Month: November 2023

The Marvels (2023): A Terrific Trio Delivers in a Freaky Friday-ish MCU Outing

Posted on by Jack Drees

“The Marvels” is directed by Nia DaCosta (Little Woods, Candyman) and stars Brie Larson (Room, Scott Pilgrim vs. the World), Teyonah Parris (If Beale Street Could Talk, Mad Men) Iman Vellani, Zawe Ashton (Velvet Buzzsaw, The Handmaid’s Tale), Gary Lewis (Joyeux Noël, Gangs of New York), Park Seo-joon (Kill Me, Heal Me, She was Pretty), Zenobia Shroff (The Big Sick, Soul), Mohan Kapur (Sadak 2, Hostages), Saagar Shaikh (Unfair & Ugly, Average Joe), and Samuel L. Jackson (Pulp Fiction, The Incredibles). This film features three superheroines who must band together to save the universe while dealing with an entanglement in their powers.

If you told me a month after “Captain Marvel” came out that we would be getting a sequel within the next few years, I would have believed you. In addition to being one of the most prominent comic book movies with a female lead, serving an underrepresented demographic, the film did gangbusters at the box office, grossing over a billion dollars. Unfortunately, if you ask me, I honestly think “Captain Marvel” is one of the weakest of the MCU films, and I gave it a 4/10 in my original review. Looking back at the film, it shines whenever Brie Larson and Samuel L. Jackson share the screen together. But there are many other instances where it falters. I thought the way Larson’s character was directed and written could have been better. I thought the hero’s stoic nature made her less palatable than she could have been. And I hate saying that because when I look back at Larson’s previous work like “Scott Pilgrim vs. the World” and “Room,” she has legit acting chops. And for all I know, she fulfilled the requirements of her role, but she was not given her finest work here. The villain is somewhat forgettable. The movie’s structure is a bit of a choice. Goose the Cat got on my nerves by the end of the film, and speaking of that, the film, which serves as a prequel to events that happen later in the MCU, reveals a certain detail about Nick Fury. Given the greater context of the MCU, I really hate how they went about exposing this detail. It felt out of left field and borderline cringeworthy.

But since “Captain Marvel” came out, we saw the rise of Disney+, which has brought shows like “WandaVision” and “Ms. Marvel” to the small screen. The former show features a prominent story from Monica Rambeau, the daughter of Maria Rambeau who is notably featured in “Captain Marvel.” Meanwhile Ms. Marvel introduces the new hyperactive, young, titular character to the ongoing universe. Thankfully, when it comes to the Marvel Disney+ series this film chooses to interlink, it chooses my two absolute favorites. Honestly, all the rest, minus select episodes of “What If…?” pale in comparison. But if you want my two cents, this brings up my first, and most obvious critique when it comes to “The Marvels.” If you have not seen “Captain Marvel,” then maybe you’ll be okay. You can get a sense of who Captain Marvel, AKA Carol Danvers, is in the snap of a finger. The movie does an okay job interjecting the two other leads, but I think you are easily going to appreciate them more if you tune into the Disney+ shows. If you read some of my more recent MCU movie reviews, my most prominent critique is that this whole cinematic universe is increasingly feeling like homework. “Doctor Strange in the Multiverese of Madness” sometimes feels like a commercial for “WandaVision” a year after its release. There is a certain connection a couple characters have between “Guardians of the Galaxy Vol. 3” that is established in The Guardians of the Galaxy Holiday Special.” The impact of that feels lessened knowing it comes from something comparatively smaller and timely. That said, the movie is still a banger, you should watch it.

“The Marvels” is honestly diving into a territory where the movies are taking advantage of as much Disney+ material as it can muster. If you did not see “WandaVision,” the impact of this movie would be lessened. If you did not see “Ms. Marvel,” I think there is still a lot to enjoy with the character, but maybe the impact would not be there as much. And with all these characters coming together in one picture, this is kind of what I feared would happen with the MCU. We would get to a point where the movies and Disney+ shows would be totally linked to a point where you almost cannot have one without the other. I enjoy the MCU, but this film reminds me of how much more fun this universe was when it was just about the next big event picture, and now with the TV shows, it comes off as a commodity to the point where there is too much. “The Marvels,” despite my enjoyment of it, feels like a mish mash. There is so much going on in such a short runtime.

But what saves the film in such a seismic manner just so happens to be the three leads themselves. Regardless of how much knowledge you had about any of them prior to watching this movie, I am willing to bet that if you watch this movie by itself as an introduction to these three characters, you will walk out having liked them. If anything, I think this film gives a much more likable portrayal of Captain Marvel than what we got in her 2019 film. She has a wider range of emotions while also maintaining her space goddess mentality she carried throughout her previous appearances. When it comes to Monica Rambeau, I think if I had to name the weakest character in the trio, it would be her. She appears to be given the least to do amongst the three, but she has a number of decent lines and standout moments on screen. Easily my favorite of the trio is Ms. Marvel, AKA Kamala Khan. A lot of that has to do with the infinite charm emitted by young actress Iman Vellani. Between the “Ms. Marvel” show and now this brand new movie, Vellani is perfectly cast in Ms. Marvel’s shoes. Vellani herself is a massive Marvel fangirl, and she very much interjects that into the personality of the Ms. Marvel character. If anything, Vellani reminds me of myself a little bit. She is dynamic, often upbeat, and often carries a smile even when the situation may seem dire. She spends a ton of the movie looking up to Captain Marvel as an idol and when she sees her in person, she almost comes off as if she is getting too close.

If this movie proves anything, it is that of the three main heroes in the trio, Ms. Marvel is easily the most fun to watch, and Marvel should honestly utilize Vellani’s talents as much as they can. She clearly enjoys playing the character. A lot of the stuff she is doing stands out amongst Marvel’s recent fare. And she is practically a scene stealer. Additionally, I love her family, particularly her parents. Both have tons of personality. For the screentime they have in this movie, they are used to their maximum potential.

Unfortunately though, the movie is not all rainbows and unicorns. In addition to the whole Marvel becoming homework thing that seems to increase in every other project, there is a scene in this film that feels entirely out of place. “The Marvels” is undoubtedly lighthearted. Especially when compared to other Marvel projects like “Doctor Strange in the Multiverse of Madness” and “Eternals.” But there is a scene in this film that feels too light to the point where it feels like it is coming out of a goofy Disney animation. Without giving too much away, the main trio ends up going to a planet where we find out the inhabitants all communicate through song. The way this is done is about as close to a bad “SpongeBob SquarePants” episode that the MCU has gotten in its decade and a half of existing. I have spent much of this movie with my mouth open. Either because I was eating popcorn or laughing. I had my mouth open during this scene as well, but not for good reason. I was perplexed as to what was going on, if I was dreaming, and if this was even the same movie I was just watching moments earlier.

There is also another scene that is not as bad, but is still a lesser moment of the film that somewhat failed to emit the effect it was probably going for, and it involves a ton of cats. Now maybe if I was a cat person I would feel differently about this scene. Heck, I’m not even a dog person. I’m barely a people person. But as this scene was happening, my brain kind of turned itself off and back on again. I knew what was happening, but I was not able to get any reaction out of it. If I had to name a low point of the Marvels, particularly a low point that is still high enough to keep me from ripping my ears off my face, it would be the chaotic flerken scene. It might be a hit with some audiences, but it was not for me.

The beauty of the best Marvel movies is that even when there may be a ton of setup for what’s to come, the product in front of you feels like a delicious main course. Don’t get me wrong, “The Marvels” was enjoyable, but it feels like an overreliance of what came before while also setting up so much for what could come next. When I said this movie is so much going on in such a short runtime, I was not kidding. I do not mind a short movie, I also do not mind a long movie. But a movie works best when it evenly distributes its material for a best possible runtime that can keep me engaged. “The Marvels” kept me engaged the entire time, but it did so while going at a pace that felt almost equal to a disposable TikTok video.

When it comes to Marvel villains, they are all over the place by now. After all, with so many movies out at this point, you are going to have your high and low moments. When it comes to the Marvel villain rankings for me, this film’s antagonist, Dar-Benn, is around the middle to low tier. I thought Zawe Ashton does a decent job as the character. But if I have to pinpoint any noticeable flaws, I would say that some of her lines are cliche. She does not really do much to stand out similar to say Marvel’s last two villains, specifically Kang the Conqueror and the High Evolutionary. Both villains do a great job at making their presence known or establishing clear motivations that make them the character in the film I love to hate the most. Dar-Benn has her moments. She is fun to watch in action. The way they utilize a couple plot devices with this character is effective. To call her cookie cutter would be a tiny stretch, but she is probably going to be one of the MCU’s more forgettable villains we have gotten over the years. She is not offensive, but to call her anything beyond serviceable would be generous.

If Marvel, and the comic book movie sub-genre in general for that matter, has lacked something for many years, it is a set of prominent female-led films that are really good. Sure, the 2017 “Wonder Woman” movie was fantastic, and for some time, my favorite film in the DCEU. Yes, I enjoyed “Black Widow” and “Black Panther: Wakanda Forever.” And yes, “Captain Marvel” made over a billion dollars, but I think this film does a better job at showcasing women superheroes in the forefront than that movie did. And that is highlighted by something I felt was lacking in “Captain Marvel,” emotion. Throughout my watch of “The Marvels,” I came to the conclusion that I was having a much better experience watching the leads. No disrespect to Samuel L. Jackson, I would honestly rather see Brie Larson next to Teyonah Parris and Iman Vellani for a bit longer if I could. And when it comes to the idea of emotion, Captain Marvel is more dynamic this time around than in her first MCU appearance. Additionally, the two supporting heroes add quite a bit to the table to keep me engaged. I think the movie, despite its flaws, works because it takes these three heroes and does a great job at fleshing them out. It dives heavily into their strengths, their weaknesses, their personalities. And that is something I kind of wanted to see out of Captain Marvel in her first outing in the MCU. Sure, we learn a bit about her backstory there, but I was more compelled by how her story is laid out in this film. And the material, whether it is better or worse than “Captain Marvel” honestly lends to a superior performance from Brie Larson herself. Maybe it is because she’s already played the character so she has had to time to adjust to the role, but I think she is better here than she was in “Captain Marvel.”

Part of what makes these three leads click is not just their interactions and how the movie utilizes their chemistry, which is as close to perfect as it can get to be honest. But the film’s driving concept for these three heroes lends itself to pure fun. I sometimes find myself fascinated with a “Freaky Friday”-esque concept. In the case of “The Marvels,” the characters do not quite switch bodies, but more or less switch places. In addition to being a clever idea, it also lends itself to a fun montage with the Beastie Boys song “Intergalactic” playing in the background.

In the end, “The Marvels” is sort of all over the place. But the positives heavily outweigh the negatives when I break everything down. If you asked me if I were to watch this movie sometime in the next year or so, I would not be opposed to it. I do not think it is the best superhero movie this year. If anything, it is one of the weaker ones, but I think it is still as entertaining as popcorn movies can get. It is hilarious, has great characters, and comes with a concept that is… (sigh) marvelously done. I think the film’s biggest weakness comes from the notion that the MCU itself has gotten so big. And personally, I would not have as much of a problem with that if Disney+ did not exist, but now that Marvel movies and TV shows are interlinked, I think it is only leading to extended convolution in the franchise. And while I may watch just about everything the franchise has to offer, the film relies on a bit that comes before it, and that could be a red flag for general audiences or less informed consumers. There are a couple gags that do not work, and I do think the villain is alright at best, but the terrific trio, and that is putting it lightly, of superheroines make this latest comic book movie worth the watch. I am going to give “The Marvels” a generously high 6/10.

I almost want to give two scores for “The Marvels.” Because if we are going for a pure fun factor, this movie would probably be an easy 7/10, but I also have to recognize that this movie works for me probably because I was exposed to much of what the MCU has to offer. The film sometimes relies on a couple movies and TV shows in its marketing and I think if you did not see those, this would be slightly harder to recommend. That said, I think you could still have a decent time with the movie. But there are a lot of other titles in the MCU that would be a better gateway to everything else. I took my dad to see this film, and while he missed out on “The Marvels,” he still liked what he saw. He did not have anything initially negative to say about it. Having talked with him since, we came to an agreement that this is not Marvel’s best work, but we both had a fun time.

“The Marvels” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for Disney’s latest animated film, “Wish!” The film just hit theaters last week, and I will have my thoughts on it soon! Also coming soon, I will have reviews coming for “Next Goal Wins,” “The Holdovers,” and “Napoleon!” If you want to see these reviews 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 Marvels?” What did you think about it? Or, did you see “Captain Marvel?” What about “WandaVision?” Did you check out “Ms. Marvel?” Let me know about your thoughts on those entries to the MCU! Scene Before is your click to the flicks!

The Tunnel to Summer, the Exit of Goodbyes (2022): A Fantastic, Time-Spanning Concept Wound Together Beautifully by an Excellent Leading Duo

Posted on by Jack Drees

“The Tunnel to Summer, the Exit of Goodbyes” is written and directed by Tomohisa Taguchi (Bleach: Thousand-Year Blood War, Akudama Drive) and stars Oji Suzuka and Marie Iitoyo as Kaoru Tono and Anzu Hanoshiro. The film centers around these two teens who develop a companionship all the while discovering the ins and outs of the mysterious Urashima Tunnel, where the laws of time and space are completely different from reality.

When the first hour or so of the past few years started, I would often scour Internet sources like Wikipedia, IMDb, YouTube, to get a sense of the films that are coming out later on in the year. Often times, most of the confirmed content would come from recognizable names or franchises, therefore a film like “The Tunnel to Summer, the Exit of Goodbyes” was never on my radar. I never knew of the original source material, but I saw that the film had a few shows near me at select theaters, so I thought, “New anime… Never heard of it, what’s it about?” As soon as I saw the premise, I was sold. It sounded borderline existential from the description I read. Having seen the movie, I can tell you upfront that this is easily one of the best times I had at a cinema this year. The film is based on a light novel, which has since sparked a manga series. I am not sure how faithful this material is to its source, therefore I have nothing to compare it to. I am just a third party observer who just wanted to see a good movie. I got a great movie.

My favorite thing about “The Tunnel to Summer, the Exit of Goodbyes” is everything involving the introduction and buildup of the tunnel itself. Some of my favorite films of the past decade like “Arrival” works really well because of how perfectly it sets up its out of the ordinary environment. “The Tunnel to Summer, the Exit of Goodbyes” works to a similar capacity. When it comes to some of the more visual aspects of the story, it allowed for some immersive scenes. When we see the two leads come together, it allows for one of the most inviting and intriguing moments of exploration I can remember seeing in a film. It also helps that the tunnel itself is a cool concept on its own. The fact that staying in there for long periods of time can quickly take you through many years of your own life? That is a killer idea.

But of course, it also helps that the events of the real world are just as exciting and riveting. When we get a sense of Kaoru’s background, there is some family drama we get to explore that helps not only establish the character, but get me to root for him. I also love the background we learn about Anzu, specifically how it ties back to her grandfather. It sort of reminded me of a relationship we saw in one of my favorite films from the past year, “The Fabelmans,” specifically between the titular family and Uncle Boris. While not exactly the same in principle, both relationships tend to stem off the backbone that a character became committed to the arts and their family eventually ended up casting them out to a degree. In this film, it is revealed that Anzu’s grandfather is a rather unsuccessful, but apparently passionate, manga artist. Anzu wants to follow in his footsteps, much to the backlash to her parents. This becomes a bit of a driving force for the character and it is one that I appreciate as someone who is a bit of an artist himself. Ever since I was young I always wanted to work in media or film. Right now I call myself incredibly lucky to be able to do that, and continue to talk about my passion for the industry on this blog. This film makes me appreciate the support I have from my parents for allowing me to set myself into an industry that I admire. I am, and always have been, an artist, and I think if you are either an aspiring, somewhat accomplished, or heavily experienced artist, you will relate to the character of Anzu. She manages to both love what she does but also pack in some hints of imposter syndrome. I share my written work here on a regular basis, but I will not deny that there are times where I have done reviews or other forms of art where I feel like I could have done better or maybe I am not confident in the material or my ability to complete it. I nevertheless push through because I want to see the journey of my progress reach the end, but it goes to show how relatable the character is.

If I have any real gripes with the film, there would be very few. If I had to be real, I would say that the film does feel tonally inconsistent at times. At one moment it is kind of cutesy, at another it is somewhat adventurous, and at another it is a serious drama. Sure, these kind of make for a neat package once the bow is tied, but I will not deny that the movie almost, and I put emphasis on the word almost, misses an identity because of it. Other than that, some of the supporting characters are a tad over the top, which does not really help considering how comparably down to earth much of the movie plays out in its execution, especially with its two leads. And yes, that is a weird thing to say when much of the plot revolves around a mysterious tunnel, but the way that pans out, given the circumstances, feels somewhat grounded when everything unfolds. If anything, this film creates a successful fine line between adventure and gloom, but it does not change how there are moments of the narrative that feel less in line with others.

Sticking with the idea of adventure and gloom, the film perfectly represents that in its visual style. I was not expecting it from the poster I saw prior to entering the cinema, but it nevertheless struck me with a sense of awe I am not accustomed to experiencing. At times the film is fun, at others I am riveted with the drama on screen. The color palette often times looks bleak and depressing, but it does not mean the movie fails to occasionally spark joy. But everything inside the tunnel not only looks otherworldly, but much more wonderous than everything in the real world. The movie does a good job at differentiating the vibes between the characters’ reality and the magic of the tunnel. There are plenty of bright and vivid moments, but the ones that give a greater soap opera feel in the film tend to stand out.

As for other positives, the music in the film is quite good. Everything from start to finish in the narrative had my attention. The movie for the most part is well-paced. The animation is sparkly and pristine. The voice acting is great. And if you must know I did watch the Japanese edition. This film reminded me a lot of flicks like “Arrival” or “Inception” where we have this unique concept to explore and the process of doing so is ever so exciting. I went into this movie curious, and I left the movie hooked by everything in it. I do not regret seeing this film during its short run.

In the end, “The Tunnel to Summer, the Exit of Goodbyes” is the third anime film I have seen in 2023, and of the three, it is the weakest. That said, it is also one of the better films of the year. When I first put the film amongst my rankings so far this year, this actually ended up in my top 10, at least for now. But I put it there for a reason, because it engaged me the entire time. Not once was I tired, uninterested, bored, or agonized by any of it. Sure, it has its flaws, but even when I think about them, they feel totally minor. They almost don’t even exist to a degree. The positives in this film not only stand out, they sparkle like gold. The main characters are both compelling and have phenomenal chemistry. Said chemistry is highlighted by their two talented voice actors. The concept of the film is fantastic. Both on paper and in execution. The tunnel itself is brilliantly designed, nicely colored, and easy on the eyes. Despite some minor tonal inconsistency, this film blends drama and adventure beautifully. I highly recommend you check this out at some point. I am not sure how long this rating is going to stick as I do want to watch it again in the near future and am very curious as to how a second viewing would go, but as for my first viewing, I am going to give “The Tunnel to Summer, the Exit of Goodbyes,” an 8/10.

“The Tunnel to Summer, the Exit of Goodbyes” is currently playing in select theaters. The film is also available to buy on VOD.

Thanks for reading this review! If you enjoyed this review, why not check out my other ones? I mentioned this is the third anime title I reviewed in 2023. If you want to know the other two, check out my reviews for “Suzume” and “The First Slam Dunk.” My next review is going to be for the brand new MCU installment, “The Marvels!” Also coming soon, I will have my thoughts on “Wish” and “Next Goal Wins.” Speaking of anime, this review is a ways out, but I just got my ticket for Hayao Miyazaki’s latest film, “The Boy and the Heron.” If I play my cards right, that review should be up sometime next month. 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 Tunnel to Summer, the Exit of Goodbyes?” What did you think about it? Or, do you have a favorite anime you have seen this year? I’ll also accept television. Tell me about it! Scene Before is your click to the flicks!

Priscilla (2023): A Hauntingly Brilliant Encapsulation of First Love and the Hesitancy of Letting Go

Posted on by Jack Drees

“Priscilla” is directed by Sofia Coppola (Lost in Translation, The Virgin Suicides) and stars Cailee Spaeny (On the Basis of Sex, Pacific Rim: Uprising), Jacob Elordi (The Kissing Booth, Euphoria), and Dagmara Domińczyk in a film about the young girl who meets Elvis Presley, falls in love with him, and how her life changes while connected to the rock and roll star. It is also based on “Elvis and Me,” a 1985 memoir co-written by Priscilla Presley and Sandra Harmon.

As indicated in one of my recent reviews, specifically, “Dicks: The Musical,” A24 is a wonderfully polarizing studio. It has delivered its fair share of huge hits and magnificent misses, but with just about every film they have done, I walked out of each one recognizing that something stood out about them. Whether it was the way they were shot, written, acted, edited, or an oddball combination of aspects that somehow make the project individualistic. Between that background, and the hauntingly beautiful trailer that was released in advance of this film’s release, I was curious as to what this film could deliver.

But little did I know what it was bound to deliver. “Priscilla” is easily one of the best films I have seen this year.

2023 has had plenty of bangers for me like “Spider-Man: Across the Spider-Verse,” “Oppenheimer,” and “BlackBerry.” Of course there are other movies too, but “Priscilla” shares similar qualities to those movies in the sense that I could not stop thinking about it the moment I exited the theater. Because those films all had screenplays that continuously had me thinking about the themes, the ideas that went into the film. “Priscilla,” much like the recently mentioned latter films, is based on true events. Even if this film somehow managed to capture a Hollywoodized version of what happened, it was very effective in its efforts. Almost every other scene between the two leads, mostly in the later portion of the film, almost had me biting my nails. I did not know a whole ton about the relationship between Elvis and Priscilla, but this film sort of opened my eyes. In fact, it perhaps earns an additional ticket of certification as it is produced by Priscilla Presley herself.

While this film is a showcase of the romance between Elvis and Priscilla, it is something deeper at its core. It is really a marvelous depiction of what it is like to be an adolescent with a first crush. Even as you age, that idea sometimes fails to slip away. We see that as Priscilla and Elvis become romantically involved, she longs for his presence, and of course, Elvis comes with the bonus of being a bit of a status symbol. But even without Elvis in the mix, I think the movie does a decent job at showing what it is like to be young, experience love, or some feeling that resembles love, for the first time. This is mostly shown on Priscilla’s part, as she is the protagonist of the film, but it is also fascinating to see someone like Elvis Presley decide how he chooses this one young girl over the thousands of other screaming fans, not to mention celebrities alive at the time of his dominance. Their connection is one that is not easy to watch, but hard to look away from. It is ultimately a riveting, gut-wrenching romance that does not have me thinking the individuals involved are making the best choices, but it is one that I understand why it could happen. That is the foundation of this movie. Taking two young, beautiful, different people, and putting them together in a connection that is not exactly smooth-sailing. It kind of has its ups and downs along the way, but the downs become increasingly evident as the movie goes.

This movie made me ask myself what I would do had I slipped into Priscilla’s shoes. There is a moment in the film where Elvis and Priscilla are together, the former is doing an activity, and the latter seems uninterested in it. Elvis appears to catch on but informs Priscilla that there are a lot of people, particularly women, who would kill to do said activity with him. That moment basically summed up the whole movie and Priscilla’s character to a tee. We all have our celebrity crushes. I will be straight up and admit that one that instantly comes to mind for me, at least at this moment in time would have to be Ana de Armas. Now if I were given the opportunity to be with her if I found out she were single, my mind would instantly think “yes.” But the question that remains to be answered is whether I would stay with them once I get to know their various quirks. The question remains true for any potential partner, but I would have to imagine in some cases, when it comes to a high-profile celebrity like Elvis Presley, or in my case, Ana de Armas, it would be a lot harder to back out in a situation like that. It goes to show how deeply we value celebrity culture and how it influences us as a society. This movie basically sums up the whole “don’t meet your heroes” idea. Did meeting Elvis Presley and getting to know him disappoint Priscilla? Maybe not at first. But as the movie goes along, we see the two develop to a point where the relationship becomes controlling, one-sided, and toxic. Because of this, “Priscilla” is arguably the most uncomfortable I felt watching a movie in 2023, but I mean that in the most positive of statements. It felt raw. It felt immersive. It doesn’t hold back.

To my lack of surprise, the Elvis Presley Foundation declined their approval for the film. After all, unlike last year’s “Elvis,” it features the iconic musician in a less positive light. It complexifies him to the point where he is a bit more arrogant. He may be nice in some scenes, but the movie is not afraid to highlight moments where he is a jerk. Therefore, while this movie did not get me to stop appreciating some of Elvis’s songs, I admire its approach in telling a story where someone so well known and respected is given a much darker background. Speaking of Elvis’s songs, and given what I just said this should not come as a huge shock, there are no Elvis songs in this film. That said, the film has a decent soundtrack that captures its respective setting beautifully. It has a nice throwback feel and I admire the film aspiring to the challenge of putting none of Elvis’s songs in a movie in which he is prominently featured. That said, he is not the protagonist. This is not his story. This is Priscilla’s story. And her story is glorious. It is a story I will continue to think about for ages. It is a story that says a ton on how we view our idols. How we will sometimes make sacrifices for the people we admire. How we feel when we experience love and don’t want to let it go, even if it may be for the greater good. “Priscilla” is an easy two-thumbs up.

In the end, “Priscilla” is one of the most hallowing tales of love I have ever seen. It is one of those movies that you kind of have to see to believe. “Priscilla” is not only one of the best movies of the year, it is one of the finest works A24 has put out in its short history. It is up there with “Room,” “Pearl,” and “First Reformed” as one of my favorite films the distributor has put out. Sofia Coppola brings amazing performances out of everyone in this film, especially its two leads, Cailee Spaeny and Jacob Elordi. Both of these two should be in contention for some big buzz this awards season. They do an excellent job with their roles. Regardless of how this film bases itself on true events, I think Priscilla Presley has one of my favorite character arcs in recent film. By the end, I was satisfied with her journey, but I left feeling icky. And mean that as a compliment. With each passing moment, Cailee Spaeny dominates the screen with her admirable presence and instant likability. If you told me in 2020 that in the next few years we’d be getting a movie from Warner Brothers about Elvis Presley, and follow that up next year with a movie from A24 about Priscilla Presley, I’d slap you across the face and call you crazy. If you told me after getting slapped that I would hate the Elvis Presley movie, and think the Priscilla Presley movie is a significant improvement over it, I might buy into your claim given how I think A24 tends to put out standout film after standout film. Yet at the same time, I would tell you to seek professional help. But here we are. “Priscilla” is one of the year’s best films and I am going to give it a 9/10.

“Priscilla” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new anime “The Tunnel to Summer, the Exit of Goodbyes!” This film was not playing in too many places near me, but I did get a chance to catch a screening of it at an AMC, so I will have my review of the film as soon as possible. Also coming soon, I will be sharing my thoughts on Marvel Studios’ latest film, “The Marvels,” Disney’s newest animated feature, “Wish,” and Taika Waititi’s most recent directorial effort, “Next Goal Wins.” 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 “Priscilla?” What did you think about it? Or, if you have seen both films, I want to know which one you liked better… “Elvis?” Or “Priscilla?” Let me know down below! Scene Before is your click to the flicks!

The Persian Version (2023): Two Generations of Stories Come Together in a Uniquely Structured Dramedy

Posted on by Jack Drees

“The Persian Version” is directed by Maryam Keshavarz (Viper Club, Circumstance) and stars Layla Mohammadi (Special Ops: Lioness, The Sex Lives of College Girls), Niousha Noor (Kaleidoscope, Here and Now), Bijan Daneshmand (Infidel, The Night Manager), Bella Warda, and Tom Byrne (The Crown, Road Dance). This film is about a young Iranian-American woman who is at odds with her family, most notably her mother. The two have their key differences. But when a secret is revealed, the young woman realizes that she and her mother may have more in common than then they once thought.

“The Persian Version” is a film that I am not surprised a lot of people are keeping out of the conversation. It is not playing in too many places, and it came out the same weekend as “Five Nights at Freddy’s.” By the way, I have no plans to watch that film for those who ask. But I was very intrigued by “The Persian Version.” I was sold with the marketing. The movie looked, bright, cheery, vibrant, and seemed to make the most of whatever budget it had. It did not look terribly expensive, but it looked polished for a film of its caliber. Turns out, that is just half the battle, because little did I realize what I would be in for.

“The Persian Version” is a quirky, fun, good old fashioned time that occasionally inserts moments of seriousness every once in a while. Is this a good thing? Sort of. There are multiple storylines at hand, all of which deliver some sense of engagement to varying degrees. Like a lot of other movies, there are parts of “The Persian Version” that are better than others. But in the case of “The Persian Version,” even when the movie transitions in an uneven, and nearly cluttered manner, I still find myself invested in much of what is going on.

I found the storytelling and the way it was executed to be particularly creative. It is non-linear, there is an occasional song and dance aspect. There are notable tonal shifts. There is a balance between comedy and drama. But when it comes to those last two things, it is kind of like a see-saw. It has its highs and lows. I found the comedy in particular to be funny, charming, and for the most part, it works. I found the drama to bring the film to a more down to earth feel that gives a sense of perspective for the characters at hand. This does not result in the best movie of the year. Far from it. But it does result in a film I do not regret seeing and one I think that if it is playing near you, would not make for a bad choice. It comes with plenty to enjoy even with its quirks, whether they work or not.

This film starts out in a lighthearted manner. But it sort of does a back and forth transition between genres where at one moment, it is serious. It is dramatic. Then eventually, it reverts back to being something of a comedy. If you have seen my last review, “Freelance,” you would know that meshing genres does not lead to the best results. But in this movie’s favor, it manages to utilize comedy in a way that is humorous. And it also blends in drama to the point where it manages to compel me. But it does not mean the film is without its imperfections. If anything, I think as fascinating as the events within these genre blends are, there is a noticeable sense of inconsistency between them. Because while comedy and drama can work when combined together, the shift from one genre to another feels nearly seismic at times. It does not really allow much room to breathe and the movie almost spends too much time focusing on one genre to the point where it almost has no identity. It is kind of a mish mash, and too extreme of one at that.

The best way I can describe “The Persian Version” is that it is two movies in one package. Both movies are really good, but they almost do not fit together. The story presents itself in two tonal opposites. In comic book movie speak, it’s like combining “Deadpool” with “V for Vendetta.” Both movies work perfectly on their own, and maybe if you put both together, they could lead to an interesting result. But combining both projects only lessens their value in a case like this.

Although given time to marinate, the movie presents two different tones that ultimately fit their respective narratives by the end. And the more I ponder, it gives me a good idea as to how this film’s main duo tends to see the world. In the back of Leila’s mind, she will do anything to embrace the fun and spontaneity of life. She will do anything to have a good time. She will do anything to keep herself happy. Meanwhile we see another story with her mother as the center where I am getting the sense that having fun may not be the top priority, and fun would only get in the way of what she thinks is important. But it is also shepherded by what these two have on their plate at their respective times of their lives.

The other thing I really appreciated about the movie is that it kind of gave me perspective as someone who is of similar age to Leila, who serves as the film’s protagonist. It reminded me that nobody is perfect. I often think about my parents growing up and realize that maybe they have made choices in life that they either regret or maybe their parents did not always agree with, but maybe they stood by them regardless of the outcome. That is not to suggest those choices are a bad thing, because in the end, they ultimately make us who we are. What matters is how we conduct our lives moving forward for ourselves, in addition to the people around us. In the end, even if our choices end up being mistakes, life finds a way to make us happy.

To top off all of what I just said, “The Persian Version” has a marvelous ensemble that is led beautifully by a mother-daughter duo played by Niousha Noor and Layla Mohammadi respectively. Both individuals are perfectly cast and play off each other very well. The family itself offers plenty of moments to enjoy. I thought Leila’s grandmother, Mamanjoon, was a highlight of the film. She also had my favorite line of the film that comes into play a couple times. It got a good laugh out of me. When it comes to slice of life-style films, “The Persian Version” gets plenty of things right, but it is not without its flaws. But would I watch it again? Perhaps so. It is by far one of the most unique movies of the year and if you are looking for something beyond the traditions of filmmaking, this is a decent option.

In the end, “The Persian Version” showcases the beauty of life, all the while highlighting problems that its core woman characters have to face at certain times of their lives. No matter how big or small. The movie is kind of like life itself. It has its fun moments. It has its downer moments. But by the end, everything tends to come full circle. I think this is a creative, one of a kind feature that despite not getting a lot of attention at the box office for the past number of weeks, certainly had mine. I am going to give “The Persian Version” a 7/10.

“The Persian Version” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, good news! I have more coming! My next review is going to be for “Priscilla!” I got the chance to watch this film at the beginning of the month. It has been on my mind for quite a bit. I cannot wait to talk about it. Also coming soon, I have reviews coming for “The Tunnel to Summer, the Exit of Goodbyes” and “The Marvels.” 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 Persian Version?” What did you think about it? Or, what is your favorite mother-daughter relationship in film? Let me know down below! Scene Before is your click to the flicks!

Freelance (2023): Worst Movie of 2023?

Posted on by Jack Drees

“Freelance” is directed by Pierre Morel (Peppermint, Taken) and stars John Cena (The Suicide Squad, Blockers), Alison Brie (BoJack Horseman, The LEGO Movie), Juan Pablo Raba (Peppermint, Narcos), and Christian Slater (Inside Job, Archer). This film is about an ex-special forces operative who takes a job to protect a journalist tasked with interviewing a dictator. When a coup happens during the assignment, the three must defend themselves all the while navigating the jungle for their own survival.

To say I was looking forward to “Freelance” would be like saying I am looking forward to going to the DMV. Sure, I like making sure I am able to drive. But all the dirty work within that is not that appealing. In the same way, I enjoy John Cena’s work… Well, enjoy is a strong word. I am not exactly thrilled with what he did on TBS’s “Wipeout,” but still. As I look at the poster for “Freelance,” it has the look of a straight to DVD action flick released exclusively at Walmart that is probably not going to be discussed two years from its official release. There is something about it, the more I look at it, that increasingly turns me off. Even the tagline sounds over the top. “Retirement doesn’t suit him.” Okay, then. I wish the advertising suited my tastes but this goes to show why we cannot have nice things. It almost has the look and feel of a lifeless parody movie. It’s too bright to be serious, but it tries way too hard to make me laugh, and fails miserably. Once again, John Cena is becoming a respectable star in both film and television. That said, the greatest thespian, he is not. He is basically like Dwayne Johnson, another wrestler turned actor. He has personality and oozes charisma in various roles, but he does not always escape into the role at hand. “Blockers” is a halfway decent example. John Cena is really funny in the movie. Honestly, he stands out in the movie. I really like his character. But he showcases a particular, consistent stiffness as the lead role. In “F9: The Fast Saga,” which I almost forgot he was in… Nice, right? He was one of the weaker talents on screen. He was not convincing as an antagonist, and he was equally, if not more unconvincing, as Dom’s brother. But to be fair on the latter, that’s probably more of a casting issue than a performance issue.

That said, he is not all bad. If you take a supporting role of his, like the one he had in “Bumblebee,” he can do okay with the small amount of material given to him. He may not be giving an Oscar-worthy performance, but he has the ability to stand out. He was quite funny and had perhaps the best executed line in the entire film. That said, with his recent rise as the character of Peacemaker in the DCEU I thought he was turning things around. Not only did he have plenty of material to work with, but he gave a standout performance where I saw less of John Cena the personality and more of John Cena the actor. James Gunn even said that when it comes to improv, he kept more of it from John Cena than any other actor in his previous projects.

And this is why I have to say after seeing John Cena’s amazing efforts in DC’s “The Suicide Squad” and “Peacemaker,” he unfortunately takes a downward spiral in “Freelance.”

John Cena plays Mason Pettits, who had dreams of being in the military, only to have them shattered by an injury, leading him to become a lawyer instead. Now, I know being a lawyer can be a desirable gig to a number of people, but I think the movie does an okay job on the surface of trying to make Mason likable in the first couple of minutes by having his absolute dream go by the wayside, bringing him to a lowest low. But then, they introduce the fact that he is a father, has a wife who doesn’t always seem to be on the best terms with him, and this whole dynamic did not work for me. He and Alice Eve have zero chemistry together. I must add, I know that not all dads are perfect, but there is a scene early on in the film where we see Mason with his kids that was definitely supposed to come off as funny, but came off as a notion that Mason is a terrible father. He doesn’t come off like he is trying his best to be a supportive, attentive parent. The idiocy that this guy shows around his children is unfunny. Additionally, it convinces me that he should have never even procreated in the first place. The personality of John Cena’s character, both as a father, and within the context of his job, reminded me of the characters of “Wild Hogs,” a bunch of insufferable morons who want more in life, but are not likable enough for me to respect them wanting more. He comes off more as a brainless jerk than anything else. And how can you be miserable when you are married to a character played by Alice Eve? Now I have seen everything.

If there is one positive in the movie, while the film itself delivers an unfathomable injustice of a first impression, I like how they shot the film’s early moments. Much of the beginning of the film was done from a first-person perspective, which I thought was kind of creative, and almost immersive. It kind of reminded me of a fun video game. As bad as everything else in the movie is, I will admire the film for at least having the ingredients, albeit very few, that could go into making the unfathomable injustice of a first impression better than it is. First impressions are the impressions in life that matter the most regardless of the situation. So while “Freelance” did not win me over, I admire the movie’s efforts in what it was trying to do. However, there are so many things that are wrong with the movie that I cannot help but cringe just at the thought of it. The movie starts off as a story where one man is getting a second shot at a dream. It is kind of borderline action-packed, adventurous. But it also is a comedy. Meshing genres together is nothing new, but usually there is a sense of consistency when the meshing is done right. The way “Freelance” uses multiple genres is the opposite. It almost does not know what kind of movie it wants to be. And the worst part, when it comes to meshing adventure, comedy, action, and whatever other sprinkle of a genre it chooses to emulate, it does all of them poorly. I don’t mind mixed genres as long as they’re done well. If they were done well, we would have a different story on our hands. Look at “Everything Everywhere All at Once.” “Freelance” does not go as deep as that. But as an adventure, there are no thrills. As a comedy, there are no laughs. As an action flick, it misses the mark.

And the fact that this film misses the mark as an action flick is really sad, because it is directed by Pierre Morel, who also directed “Taken.” I love “Taken.” It is one of Liam Neeson’s best films. It is not surprising to know that almost every other film he has done since often tends to be compared to “Taken.” The action is great. The premise is simple, but perfect. The father-daughter relationship won me over. And that is the irony. We go from a movie like “Taken,” which even with its showcasing of notable violence, is ultimately about a father who will do anything to save his daughter. He is practically the father of the year. Granted, when it comes to “Taken” it also helps having decent writers like Luc Besson and Robert Mark Kamen. Now several years later, we get “Freelance.” A movie starring John Cena as a father who appears to neglect important details about his kids. And if you are curious about the writer for “Freelance,” that would happen to be Jacob Lentz. He has plenty of experience in this industry. He wrote for “Jimmy Kimmel Live!” for a long time, he produced a series in 2017 called “Animal Nation with Anthony Anderson.” He did a number of things. But the last writing credit he has, at least according to IMDb, is in 2012 when he did the “2012 White House Correspondents’ Association Dinner.” If that is true, it kind of shows here. Granted, with all this time in between, it could mean he had time to brainstorm whatever he is going to do next. But if I were brainstorming, I would have brainstormed to delete the script and never hand it out to anybody. But what do I know?

That said, I do want to be careful with what I just said. Because I recognize how hard it is to make a movie. But with a repeated process, the journey does become a bit simpler. Recognizing Jacob Lentz’s past credits, I should note that in his case, this is, unsurprisingly, his first feature film script. I respect how Lentz is making a transition from one part of the industry to another. He is trying to diversify a bit. But I think it is clear that when it comes to feature films, his skills have not quite blossomed. I do not know what his reputation is on the TV side, but I am hoping that it is better than what this movie turned out to be.

The best way I can describe “Freelance” is to say that it is this year’s “Red Notice.” When it comes to star power, it is not quite as big, but it is evident. Look at John Cena! Look at Alison Brie! Both of them are respectable, notable names given their resumes! “Freelance,” much like “Red Notice” did with Dwayne Johnson, Ryan Reynolds, and Gal Gadot, ended up taking significant leads who ooze personality to the tenth degree and crush them like bugs. This movie took likable gems of people and sucked out their souls. They say I cannot see John Cena. In this case, all I see is crap.

And while I happen to know John Cena and Alison Brie more than Juan Pablo Raba, if I had to name my favorite performance in the movie, it would Raba’s performance as the dictator. He feels the genuine of the bunch, he has personality, and I thought Raba blended into the role nicely. At the end of the day, I do not love the character and I did not know what to think of him. But if I had to name a scene stealer, and this is a generous statement by the way, it would be the dictator. I honestly wanted more out of this movie. I wanted better action. I wanted better comedy. I wanted better acting. I wanted a better story. When it comes to the story, by the way, it feels like an afterthought. Sure, maybe there was a decent motivation on the protagonist’s part, but as the movie progresses, it feels like we continuously have excuses to spew lackluster action scenes, bad jokes, and uninteresting gags that may occasionally have a sexual nature. I wish I could say when it comes to “Freelance,” one watch would be enough for me. If there were a way I could watch the movie zero times, I would love to make that happen.

In the end, “Freelance” is a gig that I should have quit before I even took it on. Between “Fast X” and now this, John Cena is not having the best recent track record. While I have to think about which movie I’d rather watch more, I’m starting to think “Fast X” has more redeeming qualities. Because at least some of the action is fun to look at, and when it comes to John Cena in that movie, he is actually pretty funny. In “Freelance,” not only is he not funny. He is genuinely unlikable. There is no way I found myself latching on this character by the movie’s end. The plot is all over the place. The characters barely stand out. The events of the film are easily forgettable. There are a couple cringe-inducing moments. I cannot recommend this film to anyone. I was amazed by the Rotten Tomatoes scores for this film. Because the critic score is at a whopping 0%! Meanwhile, the audience score is sitting at 76%! The divide on this movie is not only amazing, it is jaw-dropping! Because if you must know, I side with the critics on this one. But I genuinely want to know why this movie did better with audiences. What redeeming qualities stood out to these people? Then again, like all other art, film is subjective. When it comes to my subjective thoughts, I could never subject myself to this torture ever again. I am going to give “Freelance” a 1/10.

By the way, I want to congratulate John Cena, because this is not his first time being in a movie with a 0% critic score on Rotten Tomatoes. This is due to Cena having a role in the television film “FRED: The Movie,” starring character popularized through online media by Lucas Cruikshank. Congratulations, John Cena! You did it! You hit the jackpot of utter lunacy! What are the chances of this? If there is anybody that I am convinced in their lifetime will be struck by lightning twice, it might be John Cena at this point. Who knows?!

I want to tell you a true story. I ended up going to two different AMC Theaters to watch “Freelance.” I was going to buy a ticket at the first one in person, buy some food, but I ended up forgetting my wallet. That would have been fine considering I have rewards points through my Stubs membership. I had plenty to waste, and if need be, I had quarters sitting in my car, that I could use if needed. But I am an AMC A-List member. Sometimes, not all the time, but sometimes, the ticket taker will ask for your ID if you use one of your A-List reservations. Considering I did not have it on my person, I made a trip home and forfeited the screening. So, I waste over an hour between going home, going back out, venturing to a different theater and using my AMC A-List reservation there to get a free ticket for “Freelance.” I wasted time, gas, and my sanity to get this review out for you guys. And you know why? Because I like you. That said, this movie was not worth the effort. “Freelance” is one of the biggest wastes of my time I had as a moviegoer. It is unfunny, unsatisfying, and unthrilling. It is one of the worst films of the year for sure.

Thanks for reading this review! My next review is going to be for “The Persian Version.” I had a chance to go see this movie a couple weeks ago. I saw the marketing sometime prior, and I have been looking forward to it. I will share my thoughts soon! Also coming soon, I will have reviews for “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and “The Marvels.” 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 “Freelance?” What did you think about it? Or, here is a fun question… Have you seen any movies that have earned a 0% critic score on Rotten Tomatoes? If so, tell me what you thought about them. That should be fun, right? List your thoughts down below, I would love to hear them. Scene Before is your click to the flicks!

Killers of the Flower Moon (2023): Three and a Half Hours of Kills, But Few Thrills

Posted on by Jack Drees

“Killers of the Flower Moon” is directed by Martin Scorsese (The Irishman, The Wolf of Wall Street) and stars Leonardo DiCaprio (Inception, Titanic), Robert De Niro (Meet the Parents, Joker), and Lily Gladstone (First Cow, Billions). When oil is discovered on Osage land, its people are murdered one by one. As this continues, the FBI steps in to unravel the mystery.

Martin Scorsese is undoubtedly one of the most notable names in Hollywood. He is one of the most influential directors of all time who still happens to have a respectable track record today. His older films continue to hold up and his newer titles do not seem to miss either. I have to say when it comes to his recent work, “The Wolf of Wall Street,” while I did not find it to be perfect, is one of the better movies I have seen to have come out in the past decade. In fact, to know that Scorsese is once again reuniting with Leonardo DiCaprio only serves as a boost of confidence. And of course, alongside them, is Robert De Niro, another acting legend who cannot do any wrong. Both Scorsese and De Niro were coming in hot with their recent work together, “The Irishman,” so to have a couple of Scorsese’s top players come back only helped build the prestige of what was to come. Now if I have to be frank, “The Irishman” to me was a movie of moments. There are a lot of decent parts of the film, but I feel like the parts I enjoyed more were less significant to the plot and more likely to be described as random sprinkles in the background. And to be honest, it was too long.

I can sit through a three plus hour movie. In fact, speaking of Leonardo DiCaprio, I very much enjoyed “Titanic.” The “Lord of the Rings” films are around the three hour mark and for the most part, they all serve their runtime beautifully. “Seven Samurai” is a wonderfully shot, exquisitely told revenge tale. “RRR,” which I reviewed months ago, is one of the most chaotically fantastic three hour escapes I’ve had in my entire life. If you want to go for something very recent, with a runtime that clocks at just around three hours, “Oppenheimer” is a compelling, haunting drama that I did not want to end. And if you are wondering why I had less of a problem with those movies than “The Irishman,” it’s not necessarily just that they were more entertaining. But everything in those movies felt essential, and they used those few hours in a way that had me engaged from scene one to the end credits. “The Irishman” honestly ends up feeling rather tiresome by the end, and maybe a little self-indulgent. I gave the movie a 7/10 when I reviewed it, but the more I think about the movie, I often think about how the runtime bogged my mind by the time it was concluding.

And that’s why I was worried when I found out that instead of “The Irishman’s” three hour and 29 minute runtime, “Killers of the Flower Moon” was only three minutes shorter at three hours and 26 minutes. If I have to be honest, this movie somehow feels longer than “The Irishman.” I cannot even believe I am saying that. For the record, I ended up seeing this movie in IMAX, and somehow I still felt overwhelmed with what was happening. When it comes to the look of the film, I will not deny that in many instances, it looks gorgeous. It honestly looks more pristine and captivating than a good number of films that came out this year. The cinematography is some of the best of the year. The locations are beautiful. The color palette, while definitely symbolic of the movie’s not so happy go lucky tone, is perfect for the story at hand. I will not deny it, “Killers of the Flower Moon” is a well made, well crafted, well acted, well directed piece of art. Or cinema, as some would prefer to call it. It’s just too long.

They size does not matter, it is what you do with it. And what they did with it, was kind of boring. By the second half of this movie, I kept asking myself when it was going to end, and that is never a good sign.

I must reiterate that “The Wolf of Wall Street” is a banger of a flick. From start to finish it is a wild trip with this one guy who by definition, should be beyond unlikable, and yet they utilize him in such a way that makes him one of the most charming protagonists in that year’s slate of films. Leonardo DiCaprio killed it in the lead role and while I did not always identify with the character, DiCaprio did such an excellent job at making a character like Jordan Belfort as palatable as possible. He is the kind of character that part of you wants to be, but then that sane part of your mind kicks in and rejects that thought. Jordan Belfort is a moron. No doubt about it. But he is a pretty likable one at that. DiCaprio manages to play, personality-wise, a similar character in this film. Specifically, Ernest Burkhart. He is clearly does not really have the best morals. I honestly find it hard to link alongside or root for this character sometimes. Overall, he is kind of self-centered. What kept me interested about Jordan Belfort is that in every scene, even in ones where he clearly came off as a posh prick, I found the character himself to be charming. My ability to admire Ernest on the other hand, was flying up and down like a see-saw.

Was I at least intrigued by this character’s arc and journey? Sure. In fact, one of the highlights of “Killers of Flower Moon” for me would have to be Ernest’s love connection with Lily Gladstone’s character. Everything involving this relationship, from early on all the way through the long runtime felt genuine. I really like these two together. In fact, it goes to show that Lily Gladstone not only gives a knockout performance as the character of Mollie Burkhart, but she may have been the bright spot in a film where everything around her feels comparatively brooding or a bit of a downer. She stands out as an angel in a dark alleyway.

The whole balance between Ernest’s connection to his uncle, in addition to the established motivation against the Osage people, in kahoots with his own relationship with Molly, serves as “Killers of the Flower Moon’s” biggest point of intrigue. It is, likely by design, supposed to induce discomfort. And if that is the case, the film certainly did its job. Because I am watching everything going down, and it is not really much of a mystery as to who is doing all the killing in the movie. There is the old saying that it is not about the destination, it is the journey. To be frank though, when it comes to this journey, I probably ventured off a few stops early.

When it comes to the movie’s cast, it is pretty stacked. Not only do we have Leonardo DiCaprio and Robert De Niro, the two big names carrying the film together. By the way, De Niro is quite good as William Hale, and delivers my favorite line of the film.

It may sound better with context, but those who must know, the line is “The front is the front, and the back is the back.”

But in addition to these names, the entire Osage ensemble happens to be really good in this film. I bought into all of them. We also have Jesse Plemons, who is given a meaty supporting role as an FBI agent with a lot to like. But I must admit, as much as I like Brendan Fraser and John Lithgow as actors, they almost feel out of place in this film. They feel distracting. Their appearances are not cameos, but they are almost executed in ways that feel cameo-like. They are not giving monumentally bad performances by any means, they do okay with the material given to them. But when you put them against say the recently mentioned Jesse Plemons, they feel more like stars than characters. That’s the best way I can sum it up.

Speaking of things that feel out of place, the ending of this film, when it finally happens, rubbed me the wrong way. I am sure it was well intentioned. If you asked me if Martin Scorsese and crew inserted everything into this film believing each increment would feel necessary, I would say yes. That said, the second to last scene in this film comes off as inconsistent and abrupt. When the movie finally ended, I was glad, because it was already long enough, but it does not change the fact that I waited over three hours for something that was lacking in satisfaction. When it comes to movies, I like weird. I like different. And I admire when filmmakers try stuff that are out of the ordinary. This is one of those times where it did not stick the landing.

If I had to name another positive, this film nails its atmosphere. Again, going back to its overall look, everything in the frame feels magnificently crafted. But there is also more to it than sight. Because the film is scored by Robbie Robertson (rest in peace) and he brings forth one of the most hypnotic and unique scores of the year. It is totally fitting for the movie at hand and almost comes off as a character of its own. While I may hesitate to watch “Killers of the Flower Moon” a second time, I could see myself going on YouTube and searching up the official soundtrack for the film to listen to in the background. It might be my favorite part of the entire film.

In the end, “Killers of the Flower Moon” is a magnificent effort that is not quite my cup of tea. There are things to like about it, but I do not know if I can say it was worth my time. I am honestly having trouble recommending this movie. If you asked me if I would watch it again in the next couple days, my answer would be no. Though I imagine a there are a surplus of people who would say yes. There is always that one movie every year that is likely going to not only get Oscar consideration, but also has a legit shot at a Best Picture nomination that I do not agree with. In 2020, it was “Mank.” In 2021, it was “Licorice Pizza.” In 2022, it was “Elvis.” In 2023, I think “Killers of the Flower Moon,” depending on how the rest of the year goes, will end up being that movie. Despite the marvelous camerawork, occasionally neat characterization, and atmospheric glory, it also reveals the painfully slow editing and pace that remains consistent throughout the movie. It is unfortunate because it is based on events that actually happened and it is an important story to tell. I just wish it were told in a way that made me more likely to run down the streets raving about it. It pains me to do this, but in a thumbs up, thumbs down world, this movie is a thumbs down. So, this score is going to reflect that. I am going to give “Killers of the Flower Moon” a 5/10.

“Killers of the Flower Moon” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Freelance,” the brand new movie starring John Cena as an ex-special forces operative. I will also have reviews coming soon for “The Persian Version,” “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and the one movie on this list I am certain Martin Scorsese is most excited about, “The Marvels.” If you want to see 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 “Killers of the Flower Moon?” What did you think about it? And if you saw the movie, do you think the runtime is justified? Let me know down below! Scene Before is your click to the flicks

Dicks: The Musical (2023): A24’s First Musical Delivers the Goods

Posted on by Jack Drees

“Dicks: The Musical” is directed by Larry Charles (Bruno, Curb Your Enthusiasm) and stars Megan Mullally (Will & Grace, Bob’s Burgers), Megan Thee Stallion (She-Hulk: Attorney at Law, Legendary), Bowen Yang (Saturday Night Live, Awkwafina is Nora from Queens), Nathan Lane (The Lion King, Stuart Little), Aaron Jackson (The Chris Gethard Show: Public Access, National Lampoon Radio Hour), and Josh Sharp (Jared & Ivanka, Search Party). This film is based on an off-Broadway musical titled “F*cking Identical Twins” and is about two business rivals who come to realization that they are long lost twin brothers. In an attempt to bring their divorced parents back together, they decide to swap places and disguise themselves as the other.

I have been curious about “Dicks: The Musical” ever since I first watched the trailer in August. I am not the biggest musical guy, but I have long been an A24 guy. They are not always consistent in quality, but that is a part of the young distributor’s charm. They always distribute content that has an identity of its own and would tend to carry certain notable qualities about it. Even when I end up hating a film of theirs like “Zola” or “The Whale,” there is still a specialty to those pictures. They always feel distinguished, individualistic, and polished no matter the budget.

In the case of “Dicks: The Musical,” the budget is $12 million. Not the most expensive movie, but it is one that uses its money wisely. Because every frame is packed with joyous splendor. From start to finish, I had a ball of a time with “Dicks: The Musical.” What sells the movie hardest is its marvelous cast who just so happen to play each role to the best of their ability, all to the point where I cannot imagine anybody else in their shoes. This is a film that refuses to take itself seriously. On it’s surface, this movie is like “The Parent Trap,” but different. In terms of recent movies, “Dicks: The Musical” kind of reminded me of “Bottoms,” because it is set in a universe that packs in various similarities to our own, but it is also one that feels like an enhancement of everyday life. Granted, it is a musical, which is not the most everyday feeling genre, so it only makes sense. And thankfully, as a musical, this movie works perfectly. All the songs are properly placed, well choreographed, well sung, and make sense within the context of the story. I am not going to pretend I am going to buy the soundtrack for this film, but the music accompanies everything else the film has to offer nicely.

That said, again, the film is budgeted at $12 million. When compared to recent musicals like “La La Land,” “Tick, Tick…BOOM!,” and Steven Spielberg’s “West Side Story” adaptation, it is significantly cheap. Despite my comments for the choreography and the songs, the budget does show at times when you consider everything put on screen. There may be occasional extravagance here and there, but that comes with infinite camp. Within all the pizzazz, there is a continued slight sense of humility.

The lead twins are played by Aaron Jackson and Josh Sharp. I have not known these names by any chance, but this movie could put them on the map. At least for me. Because it took me a bit to find out that not only is this movie based on something else… That something else just so happens to be a play in which they created and starred. Both of these men are stacked with talent and make for a perfect pair. I buy them as rivals, and I also buy them as brothers. I know this is probably a weird comparison to make, but they kind of remind me of the Smosh duo. Anthony Padilla and Ian Hecox. Their chemistry is always on point and they both consistently deliver high energy in addition to humor.

My favorite characters of the film have to be the twins’ parents. They have the best lines, the best quirks, the best backstories, and on top of that, their costumes and looks match the feel of the film. They look just as kooky as the vibe of this picture. They look like they fit the style and match the attire of a higher-up at Willy Wonka’s chocolate factory. The parents outfits pop just as much as their voices. Both talking and singing for that matter. I did not expect to be as invested in this film’s plot as I turned out to be. When a particular bombshell is revealed about Evelyn (Mullally) early on in the film, I was very curious as to where things would go from here. I was kind of expecting the big obstacle of the movie to be that these two people don’t really feel anything for each other the way they once did. While that idea is noticeable throughout the script, there is more to their disconnect than meets the eye. And some of it, particularly regarding Evelyn’s bombshell, is wonderfully ridiculous.

My biggest surprise of the film would have to be Megan Thee Stallion. I thought she was really good here. I don’t listen to her music, though I have heard her sing before on “Saturday Night Live,” I thought she stood out. And while “Dicks: The Musical” is not her first acting gig, she is not the first person I would think of casting in a film if I were to make one. I did see her guest appearance in “She-Hulk: Attorney at Law” as herself, but even with her limited role, I thought she was a tad stiff. To my pleasant surprise, she is a lot better here. I do not know what her future is as an actor, though I do see she has an upcoming film with Adam Sandler and the Safdie Brothers in the works. That said, I thought she was a fine choice to play the character of Gloria. She is dynamic, has tons of personality, and of course, because it is a musical, she has a chance to unleash a proper singing voice.

I do not know when would be the next time I would plan on sitting down and watching “Dicks: The Musical.” I have seen much better entries to this genre that have more replay value. Heck, going back to Steven Spielberg’s “West Side Story,” I ended up seeing it twice in theaters and I also rewatched it on 4K Blu-ray. If I had any other gripes with the film, it would be that the comedy, while funny, never reaches a level where I am rolling on the floor. It is worthy of chuckles, but maybe not death-inducing laughter. Even so, I found the movie to be funny. I found it to be joy-filled. I found it to have a ton of character. It has the vivid nature of a Wes Anderson movie with the ridiculousness of, apologies if this is too recent, but I think it is a fine example, “Bottoms.” It is energetic, fast, and delivers a happy go lucky, stupid good time.

In the end, “Dicks: The Musical” gets my recommendation if you are looking for something quick and fun to watch. And I do mean it, the movie is quick. Not only is it tightly paced, but the runtime is 86 minutes. If you want to watch something neat without having to kill a ton of time, “Dicks: The Musical” is a nice choice. I have seen better comedies. I have seen better musicals. But even so, “Dicks: The Musical” handles both genres respectably. This is A24’s first musical, and I doubt it is their last. And if it is not their last, I doubt this is their best. But if you make the choice to check it out, you are not doing yourself any disservice. It is a good movie, give it a watch sometime. I am going to give “Dicks: The Musical” a 7/10.

“Dicks: The Musical” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, good news! There are plenty more where that came from! If you missed out on my Ridley Scottober event, you are in luck! Because if you click any of the following links, you can check out my reviews for “Body of Lies,” “Gladiator,” “All the Money in the World,” and “Blade Runner!” Check them out! My next review is going to be for Martin Scorsese’s latest piece of cinema, “Killers of the Flower Moon!” Also coming soon, I will be sharing my thoughts on “Freelance,” “The Persian Version,” “Priscilla,” and “The Tunnel to Summer, the Exit of Goodbyes!” If you want to see these reviews 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 “Dicks: The Musical?” What did you think about it? Or, what is your favorite A24 film? At the risk of sounding too mainstream, I gotta go with “Everything Everywhere All at Once.” Let me know down your picks down below! Scene Before is your click to the flicks!

It Lives Inside (2023): A Thumbs-Up Worthy Feature-Length Debut from Bishal Dutta

Posted on by Jack Drees

“It Lives Inside” is directed by Bishal Dutta (Triads, City Nights) and this is his feature-length directorial debut. Dutta has prior experience directing television shows as well as shorts. The film stars Megan Suri (Atypical, Never Have I Ever), Neeru Bawja (Channo Kamli Yaar Di, Jatt & Juliet), Mohana Krishnan (Spinner, I Am Frankie), Vik Sahay (Sean Saves the World, Chuck), Gage Marsh (You Me Her, Big Sky), Beatrice Kitsos), and Betty Gabriel (Counterpart, Get Out). This story centers around an American-Indian teenager who has a falling out with a friend and unleashes an entity who feeds on her loneliness.

Before we go any further, I just want to note that if for any reason this review is of lesser quality than usual, I blame the audience at my movie theater. I ended up watching “It Lives Inside” at the one place I could see it less than an hour from home, because the film tended not to do gangbusters at the box office. And let’s just say the entire back row was filled with teenagers who do not know the first thing about how to behave in a theatrical environment. That said, I ended up going to see “It Lives Inside” after the title appeared a few times on my social media feeds. People in my circles, even if I did not know them personally, seemed to be talking about it quite a bit. So, I wanted to see what the hoopla was about. I was not familiar with the marketing, so I was going in relatively blind.

As for my first impression with the film, it has a wonderful aesthetic to it all. The film looks like a product manufactured in a particular circle of Hell at times. Given how the film falls into the horror genre, that is nice to see. The lighting is often darkened with often fitting color stylization. It kind of reminded me of “The Black Phone” aesthetically at times. Granted, a notable part of the film is set around a school.

I walked out having a decent time with “It Lives Inside,” so I was very surprised to see how audiences viewed the film, at least on Rotten Tomatoes. The aggregator site currently lists “It Lives Inside” at a 48% audience score. It’s not the lowest of the low, but I was a little shocked to find out most audiences who saw it ended up giving it a thumbs down. At the same time though, I can kind of get why. There is a pace to this film that I thought was perfect for what was there, but it is also one that I think some mainstream audience members would not prefer. There are definitely more memorable creatures in the history of cinema. This is also not the most revolutionary plot if you break a few things down. But even with that in mind, I do think the concept itself is executed very well here.

One common complaint I heard from those who gave the movie poor scores is that the film itself is not that scary. The more I think about it, they may be onto something. I don’t think the film is terrifying enough to make your heart beat out of your chest. That said, there are plenty of tense, eerie moments that had me on the edge of my seat at times. “It Lives Inside” may not be the most bone-chilling film out there, but it is one that had my attention the whole time. It is a film that works because of how it builds up everything in its premise. It is a matter of how the obstacles tend to get in the protagonist’s way. Maybe the film does not maximize the effect of its scares, but there is a constant feeling of unease somewhere in the background the entire time. Part of the reason why this film works so well is the relationships between the characters, and when it comes to how they deal with the supernatural horror aspect, it makes for an intriguing watch.

Megan Suri leads the film as Sam, and she is very much the heart and soul of this production. I may not share her background, but despite my differences from her in that light, I found her to be a relatable individual. There is a saying in screenwriting that you should write what you know, and that saying is very much applied to this film and the character of Sam. This is noticeable because the film’s writer and director, Bishal Dutta, has a background much like this character. He was born in India and eventually moved to North America. Dutta’s passion for the material at hand shows in every frame. I cannot see anyone else telling a story like this, unless it is someone of a very similar background.

Sticking with Sam, I found her connections to be genuine and they kept me attached to the film. Her relationship with her mom is a driving force behind some of the film’s events and even though there may be a rivalry between them, I at the very least somewhat understood both sides of the rivalry. I will often criticize certain characters in movies for making stupid decisions, almost in the same way a sports fanatic will bash their team when they make a game-losing move. Sometimes those choices can be unrealistic and far-fetched, therefore affecting my final score. That said, Sam is in her teens, and I think the film does a good job at reflecting how someone in those years would make questionable choices. In a way it made her character human and a fine reflection of that age group. Going back to her rivalry with her mom, one reason why these two do not always get along has to do with a particular choice Sam makes where she goes to hang out with a friend, therefore missing an event that her mom would consider important.

“It Lives Inside” is a film that never goes all the way in terms of delivering a scary good time. There are times where it comes close, but not to a whole percentage. That said, it is a film that as soon it begins, it understands what it is going for. Not once does it lose track of what it is trying to be, what it is trying to encapsulate, and what it is trying to accomplish. By the time we got to the climax, I was invested, and I remained invested afterwards. When it comes to recent horror, the film is not as twisted as “Talk to Me” and it is not as chill-inducing as “Smile.” But much like those films, “It Lives Inside” handles its concept with excellence, and it had me paying attention all the way through.

In the end, “It Lives Inside” is a film that I honestly think could have performed a little better than it did. I have a feeling that if the strikes were not happening right now, this film, like many others that came out recently, would have done better. Granted the audience reactions are not helping, but nevertheless. The job of a horror film is to, well, horrify. While “It Lives Inside” is not nightmare fuel, I think it is a nice addition to the genre. I think when it comes to what the film handles best, it is its characters and relationships. Those two things stand out a lot more than the scares the film has to offer. Then again, if you read the beginning of my review, the scariest thing about this movie to me is not even the movie itself, it is that we as a society are losing movie theater etiquette. But much like a nightmare, I endured through it and I got a good movie out of it. Well done to everyone involved. I am going to give “It Lives Inside” a 7/10.

“It Lives Inside” is now available to stream on various VOD services.

Thanks for reading this review! I have plenty of new reviews coming soon! My next one is for “Dicks: The Musical!” Following that, I will have reviews for “Killers of the Flower Moon,” “Freelance,” and “The Persian Version!” I will also soon be seeing the brand new film “Priscilla,” so I promise you that plenty of new material is on its way. If you want to see all this new material 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 “It Lives Inside?” What did you think about it? Or, what is your favorite horror film you have seen this year? Let me know down below! Scene Before is your click to the flicks!