Month: June 2025

Ballerina (2025): Yeah! I’m Thinking I Dig This Spinoff!

Posted on by Jack Drees

“Ballerina” is directed by Len Wiseman (Live Free or Die Hard, Total Recall) and stars Ana de Armas (Blade Runner 2049, Knives Out), Anjelica Huston (The Addams Family, Prizzi’s Honor), Gabriel Byrne (Hereditary, In Treatment), Lance Reddick (Bosch, The Wire), Norman Reedus (The Walking Dead, The Boondock Saints), Ian McShane (Deadwood, Kung Fu Panda), and Keanu Reeves (Point Break, The Matrix). This film is about a woman who trains as an assassin and seeks revenge following the death of her father.

Yeah, I’m thinking the “John Wick” franchise is back! But this time, it is not Wick’s film. He is in it, but the star of the show this time around is Ana de Armas as Eve Macarro. This marks the franchise’s first film spinoff. On the television side, there is also “The Continental,” which I have admittedly yet to see. But every time I watch a proper “John Wick” film, I am reminded of how much potential this franchise has when it comes to its lore. There are tons of stories that could be told within the walls of the many Continental hotels. With “Ballerina” being the franchise’s first film spinoff, does it compare to the proper movies? Honestly, it is worthy of the “John Wick” name.

“Ballerina” is better than I thought it would be. And I feel stupid for saying that. For the record, I was looking forward to this film for multiple reasons. First off, none of the “John Wick” movies have let me down so far. In fact, I find every movie in this franchise to be better than the one that came before. Not all of them are perfect. Some of them are much better with the action than the story. But the franchise is well-rounded from movie to movie. Second, Ana de Armas is in the lead role. This is the actress’s first appearance in this franchise, but I have been dying to see her in this role ever since I first heard about it. I have been hoping de Armas could take on a role like this since watching her in “No Time to Die.” She easily stole the show with her short but sweet appearance. Yes, you could argue in terms of the action genre that maybe she got a big spotlight in Netflix’s “The Gray Man,” but that movie was so mediocre that I almost forgot that it existed. Plus de Armas did not play the main character, unlike Ryan Gosling. “Ballerina” is a much larger showcase of what de Armas can do in these types of films. On top of that, she is an actress who I project could rack up a ton of Oscar noms if given the right roles. While “Ballerina” may not be Academy Award-winning in every regard, it did win me over with Ana de Armas’ presence.

Before we continue with the positives regarding Ana de Armas’ role, I must note that I also went into this film a tad worried despite my excitement. While I was excited to see Keanu Reeves as John Wick again, I was also wondering why he was in this film. What was his purpose? I will not spoil much, but he is in a lot more of the film than the marketing led me to believe. And it was fun to see him on screen once again. I will take any dose of Keanu Reeves I can get. He is breathtaking.

This is also the first film in the franchise where Chad Stahelski does not have a directing credit. That credit instead goes to Len Wiseman. Stahelski’s lack of directorial power specifically does not worry me. If anything it gives the opportunity for someone to bring in a fresh take on the property. That said, the film’s action sequences are often stylistically consistent with the previous movies. Whether they are done on massive, colorfully lit set pieces… Run on extensive, smooth shots… Or involve constant running and gunning, these look like something Chad Stahelski would come up with. Partially because he did. Well, sort of. While the action sequences are the product of Wiseman himself, Stahelski did have a helping hand with enhancing those sequences through reshoots. I think whatever they did may have been worth it because this movie cost $90 million to make, and every dollar looks like it has flown onto the screen. I have to go back to watch the other movies to verify, but this may be the most vibrant and colorful the “John Wick” franchise has ever looked. That might be odd to say considering the film is fairly dramatic and bloody. But if I were to buy myself an OLED TV, “Ballerina” would make for a great test movie.

I said I would go back to Ana de Armas, and now is the time. There are few compliments one can give an actor as positive as “I cannot see anyone else playing their role.” That happens to be the case for Ana de Armas as Eve Macarro. And that says something, because the same character was portrayed by Unity Phelan in “John Wick: Chapter 3 – Parabellum.” For the record, Phelan has very limited acting credits, so I have no problem with de Armas replacing her. De Armas does not disappoint here. She continues to prove she is an action star.

Not only does de Armas handle the choreography given to her with perfection, but she always maintains an aura of toughness and determination. She may be small, she may be pretty sometimes, but she can pack a punch. I also liked getting to know about a bit of her backstory. She seems to have developed her recently mentioned toughness and determination partially because of how hard she was pushed as a ballet dancer. Her childhood also was not perfect in more ways than one. 

There are a couple great action films out right now, both of which are part of major franchises. Since May, you had “Mission: Impossible – The Final Reckoning,” and a couple weeks later came “Ballerina.” If you had to ask me which of these two films I recommend you watch first, my mind would go to “Mission: Impossible – The Final Reckoning.” But “Ballerina” is not far behind. Do not sleep on it. In fact, “Ballerina” actually outshines “The Final Reckoning” in some ways. For starters, the pacing in “Ballerina” is significantly better. There is never a boring moment in either movie. But you can sometimes feel the weight of “The Final Reckoning” whereas “Ballerina” is a consistently thrilling ride. Speaking of consistency, the film never shifts much in tone. At times “The Final Reckoning” gets into Saturday morning cartoon territory with its dialogue and villain. Even with some hyperbolic action and funnier moments, the overall vibe of “Ballerina” maintained a sense of grit.

Courtesy of Lionsgate – © 2025 Lionsgate

That said, the film is, as I said earlier, not going to win every Academy Award. I will give props to the technical side like the production and costume design, the cinematography, as well as the film editing. This film undeniably looks grand, even if the scale seems to take a dip from the previous couple of “John Wick” movies. But there are times where the story lacked hints of engagement. The dialogue, while not bad, is not the best I ever heard. It is also not as emotionally investing as it could be. At times the film tries to go for the emotions, but I did not care for the supporting cast enough to feel those emotions.

But this film already has so much going for it to the point where I can forgive its faults. In true “John Wick” fashion, “Ballerina” shows how you do action shots and choreography. Never once did I look at a scene and wonder who was fighting who or feel jarred by how many takes the editor could splice together in a span of 10 seconds. There are also some cool action scenes involving objects as unusual as dinner plates. Once again, while it is not Keanu Reeves’ movie, he is great in it. He handles all of his material with excellence. He does not phone it in. And Ana de Armas puts on a performance that is arguably better than what this movie deserves. I left “Ballerina” not only wanting to see more of Ana de Armas in action roles, but also more of her in this specific role. Despite the screenplay’s faults, this character has potential. I did like what we got of her backstory, I will give the movie that. Maybe that could be expanded in later films or you can give her something better in the present to work with. “Ballerina” is a solid start for Eve Macarro, unless you technically count “Chapter 3.” Hopefully if she comes back, the crew can find a way to keep up the good work.

Courtesy of Lionsgate – © 2025 Lionsgate

In the end, as far as the “John Wick” franchise goes, “Ballerina” is a weaker installment. It might even be the weakest. But like I often say about Pixar movies, even lower tier “John Wick” is still good. Per usual, the action is world class. The production design is astounding. The camerawork and lighting are top notch. The climax is wildly entertaining. There is a lot to enjoy about this film. I have no clue how many people are going to go see this film in the long run. I have my doubts it will be remembered as a “success.” But if you are an action junkie, there is a lot to like here. I would definitely watch it a second time. I am going to give “Ballerina” a 7/10.

“Ballerina” is now playing in theaters. Tickets are available now.

Courtesy of TPS Productions/Focus Features – © 2025

Thanks for reading this review! My next review is going to be for Wes Anderson’s latest film, “The Phoenician Scheme.” Stay tuned! Also coming soon, I will share my thoughts on “The Life of Chuck,” “Materialists,” and “Elio.” 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 “Ballerina?” What did you think about it? Or, is there a rising action star who caught your eye in recent years? Let me know down below! Scene Before is your click to the flicks!

Friendship (2024): The Funniest Comedy of the 2020s

Posted on by Jack Drees

“Friendship” is written and directed by Andrew DeYoung and this is his feature-length directorial debut. This film stars Tim Robinson (Chip ‘n Dale: Rescue Rangers, Detroiters), Kate Mara (Fantastic Four, House of Cards), Jack Dylan Grazer (Shazam, It), and Paul Rudd (The 40 Year-Old-Virgin, Dinner for Schmucks). This film is about a suburban dad who attempts to develop and maintain a friendship with his neighbor.

If there is one genre that I wish had better treatment at the movies, that would be comedy. There are not many cases where comedy films are marketed for the cinema anymore. Do not get me wrong, like all other kinds of movies, the comedy genre can have their duds. Just ask anyone who made “Jack and Jill” over a decade ago. But comedies are not only one of my favorite kinds of films to watch, but if done right, they can play well in front of a large audience in a theater. Maybe they do not have the explosions of an action film or have the financially safe mass appeal of a family-oriented animation, but nothing is better than a ton of people laughing at the same time.

To quote Ron Burgundy, “It’s just science.”

The film of discussion today, “Friendship,” is not the most prominent comedy of all time. It is from the consistently growing distributor A24. While it does have some notable names like Paul Rudd and Kate Mara, its star power could arguably be bigger. But for me, the on-screen talent did not sell me. If there was something that got me in the door, it would be the positive press the film has racked up since its September 2024 premiere at the Toronto International Film Festival. Based on the reviews I saw in advance, I had a feeling “Friendship” was going to be good. But I was not prepared for just how good this film was. This cinematic experience blew my socks off.

“Friendship” might be the funniest comedy I have seen in years. I say that knowing that I have reviewed a couple comedies this decade that I adore like “Joy Ride” and “Bottoms.” I particularly remember issuing high praise to those two movies. But I cannot say I laughed as hard during those two films as I did with this latest one. When it comes to “Friendship,” I genuinely do not recall laughing as hard as I did at a comedy film, maybe since first watching “The Hangover” with my dad as a teen.

I recall having big laughs during select films I have seen in the past ten years like “Avengers: Infinity War,” “Once Upon a Time in Hollywood,” “Anora,” or “The Mitchells vs. the Machines.” But one can argue that those are films featuring comedy as opposed to being pure comedies. If you were to ask me what genre “Friendship” is, comedy would be the answer. And I would imagine I am not alone in this particular claim.

I saw this film in an auditorium that could fit 35 people. Most of the seats were taken. I honestly wish it could have been hundreds, because this is the kind of film that reminds me of why I love the moviegoing experience. There are multiple times in this film where I reflect on certain parts and imagine hundreds of people in the same room laughing their butts off. Seeing this film with an audience is a feeling unlike any other. I would guess if I did see “Friendship” in an auditorium with hundreds more people sitting around me, the laughter would be nonstop.

As someone who has seen a lot of comedies, the jokes from one movie to the next can feel been there done that. The jokes in “Friendship” sometimes feel cliche, but if you have been following Scene Before for a long time, you may have noticed me say that I do not mind cliches as long as they are done well. I am going to try to be as secretive as possible here, but when this movie gets to a gag involving a glass door, my sides were in orbit.

There are very few complaints I have about the film. Although one that comes to mind is simply based on personal experience. Around the first quarter of the film, there is a scene that takes place on a news set that feels a tad played up. I get that it might have been done that way to make the story flow, but I work on a morning news team and while it is a tense environment, there is an exchange between Austin and a news anchor that feels a bit overplayed. I did not buy it. Granted, this is a comedy movie so suspension of disbelief is inevitable in some places, but as someone who works in a newsroom, this scene was too over the top.

I also appreciate how the movie handles its characters. I am not going to pretend that I agree or root for the film’s protagonist, Craig Waterman (left), 100 percent of the time. But even when that is the case, I still appreciate the way he was executed. I saw Waterman, who is excellently portrayed by Tim Robinson, as a stereotype for someone going through a mid-life crisis. At various points we see Craig become jealous of Austin’s car, his social circle, as well as him having cool-sounding interests.

In fact, you can almost say Paul Rudd’s character, Austin (right), is in a somewhat similar boat. Going back to that car of his, having seen it myself, it is a pretty sweet ride. Some would say the chicks dig it. But throughout the film, we see a pattern. Austin possesses select objects or hangs with certain people to compensate for getting older. There is one particular reveal regarding Austin that comes out of nowhere, and not only does it make sense for who the character is, but I was laughing up a storm as the reveal came into frame.

I said before that comedies are one of my favorite kinds of films to watch. This is partially because they are so accessible no matter my mood. I could get home from a long day of work and put one on to pass the time. It could be bright and sunny out and I need a colorful-looking flick to match the mood. I could be up for a quick laugh with someone I know. I refuse to turn off my brain during movies, but comedies are as close as I get to turning my brain off because if the movie makes me die laughing, I can forgive some of its other flaws. “Friendship,” like another recent comedy I enjoyed, “Joy Ride,” not only made me laugh, but also made me appreciate its depth when it came to the script. I would like to watch this film in 10, 20, 30 years.. I am only 25 right now, but I am curious to see how this film ages for me as I get closer to the points where the main characters reside.

In the end, “Friendship” is peak comedy. I love to laugh, and this movie made me do what I love to the point where I thought I was almost rolling on the floor. Not only is it funny, but it is also a decent commentary on the work that goes into maintaining friendships and how it is important to remember to be appreciative for what you have. “Friendship” is one of the funniest movies I have ever seen. Period. End of sentence. End of review. I am going to give “Friendship” a 9/10.

“Friendship” is now playing in theaters and is available to rent or buy on VOD.

Courtesy of Lionsgate – © Lionsgate

Thanks for reading this review! My next review is going to be for the brand new “John Wick” spinoff, “Ballerina.” Stay tuned! Also, look forward to finding out my thoughts on “The Phoenician Scheme,” “The Life of Chuck,” “Materialists,” and “Elio.” 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 “Friendship?” What did you think about it? Or, what is the funniest movie you have ever seen? Let me know down below! Scene Before is your click to the flicks!

Bring Her Back (2025): Another Clever, Scary Outing from the Philippou Brothers

Posted on by Jack Drees

“Bring Her Back” is directed by Danny and Michael Philippou, the directing duo behind “Talk to Me.” This film stars Billy Barratt (Kraven the Hunter, Responsible Child), Sora Wong, Jonah Wren Phillips (Human Error, How to Make Gravy), and Sally Hawkins (The Shape of Water, Paddington). This film centers around Andy and Piper, a brother and sister who are placed under the care of an eccentric woman and find themselves part of a terrifying ritual.

I ended up going to see “Bring Her Back” mainly because of the films that were out in one particular weekend, it piqued my curiosity the most. Note my choice of words. I never said I was looking forward to this film. But I cannot say I was dreading it either. If anything, I was going to see “Bring Her Back” because of my past experience. If I saw any trailers for “Bring Her Back,” they likely flew over my head. That said, I saw “Talk to Me” one time a couple years back. I thought it was a respectable effort by filmmaking brothers Michael and Danny Philippou. While the film had its fans, I cannot say I thought it was perfect. Though I liked it enough to give it a thumbs up. There is a saying that you are only as good as your last project. The Philippou brothers’ last project got me in the door. So, how is their latest outing?

Out-freaking-standing, and I cannot emphasize my enthusiasm enough.

“Bring Her Back” is easily one of the best films of the year. It is a movie that is not quite committed to one genre. I have called it a horror film, and knowing what “Talk to Me” turned out to be, I was kind of expecting “Bring Her Back” to be in the same boat as that movie. While the film is creepy, I will say that one could easily put “Bring Her Back” in the category of psychological thriller. One can simply say it is a drama. Regardless of whatever genre you call it, it handles all of its mini-genres with excellence.

What makes “Bring Her Back” so great is my attachment to the core characters. We come to find out that they all have something in common. Specifically, they are all grieving over someone they lost. While it is traditional for people to grieve over someone’s death, these deaths are unlikely scenarios. For the two younger characters, Andy and Cathy, we see early on in the film that they lose their dad. Shortly after, they meet a new foster parent (Sally Hawkins), whose young daughter died after drowning in a pool. The movie made me feel bad for all three of these people, even if something seems off about one of them.

When these three people first met, it did not take long for me to develop a pit in my stomach. I knew we were in for a ride with Sally Hawkins from the moment I saw her. First off, like some of her previous projects, Hawkins does not phone it in whatsoever when it comes to her performance. She has so much range packed into one character. At one moment she is kind of a creep, then lovable, then flamboyant. Whatever she happens to be as Laura, Hawkins nails it. That said, even when she is those last two adjectives, there is a sense of creepiness to her that remains consistent.

There are some things Hawkins does throughout the runtime that not only made me hate her, but made me want to straight up punch her in the face. She is everything you can want in a solid antagonist. While I will give praise to Hawkins for her performance, I will not deny that her character is sometimes straight up unlikable despite her occasionally having a chill or “cool mom” vibe. And me loathing her is a good thing. All it got me to do is get behind the kids through their journey as it plays out. As wacky as this movie gets at times, I was able to buy into Laura’s motivation. I could see where she was coming from even if I ultimately thought she was a psychotic lunatic.

I would not call this a complaint, but this is more or less something I noticed through my experience of watching the film. Keep in mind, I found “Bring Her Back” to be quite scary. But I cannot say that there are many jaw-dropping individual scares in the film. If anything, I found the film to maintain a consistent eeriness. Going back to how this film balances itself between multiple genres, this is another example to support that case. The scariest part of this film is not any particular scene, but it is the everlasting sense that Laura is going to do something bonkers. And she ends up doing some bonkers things.

Structurally, “Bring Her Back” does not miss a beat. It has a great hook that gets you to care about the two younger kids. You have all the adventures these kids encounter alongside their new foster parent, and as the film gets to the climax, it means business. Again, Sally Hawkins is a fantastic performer. But by the end of the movie I would not have minded seeing her character splatter into bits. There is never a boring moment in this film. The story is captivating. The characters are well written, everything ends on a solid note, and the entire film has a pretty good soundtrack. There are some tunes that slide their way into the film that are perfectly placed.

Sally Hawkins is not the only standout amongst the cast, though she is by far the biggest name. That said, I must give credit to all the younger cast members as well. Billy Barratt does a solid job in the film as Andy. I thought he was on the money when it came to channeling his character’s apprehension in a variety of situations. Jonah Wren Phillips is not given as much to do as Oliver compared to some of the other characters, but what he ends up doing stands out. There is one particular scene in the film that involves him chewing an unusual object that will linger in my mind beyond the end of the year. And lastly, Sora Wong as Piper is adorable. This is Sora Wong’s first role and I am very pleased by how it turned out. I think she is going to have a great career ahead of her. I can totally tell how masterful the Philippou Brothers are as directors based on the efforts of the talent. Each actor feels perfectly in sync with the others around them and not a single performance feels off.

In the end, “Bring Her Back” is top tier filmmaking. I cannot believe we have been blessed with cinema as compelling as this. When I walked out of “Talk to Me,” I did so having had a good time with it. Flash forward a couple years later to “Bring Her Back,” I am genuinely onboard for whatever the Philippous can produce. I keep bringing up Sally Hawkins as a selling point, partially because she is a recognizable name. But everyone else in this film does a great job too. I have to give the entire cast credit for their work. If you like good storytelling, look no further, because I am going to give “Bring Her Back” an 8/10.

“Bring Her Back” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new comedy “Friendship.” I have been looking forward to seeing and talking about this movie. And I finally get to discuss it in the coming days. Stay tuned! Also look forward to my reviews for “Ballerina,” “The Phoenician Scheme,” and “The Life of Chuck.” 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 “Bring Her Back?” What did you think about it? Or, which film did you like better? “Talk to Me” or “Bring Her Back?” Let me know down below! Scene Before is your click to the flicks!

The Accountant 2 (2025): Ben Affleck and Jon Bernthal Shine in Two Hours of Punches and Booms

Posted on by Jack Drees

“The Accountant 2” is directed by Gavin O’Connor, who also directed this film’s 2016 predecessor. This film stars Ben Affleck (Justice League, The Way Back), Jon Bernthal (The Walking Dead, The Punisher), Cynthia Addai-Robinson (Spartacus, Arrow), Daniella Pineda (Jurassic World: Fallen Kingdom, The Originals), and J.K. Simmons (Spider-Man, Whiplash). This film once again follows Christian Wolff who teams up with his brother, Braxton, to find mysterious assassins.

Before going to see “The Accountant 2” I made an effort to rewatch the original. If you remember my amateurish review you would know that I connected to the film at the time. This was mostly due to how the protagonist was written and executed. Ben Affleck plays an individual who has high functioning autism. I have grown up having many of the traits and quirks that we see from various stages of this character’s life such as his lack of urge to socialize with others. I also thought the film does a good job at providing a humanized portrayal of autism as opposed to a more stereotypical, robotic interpretation.

Is “The Accountant 2” as good as the first one? No, it is not. But is it still worth watching? Perhaps. My biggest problem with this film is that it feels less story-driven and a little more action driven. It’s like the writers listened to Elvis Presley’s “A Little Less Conversation” and suddenly thought, “We’ve cracked the code!”

Now I have no problem with good action. And to be honest, this movie has some good action. However, the action scenes sometimes lack the oomph of those in the original. Part of it is because the story here is rather convoluted. I am not going to pretend the story in the original riveted me all the way through. The movie relied way too much on flashbacks towards the end to the point of utter boredom. But this sequel at times feels overstuffed.

While the film may be slightly above average, one great thing about it is the chemistry between Christian (Affleck) and Braxton (Bernthal). The film spends lots of time putting these two in the same place, and every scene between them is worth the price of admission. There is a fantastic scene where Bernthal says he wants a dog and Affleck says everything possible to confirm that he is a cat person. The delivery between these two is on point each and every time.

Going back to how I relate to the characters in this franchise, I almost see Christian and Braxton as a personal representation of a conflict that has been circling in my mind nonstop throughout my young adult life. While these two bond as brothers, they have their differences. One key difference between these two is their individual wants in life. We see Braxton as a lone wolf, which I have always been throughout most of my life. If he puts his mind to something, he does it. He works on his own terms. But then we find out a little bit about Christian, who would like to have a partner he can check in on every once in a while. In this way, Christian, is a little more than meets the eye. You would not expect someone of his mannerisms to be interested in a relationship, but I buy his desire. As I watched this film I thought these character differences represented my personal yin and yang. Do I love being alone? Quite a bit, actually. But do I want someone to check in on? A part of me thinks about it every day.

Speaking of conflicts, I have a conflicting opinion regarding Christian Wolff in this film. Starting with the positives, I genuinely think Ben Affleck put a lot of effort into his performance and he is a standout as the character. Although some of the choices that were made in regard to the character threw me off. I get that Wolff has autism, but he comes off as a robot in this film, especially in comparison to the original. If anything, Wolff is sometimes a lackluster stereotype for people on the spectrum. For some reason, some of his line delivery and choice of words lack authenticity. I would not say that this film paints autism in the worst light, but sometimes his performance, particularly through his onslaught of stoicism, is overly emphasized. Sure, in the original, Wolff may be a bit robotic, but he also has a heart as well as feelings. In this sequel, he sounds more like the T-800. Sure, Affleck is not entirely robotic. When paired with Bernthal in this film, the two seem like genuine brothers. But if I were to judge Affleck by himself, he is sometimes soulless. Again, this is not an incompetent performance. I just think a little more depth and pizzazz could have been added to it.

“The Accountant 2” is not a movie I can see myself renting or buying to watch on my own schedule. To me, it is a cable movie. It is a movie that I would watch on a Sunday at home and eventually rely on for background noise. Now whether this movie will ever end up on cable is another story. The film is from Amazon after all and I doubt they want anybody leaving Prime or whatever the heck MGM+ is. Seriously, who uses MGM+? Anyone? If you have not seen the original “Accountant,” I much recommend that film over this one. It moves at a better pace, is less convoluted, and honestly does a much better job at characterization than the sequel. I enjoyed getting to know Christian Wolff not only through his profession but as someone who is on the spectrum. I thought the flashbacks during that film, most of them anyway, were used to its benefit. Like this sequel, the original has some decent action, but I cared more about what happened during those action scenes based on what I was learning about Christian as a character at the time. The sequel’s action is not bad, but it suffers from inferior character progression as well as storytelling. If it were not for the perfect chemistry between Affleck and Bernthal, I do not think I would be lending as much praise to this film.

In the end, “The Accountant 2” has its ups and downs. There are other recent films I would recommend watching before this one, especially in the action genre. Although if you are simply looking for good action, you will find it here. But this film is not a full meal. It satisfies in some ways and leaves a little to be desired in others. Do not get me wrong, Ben Affleck does not do a bad job in this film, and neither does Jon Bernthal. But I would not rush to see this film right away. I am going to give “The Accountant 2” a 6/10.

“The Accountant 2” is now playing in theaters and is available to stream on Prime Video.

Thanks for reading this review! My next reviews are going to be for “Bring Her Back,” “Friendship,” “Ballerina,” “The Phoenician Scheme,” and “The Life of Chuck.” 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 Accountant 2?” What did you think about it? Or, which of the two “Accountant” films do you like better? Let me know down below! Scene Before is your click to the flicks!

Mission: Impossible – The Final Reckoning (2025): A Wild, Overstuffed Finale That Demands the Biggest Screen Possible

Posted on by Jack Drees

“Mission: Impossible – The Final Reckoning” is directed by Christopher McQuarrie, who also directed the three “Mission: Impossible” installments leading up to this one. This film stars Tom Cruise (Top Gun, Risky Business), Hayley Atwell (Captain America: The First Avenger, Cinderella), Ving Rhames (The Wild Robot, The Garfield Movie), Simon Pegg (Run Fatboy Run, Hot Fuzz), Henry Czerny (Revenge, Ready or Not), and Angela Bassett (Black Panther, Akeelah and the Bee). This film is the eighth installment to the Tom Cruise-starring “Mission: Impossible” franchise and once again centers around Ethan Hunt and his team in a race against time to keep the artificial intelligence known as the Entity from destorying mankind.

Photo by Paramount Pictures and Skydance/Paramount Pictures and Skydance – © 2024 Paramount Pictures

After nearly three full decades and seven installments leading up to this one, I think it is safe to say “Mission: Impossible” has become a reputable franchise. Not every installment has worked for me. The second film is overly goofy despite one or two okay scenes. Other than that, I had a ball watching the franchise over the years. Tom Cruise not only shines as his character, Ethan Hunt, but his commitment to making the best movie possible alongside his fellow filmmakers is deserving of my respect.

This is the latest “Mission: Impossible” project directed by Christopher McQuarrie. The bad news is that this is probably his weakest installment yet. But I feel the same way about the McQuarrie-directed “Mission: Impossible” installments that I do when it comes to Pixar movies. Even a weak “Mission: Impossible” installment directed by Christopher McQuarrie, like a weak Pixar film, is typically a swell time. And a swell time this is.

Am I disappointed by the outcome of “Mission: Impossible – The Final Reckoning?” I would not necessarily say that. But I should note that my expectations for this film were, perhaps, unfairly high. The track record for this franchise has been excellent, especially in recent years. Per usual, a lot of the action and stunts done in the film were done for real, on location. Based on the marketing, this was also supposedly the last time that we would see a film in this particular franchise. After all, Tom Cruise is getting up there in age. There was a lot riding on “Mission: Impossible – The Final Reckoning.” Having seen the film, I can say it is, overall, good, but not fantastic. That said, there were plenty of “fantastic” things in what is ultimately a “good” film.

If you are familiar with the “Mission: Impossible” movies, chances are you know about all the bonkers stuntwork that goes into them. If I had one critique with the stuntwork in this film, it is that the main stunt sequences in this film are semi-borrowed from “Mission: Impossible – Rogue Nation.” You may remember that film having a scene where Ethan Hunt hangs on the side of a plane. You may also recall that film having an underwater scene as well. Variations of those two concepts make their way into “Mission: Impossible – The Final Reckoning.” That said, the sequences in this eighth film are done on a much bigger scale than they are in the fifth film. The two sequences, which take place in a submarine and around a canyon respectively, are worth the price of admission. If there is any reason not only to watch “Mission: Impossible – The Final Reckoning,” but to get off your couch and watch it in a theater, these two scenes make for a compelling argument.

In fact, if I had to be honest, the sequence around the canyon is maybe the franchise’s best. To me, this film felt like watching “Revenge of the Sith,” which deep down, might be a personal favorite “Star Wars” installment, even though its flaws do stand out. For example, even though I had a blast watching every minute of this film as it went by, I truthfully think the pacing could be a smidge better. The film completely caught my attention, but I should note that I was watching it in IMAX. The true test would be to see what it is like to watch this movie at home. I would be curious to see how that goes because I had a great time watching this film in the theater despite it feeling overstuffed. In fact, much like “Revenge of the Sith,” I will likely remember this film most for its franchise-best climax. This is a film where you are not only concerned that its protagonist might not make it out alive, but you have to wonder if the actors had their hearts beating out of their chests while filming.

Speaking of not making it, “Mission: Impossible” is truly a film where the mission at times feels, well, impossible. That is easy for me to say as someone watching this in an auditorium. But not only does the mission itself reek of enormous stakes, the film does a great job at presenting the worst case scenario. Both through its visuals, and the thoughts racing through my head while watching everything play out. The film is also quite timely with its interpretation of artificial intelligence. We got glimmers of the AI, also known as “the entity,” in the previous installment, but here we get a better, more terrifying glimpse.

There are a lot of “Mission: Impossible” movies out, and for some viewers, they might not know every little detail about them or have seen all the movies. This film contains tons of flashbacks to previous films. The flashbacks did not bother me, but there were a lot more in this film than I was expecting. I get why they are there. You want to remind viewers where things have gone in this series. But I would be curious down the line to see if there would be any attempts at making a future cut of this film where the flashbacks are reduced. I would be curious to know how that turns out.

If I had any other complaints about the film, I do think the villain could have been written better. Esai Morales does a decent job playing Gabriel, but he feels like he belongs in a different film at times. Though admittedly, I did find some of his Saturday morning cartoon-like quips and expressions to be quite entertaining. While not perfect, it works sometimes. In “Mission: Impossible” speak, if I had to give him a score between the number 1 to Philip Seymour Hoffman, Morales’ character winds up somewhere in the middle of that scale. He is not perfect, but at times he oozes charisma.

And speaking of charisma, Hayley Atwell continues to prove she is a welcome addition to the franchise as Grace (left). While her character could be improved with a little more depth, watching her in these past two films convinces me that if she were to do another film like this as the lead, I would pay to see it in a heartbeat. Even in the film’s darker moments, she was able to provide a sense of fun. If I cannot have Rebecca Ferguson in this film, Hayley Atwell is more than a fine alternative.

The marketing for this film has pushed it as a big, epic finale. And in a way, it feels like it. Not only do the stunts come off as the most ambitious in the franchise, but the film concludes on a note that is satisfying. But if I had to be honest, if they announced a ninth film, I would not be mad. Other than the second one, I have enjoyed all of the “Mission: Impossible” movies, so chances are I might enjoy another one. That said, now that we are supposedly at the end, I look forward to finding out what Tom Cruise has lined up next in his career. I know he and Christopher McQuarrie have talked about projects like “Top Gun 3” but I am also excited to see what other originals he will take on in the coming years. Heck, I would like to see that one movie where he supposedly goes into space. But if he comes back to “Mission: Impossible,” I will be waiting with a smile on my face. If not, it has been a great run, and this is a solid end to a wonderful franchise.

Paramount Pictures and Skydance/Paramount Pictures and Skydance – © 2025 Paramount Pictures. All Rights Reserved.

In the end, “Mission: Impossible – The Final Reckoning” is far from a perfect film, but I cannot deny that there are a few things in it that would be considered perfect if they were judged by themselves. The underwater scene, the plane scene, the editing, the camerawork. All of it is very exciting and jaw-dropping. Like usual, returning cast members Simon Pegg and Ving Rhames offer their own hints of charisma. If you have never watched any of the other films in the franchise, there are some points where you might have questions while checking out this one, but the story does its best to answer them. This film can definitely be enjoyed by itself, but I would say at minimum, it would be best to check out “Dead Reckoning” before watching this. After all, this film, while not specifically titled as such, is a part two to that one. Tom Cruise and Christopher McQuarrie, again, deliver another thrilling action flick that despite it being great, is ultimately their worst in this franchise. Note my specific use of “their,” I still think John Woo’s “Mission: Impossible II” is an abomination. Nevertheless, this is a triumph that many filmmakers would kill to make. I am going to give “Mission: Impossible – The Final Reckoning” a 7/10.

“Mission: Impossible – The Final Reckoning” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for another action sequel, “The Accountant 2.” Stay tuned! Also look forward to my reviews for “Bring Her Back,” “Friendship,” and “Ballerina.” If you want to know my thoughts on the previous “Mission: Impossible” films, good news, I reviewed all of them. Click the following links to know more about my thoughts regarding “Mission: Impossible,” “Mission: Impossible II,” “Mission: Impossible III,” “Mission: Impossible – Ghost Protocol,” “Mission: Impossible – Rogue Nation,” “Mission: Impossible – Fallout,” and “Mission: Impossible – Dead Reckoning Part One.” Yes, I still call it that. If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Mission: Impossible – The Final Reckoning?” What did you think about it? Or, now that the series might be over, how would you rank the “Mission: Impossible” films from worst to best? Let me know down below! Scene Before is your click to the flicks!

The Ruse (2024): Veronica Cartwright Carries… Whatever This Is

Posted on by Jack Drees

© Mena Films, Inc

“The Ruse” is written and directed by Stevan Mena (Brutal Massacre: A Comedy, Malevolence) and stars Madelyn Dundon (Getting Grace, Lucky Louie), Veronica Cartwright (The Birds, Alien), Michael Stegar (90210, The Chosen), and Drew Moerlein (Blue Bloods, NCIS: New Orleans). This film is about a caregiver who fears for her life after she is assigned to an elderly patient at a remote seaside home.

© Mena Films, Inc

I will be honest, last May was surprisingly uneventful for film, at least for me. Yes, there are some big titles that I was looking forward to seeing like “Mission: Impossible – The Final Reckoning” and “Thunderbolts*,” but there are plenty of films from other recognizable IPs that I am not nearly as excited about like “Final Destination: Bloodlines,” “The Karate Kid: Legends,” or “Lilo & Stitch.” In the cases of these films, I am either behind on the franchise or I just do not care about seeing more of the property. This is where smaller films like “The Ruse” come in, which honestly, I went into blind. It is always refreshing to see a little film come out of nowhere and intrigue me. “Secret Mall Apartment” came out of nowhere for me earlier this year and blew my socks off. Hopefully “The Ruse” would be the next example of that.

Unfortunately, it is not.

The film is not all bad, but by the time it is over, I left feeling less than satisfied. Arguably my most consistent problem is that I found not a single moment of the film scary. This movie tends to present itself as something out of the horror genre. But when it comes to the scares, the film appears to be trying too hard during select moments to the point where said scares are not as compelling as they could be. Unsurprisingly, this film has its fair share of cheap jumpscares. I honestly found these more annoying than scary, and the more they happened, the angrier I got. Although if I had any compliment in this department, I will note that some of the buildup to the scares is not bad. But when it comes to the payoff, none of it sticks the landing.

© Mena Films, Inc

The best part of this film, without a doubt, is Veronica Cartwright. If “Thelma” deals with old age with a positive spin, then “The Ruse” is most definitely the opposite. Cartwright plays an older, retired, house-ridden woman who had a notable career in music. One can argue that Cartwright’s role is borderline stereotypical, but I also think people would find it relatable. Chances are you have seen some variation of Cartwright’s character in real life. And if you have not yet, you probably will at some point. Cartwright gives a compelling performance that far outshines anybody else in the film. Her performance is so good that it makes everyone else look insignificant.

As for the other actors, I cannot say any of them are incompetent, but the script does not do them many favors. If the dialogue is not cookie cutter, it is either expositional or unmemorable. The same can be said for the direction. Not many of the actors in this film happen to be household names. I am sure whatever comes up for this cast next will likely be bigger and better than this.

To be completely honest, whenever Veronica Cartwright is not on screen, the film becomes ten times more boring and forgettable. Cartwright is the only character that truly interested me to the point where I wanted to know more about her. I enjoyed getting to know her backstory, her mannerisms stood out, and while the film itself is not scary, she at least added a pinch of eeriness at certain points that needed them. Everyone else in this film feels wooden or lacking in personality. I cannot name a single quote from this film off the top of my head, but I will say Cartwright is given a good line here and there that either gives us a little hint into her as a character or is just plain fun to hear coming out of her mouth.

© Mena Films, Inc

There is a saying that a bad ending can ruin a good movie. In the case of “The Ruse,” I am not going to pretend the film was Shakespeare, but it had its moments. To be quite honest, I was, to my surprise, consistently engaged with almost everything that was going on. Not all of it was perfect, but I was always onboard. Then of course, the ending ruined everything. If anything, the final ten minutes of this movie had chunks of decent buildup to it, even if some of it was a little dull. But as I reflect on this film, it seems more concerned with building things and setting them up as opposed to satisfyingly paying them off.

This film’s climax honestly has a tone to it that feels like it belongs in a second act. Without giving much away, the end of this film was definitely trying to be clever, but I on the other hand was definitely trying not to be bored. The film already had a preposterous vibe that became increasingly noticeable before it got to the ending, but this crap was the icing on the cake. When I left the auditorium, I left feeling empty and unfulfilled. This movie did not have much to write home about to begin with, but this? Come on.

I said at the beginning of this review that I went into “The Ruse” blind, and I think that may have affected my experience just a bit. Throughout “The Ruse”, I mainly interpreted it as a horror flick. But if you watch the trailer, which I did while writing this review, it refers to the film as “a terrifying whodunnit.” Granted, that can fall into the line of horror, but even when the film dives into its mystery aspect, it never once engages me. If anything it comes with a hint of predictability and the supporting characters that find themselves involved in said mystery are not interesting enough to bring it to a level where I find myself engaged. I have seen decent horror movies and I have seen decent mysteries. “The Ruse” is neither of those things.

© Mena Films, Inc

In the end, “The Ruse” is one of the most forgettable movies of the year. Other than Veronica Cartwright, there is no real standout in this film other than the ludicrously paced final ten minutes that left me wanting something better than what I got. It is not the most unforgivable abomination in cinematic history, but it is by no means something I can recommend. There are barely any things I enjoy in this film, and there are a few negatives that stand out quite a bit. I wish the people behind the film luck with their future projects. I just hope they are a step up from whatever this is. I am going to give “The Ruse” a 4/10.

“The Ruse” is neither available to watch at home or in theaters as of this review’s publication.

Photo by Paramount Pictures and Skydance/Paramount Pictures and Skydance – © 2024 Paramount Pictures

Thanks for reading this review! Look forward to my thoughts on films including “Mission: Impossible – The Final Reckoning,” “The Accountant 2,” “Bring Her Back,” “Friendship,” and “Ballerina!” If you want to see my reviews for these films 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 Ruse?” What did you think about it? Or, as stupid as this question sounds on paper, I will give this a shot… What is the most forgettable movie you have seen this year? For all I know, your answer might actually be inaccurate. Maybe you saw something so uninteresting that it fizzled out of your noggin. Whatever your answer is, let me know down below! Scene Before is your click to the flicks!

Rust (2024): A Solid Western You Will be Completely Understood for Skipping Altogether

Posted on by Jack Drees

“Rust” is directed by Joel Souza (Crown Vic, Break Night), and yes, I am talking about THAT “Rust.” The one that has been all over the news the past few years after its cinematographer passed while filming. Yes, that one. This controversial film stars Alec Baldwin (Beetlejuice, Match Game), Josh Hopkins (Cougar Town, Ally McBeal), Patrick Scott McDermott (Goosebumps, FBI), Frances Fisher (The Edge of Night, Watchmen), and Travis Fimmel (Vikings, Raised by Wolves). This film mainly centers around a young boy who is sentenced to hang for the accidental killing of a local rancher.

Some of you might be thinking, why am I reviewing “Rust?” Is it right to support this movie? After all, people made it. People, hopefully, got good money for it. And some other people will get more money if this movie gets any attention at the box office. But if you look at the behind the scenes shenanigans behind the film, it lets off a bad vibe. While filmmaking in general has its challenges, “Rust” in particular is on a different level when it comes to that. The process of making “Rust” was not exactly the most robust. And I do not mean this in the way of “Don’t Worry Darling,” which to a degree, has an entertaining backstory as to what happened while it was being made. “Rust” on the other hand has one particular infamous production mishap so bad it literally shook the industry. It changed the image of Alec Baldwin while prompting some film and TV producers to announce they are committing to only using fake weapons on set. It also put a spotlight on armorer Hannah Gutierrez-Reed, who like Baldwin, was charged with involuntary manslaughter. Gutierrez-Reed was found guilty on that particular charge, and is in jail as of this post’s publication.

That said, I was genuinely curious about the film. I wanted to see how it turned out after all the drama. It was not playing in many places around me, but in a case of stellar timing, I was able to see this film in a cinema.

As I was driving through Connecticut, going to at the time what was maybe the one theater in New England playing “Rust,” I was thinking this would be at the very least, an interesting watch. I will not deny that it is, but I will also note that as I digested the film in front of me, I found it to sometimes be a hard watch knowing the context of everything around it. For the record, I work in news, so I am not under a rock when it comes to the unfortunate events surrounding this film. Obviously, there is the tragedy of this film’s cinematographer, Halyna Hutchins. There is the trial that followed her death. The fact that this film had lots of guns in it, as well as several shootout scenes did not help either. I am not going to lie, I like the film. I think it is quite entertaining. But I will completely understand if someone were to skip this film altogether.

For the most part, I like the script for “Rust.” If I had any real problem with it, I would say some of it is poorly paced. There are some characters I am not going to end up remembering compared to others. Although that particular flaw does not mean the film is incompetent. Much of it centers around the titular character, played by Alec Baldwin, as well as a young boy named Lucas, who happens to be his grandson. I think the two play off each other well. They have decent chemistry. I sort of feel bad that Lucas’ respective actor, Patrick Scott McDermott found himself within this film’s behind the scenes fiasco. He did not ask for this. Despite the film being called “Rust,” the film is ultimately not about Rust and more about Patrick Scott McDermott’s character. It essentially starts and ends with him. It is a journey to survive against the conditions and people in his way. I think McDermott did a great job as Lucas and I hope he can continue building his career from here on out. His character is also quite likable. The script does not take long to hook me into the story with Lucas’ inciting incident. I was onboard right away and could not help but root for him.

Sticking with the script, I would like to know how many drafts it had. How many last minute rewrites it received. There are one or two lines in this film that I wonder if they were put in following Halyna Hutchins’ death. There is a line that in a sense, is well used within the context of the film, but part of me wonders if it was meant as a tribute or apology for what happened. The line was about a particular gun, which Rust says ruins the lives of everyone it came across. When Baldwin said that line, it was hard not to distract myself from the film and think about the tragedy that happened because of it. Honestly, the more I think about it, the more it takes me out of the movie.

“Rust” is a western, so therefore some action is expected. Especially shootouts. Despite what I said earlier about the shootouts being hard to watch at times, I thought all the action scenes in this film were well produced. The sound design also packs a punch on occasion. It is not the most bombastic I have ever heard, but it certainly makes its presence known. Additionally, the film is pleasing to the eyes with its location choices and dramatic color palette.

I am almost hesitant to address this, but for the sake of an honest review I am going to give it a go. While much of the movie is decently shot, there are select moments where the lighting could have been better. Yes, I know, there are much bigger issues with this film than the lighting. I understand that. But there were points where I was looking at select characters’ faces and I wish there were less heavy shadows cast over them. It felt overdramatic for scenes where multiple characters are simply having a conversation. This is a western so it comes as no surprise that a lot of people wear hats, which give off shadows. When it comes to my recent lighting complaint, I am not specifically talking about any scenes where characters have hats on.

If I had anything else to say, it would be that the film sometimes dives into some tonal inconsistency. There are a couple supporting characters that are a bit more exaggerated in their delivery than others. I thought their presence in what is otherwise a fairly dramatic story was a bit weird. These characters feel like they belong in a different film. This is not a huge deal but it did throw me off.

In the end, I am not going to implore anyone to watch “Rust.” If you are uncomfortable with supporting a project based on controversy or personal values, then I am not going to force you to watch that project. If you skip “Rust,” I get it. But if I were to judge “Rust” as a movie, I think it is a decent watch. It has its problems, but it kept me entertained. I also thought the story was intriguing all the way through. While the events surrounding this movie are sad, I am glad to see everyone’s work come to life, especially that of Halyna Hutchins. As for the film’s lead, Patrick Scott McDermott, once again, he did a great job here. Hopefully the projects in his developing career build nowhere as much controversy as this one did. I am going to give “Rust” a 7/10.

“Rust” is now available to rent or buy on VOD.

© Mena Films, Inc.

Thanks for reading this review! My next reviews are going to be for “The Ruse,” “Mission: Impossible – The Final Reckoning,” “The Accountant 2,” “Bring Her Back,” “Friendship,” and “Ballerina.” 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 “Rust?” What did you think about it? Or, do you think releasing this film to the public was the right decision? I should note that part of the agreement for the film’s release involves Hutchins’ husband and son receiving profits, not the producers. Let me know your thoughts down below! Scene Before is your click to the flicks!

Thunderbolts* (2025): Familiar Marvel Characters Take Center Stage in an Unexpectedly Powerful Story

Posted on by Jack Drees

Photo by Marvel Studios/MARVEL STUDIOS – © 2025 MARVEL.

“Thunderbolts*” is directed by Jake Schreier (Paper Towns, Beef) and stars Florence Pugh (Oppenheimer, Midsommar), Sebastian Stan (The Apprentice, A Different Man), Wyatt Russell (Monarch: Legacy of Monsters, Black Mirror), Olga Kurylenko (Quantum of Solace, Magic City), Lewis Pullman (Top Gun: Maverick, Salem’s Lot), Geraldine Viswanathan (Blockers, Miracle Workers), Chris Bauer (The Deuce, True Blood), Wendell Pierce (Suits, The Wire), David Harbour (Violent Night, Stranger Things), Hannah John-Kamen (Brave New World, Killjoys), and Julia Louis-Dreyfus (Seinfeld, Enough Said). This film is about a group of antiheroes who work together on a mission where they must face the darkness of their pasts.

Photo by Marvel Studios/MARVEL STUDIOS – © 2025 MARVEL.

Before we get into my thoughts on “Thunderbolts*,” I would like to take a few moments to discuss my current feelings about the Marvel Cinematic Universe.

Every time there is a new Marvel Studios project out, I imagine that group as if they were a see-saw. The past couple years or so, I have come across a multitude of extremes. “The MCU is dead!”, “The MCU is back!”, “The MCU is dead again!”, “The MCU is back again!” Personally, the MCU is long from dead. And it always has been. There have been missteps along the way, sure. But many filmmakers would kill to have a project as successful as many of those coming out of Marvel. Yes, 2023 was a lesser year for the studio. Yes, “The Marvels” bombed… Yes, “Ant-Man and the Wasp: Quantumania” underperformed… But in the same year, we also had “Guardians of the Galaxy Vol. 3,” which was super successful. Marvel was down, but not out.

Then in 2024, Marvel churned out the highest-grossing R rated title of all time with “Deadpool & Wolverine.” And “Agatha All Along” also did well on the TV side.

Flash forward to 2025, things are not off to the best of starts. Sure, maybe “Daredevil: Born Again” is well received. But movie-wise, “Captain America: Brave New World” got old really fast. The box office was somewhat respectable, but it was low by Marvel standards. It probably would have been higher if the film did not have a 48% on Rotten Tomatoes. As for my thoughts on the film, I would say it is mediocre. It is the first Marvel film since “Endgame” I did not enjoy. That is honestly not a bad streak.

Photo by Marvel Studios/MARVEL STUDIOS – © MARVEL 2025

Now that much of the discourse of “Thunderbolts*” is finding its way online, I am not going to claim the MCU is back. Again, it never died. But I would say the MCU is in a great position right now because “Thunderbolts*” is an incredible time.

There is a sense of homogeneity from one Marvel movie to the next. While this film manages to maintain some of the cliches from prior Marvel projects, “Thunderbolts*” is undoubtedly unique when it comes to the span of the MCU. While the film features familiar characters, they have arguably never been this well written.

Photo by Marvel Studios/MARVEL STUDIOS – © 2025 MARVEL. All Rights Reserved.

Well, maybe except Bucky. He has been around for a bit. His role in “Captain America: The Winter Soldier” is rather compelling at times.

“Thunderbolts*” goes beyond being a great comic book movie, which is not necessarily a detractor by itself, and gives one of 2025’s deepest narratives yet. This film is about a bunch of nobodies who are tasked to complete a mission together. Basically the Thunderbolts are Marvel’s version of the Suicide Squad. With there being two “Suicide Squad” movies, I would put “Thunderbolts*” in between them. It is nowhere near as bad as the 2016 one, but not quite as enjoyable as the 2021 sequel directed by James Gunn.

What makes “Thunderbolts*” in particular so compelling is its handling of the core characters. Again, these are nobodies. But in some cases, them being nobody is what makes them relatable. I think a lot of people will relate to characters like Yelena because the movie dives into her struggles of having no one by her side. After all, her sister died. She has been away from her parents for some time. She does not have a partner. The movie dives into various obstacles people can have with their mental health. This film came out in 2025, and knowing some of the things going on in the world, it feels like a movie some people will need right now. I can only imagine the conversation this would have gotten had this come out some time in 2020, or 2021, back when COVID-19 started to spread around the world. “Thunderbolts*” is playing a key role in kickstarting this year’s blockbuster season. It is undoubtedly a film that a ton of people are going to see. I imagine a lot of viewers are expecting to have fun. That is a core expectation of many of these tentpole releases. Having seen the film, I can say it is in fact, quite fun. But I also walked out of this film thinking about the people in my life, my social circles, and wonders as to what my future could present should I navigate in a certain direction. Maybe some people could see this film as a bit of a downer, but I think there is enough balance throughout the story to where it could wind up being some of the most fun one can have at the movies this year.

Photo by Marvel Studios/Marvel Studios – © 2025 MARVEL. All Rights Reserved.

On that note, the humor in “Thunderbolts*” works very well. Just about every joke landed for me. The highlight for me throughout the film, in terms of comedy, is easily David Harbour. This comes as no surprise because I found him to be the standout of “Black Widow,” mainly because of his execution of that film’s more comedic moments. Neither of these films are quite “Guardians of the Galaxy” funny, but that is a tall mountain to climb.

In fact, if I had a critique for the humor, it would be that some of the jokes feel like rewrites of what we have gotten in other Marvel projects. This might not be a surprise because there are so many projects already out, but after so many of them, you are bound to follow a formula or repeat something that was done before. One joke that finds its way into the script is the characters talking about how dumb a particular name is. As someone who likes these movies, I have noticed an arguable overuse of this kind of joke. But rarely does it fail for me, and “Thunderbolts*” is not an exception to the rule. Not only did I find this film’s “name jokes” funny, but they also play a key role in the story down the line.

I am an MCU fanboy. I make an effort to see all the films as soon as they come out. But it does not mean I am ignorant of any drawbacks that come my way. And this movie has some. One that comes to mind is Julia Louis-Dreyfus as Valentina. I do not have anything against how the character was written, but if anything, I felt like Louis-Dreyfus was playing herself. Maybe this is due to watching a lot of “Seinfeld,” but when I look at Valentina and listen to her speak, I cannot help but picture a boss lady variant of Elaine.

Another flaw has to do with the pacing. That is if you can call it a flaw. The film has an entertaining first half, but eventually, things pick up fast and furious to the point where the latter half outshines the former. “Thunderbolts*” is a great film, but I am going to remember it more for the second half than the first, which was fun nevertheless.

Knowing the MCU’s track record as of late, this next flaw should not be a shock. Some of the CGI could be a smidge better. Granted, a lot of the CGI in the film is great, and collectively, the effects are much better than say “Black Widow” or “Thor: Love and Thunder.” But some of the computerized effects looked kind of obvious. Although even those that did seem obvious sometimes looked polished or buyable enough to the point where I could be forgiving of their presence.

While the CGI may not be perfect, one technical aspect that pleasantly surprised me was the color grading of the film. With some occasionally obvious effects aside, I cannot say I have seen an MCU film that looks utterly incompetent. Though a common problem I find with some of these movies is through the color palette. Sometimes the colors do not quite match the mood of the film. “Captain America: Civil War” comes to mind. While it is a more serious MCU installment, I thought the colors were a bit too gloomy and dark for what the film turned out to be, especially with the airport throwdown. The color grading in “Thunderbolts*” was also on the gloomier side, but it felt natural for the story that was being told, as well as the vibe that was lingering in the background. The colors were consistent and amazingly did not take away from the more fun moments of the film. The film was always fun, but in the back of my mind, it was also a bit of a downer when it dove into some of the characters’ struggles.

Another common MCU problem that fails to find its way here is the film’s villain. I am not going to dive into a ton of details regarding the character, but not only were they well written, but I thought they fit perfectly into the mental health motif. There is a climactic sequence involving said character that like several others in the MCU, is heavy on the special effects, but it winds up becoming a one of a kind battle that I do not recall ever seeing in this series of films. This is not my favorite MCU climax, but it is safe to say it is up there with some of the best.

Many of the characters in this film have appeared in other MCU projects. Thankfully, I can claim that you do not need to see those other films to understand what is going on in this one. While the film does reference a couple major events in the MCU that have been documented in other stories, I think an MCU first-timer can go into this film with no experience and have a good time with it. This story feels fresh, which is amazing to say considering the amount of familiar faces that make up the cast both on the film and TV sides.

Although for those who did see “Captain America: Brave New World,” there is one major event involving Bucky that is referenced in the film. It is resolved in a cop out-like manner. If you were looking forward to knowing more about that event, you get more. But not a ton. As much as I enjoyed this movie, this sort of shows the haphazardness of the MCU and how supposedly big setups in previous projects can be met with little payoff. Granted, the setup paid off. But perhaps barely.

If I had any other notes regarding the film, I will note that this is the first MCU appearance of Geraldine Viswanathan, and I thought she did a good job. At one point, her character kind of puts things into perspective for the younger people living in this universe, particularly how some of the major events such as the Battle of New York might come off as something that would now be covered in a history class. I thought that was a nice touch. For those who do not know Geraldine Viswanathan, she is a super talented young actress. This is not her best work. If anything, I recommend checking out the TBS series “Miracle Workers” if you want to get a true sense of Viswanathan’s comedy chops. But I am glad to see her make her way into the MCU.

By the way, there are two extra scenes during the credits. And without giving anything away, I got a big, fat laugh while watching the mid-credits scene. There is some line delivery in the clip that simply amounts to perfection.

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In the end, I would give “Thunderbolts*” two big thumbs up. This was a phenomenal time at the movies. Florence Pugh overdelivers in her lead role. David Harbour is comedy gold. Sebastian Stan is stellar as usual. And Lewis Pullman does a great job playing another supporting character named “Bob” following his efforts in “Top Gun: Maverick.” I am looking forward to seeing what the next few months bring in terms of blockbusters. If this year’s upcoming tentpoles are as good as “Thunderbolts*,” then the summer movie season is gonna rock. I am going to give “Thunderbolts*” an 8/10.

“Thunderbolts*” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Rust.” Yes, that one. The movie was not playing in too many theaters, but I was at the right place at the right time, and managed to check it out a few weeks ago. Look forward to my official thoughts coming soon. Also on the pipeline, I have reviews coming for “The Ruse,” “Mission: Impossible – The Final Reckoning,” “The Accountant 2,” “Bring Her Back,” and “Friendship.” If you want to read 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 “Thunderbolts*?” What did you think about it? Or, with this being the last MCU movie in phase 5, what did you think of this phase overall? Do you have a favorite film or TV show? Personally, my favorite project was “Deadpool & Wolverine” by a clear mile. Let me know your faves down below! Scene Before is your click to the flicks!