“Bob Marley: One Love” is directed by Reinaldo Marcus Green (We Own This City, King Richard) and stars Kingsley Ben-Adir (Secret Invasion, One Night in Miami…), Lashana Lynch (No Time to Die, Captain Marvel), and James Norton (Happy Valley, Flatliners). This film follows the titular reggae musician in his journey in music and to overcome his difficulties.
When I surf the Internet or have conversations in my social circles, one thing that sometimes comes up just so happens to movie trailers. Specifically, the idea of seeing the same trailer over and over again at the movie theater. I remember a colleague of mine saying that this happened to them for “Argylle.” And I can say that is one I remember seeing quite a bit as well. But if I had to name a trailer or marketing campaign that has done such a thing for me recently, it would be the one for “Bob Marley: One Love.” To be fair, they put the first trailer out months in advance, so it had the opportunity to be shown plenty of times. But almost every time I went to the movies, it flashed on the screen.
Based on the unlimited exposure “Bob Marley: One Love” has given me alone, I hoped it wouldn’t suck. Partially because, well, “Argylle” did. When you play a trailer enough times to equal a short movie, then I kind of hope by the time I see it, I don’t feel duped. That said, the movie did not look like the next big thing, but by no means did it look awful. There was potential between factors such as the story and Ben-Adir playing the lead role.
Unfortunately, when it comes to films about musicians or music in general, this failed to hit the right notes for me.
To be frank though, it made me question my intelligence. I understand a lot of movies. Sometimes I understand movies will mean certain things to certain people. Sometimes I get that art in general can be open-ended. “Bob Marley: One Love” seems for the most part, straightforward, but it reminded me of one of my weak spots. Languages.
I am not saying I refuse to learn or understand foreign languages, what I am saying is that whenever I am tasked with doing so, say for when I was in school, I found it to be incredibly difficult. But I am always thankful whenever movies have subtitles because they help me understand what is going on. “Bob Marley: One Love” is in English, but a lot of it is spoken through Jamaican accents, which I do not usually hear every day. There is nothing wrong with that. In fact, I appreciate the authenticity. I just wish, and this harkens back to my struggles, I could have been more engaged with it.
I am NOT asking people from this movie to sound like they’re from Ohio. I am just saying that if I were able to see the future, I probably would have asked for a different fate where I could have subtitles flashing on screen throughout the film. Simple as that. It is sad that an issue like this is detracting from my overall experience, but facts are facts.
Ever since “Parasite” director Bong Joon Ho won the Golden Globe for Best Motion Picture, International Feature during the 2020 edition of the ceremony, there is one quote I have often used in regards to watching certain movies.
“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” -Bong Joon Ho
That quote specifically applies to foreign flicks or films not mostly executed in my native language, which would be English. But a part of me thought Bong Joon Ho’s quote could be applied to “Bob Marley: One Love” as well. The movie is part of the Hollywood system and heavily marketed to North American audiences, but as I watched the film, I had trouble deciphering some of what’s being said. Now, maybe my hearing is deteriorating. Maybe I watched “Oppenheimer” one too many times and now I’m paying the price. But it is also possible that I just was trying my best to understand every word that was being said by certain characters, and for whatever reason, it just wasn’t coming through. There is nothing wrong with authentic accents or voices that link to a certain part of the world. That said, if I were to go back and watch “Bob Marley: One Love” a second time, which I am probably not going to, I’d want subtitles.
I am going to give props to “Bob Marley: One Love” for perhaps delivering an authentic, lifelike experience when it comes to several characters interacting with each other or talking with one another. But if we are simply going by first impressions, I felt a little lost watching this film. A bit disengaged perhaps. Because for all I know, I could latch onto a number of the conversation scenes during this movie, but I could not pick up on everything the characters are saying. I remember a few years ago when I saw the 2021 remake of “West Side Story” for the first time and they had a few scenes where they had characters speaking in Spanish, and there were no subtitles on screen. For the record, I dropped out of Spanish I in high school a couple weeks into the class, so I’m no expert on the language. But even I got a sense of the context of what was going on without subtitles. Now when I look at “Bob Marley: One Love” it feels weird knowing that I am going from comprehending a language I do not speak, to not getting a clue of what was going on in this movie in English. I know not every movie can be universal to everyone. But my lack of understanding of what was going on through the dialogue severely hindered my experience. It could have been a lot better.
Even with my complaints, I will not deny that Kingsley Ben-Adir was a good pick to play the titular role. I thought he had charisma, pizzazz, and he also looked the part. And it is almost hard to imagine other people filling in the shoes of this role. When it comes to the overall chemistry in the film, Ben-Adir does a good job with latching onto just about every other character in sight. I am not saying this performance is going to win an Oscar, but as far this movie goes, he does a good job. And honestly, while there are no abominable performances in the movie, there are no other real standouts either.
But if there is another standout, I would have to say the soundtrack is sometimes pretty good. Obviously, this is a music-based film so this should not be a huge surprise, but the moments where we end up hearing Marley’s music make the film a tad better.
Although I want to talk about the part of the movie that for me, really let me down. The ending. It is not heartbreaking per se. It is not offensive to other people. It is by no means a crime against humanity. But the best way I can describe this ending, primarily from a filmmaking and cinematic perspective, is “lazy.” Because I came into this movie with a certain expectation, and once we get to the end, once it feels like we are getting to that point, the movie stops and delivers such an expectation in a way that honestly feels slapped together. I do not know how to talk about this moment without saying the words “spoiler alert,” which come to think of it, would be a weird thing to say about a movie based on real people and true events. But as we got to the ending, my pupils lit up, and my dilation nearly became an eyeroll. The movie started, to some degree, getting better. Or so I thought. It put a massive dent on what I already thought was an underwhelming experience.
The potential is there for a good story regarding this material in particular. I think it is a story that could make a figure like Bob Marley attach to a great span of this world. It would get a lot of people to feel bad for him and root for him. But there are so many little things in the movie that left me unsatisfied. The acting is okay, but I just wish I could have been more attached to the characters. Pacing-wise, “Bob Marley: One Love” is an enigma. The movie is somehow too long to catch my absolute interest. Yet as soon there are crevices where something actually manages to catch my interest, it does not take long for the movie to become boring. This movie came out the same weekend as “Madame Web,” which I saw first. “Bob Marley: One Love” is not “Madame Web” bad, but it is still not good.
In the end, “Bob Marley: One Love” is off-key. I was bored. I was disengaged. I wanted to leave. Now, the film is by no means the worst I have ever seen, but there is nothing that stands out about it that makes me want to watch it a second time. As conventional as say, “Bohemian Rhapsody” may appear, I was more engaged with that film and how it handles its characters. I thought it was a story where I could latch on from start to finish. Additionally, as much as I liked Ben-Adir’s lead performance, it is a far cry from Rami Malek as Freddie Mercury. “Bob Marley: One Love” tries to take a compelling concept to the finish line. But in terms of execution, I felt it needed to pick up the pace just a bit. Maybe a second viewing with subtitles would make the experience better, but I was not riveted enough in my first viewing to warrant a second viewing. I am going to give “Bob Marley: One Love” a 4/10.
“Bob Marley: One Love” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! My next review is going to be for my most anticipated movie of 2024, “Dune Part Two.” Does it live up to the hype? You’ll have to wait and see. Also coming soon, I will have reviews for “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” and “Godzilla x Kong: The New Empire” 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 “Bob Marley: One Love?” What did you think about it? Or, who is an artist whose story would make for a good biopic? Let me know down below! Scene Before is your click to the flicks!
“Drive-Away Dolls” is directed by Ethan Coen (The Big Lebowski, No Country for Old Men) and stars Margaret Qualley (Once Upon a Time in Hollywood, Fosse/Verdon), Beanie Feldstein (Booksmart, Neighbors 2: Sorority Rising), Colman Domingo (Ma Rainey’s Black Bottom, Rustin), Pedro Pascal (The Mandalorian, The Last of Us), Bill Camp (The Queen’s Gambit, The Night of), and Matt Damon (Oppenheimer, The Martian). This film centers around two women who find themselves intertwined with crime-riddled shenanigans during their last minute road trip to Tallahassee, Florida.
So far, February has not been kind to yours truly. At least in terms of the movies we are getting. Shoutout to “Madame Web” for literally slapping me across the face, kicking me in the shin, and gouging out my eyeballs. Then again, it’s February. I should not be surprised that we are getting some underwhelming sacks of crap. But even over the past decade there is often at least one film in February that not only stands out, but ends up being a contender for best film of the year. In 2014 there was “The LEGO Movie.” In 2016 there was “Deadpool.” In 2019 there was “How to Train Your Dragon: The Hidden World.” But in this instance, it seems that February is back to its usual shenanigans of destroying any chances of good times at the movies unless the movie you’re seeing came out in the previous year.
Well, “Dune Part Two” happened, but that’s another story for another time.
Speaking of “Dune Part Two,” I have to say of all the movies coming out in February this year, “Drive-Away Dolls” takes my second place position for my most anticipated title of the month. That is one spot below “Dune Part Two,” so at least I had something to look forward to the week before that one came out.
And thankfully, I would have to say “Drive-Away Dolls” is a delight. It contains two likable leads, a well-rounded supporting cast, and plenty of intriguing moments that are accentuated by good characters. Many of the film’s wins perhaps would not be possible if it were not for Ethan Coen’s vision. I have not seen all of the Coen Brothers’ movies, regardless if they are solo or together. That said, this one works because it successfully delivers a big bang in such a short runtime. The scenes fly by partially because of fast-paced dialogue and fairly tight editing. There are moments to breathe, but I will not deny that the movie gives quite a bit in just 84 minutes including credits.
Technically speaking, this is one of the most vibrant films I have watched in recent memory. This film is colorful, bright, and polished. One film I watched earlier this month was “Lisa Frankenstein,” and in that review I say the film “looks like something from another world.” When I look back at that movie and compare it to “Drive-Away Dolls,” they sometimes feel similar from a looks perspective. Both offer spectacular lighting that offers a bit of variety from scene to scene. Some of the costumes in both projects stand out. And there are moments where even the sets are easy on the eyes. There is a particular hotel in “Drive-Away Dolls” that not only looks exquisite, but beautifully fits the tone of the movie. Every moment we spend in this hotel with our two leads is worthwhile.
Speaking of the two leads, not only do Margaret Qualley and Geraldine Viswanathan give solid performances that allow the duo to be as dynamic as possible, but I cannot see anyone else playing them. I have respect for both of these actresses. I have not had a ton of experience with Margaret Qualley, but I thought she shined like the sun in “Once Upon a Time in Hollywood,” one of my favorite Quentin Tarantino flicks. I noticed some of her mannerisms from that movie seem to make their way into her role of Jamie as well. And while I would not specifically call “Drive-Away Dolls” a comedy per se, there are plenty of comedic elements. There is a natural goofiness, if that is even the correct term to use, to the main duo that is incredibly palpable. The movie does a good job at fleshing this duo out and authenticating them. They feel like they belong in a world like the one this movie presents.
And of course, Geraldine Viswanathan plays the other leading lady, Marian. Sticking with the comedy aspect, I think Viswanathan also does a good job at playing up some of the more comedic parts of the film. I should not be surprised though given her background. She was in one of my favorite comedies of 2018, “Blockers.” She was also a regular in TBS’s “Miracle Workers,” which is a fantastic show. Viswanathan is a natural when it comes to matching her personality with the movie’s tone.
But just because there are comedic moments in the film, does not mean the it refuses to get serious for a moment or two. Multiple tones intertwine beautifully and in no way feel inconsistent. That said, knowing what this movie is about, how the events progress, and the way everything unfolds, of course comedy is to be expected out of something like this. I do not want to give any spoilers as to certain things that happen in the movie as the marketing shrouds some things in secrecy and I was admittedly surprised when certain things come up, but this movie gets wild.
On top of Qualley and Viswanathan, you have an amazing group of supporting actors. Need any more proof this film scores big in the comedy department? Watch Beanie Feldstein play Sukie the cop. Perfect is a word I wish to use sparingly in life, but Feldstein’s performance comes close to perfection. Bill Camp as Curlie has a notable presence throughout the picture. And Matt Damon easily makes the most of his screen time. Similarly, I think I made the most of my time watching this film. I would give it a thumbs up.
In the end, “Drive-Away Dolls” is quite good! In fact, sometimes, it delivers a flair only a movie of its kind can bring to the table. Great acting. Great directing. Eye-popping aesthetics. What more could you want? “Drive-Away Dolls” is not the most surprising movie of all time, and when it comes to quality I have to admit there are better movies from the Coens, not to mention in general, but if you want a good movie that could make for a decent one time watch, “Drive-Away Dolls” is an entertaining ride. I am going to give “Drive-Away Dolls” a 7/10.
“Drive-Away Dolls” is now available to rent or buy on VOD.
Thanks for reading this review! If you liked this review, I have more coming! Stay tuned for my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” “Kung Fu Panda 4,” and “Ghostbusters: Frozen Empire.” 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 “Drive-Away Dolls?” What did you think about it? Or, what are some good road trip movies that come to mind? Let me know down below! Scene Before is your click to the flicks!
“Madame Web” is directed by S.J. Clarkson (The Defenders, Jessica Jones) and stars Dakota Johnson (Fifty Shades of Grey, The High Note), Sydney Sweeney (Anyone But You, Euphoria), Isabella Merced (Transformers: The Last Knight, Dora and the Lost City of Gold), Celeste O’Connor (Ghostbusters: Afterlife, Selah and the Spades), Tahar Rahim (The Serpent, The Mauritanian), Mike Epps (The Hangover, Next Friday), Emma Roberts (Nerve, Scream Queens), and Adam Scott (Parks and Recreation, Big Little Lies). This film centers around a woman named Cassandra Webb. When this paramedic discovers she is clairvoyant, she tries to balance learning about her past all the while protecting the future of three teenage girls.
In the moviegoing market, comic book movies are a dime a dozen nowadays. But there are reasons for that. For starters, a lot of them have received positive reviews in recent years. DC titles like “Joker,” “The Suicide Squad,” and “Wonder Woman” have received a lot of love over the years. In the case of the first title, it even got some recognition at the Academy Awards. The MCU has had a lot of positive critical reception and have been darlings with fans and audiences. On Sony’s side, the animated “Spider-Verse” titles have tons of dedicated fans. But let’s not forget the real reason why these films keep getting made. It’s the same reason every film gets made. Profit.
Films like “Iron Man 3,” “Aquaman,” and “Captain Marvel” for example, all made more than a billion dollars. Naturally, Sony wants a piece of that pie as well. And it’s not like they’re a stranger to it. Their collaborations with Marvel Studios, “Spider-Man: Far from Home” and “Spider-Man: No Way Home” both joined the billion dollar club. At the time, 2002’s “Spider-Man” became the fastest movie to ever reach $100 million at the box office. But in recent years, the studio has moved over to making films about Spider-Man characters without the use of the webhead as its primary protagonist. “Venom,” despite how much I think it is hot garbage, made more than $856 million. “Venom: Let There Be Carnage,” even though it came out when the COVID-19 pandemic kept some audiences at home, still managed to pass the $500 million mark. Then came “Morbius…” With the film grossing $167.5 million against a reported $75 million budget, it barely reached a point of breaking even.
And some may ask why these films seem to be making less than some of their competitors. While there are other factors that definitely come into play, I can shed light on one of them. These films are just not as memorable or high quality compared to say a lot of the MCU installments we have gotten over the years.
If you all remember my review for “Morbius,” I railed that movie into the ground. I wondered why Sony decided to get the writers of “Gods of Egypt,” Matt Sazama and Burk Sharpless, to pen the picture. Maybe they are nice people. Maybe they save kittens from trees on a regular basis, I have no idea, but it does not change the fact these two are some of the worst writers in Hollywood. I was especially shocked that Sony saw “Morbius” and thought, “You know who we should get to write our next comic book film?” The guys who gave us that schlocky Jared Leto film we pushed back for a couple years! As for the one trailer released in this film’s lackluster marketing campaign, it honestly did not help things. But of course, there have been plenty of uninteresting trailers to good movies. But what did I think of the movie itself? Well, to answer this question, I am just gonna have to ask anyone who is reading this to strap themselves in. Because this movie is getting the angry, tangent-filled review it deserves. Why? Because this movie is one of the worst I have ever seen in my entire life. I am not exaggerating. I am not being hyperbolic. This may be the worst film of the decade. Period. End of sentence. Done. Finito. The rain has taken the spider out.
This film is the first I have seen where they flashed the Columbia Pictures 100 years logo. I guess it only took a century to make something as truly diabolical and asinine as whatever this ridiculousness happens to be. I do not know how they did it. But somehow, Matt Sazama and Burk Sharpless wrote a film that is worse than “Morbius.” Get ready guys, I am about to do something I hoped I would not have to do, use “Morbius” as THE POSITIVE.
While “Morbius” was not great, the film at least started with a hint of promise. Looking back, the film had an okay, not great, but mildly amusing first act that did an alright job at establishing a key relationship in the film. You got to know Michael. You got to know Milo. It actually helps the film somewhat as it shoddily progresses. In “Madame Web,” I was about to break just from scene one.
As far as big budget movies go, this is one of the most headache-inducing I have watched. This may seem like a small thing, but there are a couple moments in the film that had these unnecessary zooms. It felt like the cameraman was trying out a camera for the first time and attempting to figure out how the zoom works! It’s that bad! Of course, the cringeworthy dialogue from the beginning did not help much either. And if you like cringeworthy dialogue, fasten your seatbelts, because you are in for a treat! This movie has it in spades! Disappointingly, “He was in the Amazon with my mom when she was researching spiders right before she died,” is not one of those lines. Yep, that infamously awful line from the trailer, it’s not in the movie. As for the other straight up abysmal utterances of words and phrases that did make it into the final project, they are not much better.
What makes “Madame Web” inferior to “Morbius?” Well, looking back at “Morbius,” I think Jared Leto did a great job staying in character the entire time and Matt Smith had the energy of a lively game show host with an edge. As much as I hate bashing actors nowadays, there is not one performance in the film to write home about.
With the exception of one scene past the film’s halfway mark, I cannot say Dakota Johnson gave her best work in this film. To be fair though, going back to the irritatingly terrible screenplay, it did not help things. The one moment Johnson shines in the film just so happens to be the one halfway decent moment in the screenplay. It is one where we get to have a nice, charming moment between her and another character. It is perhaps the only moment of the movie where any of the characters unleash authentic emotion. It was the one moment of the movie where I didn’t hate myself. Then we get to the next scene, and I am not kidding, where it only took a few lines for me to slap myself in the face like I was the first guy trying to figure out how to cure amnesia.
Dakota Johnson may play the protagonist of the film and had top billing. Given what she had to venture through, I’d argue she was underpaid. Right below her is Sydney Sweeney. In the time it took me to write this review, I think significantly more teenage boys took the time to buy posters of Sweeney to put on their bedroom walls than they did to secure “Madame Web” tickets. Knowing the inexcusably bad execution of her character on the page, I think those teenagers made some comparably reasonable purchases. For one thing, from a casting perspective, I find it hilarious that they ended up casting Sydney Sweeney to play a shy, reserved teenage girl. It might be the funniest casting since getting John Cena to play Vin Diesel’s brother in “F9: The Fast Saga.” Now I have seen twenty-something year old actors play teens decently before, and I have seen suave, confidence-exuding actors play roles that do not quite match those aspects of their real life persona. The profession is called acting for a reason. Look at Ana de Armas in “Knives Out!” She is perhaps one of the most beautiful actresses in the business today, but I don’t think you would get that impression of Ana de Armas if your first watch of her in a movie happened to be “Knives Out.” The best thing I can say about Sydney Sweeney in “Madame Web” is the same thing I can say for Jared Leto in “Morbius.” She did her best with the excruciatingly dull material given to her.
In comic book movie speak, the placement between Sydney Sweeney, the other teenage girls, and Dakota Johnson reminds me of the 2015 “Fantastic 4” reboot. An uninteresting, poorly contrived group of four people that is randomly placed together with no semblance of personality or likability. But you know what? I was able to find more positives in “Fantastic 4” than I did for “Madame Web.” The visual effects look nice, some of the first act was okay, and I think Miles Teller did a good job in the lead role. Meanwhile, “Madame Web” pales visually minus a few creative moments, I rolled my eyes from scene one, and I could not find a good performance even if you put a hypnotist in front of me to convince me that one was in front of me all along.
Speaking of “Fantastic 4,” this film, not to mention their respective distributors, have something in common. They come from similar obligations. Rights maintenance. It’s not show friends, it’s show business. Sony is obligated to commence production on a “Spider-Man” project every five years and nine months. They do not have to release the film, they just have to say that it is in production. After seeing “Madame Web,” I can say to those complaining that studios are not making enough original movies, Sony probably feels your pain. They likely felt that they did not want to make this film and instead, they had to. But you know what they could have done? I don’t know, cancelled it?! Go all David Zaslav on it and scrap it for a tax write-off?! That’s what they could have done! For those who say “Batgirl” should never have been cancelled, I think “Madame Web” may prove why that movie met its fate. After all, “Madame Web” is not making all the money in the world. You know why it is not making all the money in the world? It’s unwatchable! Simple as that!
As a fan of the Marvel Cinematic Universe, which this movie does not connect to, I recognize that the entirety of that timeline is not based on the vision of one director, or writer. A lot of it traces back to Kevin Feige, the President of Marvel Studios. As much as I am not one for what many would call studio interference, I will not deny that a lot of the success of the MCU is owed to Feige and his ability to balance connectivity from one project to the next. Not everything is a hit. There have been duds like “Thor: The Dark World,” but everything makes sense and at least feels like it is coming from some hint of passion. Feige cares about what goes on the screen. The filmmakers care about what goes on the screen. I am not saying this film’s director, S.J. Clarkson does not care. But as a whole, this movie feels like made by people who could care less about how it would turn out. Despite how much money these movies make and their extreme presence in popular culture, the MCU movies feel like they are made with love. At least they are when standing next to “Madame Web,” which feels like it was made to fit into a release schedule.
Speaking of release dates, I love how this movie was released on Valentine’s Day. I have never been in a relationship myself, but I nevertheless feel like I am in a fair position to give some advice. If you took your partner to see “Madame Web” on Valentine’s Day, they have every right to use that as a reason to block your phone number, ghost you, or break up with you. I don’t make the rules. I just tell things as they are.
Seriously! Who in their right mind saw “Morbius” and thought the writers should continue working in this cinematic universe? The fact that they were able to conjure a script that is inferior to their previous project is baffling to me.
And if you think I got into the movie’s most shameful moments yet, just wait. You have seen nothing yet. If you have been following this blog for the past five or six years, chances are you may remember my thoughts on “Uncle Drew.” But for those who need catching up, I have to say the movie was not funny, not charming, and completely lacking in any likability whatsoever. As far as I am concerned, “Uncle Drew” has only given me two things. One of the most passionate reviews I have done on this platform, and ire. Not much else. In that review, I titled it the “worst Pepsi commercial ever.” That highly talked about ad with Kendall Jenner has nothing on just how bad that movie was. It was filled to the brim with Pepsi product placement to the point where I almost wanted to chuck a couple Coca-Colas directly at the screen.
Ladies and gentlemen, I think “Madame Web” is now a fine contender to be the worst Pepsi commercial in history.
I am almost scared to know what went on behind the scenes of “Madame Web,” but at the same time, I am curious to know how much money Pepsi shelled out just have the exposure they’ve gotten in this film. Sony films in general are usually obnoxious enough for how much they advertise their own products. Just look at “Gran Turismo!” Not only is that based on a PlayStation exclusive video game, but it also doubles as a Nissan commercial, and ends up making the Walkman an essential element to the story. When it comes to product placement, Sony is arguably the most shameless major studio when it comes to this heinous trend. I understand, movies are expensive and studios need to pay the bills. But why does Pepsi need to be thrown in my face so obnoxiously? At this point, this is not a movie. It’s a giant, uninspired, bloody two hour ad! The real protagonist of this film is not Cassandra Webb, it’s Pepsi!
Speaking of lazy, the ending of this film downright sucks on so many levels. For starters, it reuses footage from Sam Raimi’s “Spider-Man 2.” Not only did it feel like a quick copout, but it made me wish I was watching a much better movie! As for other reasons why the ending sucks, I must once again go back to my old friend “Morbius.”
I said one of the reasons that film did not work for me was because it lied in its marketing campaign about certain things. Unfortunately, Sony learned nothing when marketing “Madame Web.” Because there is an entire segment of the trailer dedicated to showing off something regarding the teenage girls. Now, as mentioned, the teenage girls are in the movie. And that “something” I just mentioned is in the final picture. Unfortunately though, that something is used to basically tease a certain thing in the future. Perhaps a “Madame Web 2.” To that I must say, if you cannot give me a cool movie the first time, why should I care about what you are going to give me the second time? The ending of this movie basically just tells me that after being trapped in front of a screen for two hours, it wants me to come back for an occasion where we actually see something potentially worthwhile. One of the flaws of cinematic universes or modern film franchises in general is that everybody is so concerned about building excitement in regards to what’s next to the point where it is easy to forget that you have to focus on the feature that is in front of you. Additionally, we get a costume reveal for our title character and I have to say, it is strange to look at. Maybe it is because so much of this movie looks dark and greyish at times. Compared to a lot of other comic book movies, the color palette looks bleak. If these Sony Marvel movies have one thing in common, it’s that they look dark and depressing. It sometimes turns me off. I get that characters like Venom are often seen as villains, but still.
Honestly though, the movie is sometimes hilarious, but not in a good way. There is an entire subplot dedicated to the birth of a certain character whose name is never mentioned. As a “Spider-Man” fan, I am able to put the pieces together and determine who this character is, but the way this movie goes about this feels insulting and lazy. The subplot also brings out one of the most cringeworthy jokes in the movie. Basically, Emma Roberts’s character reveals her water just broke, to which one of the teenage girls ends up shouting, “Ewwwwwwww!” I am not joking, to say I facepalmed in that moment would be an understatement. If you were in my auditorium and you heard a loud slapping sound out of nowhere, that was me slapping my hand on my face in anger.
And yes, for those who ask, that was the scene that followed the one decent moment in the movie.
From a technical perspective, “Madame Web” has some okay moments in terms of the action sequences, but nothing I will worship until the day I die. In fact, once again, there is one action sequence that further emphasizes my displeasure with Pepsi’s overexposure throughout this turd of a film. I think the weakest part of the film from a technical standpoint is the sound. Now, everything’s clear. I could hear all the dialogue, in its everlasting, infinite, sigh-inducing glory… But there are multiple parts of the film where I thought I was getting brain damage from how loud the movie was. I watched the film in IMAX, which would naturally mean the sound would be louder. But I have been to numerous IMAX experiences and have witnessed plenty where louder sound has only served as a benefit. Take “Oppenheimer” for example. That trinity test scene was bonkers in IMAX. It was something else. It was one of the most riveting things I witnessed in my entire life simply because I felt like I was a part of that scene. Sometimes “Madame Web” was just loud enough to the point where my headache must have gotten irritated by what was in front of it. Speaking of headaches, the way this movie goes about explaining our main protagonist’s powers sometimes got on my nerves. It’s not that I did not understand it, but rather that it was showcased in such a way that messed with my mind the longer it lasted on the screen.
“Madame Web” is an hour and 56 minutes long. Honestly, that runtime is incredibly flawed. According to my calculations, I think I found the perfect runtime for the film. And that runtime is nothing because a film like this should have never been released. The fact that it even got made is mind-blowing. When this film started, I was turned off. As it progressed, I was seething. When the credits showed up, I stormed out of the theater like a young child who got blue shelled by their friend twice in one race during a session of “Mario Kart!”
I wish I were exaggerating. You may think I am simply telling you this for dramatic effect. It’s true. But I assure you, that short paragraph I just wrote, has more substance than “Madame Web” can provide in less than two hours.
In the end, to call “Madame Web” a joke would make sense, but to do that would be insult against comedy. Because comedy makes you laugh. The only thing “Madame Web” did was intensify my anger. I love comic book movies. I know they are not exactly in the best state right now, but I remember walking out of every MCU movie that came out last year. And even if they were not fantastic, they at least had some redeeming qualities. I know a lot of people have been recently bagging on “Ant-Man and the Wasp: Quantumania” and “The Marvels,” but I dare you to watch those two movies and “Madame Web” in a marathon and tell me that “Madame Web” is not the worst of those three. Because those two movies, despite their flaws, manage to pack in some fun. They deliver good action, neat effects for the most part, and have likable protagonists at the forefront. When I say that “Madame Web” is the worst film of the decade, it is hard to imagine such an assessment being a stretch. Between a wasted superhero story where we barely get any superhero DNA throughout, a lackluster villain, bad writing, terrible jokes, obscene dialogue, and tired homages to “Spider-Man” lore, “Madame Web” is an utterly atrocious mess that will go down in history as one of the most asinine, sloppy, downright criminal pieces of cinema that has ever disgraced the silver screen. Martin Scorsese, if you are reading this, I may disagree with you on comic book movies in regards to whether or not they are cinema. But after seeing “Madame Web,” I think it would be wrong to even call it a theme park ride. Why? …Because theme park rides are fun. I am going to give “Madame Web” a 1/10.
“Madame Web” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for “Drive-Away Dolls!” Hopefully that will serve as a palette cleanser for the fiendish brain cell-eradicator of a movie I just watched. One can only hope. Also coming soon, I will have my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” and “Kung Fu Panda 4.” 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 “Madame Web,” and why did you think it was terrible? Err, sorry! My mind nearly broke for a second, what I meant was, what did you think of the movie? Or, what is the superior project? “Madame Web” or “Morbius?” Let me know down below! Scene Before is your click to the flicks!
“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.
When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.
You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.
This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.
Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”
Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.
The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.
For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.
Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.
In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.
“Lisa Frankenstein” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” Stay tuned! 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 “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!
“American Fiction” is directed by Cord Jefferson and this is his directorial debut. The film stars Jeffrey Wright (Asteroid City, What If…?), Tracee Ellis Ross (Black-ish, The High Note), John Ortiz (Fast & Furious, Clyde Goes Boating), Erika Alexander (The Cosby Show, Living Single), Leslie Uggams (Roots, Deadpool), Adam Brody (Shazam!, Ready or Not), Issa Rae (Barbie, Spider-Man: Across the Spider-Verse), and Sterling K. Brown (This Is Us, Army Wives). This film is about an author who creates a satirical book under a pen name that becomes bigger than anyone, even he, could have imagined.
As we approach the end of the 2023 film awards season, it is time to discuss a movie that may not be a frontrunner to win all the Oscars this year, but one that has had a respectable share of spotlight. I knew about a lot of movies coming out towards the year’s end, but “American Fiction” was one that kind of came out of nowhere for me. It took me a couple trailer watches, mentions from social circles, and online pundits to drill the title in my head, but the whole idea of the film was something that I could get behind. It looked funny, well-acted, and well-written. Thankfully, when it comes to my expectations, this film hits all three of those checkmarks. The humor is great. The acting is great. The screenplay is great. And what makes all of this even better is that the director of this film, Cord Jefferson, is making this picture his debut.
According to his IMDb page, Cord Jefferson has never once directed anything else before “American Fiction.” This includes other features. This includes shorts. This includes television. Up until now, Jefferson has had a hand in television producing and writing. His resume includes “Master of None,” “Watchmen,” and “The Good Place,” the latter of which I have watched and find quite hilarious. It got me through my recovery after getting my wisdom teeth removed so I feel like I owe something to the people who made that show. And now Jefferson his taking his TV talents and using them to deliver one of 2023’s funniest films.
The ensemble for “American Fiction” can do no wrong. From the commanding, but not quite in your face presence of Jeffrey Wright, to the quality charisma of Tracee Ellis Ross to the flamboyant glory of Issa Rae, the latter of whom makes me imagine that she could eventually become one of my favorite performers in the near future. I thought Rae was a standout in “Barbie.” But she is a different kind of great here. Honestly, I almost cannot see anyone else playing her character. She does a great job not only having a hypnotic presence from scene one, but when we see her read her book, she does a great job at immersing me into the scene and feeling as if I am not only getting to hear the book, but maybe also getting some speck of imagination to the point where I would be mistaken to believe the events of the book are actually playing out in front of me.
As I have grown older, one of things I continue to appreciate about movies is the very idea of how people can take something and deliver a primarily visual experience, but if you have to ask me, “American Fiction’s” greatest asset has to be its dialogue. There are several lines from this film that are contenders to be some of the year’s best. I don’t think any of them will have as monumental of an impact as “Oppenheimer‘s” final line, “I believe we did,” but when it comes to individual lines, there is one quote from the main character that is funny, not only because of its delivery, but because regardless of its context, the more I think about it, the more I feel it applies to some aspects of modern society. Specifically, “The dumber I behave, the richer I get.” In fact, some would say this line even links to how entertainment works nowadays. There seems to be a consensus that we keep making entertainment, whether it is through movies, television, or in this movie’s case, books, arguably for the lowest common denominator. In fact, that falls in line with the main protagonist’s goal as well, because the film follows his journey as an author who cares about and finds passion in what he does, even though he does not have the widest audience. But the more he panders to a demographic or lie about himself, the more successful he becomes.
As for other standouts, the film itself looks beautiful. This film is shot by Cristina Dunlap. Cinematography-wise, it is not the top dog of the year, but it is sometimes enchanting to look at. The film is packed with a variety of eye-popping exterior shots. I may be biased because I am from Massachusetts and this movie is set around various areas I have been to around the state, but I can say that when it comes to showcasing those areas on camera, I will not deny that the showcase itself is rather pleasing. But the film is not just easy on the eyes, but also the ears. Laura Karpman’s score is quite good. It fits every scene well.
While this film may not win Best Picture at the Oscars this year, that said, you never know, it could pull an upset… I will say when it comes to this year’s slate, particularly the movies that are going for the heavy-hitting awards, this film gets some things right that I would say “Barbie” also gets right. Specifically the vibes and tone, mixed together with the overall look of the film. In some sense, “American Fiction” is a down to earth story about people you could probably find in our society, but it also comes off with this slight sense of fantasy. It is hard to describe, but I appreciated it.
I also must note that when I remember this film, I will remember it well for the laughs I had. The smiles I had. But it is a pretty balanced movie in terms of emotion. When we get to know Thelonious’s family, we also get to know his mother, who we find out has Alzheimer’s. While I will affirm the film is not quite as memorable as “Everything Everywhere All at Once,” when you take the main idea of “American Fiction” and combine it with this Alzheimer’s subplot, the two films feel similar tonally. Because “Everything Everywhere All at Once” had tons of multiversal shenanigans, but you also have an intriguing subplot that is more down to earth like the turmoil between multiple family relationships. As for the subplot itself, I thought it was handled with grace and it unleashed a great performance out of Leslie Uggams (right). In terms of story and characters, what “American Fiction” provides on the surface, is intriguing. That said, there is more to it that paints a pretty picture.
In the end, “American Fiction” is unpredictable, exciting, and hilarious. When it comes to commentary, this is one of 2023’s finest works. But it also does something equally as important. Entertain. Once again, this is the first film from Cord Jefferson, and I honestly cannot wait to see what he does next. It is not just a good time, it is a great time. And I think you will have a great time should you decide to watch this film. Not the best of 2023, but it gets a lot of things right. When it comes to flaws, they do exist. I will remember some aspects of this film more than others. Some scenes feel a tad abrupt in terms of flow. But there’s nothing game-breaking. As for my score, I am going to give “American Fiction” a high 7/10, and honestly if I were to watch it a second time, it could go up.
“American Fiction” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, I have more where that came from! Pretty soon I am going to have reviews for “Lisa Frankenstein,” “Madame Web,” “Bob Marley: One Love,” “Drive-Away Dolls” and my most anticipated movie this year, “Dune Part Two.” Also, if you have a lot of time on your hands and you want to find what films defined the art form in 2023, check out the 6th Annual Jack Awards, possibly the biggest waste of time in your entire life. Who knows? If you want to see more great content like this, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “American Fiction?” What did you think about it? Or, what is your favorite directorial debut? I don’t have a concrete answer, but I recently rewatched “Deadpool” over Valentine’s Day, because what other movie would I watch?! That was Tim Miller’s first feature film and it ended up being one of the funniest I have ever seen. If you have an answer of your own, say it down below! Scene Before is your click to the flicks!
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