Month: December 2023

Napoleon (2023): A Historical Epic with a Tall Runtime that Falls Short of any Level of Engagement

Posted on by Jack Drees

“Napoleon” is directed by Ridley Scott (The Last Duel, House of Gucci) and stars Joaquin Phoenix (Gladiator, Joker), Vanessa Kirby (Mission: Impossible – Fallout, The Crown), Tahar Rahim (A Prophet, The Mauritanian), and Rupert Everett (My Best Friend’s Wedding, An Ideal Husband). This film is about the rise and fall of French Emperor Napoleon Bonaparte, diving into many aspects that define the individual, in addition to his relationship with his wife, Josephine.

I was looking forward to “Napoleon” as I am a fan of Ridley Scott. The trailers undoubtedly looked epic and it delivered a similar vibe to another historical epic Scott mastered in his time of making it, “Gladiator.” And of course, with a prominent, talented thespian like Joaquin Phoenix at the forefront, I thought we could be in for something special. Unfortunately, when the reviews started coming out for this film, that is when I decided to lower my expectations, as it seemed to stray away from historical accuracy. But as someone who looks for entertainment in his movies, I can live with a little bending of history as long as you can make a good movie out of it so I tried not to get too concerned. Unfortunately, I walked out of “Napoleon” almost half asleep. And that is really weird to say because one of the positives I have about this movie is the immersive sound mix. It is an enormous aid during the battle scenes. As much as I love Ridley Scott, I think this film is quite a dud.

This film feels rushed, and yet, it somehow managed to bore me with a two and a half hour runtime. I can sit through a two and a half hour movie. Some of my favorite movies are longer than that. But this was painful. I think the one redeeming quality of this movie was watching the uncomfortable relationship between Napoleon and Josephine. But when I say that is a redeeming quality, I must also note that it is like watching a car crash at times. There are certain moments between these two that are intriguing, but there are others where the intrigue comes in, but in a such a haphazard manner that I would feel as if I am doing myself a disservice if I look away. Now to be fair, the chemistry between Joaquin Phoenix and Vanessa Kirby is admirable in regards to how their characters are written and performed.

As we age, there is a tendency that people define themselves over who they surround themselves with, their legacy, how things will be carried on after they’re gone. And when it comes to displaying Napoleon’s desire to keep things afloat and continue his legacy to the next generation, these traits are emitted with passion on Joaquin Phoenix’s part. My favorite parts of the movie, or at least the ones I cannot stop thinking about, all involve Napoleon’s burning desire to have a child. I think the way the movie handles this segment of the story is surprisingly decent, even if it does get a little over the top.

Speaking of over the top, that is one of my biggest negatives of the film. Phoenix and Kirby shine in their individual roles, but there are plenty of other individuals on screen, and their acting ability has me questioning whether I was actually watching something from a director as renowned as Scott. There are select lines from certain characters that feel like they came out of a high school TV production class. Sometimes those lines are delivered with passion, but they are delivered with a certain passion that would probably be best used in an animation or a comedy as opposed to a somewhat grounded drama. In fact, the movie sort of crosses a line at times into comedy that I have no idea if it was actually intended. There are select scenes that play out in a much funnier manner than I would have imagined them. It almost spirals into a “so bad it’s good” territory, which is a phrase I was not expecting to use when reviewing a Ridley Scott movie.

Even with my issues, I must admit, “Napoleon,” like many of Ridley Scott’s films, is easy on the eyes. Dariusz Wolski’s cinematography, like usual, is beautiful, even if some of the shots feel a tad rushed in the final edit. The locations are excellent, fit their scenes, and bring life to the production. The production design from one of Scott’s regulars, Arthur Max, is outstanding. The costumes have notable detail. The film is a crisp step back in time. But just because “Napoleon” nails its style, does not mean the same can be said for its substance.

I was bored immensely with the film’s pacing, its story. Everything. There are several moments where I kept asking myself if the movie was over. And the worst part is knowing that this is not a complete product. This is just a lackluster Cliffs Notes edition of a larger tale, because it has been revealed that this production will have a four hour extended version. I kind of get why you would not want to release a four hour movie in theaters, but I would sit through one if I had the time if it meant the pace and story would bring more appeal. Here, it kind of feels rushed and it lacking in engagement.

When it comes to my time studying history, I was off and on as a student. In my opinion, “Napoleon” feels like reading a history textbook. And I do not use that comparison lightly. Basically this whole movie is one giant chapter or unit that I have to go through, and I am passively taking it all in to the best of my ability due to of my lack of interest. I cannot tell you everything that happened in the movie, so if you were to hand me a quiz I would probably not do so hot. And much like reading a textbook, I failed to find any entertainment value in what was in front of me. If I wanted Ridley Scott to entertain me with a slice of history, I will just go back and watch “Gladiator.” I will go back and watch “The Last Duel.” “Napoleon” just doesn’t do it for me. And I think a big part of it is because of how much the movie dives into. It feels like we are hopping from one place in time to another lickety split. With a movie like “The Last Duel,” one of my new favorites from Ridley Scott, there is a central idea the characters have to deal with that remains consistent. In fact, we see it play out a few times in different ways, which makes for a compelling narrative. The film is digestible despite being drawn out. So much happens in “Napoleon” that I would almost argue you need a longer runtime to actually appreciate it. Maybe this would be a good miniseries, but I think the spectacle aspect that is best witnessed in a cinema is probably what could have kept it from going in that direction. And if you are asking, no, I do not have plans to check out the extended cut of this movie. I have better things to do with my time.

In the end, “Napoleon” is a massive disappointment. This movie takes one of the most talked about historical figures of all time and wastes him in a dull, uninteresting, downtrodden mess that nearly put me to sleep. It is much less a story than it is a series of events that failed to capture my interest. The only real shining spot of the film are the performances given by Phoenix and Kirby as Napoleon and Josephine respectively. In fact, part of me wanted to see more of the Josephine character, I feel like she at times offered a more compelling presence than Napoleon did. I have seen movies like “Bill & Ted’s Excellent Adventure” and “Night at the Museum: Battle of the Smithsonian” handle Napoleon Bonaparte from a much more comedic angle. Somehow I continue to think about those attempts at showcasing the character in a much more positive light than I do with this two and a half hour historical so-called “epic.” Yes, it’s technically glorious. You know what was also technically glorious? “Jupiter Ascending!” But you don’t see me raving about the characters of that movie every now and again. I am going to give “Napoleon” a 4/10.

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

Thanks for reading this review! If you want to see more of my Ridley Scott movie reviews, I just did a themed month called “Ridley Scottober” where I discuss four Ridley Scott films in depth. That said, feel free to check out my reviews for “Body of Lies,” “Gladiator,” “All the Money in the World,” and “Blade Runner.” My next review is going to be for “Godzilla Minus One,” and boy, I cannot wait to share this one with you all. But, I am going to have to wait. Because my next post is going to be an update on Blu-ray Movie Collection! 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 “Napoleon?” What did you think about it? Or, what is your favorite movie about a historical figure? Let me know down below! Scene Before is your click to the flicks!

The Holdovers (2023): A Hearty, Homey, Comforting Throwback to the 1970s

Posted on by Jack Drees

“The Holdovers” is directed by Alexander Payne (Sideways, The Descendants) and stars Paul Giamatti (Sideways, Billions), Da’Vine Joy Randolph (The Last O.G., High Fidelity), and Dominic Sessa in a film set in the 1970s where a cranky history teacher and a troubled student are forced to remain on a school campus together during the holidays.

I have been looking forward to “The Holdovers” for a very long time. Granted, I have some bias in this notion because I live not too far from where it was shot. In fact, one of the filming locations is about five minutes away from my house. More on that later. But of course, that sort of attachment should not be an indicator of whether the film is good or bad, but it is one of the reasons why I got in the door. But there are many other reasons why I got in the door as well. The film itself looked fairly wholesome and relatable. I have never attended a prep school, but I think many people regardless of where they have received education may have had a troubling connection with a teacher. And the same goes for teachers, I imagine just about every teacher had some trouble dealing with students for one reason or another, even if it is for a reason beyond their control. But even with the troubling dynamic, this just looked like a fascinating slice of life picture that would come out at a perfect time.

And that is exactly what it is.

I have said this phrase in the past, and I have heard other people say it too, but it needs to be said here. “The Holdovers” is the movie we need right now. I feel like ever since COVID-19 began I have always been finding myself in a need to go to a “happy place,” and I imagine a lot of other people reading this feel the same way. Ever since the virus began to spread, few movies have took me there like this one did. In fact, going back to the COVID-19 aspect, it sort of took me back to 2020 when the disease first got traction in the United States. This film coincidentally is set, mostly, in a singular location where our leads are basically in quarantine. Nobody’s sick, nobody’s spreading any infections, there’s not much on that front to worry about. But a good portion of the movie, specifically the first half, is set at this one prep school. When we get to the second half of the movie where our characters start venturing out, there is a feeling of joy and excitement in the air. It reminded me of when June 2020 rolled around and restaurants near me started opening up for outdoor dining. There was a sudden liberation in my veins when that opportunity arose.

But that does not mean the first half is uncomfortable. Although one of the lower points of the movie just so happens to be the relationships between the students. That said, it is not like the students have a ton of screen time. They ultimately serve their purpose. But when it comes to our three leads, we spend a ton of time with all them to the point where each one is adequately established. It also helps that I like all of them and when it comes to our core duo, specifically Paul Hunham and Angus Tully in a divided teacher/student relationship, their time dominating the screen makes for some incredible moments together. The movie brilliantly displays their strengths and weaknesses and uses them to make each one all the more likable. All the characters have phenomenal chemistry together, and I cannot imagine another soul in their shoes.

Sticking with the idea of isolation, this helped me appreciate the Angus Tully character. Because as someone who had to deal with the outside world closing off at the age of 20, I felt like any semblance of my life getting started was out of reach. As this movie progressed, I was watching this character deal with his personal issues and I could not help but feel bad for him partially because he was stuck somewhere he clearly did not want to be for an extended period of time. I understand that feeling because I lived through it. And much like me staying home in 2020, Tully stayed where he needed to stay for a reason, but I understood how agonizing it can get the longer you’re there.

I have not reviewed many Christmas or holiday movies on Scene Before, partially because I have not had much time to visit classics, and I feel like there is a shortage of them nowadays. Or at least a shortage of Christmas flicks that tend to stand out. Although I somehow managed to tackle a couple Christmas movies last year between “Violent Night” and “The Mean One.” “The Holdovers” is probably one of the best Christmas movies I have watched in the past number of years. And it is not exactly preachy to the point where everything is Christmas central. It is one those movies that takes place at Christmas but it can probably be an appropriate watch at any other point of the year. All due respect because the movie is entertaining, but I cannot remember the last time I wanted to watch “Elf” in the spring. It’s just not that kind of movie for me. “The Holdovers” is perfect for any time of year, and when it comes to 2023’s calendar, it is a standout of all the films I have seen this year.

One of the reasons why “The Holdovers” is as I describe in the title of this review, hearty and homey, is because of the progression we see with Paul Hunham. I am not going to spoil much for you, but the teacher does not emit the most pleasing vibe when it comes to dealing with his students. Part of that comes into play regarding the relationship between him and the main student in the film, Angus Tully. You have these two people who do not really see eye to eye on everything, but the more they are forced to deal with each other, the more they tend to find themselves having good times with each other. Both individuals, in their own ways, make the best of a bad situation. But they do so realizing maybe they could share a bond if they opened their eyes. Of course, when it comes to Hunham, it also helps that an actor with the caliber of Paul Giamatti just so happens to be portraying him, and it brings forth one of the best performances of the year. The character reminds me of, and I know this analogy may not be the most prominent because not a lot of people saw this movie, Alice from the 2020 movie “Summerland.” By the way, watch “Summerland.” It’s fantastic. But I use this as a comparison because both films have a main character who appears all tough and mean, but when she is placed together with someone younger with her for a period of time, we see more and more that she kind of has a heart.

The film does a great job at showcasing the flaws of these characters and having them come into play throughout the runtime. And when it comes to Hunham as a character, we see his flaws from the beginning, how they are adjusted to some degree, but his positives and negatives as an individual make him one of the most compelling characters of the year.

On a little sidenote, much like the George Clooney-directed “The Tender Bar,” which came out at the tail end of 2021, this film features my local candlepin bowling alley, Wakefield Bowladrome in a couple minutes of screentime. And unlike “The Tender Bar,” which is set in New York, it actually makes sense that it is in here because the film is set in Massachusetts, where candlepin bowling just so happens to exist. I think what they’ve done with the place is rather impressive and adds to the throwback feel of the movie itself. Though if I have one nitpick, there are occasional moments where I hear pins falling down, but the sound effects match the sound the pins would make in tenpin. But of course, this is why I put the “moron” in Movie Reviewing Moron.

In the end, “The Holdovers” is an utter delight of a film. Its main trio make the story worthwhile. The film is a sensational throwback to the 1970s that is as charming as it is inviting. The film is rated R, so I would not recommend watching it with younger viewers, but if you are with loved ones this holiday season, this could be a good watch. The characters are spectacular. The locations are beautiful. The set design is very well done. And I think Paul Giamatti could be in the running for an Oscar nomination. Also, one more thing, there is a particular scene in the film that includes “The Newlywed Game” where I was in a trance until the moment it was over. I have not watched that show a ton, but I have often watched clips of it on YouTube, and it is legendary. Bob Eubanks is a treasure. I am going to give “The Holdovers” an 8/10.

“The Holdovers” is now playing in theaters everywhere. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for the brand new historical epic, “Napoleon.” Also coming soon, I will have my thoughts on “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” 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 Holdovers?” What did you think about it? Or, what is your favorite Christmas movie? Yes, “Die Hard” counts. Let me know down below! Scene Before is your click to the flicks!

Next Goal Wins (2023): Taika Waititi Misses the Goal

Posted on by Jack Drees

“Next Goal Wins” is directed by Taika Waititi (Thor: Ragnarok, Jojo Rabbit) who also appears in the film as the character “American Samoa Priest.” The film also stars Michael Fassbender (Steve Jobs, X-Men: First Class), Oscar Kightley (Sione’s Wedding, Hunt for the Wilderpeople), Kaimana, David Fane (Sione’s Wedding, Love Birds), Rachel House (Moana, Soul), Beulah Koale (Hawaii-Five-0, Dual), Will Arnett (The LEGO Movie, Teenage Mutant Ninja Turtles), and Elisabeth Moss (The Invisible Man, Mad Men). Based on the 2014 documentary of the same name, this film is about what happens when an arrogant coach and one of the world’s worst soccer teams come together with the hopes of making the latter do something they are not necessarily known for doing. Scoring goals and winning.

Taika Waititi is one of those Hollywood personalities that I can respect, but I think he also has his moments of taking said personality too far. I think he has a knack for humor at times, even if I think his “Thor” movies are inferior to Kenneth Branagh’s 2011 MCU installment. In recent years, I thought “Jojo Rabbit” has proven he is both a great storyteller and just about as good of an actor. His portrayal of Adolf Hitler in that film was one of the best of the year. In 2021, one of my favorite films of the year, “Free Guy,” starred Waititi as Antwan, the greedy executive who serves as the film’s antagonist. No disrespect to Ryan Reynolds, there is an argument to make that Waititi stole every scene he was in. He had this swagger to him that I was not expecting out of a character of this nature. I cannot imagine anyone else playing the character. That’s how good Waititi was in the film.

His latest film prior to this one, “Thor: Love and Thunder” got a thumbs up from me, but perhaps just barely. I think the film did an alright job mixing comedy and drama together, but the comedy sometimes becomes too silly to the point where it almost tarnishes the more dramatic elements. I was also not a fan of when Waititi publicly and perhaps mockingly called out his distaste for how the VFX turned out. I am all for recognizing your own faults, but when you are trying to sell a movie, I don’t think mocking a great span of the people who made it is the best move. It would be like if I were a delivering a Domino’s pizza, handing it off to the customers, and leaving them off by saying I worked for Papa John’s and I think the people over there usually put more care into their pies. That’s why I went into “Next Goal Wins” with lukewarm expectations. How did the movie turn out? Well, I’ve seen worse this year. But the way I saw this movie is the way most of my country sees soccer. A snoozefest that makes me wish I were watching something else.

I appreciate the concept of “Next Goal Wins” because it is not just an underdog story, it is one that celebrates failure in a such in an embracing manner. It reminds me a bit of “The Disaster Artist,” one of my favorite A24 movies that goes into the making of “The Room.” Similarly, there was another sports film I saw last year called “The Phantom of the Open,” where an unlikely man participates in professional golf, much to the dismay of those involved with the sport. “Next Goal Wins” recognizes the lowest points of both its protagonist coach and the team he has to reluctantly oversee. Unfortunately, when the reluctant coach is put together with the below par group of athletes, the on-screen chemistry is iffy at best. There are certain matches between the coach and the team. Not to mention, there happen to be certain relationships throughout the film that are well developed, but the movie spends most of its time devoted to one tired comedy gag after another. The film may call itself a comedy, but it is subjective as anything deemed artistic. I failed to find it funny. Sure, maybe I had a couple laughs here and there during the film. But I would not be able to tell you what it that got me to laugh. Overall, I found a good portion of the film forgettable and that is not a word I was expecting to use out of a picture like this. If you know me in real life, perhaps one of my weaknesses, though I personally call it a strength, is my resistance to take some things seriously. Everything is a joke to me. That is almost the mentality that Waititi takes to heart throughout “Next Goal Wins,” and it only hurts the final product. Between “Thor: Love and Thunder” and now “Next Goal Wins,” Taika Waititi is practically overdoing his comedic efforts to the point where they feel in your face, and therefore unfunny.

This film is not going to win any Oscars. Does it look competent? Perhaps. Is the acting okay? Sure. Does the story make sense? Yes. But the movie is bombarded with negatives to the point where those stand out a lot more than the positives. It does get better as it goes along, because I started off this movie not liking anyone. I thought the coach was not a great center of the story as it started. I found the characters on team uninteresting. It was not an easy task latching onto this film’s ensemble. Michael Fassbender does an okay, albeit far from awards-worthy job with the material given to him, but it is not enough. If I had to guess, it ultimately comes down to direction, because almost every choice in the film comes off either as some semblance of a joke. “Next Goal Wins” is basically what happens when a joke is taken too far. Although in this case, the joke is never offensive, it just lingers much longer than it should to the point where it leaves a bad aftertaste.

I will give credit where it is due because despite the somewhat predictable structure of the film, there are some unexpected and unique creative choices brought to fruition in the film whether it is through writing, editing, or narration. I cannot say I was a fan of all these choices, but despite finding the movie dull, these choices kept some banality out of the final product. And that is kind of what this movie is in multiple ways. A series of halfway marks. I found the story boring, but great in concept. I found the characters to have personalities, but they just didn’t leap off the screen for me. I found the movie to be heartfelt, but it is sullied by bad humor.

But I must add, one of those creative choices becomes a driving force in the climax, and it honestly took whatever fun I was having in the movie, if any, and lessened it to such an unbelievable degree. It resulted in a conclusion that was not as satisfying as it could have been. When it comes to this vision, Taika Waititi is like a class clown, but in this case as I watch him, I am the teacher telling him to stop joking around and focus on his studies. “Next Goal Wins” is far from this year’s worst picture, but it is easily one of the most forgettable.

In the end, “Next Goal Wins,” much like the American Samoa national football team, fails to score any goals. It is not a travesty that will go down in history as one of the most awful pieces of crap Hollywood has ever produced, but I do not know if I will be thinking about this movie in about five years from now. I have not seen all of Taika Waititi’s work, but I think after watching this film, I cannot say I am looking forward to whatever feature film he does next as much as I previously expected. Hopefully he turns things around. I am going to give “Next Goal Wins” a 4/10.

Come to think of it, “Next Goal Wins” might not even the worst sports movie I have seen this year, because “80 for Brady” exists. So congratulations, Taika Waititi! Tom Brady and four elderly women just saved your butt! And yes, if you read that review, you’ll notice the score for “80 for Brady” is higher than what this film got. I wonder if I was too generous on that review. But at the end of the day, they’re just numbers. What can I say?

“Next Goal Wins” is now playing in theaters. Granted, none of them are near me at this point. But if you live in a certain market, it could be playing near you. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new Alexander Payne-directed film, “The Holdovers!” I have been looking forward to this movie for quite some time, and having seen it, I cannot wait to share my thoughts with you all. Also coming soon, I will have my thoughts on “Napoleon,” “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” 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 “Next Goal Wins?” What did you think about it? Or, what is your favorite Taika Waititi movie? Let me know down below! Scene Before is your click to the flicks!

Wish (2023): The Stars Align in Disney’s Latest Animation

Posted on by Jack Drees

“Wish” is directed by Chris Buck (Frozen, Frozen II) and Fawn Veerasunthorn and stars Ariana DeBose (West Side Story, The Prom), Chris Pine (Star Trek, Dungeons & Dragons: Honor Among Thieves), Alan Tudyk (Wreck-It Ralph, Rogue One: A Star Wars Story), Angelique Cabral (Life in Pieces, Enlisted), Victor Garber (The Orville, Alias), Natasha Rothwell (Sonic the Hedgehog, The White Lotus), Jennifer Kumiyaya (The Sessions, Awkward), Harvey Guillén (Blue Beetle, Puss in Boots: The Last Wish), Evan Peters (X-Men: Days of Future Past, Kick-Ass), Ramy Youssef (Mr. Robot, Ramy), and Jon Rudnitsky (Catch-22, Saturday Night Live). This film is about a young girl named Asha who wishes upon a star only to have said wish unleash complete and utter chaos on her homeland.

My history with Disney is not as prolific as some others. Of course, as they have bought various properties over the years like “Star Wars” and Marvel, I became more inclined with the company as they produced more things I’d be predisposed to enjoying. But I was born in 1999, and as a kid, I was not as into Disney’s projects as some other people. I am male, and therefore was not inclined to embracing princess leads or royal stories. Television-wise, I was more of a Nickelodeon kid than a Disney kid if you had to ask which of the cable channels I’d be more likely to torture my parents with. And even as I aged, most of the movies in my growing collection would come from other studios for certain periods of time. I did watch “Power Rangers,” which for a time aired on Disney-owned channels and was owned by them. But when it comes to the more historic Disney properties, I never bothered with them as a kid. I still haven’t bothered with a lot of them now. I still have not watched “Aladdin,” as much as I try to. I still have not seen “The Little Mermaid.” I have not watched “Dumbo.” Despite Studio Chizu’s “Belle” being my favorite film of the decade so far, I still have not gone back to watch Disney’s “Beauty and the Beast.” Maybe I had these titles on in the background somewhere as a kid and just don’t remember it, but I can never say I watched any of these films and had the urgency to call it a core memory. They were just never my thing. I watched game shows as a kid. When I was young, I did not want to fly like “Peter Pan,” I wanted to buy vowels on “Wheel of Fortune.”

But Disney is now a hundred years old, and their newest animated title, “Wish,” comes with an ooze of specialty attached. It is practically a celebration of a century of Disney as a brand. Now, this is its own story that introduces new characters, new places, new ideas, even if it does take inspiration from other stories. Though as I watched this movie, one thing I will say, as someone who knew the significance of sorts regarding it, is that the movie is an appropriate title to release to commemorate such an occasion. The movie is about wishes and sort of represents an idea that Disney has represented for decades. Taking wishes and dreams and making them come to life. If I were in a pitch meeting for a movie celebrating such an occasion, this would be a foundation I would emphasize. But the movie has to be as good as its backbone, and thankfully, I had a good time with it.

“Wish” is not the best not best Disney movie of all time, but if you ask me, I like it better than their previous couple of animated outings. As much as “Encanto” dominated a certain sphere of pop culture in recent years, I have had no urges to go back to it after one viewing. As for “Strange World,” I would say that film did not even deserve one viewing. It was easily one of the biggest bores and wastes of time I had in that year of moviegoing. “Wish” is a film that works because of its characters, specifically its relationship between the protagonist and antagonist.

Asha wants to be the apprentice for King Magnifico, the most revered of her land’s people as he is able to grant wishes. I thought the way this movie starts off the relationship between these two, as they conduct an interview, unleashes some phenomenal chemistry between them. Ariana DeBose and Chris Pine work well together. But when their relationship goes awry, we continue to see a divide in their personalities and thoughts, which in the case of Chris Pine’s character, Magnifico, brings forth one of my favorite antagonists of the year. The reason why I love Magnifico as an antagonist is the same reason why as much as I rooted for the Avengers in “Infinity War” and “Endgame,” I understood, and sometimes agreed, with where Thanos was coming from in those movies. Magnifico, as mentioned, grants wishes. It’s his thing. But Magnifico refuses to grant every single wish that is given to him, including one given by Asha’s grandfather that I probably would have granted if I were in that kind of position. The reason he gives for not granting it, specifically its elusiveness, is not one I necessarily would side with, but that’s his choice. But the reality is, even though this, in addition to a sudden revelation, understandably enrages Asha, I am on Magnifico’s side when it comes to wish granting. What if someone wished for world domination? What if someone wished for the extinction of bees? What if someone wished for the resurrection of Adolf Hitler? These are outright dangerous or terrible things that most sane people who have a knowledge of how things are supposed to work would tend to avoid desiring. But at the same time, from Asha’s point of view, her grandfather’s wish, while Magnifico may see it one way, she sees it another way that can only be described as positive. I understand where she is coming from. But this also results in a mixed message of the film. Sure, you should be able to follow your dreams, but you better make sure that dream is a good one. It is a bit of a coin toss of a message when broken down.

“Wish,” like many Disney titles over the years, is a musical, and I have to say some of the songs in this film are quite good. Not all of them stand out, but I cannot name one that I outright thought couldn’t even achieve mediocrity. Whether it was the song itself or the visuals that accompanied it, everything had a place in the film. My favorite of the film is the one that was often used in the advertising, specifically “This Wish.” And I should not be surprised that I am giving this much praise to the song, because it is sung by Ariana DeBose, who has a musical background, including an Oscar-winning (and Jack Award-winning) role in Steven Spielberg’s “West Side Story.” Her singing power is marvelous and instantly emits classic Disney vibes. It is perfect. Speaking of incredible songs, my runner-up for this category would have to be the villain song, “This Is the Thanks I Get?!.” Not only does it encapsulate a particular spiral into madness Magnifico experiences, but Pine’s range in his voice throughout the song is a standout. This is not Pine’s first time singing in a Disney movie, as he previously did so in 2014’s “Into the Woods.” I have not seen “Into the Woods,” but I was delightfully surprised here at Pine’s singing abilities. He’s not the best I’ve heard, but he is much better than I could have imagined him being. But then again, having seen him in other roles, I often get the sense that Pine easily oozes charisma. So maybe I shouldn’t be surprised.

If I have to note one thing in the movie that is kind of hit or miss, it is the humor. Now, maybe if I were a kid it would land with me better, but there are jokes in this film that are probably going to hit more with younger viewers. That said, it is less insulting than some other jokes I have seen in some animated movies in recent years so it gets points there. There’s not much, if anything, that made me roll my eyes. Some jokes just stuck the landing better than others. Although my favorite exchange in the movie comes about thirty, forty minutes in where Asha explains the cause behind everything that is going on. She says “I wished upon a star.” In response, her friend, Gabo, asks, “What are you five?” Between the brief pause, the context of the scene, and the line delivery, this could not have been more perfect. I loved this moment. Speaking of voices, most of the cast of this film does a good job, but Alan Tudyk is a standout as Valentino the goat. I think his voice, no matter the role, is a thing of beauty. Here, he tends to use the same voice he uses as Clayface in Max’s “Harley Quinn” series, which if you have not watched, you absolutely should. Despite the similarity, the voice is appropriate for the character and adds a comedic edge for his lines. His lines are not laugh out loud funny, but they do deliver a chuckle here and there. I am not going to go into detail, but I have seen better, more satisfying climaxes out of Disney movies. Though if you recall certain details about this movie’s lesson I mentioned earlier, that is a partial reason why I find this climax to be inferior.

Sticking with the idea of Disney 100, this film’s animation style very much reflects the company’s history. It is a bit of a mish mash of what they have done over the years. The character designs reflect various eras of the company, and so do the minute little details surrounding the image. I do think there is an unfortunate shortage of 2D animated movies. If I had my way, we would more 2D animated movies, and fewer Disney live-action remakes. When it comes to this hybrid style, there are glimmers of beauty, but there is an obvious gimmicky feel to it. DreamWorks’s “Puss in Boots: The Last Wish,” which is much more 3D-esque than this movie on the surface, manages to pack a more palatable outlook when it tries to implement 2D tricks. It feels much more seamless. While there are a lot of good-looking shots in “Wish,” in fact there is one about 20 to 30 minutes in that is one of my favorite shots I have witnessed in any movie this year, the movie makes me think that the animation style should not be given any more attempts in the near future. But if I have to say one thing, between this, “The Mitchells vs. the Machines,” “Puss in Boots 2,” and the recent “Spider-Verse” movies, I am noticing more studios taking cracks at unique animation styles in recent years. I will give credit where it is due. I often say that having good animation is a requirement nowadays considering how much we have evolved over the years, but I am glad that when it comes to style, even if it emits inferior results, that we are seeing more unique projects being made.

In the end, “Wish” is not the brightest star of this year’s animated slate. But it comes packed with plenty of glowing qualities. “Wish” has the significance of doubling as a 100 year celebration of Disney, and I think it is a lovely tribute to the company, but it pales compared to a ton of their newer animated fare like “Wreck-it Ralph” and “Zootopia.” I am admittedly probably on an island of a lonely opinions because when I look back at Pixar’s release this year, “Elemental,” I think Disney proper’s “Wish” is the better of the two films. But if you look at Rotten Tomatoes, the scores for both critics and audiences are higher for “Elemental.” It goes to show the subjectivity of art. I think visually, the film works. Sound-wise, it packs a punch. The music puts its best foot forward. But what makes me want to go back to this movie despite its technical beauty is its two leads, because both of them are compelling. Earlier in this review, I said I never once had any urges to go back and watch “Encanto” a second time. I cannot say the same about “Wish.” I might even buy it on 4K Blu-ray if I had the chance. I am going to give “Wish” a 7/10.

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

Thanks for reading this review! My next review is going to be for Taika Waititi’s latest directorial effort, “Next Goal Wins.” Stay tuned! Also coming soon, I will have my thoughts on “The Holdovers,” “Napoleon,” “Godzilla Minus One,” and “Ferrari!” 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 “Wish?” What did you think about it? Or, what is your favorite Disney animation? Let me know down below! Scene Before is your click to the flicks!