to the flicks!
“Hypnotic” is directed by Robert Rodriguez (Alita: Battle Angel, Desperado) and stars Ben Affleck (Air, Argo), Alice Braga (City of God, Lower City), J.D. Pardo (F9: The Fast Saga, Mayans: M.C.), Hala Finley (Man with a Plan, We Can be Heroes), Dayo Okeniyi (The Hunger Games, Terminator Genisys), Jeff Fahey (The Marshal, Lost), Jackie Earle Haley (Little Children, The Bad News Bears), and William Fichtner (Prison Break, Mom). This film is about a detective who investigates a cause behind why his daughter had been abducted.
As someone who lives near Boston, I feel like going to a Ben Affleck film, whether he is in front of or behind the camera, is like going to a Red Sox game. It is not always the first thing that comes to mind, but I end up rooting for him upon entering the venue because of my roots. I do not follow sports, but I am someone who is well aware of the Red Sox’s poor season. The quality of their recent record is a far cry from Affleck’s, who is hot right now because of his heavy involvement with “Air,” which stands as one of my favorite scripts of the year. Despite such praise, going to “Hypnotic” encapsulates the feeling of going to a Red Sox game and having a knowledge of their below par record. This film appears to have been barely marketed, but I did catch some of it as it was advertised on Pluto TV numerous times.
The concept of the film intrigues me, especially as someone who enjoys high concept science fiction. As for the execution, that leaves a bit to be desired.
I am willing to bet to that if you talked to me in a year from now, I almost would not remember a single thing about this movie. All I could tell you about it is that Ben Affleck is in it, it looks trippy, and that is it. This is easily one of the most forgettable science fiction films I have ever seen. It is by no means an offensively bad movie, but when it comes to flair or overall enjoyability, this movie lacks both those things. There seems to be a good movie in “Hypnotic” somewhere, but I could not find it. Robert Rodriguez is not a terrible filmmaker. In fact, I very much enjoyed his recent blockbuster “Alita: Battle Angel,” which I contend is one of the greatest visual spectacles of the past five years. “Hypnotic” is a far cry from “Alita.”
Much like “Alita,” “Hypnotic” is easy on the eyes, but one thing I enjoyed about “Alita” that this film managed to do less effectively, is make me feel like I was not in my own world. Granted, “Hypnotic” is much more based in reality, with some twists of course.
The main thing driving this story and its plot is mind control, we see various characters use mind control to move things along. I think some of the ways this is utilized happen to make for clever moments. While this movie may lack the oomph that many others in its genre possess, there are inklings of goodness at times.
In addition to the sick visual effects that make the film as eye-popping as it is, my eyes were also occasionally wowed with some of the film’s shots and framing. It does not reinvent the wheel, but there are a select few shots where the framing choices make the visual effects that much more… hypnotic.
If I had to make a comparison, “Hypnotic” feels like “Inception” with a pinch of “Blade Runner.” The film has a lot to do with the mind, albeit not so much about dreams. But the main character of Danny Rourke almost feels like a Rick Deckard type. After all, while the films explore this idea in different manners, both reminisce over a particular happening in their mind that stands out during the film. For Deckard, it is as simple as a unicorn. For Rourke, it is a bit more complex because much of the movie is about his connection to his daughter. Whether they’re real or artificial, these memories drive the characters throughout the film. In fact, there are a couple other “Inception” comparisons that can be addressed. There are some trippy visuals. The color grading looks similar. The protagonist’s offspring happens to be a driving force of the film. If anything, “Hypnotic” reminded me of the 2021 film “Reminiscence,” because that was another film that gave me “Inception” or Christopher Nolan vibes throughout, even though he never had a hand in the film. Although sibling Jonathan Nolan produced it, and his wife, Lisa Joy, directed it.
And much like “Reminiscence,” “Hypnotic” is a concept that works on paper, but they could not figure out how to translate it to the frame. I think there are inklings of lore that work. There are certain action sequences that play out well. The actors seem to barely go above the degree of sleepwalking throughout the picture. I am willing to bet that the only factor behind me potentially liking this movie is if someone mind controlled me into doing so. Because right now, I am not bagging what this movie is raking.
“Hypnotic” is exactly as the title suggests, hypnotic. But not in the way Robert Rodriguez and crew would want the viewer to think. Because while there may not have been an object shaking back and forth, my brain kept reminding me that I must have been getting very sleepy. I did not fall asleep during this movie. In fact, throughout my years of moviegoing, I have yet to fall asleep to a movie in the theater. But I have a feeling that if I watched this film on a late night at home, there is a good chance that I would have paused the movie halfway through and have to pick up the rest of it the next day. It is not a chore to watch, but it is a chore to fully digest and appreciate. If you want a good Ben Affleck project to watch from this year, go watch “Air.” Heck, I have not seen “The Flash” yet, which Ben Affleck is also in, but I am going to assume that it is better than this.
In the end, “Hypnotic” is one of Ben Affleck’s inferior outings in his career and a less than stellar day at the office for Robert Rodriguez. Would I watch “Hypnotic” again? I do not know at this point. Part of me wants to give it another shot to see if I could appreciate it more. There are things I liked in it, but the movie still kind of rubbed me the wrong way the more I think about it. The idea is great, the unveiling of it is not. I am going to give “Hypnotic” a 4/10.
“Hypnotic” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! Pretty soon I will be sharing my reviews for “The Machine,” “The Blackening,” “Transformers: Rise of the Beasts,” and “The Flash.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Hypnotic?” What did you think about it? Or, what is a movie you saw that is still on your mind, but have seemed to mostly forgotten about after it finished? Let me know down below! Scene Before is your click to the flicks!
“Spider-Man: Into the Spider-Verse” has had an interesting history in the realm of comic book movies. The film did well with critics and fans alike. But it did not garner as much box office revenue as its live-action counterparts. It was not a complete loss, as it grossed $384.3 million against a budget of $90 million, but the individual films starring Tobey Maguire, Andrew Garfield, and Tom Holland, all ended up making more. To be fair though, animated comic book movies were an unfamiliar territory in the theatrical market, not everyone knew who Miles Morales was compared to Peter Parker, and the film was already competing other blockbuster titles at the time including “Mary Poppins Returns,” “Bumblebee,” and DC’s “Aquaman,” which turned out to be the comic giant’s biggest hit.
That said, it does not change the fact that many people continue to hail “Spider-Man: Into the Spider-Verse” as one of the greatest comic book films of all time. I personally consider it a slight runner-up in 2018’s slate to “Avengers: Infinity War,” but it was a solid animation whose strengths came from its quick pacing, likable characters, intriguing storyline, and maybe the most unique animation style of the decade. I loved it in theaters, watched it a couple times at home, and find it to be one of the more refreshing animated titles to come out in recent years. I was pleasantly surprised to find out Sony Pictures Animation knocked this film out of the park after the gosh awful “The Emoji Movie.” Between “The LEGO Movie” and “Spider-Verse,” Phil Lord and Christopher Miller are partially responsible for some of the most memorable animations of the 2010s.
Naturally, I got excited when a “Spider-Verse” sequel was announced, which with the release of a trailer in 2021, received the title “Spider-Man: Across the Spider-Verse – Part One.” Since then, it has removed the “Part One,” but the concept remains the same. I thought if we got more of what the original provided, we would be in for another great time at the movies, but little did I know what I would be in for.
To clarify, “Spider-Man: Across the Spider-Verse” delivers the same strengths as its predecessor, but it also brings forth tons of new elements. Between the added animation styles, the Spider Society, new characters, and the expansion of the multiverse’s lore, there is a lot to love about this sequel, and I mean it when I say that. Not only do I find “Across the Spider-Verse” to be a step up from its predecessor. Not only do I find it to be one of the best movies of the year. Not only do I find it to be one of the best animated movies of all time. Not only do I find it to be one of the best comic book movies of all time. I think this movie falls into my top 20 or 10 movies EVER.
When it comes to superheroes, Spider-Man has always been my personal favorite. Mainly because of how I would often find myself in the shoes of Peter Parker as he tries to balance everything in his life. Granted, I do not have the same responsibility of protecting a major metropolitan area, but that is what makes the character likable in addition to his down to earth qualities. “Spider-Man: Across the Spider-Verse,” like its predecessor, instead focuses on the problems and life of Miles Morales, who much like the recently mentioned Parker, has to neverendingly deal with the problems of being a teen while also saving New York. Whenever I see Miles, he reminds me of my own life as I grew up. There are moments where I hear him talk and it reminds me of how much I wanted to either be by myself or take a chance to spread my wings a little.
In addition, throughout the film, we get a greater dive into Miles’s relationship with his mom, Rio. While we still get the connection between Miles and his dad that has defined the first film in a way, Rio has more of a presence in this picture. She has more of an impact on where things go compared to before. What captivated me is not only the chemistry she and Miles have, but the dialogue that supplements these two in their scenes. I always got a sense that Rio wanted what is best for Miles even if there is a disconnect between the two. But even in the moments where Rio would end up losing her mind over something Miles did, I am still rooting for Miles because I always got the sense that he was just trying his best to balance everything he can. These are emotionally complex, rich characters who I am glad I got to see in this film and hope to see more of in the future.
This movie handles multiverse a tad differently than “Spider-Man: No Way Home,” which does so in a way that serves as a love letter to the character. This movie also serves as a love letter at times, and each time that is done, it works. That said, the more I thought about “Spider-Man: Across the Spider-Verse,” it can also be seen as a jab on formula, a jab on traditional storytelling. But at the same time it could also serve as a tribute to it. There is a certain aspect of the film that dives into Miles’s destiny, in addition to the destiny of other Spider-people. As this is addressed, I could not help but recognize how such familiar tropes worked and we may similarly see something that could eternally impact Miles no matter which path he follows. At the same time, Miles wants to avoid facing a certain destiny that may seem familiar to audiences and the many Spideys this film possesses. That adds to the unpredictability of this film. I could name quite a few moments in this film where I was taken aback by what was on screen. There are so many things going on in “Across the Spider-Verse,” much of which just so happens to be colossally epic.
Part of why I found “Spider-Man: Across the Spider-Verse” rather unpredictable as it went along is not only from how the film itself is laid out, but Miles’s overall connection with Miguel O’Hara. There is a scene in the trailers where Miguel presents a certain dilemma to Miles regarding the fate of other people. When Miles takes that conflict in a certain direction, the rest of the film delivers a flavor to it that I have not seen in a comic book-based story prior to this one.
That said, part of that flavor represents a tonal shift from one film to the next. If things go in a certain direction, the “Spider-Verse” trilogy may be this generation’s version of the original “Star Wars” trilogy. I am not saying they have completely similar stories, but from a technical perspective, both movies brought something innovative to the table. Both have a first film that follows that typical hero’s journey formula. The films are great for all ages. And sticking with the tonal shift, I would say that “Across the Spider-Verse” has the shocks, goosebumps, and occasional gloom of “The Empire Strikes Back.” There is a lot of fun to be had in “Across the Spider-Verse,” but once the film reaches the halfway mark, its sullenness dramatically increases. When this movie ended, I was excited to know what could happen in the eventual “Beyond the Spider-Verse,” but I also recognized that much like “Empire,” “Across the Spider-Verse” does not end on the highest note. This is not a bad thing because I am rooting for the heroes even more than I was before.
If you are a “Spider-Man” fan, you will adore this movie. If you are not as interested in other iterations of “Spider-Man,” I think you may still find something to love about how this movie handles its storytelling methods. This is far from your typical comic book movie. This is also far from some of your typical animated fare. Despite this movie earning a PG rating, it is honestly very adult at times. There is some mild language, mature themes, and most of the humor avoids gearing itself specifically for younger crowds. I honestly think like some Pixar films, there is a chance that if you are parent and end up taking your kids to see “Across the Spider-Verse,” you might end up liking it more than them. Maybe it will end up aging for some kids in the same way “Wall-E” aged for me. When I first saw the film at eight years old, I was enamored with the spectacle and adventure of it all. Then as I aged I began to appreciate the lessons it told and the “show don’t tell” method it employs. I think if some young children end up liking “Across the Spider-Verse” the first time they see it, they might carry it into adulthood and recognize how powerful that film is in a different way. It is more than just cool action and funny jokes. If I were eight years old I might witness those two things and think that is enough to satisfy my appetite. But as a 23-year-old, I feel “Across the Spider-Verse” is about being your own person, appreciating your family in addition to your friends, dealing with potential failure, and realizing that everyone is just trying their best to live to fight another day. If you want to see a paint by numbers animation that takes no risks and plays it safe, then by all means watch “The Super Mario Bros. Movie.” If you want to see an animation that takes risks, delivers something new, and expands an already exciting universe, or multiverse in this case, then “Spider-Man: Across the Spider-Verse” is the movie for you.
This film is as close to perfect as it can get. If it were not for one thing, the movie would be even better. My one problem with “Spider-Man: Across the Spider-Verse” is the sound mix. To be clear, the sound design in “Across the Spider-Verse” is great. It is a completely immersive movie in terms of audio. But at the beginning of the film and during one or two more increments, there are certain lines of dialogue I could not make out. If they turned down the music just a tad or increased Hailee Steinfeld’s audio as close as they can to avoid clipping, this problem may cease to exist. Maybe the movie will get the “Thor: Love and Thunder” treatment. Remember how that movie changed the CGI after its theatrical release? Perhaps this film could contain a slightly different sound mix before putting it out on digital and Blu-ray. Who knows? Although I say this is a slight dig because if I dilate my ears a little, I could make out what is being said, and even if I did not understand something, the visuals gave me enough context to know what is going on. Filmmaking is showing, not telling. And this film shows like few others do.
The first “Spider-Verse” is an achievement of the animation medium. This sequel takes that achievement the extra mile. That said, I am trying to be quite vague on how it does such things, because this movie is full of surprises, and I want you to go in as blind as I did to experience it to the fullest. If anyone reading this is experiencing what some may call “comic book movie fatigue,” I urge you to check out this film because it is likely to change your mind. If we keep getting movies like “Black Adam” or “Ant-Man and the Wasp: Quantumania” that are below the par of some of the better titles the genre has delivered over the years, then I could see where the fatigue is coming from. It is coming from mediocrity and blandness. “Spider-Man: Across the Spider-Verse” flips the entire genre on its head.
In the end, “Spider-Man: Across the Spider-Verse” has delivered something brilliant that I felt as if I have not seen before in this overstuffed genre. “Spider-Man: Across the Spider-Verse” is the “Citizen Kane” of comic book movies. In addition to being a fantastic watch that pushes its medium forward, I think this is going to be one of the most influential and talked about films of the genre for years, possibly decades to come. This is a film that not only takes what is great about the original and imports it here, but attempts to take that greatness to the next level. Sequels naturally have to go bigger than the original. Sometimes it works, sometimes it does not. The jump this franchise takes from one movie to the next is seismic. “Spider-Man: Across the Spider-Verse” makes the original feel humble. And unlike say the transition from “The Matrix” to “The Matrix Reloaded,” the shift does not feel gimmicky. It is backed up by a good story, great characters, incredible dialogue, and animation that honestly looks better than what this franchise provided four and a half years ago. I rooted for the heroes, but I also sympathized for those who would be considered antagonists. There is not a character that comes to mind who I thought was not properly constructed. I have thought about this film long after I saw it. I found my experience to be overwhelming in the best possible ways. I walked out of the auditorium not believing what I just saw. And in a time where comic book movies dominate, “Spider-Man” movies come at you quicker than a bullet, and when sequels pop up all over, this feels like one of the most original, fresh films I have not just seen recently, but in my entire life. I need time to marinate where I rank this film amongst my favorites of all time. Maybe if I see it again, it would help. And yes, I do want to see it again soon. Therefore, I think it is inevitable that “Spider-Man: Across the Spider-Verse” is a 10/10!
Also, what is it with multiverses lately? “Everything Everywhere All at Once,” which was set in different universes, was far and wide my favorite film of last year. Meanwhile, “Spider-Man: Across the Spider-Verse” also joins the ranks and has now become my top film of 2023. I hope people do not overuse the multiverse concept just because of these successful outings. If it is used in the future, I hope they try to implement what these movies did. Specifically, a developed story with likable characters. I hope people do not just do multiverse for the sake of being crazy. Story should come first, characters should come first, the craziness may as well be bonus points.
“Spider-Man: Across the Spider-Verse” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you want to see more reviews, I have some coming soon! Specifically for “Hypnotic,” “The Machine,” and “The Flash!” I ended up seeing a couple of these movies before “Spider-Verse,” but I could not contain myself. I had to talk about this movie before anything else. “Spider-Man: Across the Spider-Verse” is a movie that if you asked me what to watch this weekend, I might pick that one for at least a month. It’s that good. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Spider-Man: Across the Spider-Verse?” What did you think about it? Or, what is your favorite “Spider-Man” movie? Let me know down below! Scene Before is your click to the flicks!
“Fast X” is “directed” by Louis Leterrier. It was originally supposed to be helmed by Justin Lin, who has done a few of the franchise’s installments, including the recent “F9.” However, due to drama with star Vin Diesel (xXx, Guardians of the Galaxy), he left the directorial position. So that’s fun… Although he does have a screenplay credit. Speaking of Vin Diesel, joining him is a cast including Michelle Rodriguez (Dunegons & Dragons: Honor Among Thieves, Widows), Tyrese Gibson (Morbius, Black and Blue), Chris “Ludacris” Bridges (Karma’s World, Crash), John Cena (Peacemaker, Blockers), Nathalie Emmanuel (The Dark Crystal: Age of Resistance, Game of Thrones), Jordana Brewster (Dallas, Lethal Weapon), Sung Kang (Power, Obi-Wan Kenobi), Scott Eastwood (Suicide Squad, The Longest Ride), Daniela Melchior (The Suicide Squad, Guardians of the Galaxy Vol. 3), Alan Ritchson (Reacher, Titans), Helen Mirren (Skyfall, The Queen), Brie Larson (Captain Marvel, Room), Rita Moreno (West Side Story, 80 for Brady), Jason Statham (Crank, The Transporter), Jason Momoa (Aquaman, Slumberland), and Charlize Theron (A Million Ways to Die in the West, Bombshell). This series of moving images that technically qualifies as a blockbuster film once again centers around Dom Toretto and his “family” as they must stop Dante Reyes from ending their lives.
We did it folks! We have reached TEN of these films now. ELEVEN if you count that one “Hobbs & Shaw” spinoff that was quite entertaining. …Yay? To be honest, I could not have been less stoked about “Fast X.” I have seen plenty of bad movies, including some to major franchises like “Star Wars,” “Jurassic Park,” and “Transformers.” Few movies like “F9: The Fast Saga” have reeked of such an abominable aftertaste. Why did it not work? Because it treated me like an idiot.
The “Fast and Furious” franchise has evolved to such idiocy over the years. It has gone from being “Point Break” with street racing to taking on a shark-jumping identity that only gets bigger, not to mention dumber, with each installment. From “Fast & Furious,” the fourth movie, to “Furious 7,” everything that resembled such shark-jumping never took me out. “The Fate of the Furious” and “Hobbs & Shaw” came close, but I still enjoyed the movies for what they were. “F9: The Fast Saga” feels like a lowest common denominator tentpole. Between John Cena’s stiff acting, Dom Toretto’s lack of charisma, and the forced space scene had me chuckling at it for the wrong reason, I cannot see myself watching “F9: The Fast Saga” ever again.
But I am one who believes in second chances. Therefore, for that reason, in addition to the fact that I feel somewhat obligated to put out a review, I decided to check out “Fast X” on opening night a couple weeks ago. The trailers honestly did nothing to excite me. In fact, I felt like was spoiling the movie for myself through whatever the heck the marketing campaign was. But I tried to act mature and let the movie speak for itself.
Safe to say, there were enjoyable moments. Maybe, one, two, or three. Because there are many others that I would rather forget.
This is, unfortunately, just about as bad as “F9.” I left “F9” feeling appalled as to how this franchise got to where it was, but I thought it had a couple cool ideas. I left “Fast X” feeling like I got punched in the brain. By the end of the film, I had perhaps the quickest 180 degrees shift I have ever experienced as a movie watcher. I went from liking where things were going, to wanting to scream like an unsatisfied customer at Disney World. Because there are times where the film has inklings of fun in it. But they are never enough to justify me paying money to watch the movie in the first place, and even in a couple more entertaining moments, they include some of the dumbest ideas and realizations ever brought to the big screen. I think I figured out what the X in “Fast X” stands for. No, it does not mean the number ten. It stands for Xcrement.
There is so much nonsense that happens in “Fast X” that I need to split this review into two or three parts to definitively explain all of what I need to say. I am not going to, however, because I would be a jerk. So, let us widdle down some things.
For starters, I am convinced that “Fast X” does not know how cameras work. Not that the film is poorly shot, it is in a word, fine. That said, there is a scene at the beginning of the movie that serves as a reminder of who the Toretto family happens to be. Not only is this as expositional as can be with a couple core characters standing in a large room doing nothing, but the footage used to talk about the Toretto family, are movie shots. Not security camera footage, not raw video that could have been uploaded to social media, but carefully crafted shots that are used in past films. It reminds me of “Batman & Robin” where a particular shot of Poison Ivy is reused for plot purposes, but that shot came from the camera shooting the movie with no inserted gimmicks, tricks, or added context. So either the “Fast & Furious” franchise is secretly one of the world’s most ambitious documentaries or this scene is as lazily set up as public transit in almost every corner of the U.S.. It does not take long for me to be taken out of the film, which is unfortunate because the film does try to give some stakes in certain situations. But even when that happens, it is difficult for me to appreciate it because I am not convinced anything in this movie will matter.
This movie has a ton of characters. But size does not matter, it is what you do with it. Not much is done with it to be frank, because there is almost no charisma from any of the characters! This includes the lead!
Domenic Toretto is arguably the most overpowered, unlikably boring protagonist who continues to maintain some semblance of relevance in our cultural zeitgeist. I remember when these movies made the heroes feel superhuman, but they continued to have some degree of verisimilitude to their actions. Dom is God at this point. Vin Diesel may have chosen to be Superman in “The Iron Giant,” but as far as I am concerned, if Dom Toretto were forced to fight Superman, Toretto has a chance of clobbering him at this point. Other protagonists, even in movies I do not enjoy, will have me guessing if they are going to make it out of a sticky situation. If anything, Toretto practically is the sticky situation in every scene. He is not the villain, but he is a man without weakness. And while anything’s possible, this franchise proves it, I would rather see characters who have to deal with their troubles because the reality is that nobody’s perfect. Sure, there are some added stakes in this film with Dom having a kid, and Jason Momoa plays a compelling antagonist. But those two things are not enough to make a good movie. This is where the “Mission: Impossible” franchise often succeeds where “Fast & Furious” does not. Because while the movies are fictional spy adventures, they have fewer fantastical elements and more interesting characters that keep me engaged in the picture.
In fact, going back to Dom’s kid, Brian, he is nicely portrayed by Leo Abelo Perry. I am not convinced that he looks like the offspring Dom and Letty would have, but nevertheless. He is good in the film. What is not good in the film, is Dom’s parenting skills. I know this film defies logic, physics, and science, but is it the dumbest time for me to ask why the heck Brian is able to drive at eight years old? I mean, he can… But, are there like, laws… Against that? Ah, who am I kidding? The only law this movie knows is Murphy’s Law.
Although there is one good cameo in the middle of this film. I will not say who the individual of interest is, because I had no idea they were in the film going into it. But they are seen while the film is set in London. Additionally, this individual has some of the funniest lines in the film by a long shot.
Also, if any characters were improved, it would have to be John Cena’s Jakob. Unlike the last movie, he is actually charming, more than just a buff body, and kind of funny. One of Cena’s strengths as an actor is comedy. Since his last outing in the “Fast” universe, he has definitely improved himself as a performer, and I think the writers have similarly improved on his character and relied on some of what made John Cena’s performance in “The Suicide Squad” pop. The character himself is a bit of a diversion from what we have seen in “F9,” but it does not change the fact that Cena’s continued commitment to his craft is shown here.
I am going to do my best to talk about the end of this movie without giving a ton away. Inside I am vomiting just thinking about it. There is, an absurd, albeit the tiniest bit engaging moment where Dom flees from a couple oil trucks. Okay… At least no one is in space. Then we get an out of nowhere cliffhanger. While somewhat abrupt, that moment gave me hope. I thought the movie for the most part was mediocre at best, but that scene nearly redeemed everything else because it hinted that there could be at least one ounce of stakes in this universe. THEN we get to the ACTUAL ending. Where we find a couple other characters witnessing something, then another something happens. Once the other something happens, I think I witnessed an achievement in storytelling that could only be awarded with a Razzie. I said “F9” gave “Sharknado” ideas. That honestly feels like the tip of the iceberg at this point for how ridiculous things get in this franchise. What happened?!
One of the common things I hear about another popular series of films, specifically the MCU, is that those movies are more like theme parks than actual films. There are a few theme park-like elements in the MCU, but they are just a small part of what makes the films themselves exciting. They are still entertaining stories with likable characters. That said, if Martin Scorsese watches “Fast X” and walks out thinking that it is less theme park-esque than anything in the MCU, then he may as well be entitled to his wrong opinion. I would rather watch “Iron Man 2.” I’d rather watch “Black Widow.” Dude, I would rather watch “Thor: The Dark World” instead of not just “Fast X,” but both of this franchise’s most recent outings! How bad do you have to be to compared to a franchise of 32 movies, and I would watch all of those instead of these last two duds?! This movie has thrills, but little character growth. This movie has style, but no substance. This movie has action, but no stakes. And what we get is one of the worst movies of the year, not to mention one of the worst cinematic efforts of the decade.
When I walked out of “F9,” I lost any excitement I had for “Fast X,” and the trailers lowered it even more. As for “Fast X,” I think the most positive thing I can say about this movie is that people got paid to make it. Just because you have all these big stars including Vin Diesel, Brie Larson, Charlize Theron, and Jason Momoa, does not mean the film can get away without delivering a good script to back them up. After the first act, everything in this film feels as haphazard as a carnival ride. Whereas MCU movies are debatably theme park rides instead of cinema, “Fast X” feels more like a carnival ride that was shipped in and set up at the last minute. It is wobbly, squeaky, and its roughness cannot match its acceptable appearance. The film looks okay. The cinematography is pedestrian, although the editing is a bit over the top. Maybe too much for its own good. There is no way I can convince myself that “Fast X” adds anything fresh or exciting to this franchise. Its old tricks, despite their remixes, are honestly tired at this point.
In fact, speaking of old tricks, if I have to be honest and state what I think could be the most enjoyable moments of the film, they may be the ones from the beginning. While that may seem vague, let me remind you that much of that is really just a flashback to “Fast Five.” Do not get me wrong, I like “Fast Five.” But after watching “Fast X,” I was not convinced that I should watch it again. Instead, I thought I would rather watch “Fast Five” again. While some may take this as a compliment regarding the franchise’s longevity, if the franchise wants to save itself in the future, it might as well craft something good to release in the present, and maybe not indulge a whole ton in its past.
Movie franchises are only as good as their last project. Granted, money also talks. “Fast & Furious” makes money. But sometimes the two go hand in hand. Look at “The Divergent Series.” The third movie comes out to less than stellar reviews, the box office is equally unsatisfying, and not only was it announced that the fourth film would go straight to television, the film never saw the light of day following said announcement. Or for a more recent example, Look at “Ant-Man and the Wasp: Quantumania.” The movie ended up receiving some of the worst verdicts in the MCU and ended up having significant drops during following weekends at the box office. Sure, the movie made quite a bit of money, but by current MCU standards and with the diminishing of the COVID-19 pandemic, it is below what it could have made.
Going back to “Fast Five,” this movie utilizes that predecessor to tell a story of its own. Because the villain, Dante, is the son of Hernan Reyes, the antagonist of “Fast Five.” If I have to give this movie one compliment, its villain is one of the more redeemable elements of the experience. I am not going to pretend that it saves the film from being a disaster, but Jason Momoa steals every scene he is in. Every one of his mannerisms reminded me of a more adult version of Jim Carrey’s Doctor Robotnik from the “Sonic” movies. In fact, I am not surprised Momoa pulls off his performance. Having seen one of his most recent projects, “Slumberland,” he has a bit of a fun side to him that I have not uncovered through his time as say “Aquaman.” Not to diss on his performance as Aquaman, but “Slumberland,” despite its flaws, showed perhaps a likably cartoony side to him. At times, this film feels like a cartoon that tries to ground itself too much. Jason Momoa feels like the one performer who showed up to do a different project than those around him. Everyone showed up to be an action star while he showed up to be a goofball with guns and an endless motive to kill. I do not recommend going to see “Fast X,” but if there is any reason I would argue you should, Jason Momoa is the first idea that comes to mind.
There is nothing wrong with a franchise evolving from its roots. But “Fast & Furious” shows what happens when evolution goes too far. Adding a little ridiculousness is fine. In fact, it is actually kind of cool. Although what does not work is seeing that ridiculousness turn into chaos. Sure, this movie harkens back to the street racing element that was utilized in prior installments. But it is overshadowed by the many negatives that result from the franchise’s evolution. I do not have as much emotional attachment for these characters as I once did, because I am convinced that they are going to make it out of any situation they find themselves in. They say the definition of insanity is doing the same thing multiple times and expecting different results. “Fast X” defies reality just as much, if not more, than “F9.” Therefore, this franchise fits the bill to where it could be called insane. It is just about as insane as I would be if I ever watch this movie again.
In the end, “Fast X” somehow managed to go below my already miniscule expectations. A bad “Fast & Furious” movie is one thing, but two in a row destroys my faith in the future of this franchise. I have a feeling this movie was designed with an ending to get me to ask “Where are they going with this?”. Only thing is I saw that ending and thought, there is almost no possible scenario where I tune into the next movie and it compels me from the first scene. I have seen some solid cliffhangers over the years in film. I have seen them in movies like “The Hobbit: The Desolation of Smaug,” “Back to the Future Part II,” “Inception,” and the “Incredibles” installments. These are endings that either give me solid questions, make me beg for solid answers, or sometimes both. For “Inception,” it leaves my mind to wonder what could be happening. These are solid endings that build extended promise. “Fast X” might be promising something, but I can only assume it will be empty. But before that ending happens, things are not too great either. Between all the nonsense, the boring characters, and lackluster dialogue, this is easily one of the worst movies of the year. I am going to give “Fast X” a 2/10.
“Fast X” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! Pretty soon I am going to have reviews for films like “The Blackening,” “Spider-Man: Across the Spider-Verse,” and “Hypnotic.” Stay tuned! If you want to see more from Scene Before, follow the blog either with email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Fast X?” What did you think about it? Or, what is the most abysmal, rotten, downright awful travesty of a blockbuster film you have seen in recent years? Let me know down below! Scene Before is your click to the flicks!
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