“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!
WARNING: The following post is over 14,000 words long. As of this publication, that is more words than the total episode count of “The Simpsons…” multiplied by 18. Get a bag of popcorn. Get a soda. Get in a comfy chair. Do whatever makes you happy. Take a break if you have to, and come back when you’re ready. But most importantly, enjoy the show.
Hello, and welcome to the 6th Annual Jack Awards! For those who did not experience the 1st through 5th Jack Awards, do not worry, you do not need to go back and read those to understand this one.
This is a celebration of the many movies that came out in 2023. Or as Taylor Swift calls them, those things that rearranged release dates so she can take up more screens. We have a great ceremony ahead where we will recognize all the films that yours truly saw throughout the span of 2023, including 10 films that have the distinct quality that makes them worthy of being nominated for Best Picture!
How does the show work? There will be a list of categories ranging in a multitude of aspects that go into making a movie. Categories like Best Supporting Actor, Best Original Screenplay, Best Cinematography, and so on. There will be five nominees in each category, but only one will win. The key thing about this show, is that it is determined by perhaps the most selfish voting body in the history of mankind. As it is only run by myself. I will be determining the winners for all these categories. Except for one. Because a couple weeks leading into the show, I announced the nominees and gave you all a task. I listed what I found to be the 10 best movies of 2023 leading into this ceremony. And you all got to vote on your favorite. The votes have been tallied, and the winner, which will be revealed at the end of the show, will be this year’s Best Picture!
Lastly, if it must be known, all the films presented here must have had a theatrical release. If you were looking forward to finding a film primarily made for a streaming service like Netflix and Disney+, one that went straight to TV, straight to DVD, taking home Best Production Design, don’t get your hopes up. We are here to talk about movies, not television. There is a difference. That said, I want to start off this post by congratulating everyone who made a movie in the past year. And this includes the movies I did not like. I recognize it is hard work. A lot of time has gone into these projects, and I admire your efforts. With that being said, let’s start the show!
To kick things off, we are going to be doing a monologue. It is time for Jack Drees Tells Jokes to Nobody in Order to Please Himself!
There is no audience during this ceremony, and therefore, there shall be no laughs. So, for those experiencing this ceremony today, please use your imagination and pretend you are listening to me live telling you all sorts of random crap. And I must say, 2023 was an interesting 365 days. I am not gonna sugarcoat it. Last year was rough for the film industry. Much like 2020, there felt like a deficit of movies, particularly bigger ones, but for a justifiable reason. That said, I saw plenty of wonderful movies over the past year, including some all-time greats. Industry-wise, this was a lesser year. But if you’re talking about the movies that ultimately came out, I would be lying if I did not say 2023 had some banger moments for cinema. Unless you were a Ken, killed by Sisu, annihilated by John Wick, or stomped on by Mario.
Of course, we cannot talk about 2023 cinema without addressing the strikes. On May 1st, the Writers Guild of America announced all writers within the union will strike from their work on film and television. The combined industry didn’t quit, they were just fading to black.
In July, while the writers were still on strike, the Screen Actors Guild also announced a strike of their own. There were so many picketers out there this year. What a huge, committed cast! Everyone went from trying to remember their lines, to the picket lines!
“Killers of the Flower Moon” became one of 2023’s most prestigious films. Directed by Martin Scorsese, the film is about an FBI investigation into the murders of a Native American tribe in Oklahoma. Star Leonardo DiCaprio expressed his excitement regarding the project, but said once it turns twenty-five, it’s over! He’s never talking about it again!
Best Buy announced in October that they were officially going to stop DVD sales. Honestly, Best Buy should be absolutely embarrassed. There is a Blockbuster that is still open and selling movies to this day! It’s true! It’s in Oregon! Imagine getting one-upped by the butt of going out of business jokes since the late 2000s! Best Buy, you had a chance to come out on top and you failed miserably! Just wait until this Blockbuster starts selling fridges and we’ll see who’s winning then.
Speaking of DVDs, Netflix also stopped their DVD-by-mail rental service. Netflix CEO Ted Sarandos made the huge announcement to the world with the preface, “Hey, in case you missed it! We amazingly still have DVDs!”
“Spider-Man: Across the Spider-Verse” is one of the year’s biggest, brightest, and most innovative animated films. The film is nominated for 5 awards tonight, including Best Animated Feature and Best Picture! The Daily Bugle calls it “The worst movie ever made.” As far as I am concerned, this only means every other outlet liked it.
National Cinema Day made a comeback this year! The initiative, which happened on Sunday, August 27, is designed to give discount tickets and deals to moviegoers for one day. So now instead of paying an arm and a leg to see a movie, we just pay a finger!
…They call it the Banshees of Inisherin special!
Yes, I know that’s a movie from 2022, not quite this past year. It’s a little irrelevant. But if that’s your comeback. I would flash a finger at you, but I can’t, because it’s chopped off!
One of my biggest surprises this year was “Godzilla Minus One.” The latest film featuring one of the world’s most famous creatures was a roaring good time! The film is nominated for six Jack Awards, including Best Picture tonight. Because nothing says Best Picture like “Big lizard has a hissy fit with tall buildings.”
Moving on from the King of the Monsters to King of Rock and Roll’s wife, let’s talk about “Priscilla!” A24’s new film, “Priscilla,” also nominated for three awards including Best Picture, is a coming-of-age story about the woman many would come to know as Priscilla Presley. I’m not going to lie, I love the movie. I really do. But I had somewhat low expectations sometime before going into it. Safe to say, I had a suspicious mind.
Last year during the Jack Awards, “Elvis” was nominated in multiple categories. This year, the title character’s spouse’s movie is being honored. Again, that movie being “Priscilla.” Fun fact about “Priscilla,” there is not a single song by Elvis Presley in it. Yeah, Elvis Presley Enterprises did not approve of the use of the artist’s music. When it came to “Priscilla’s” music, the people behind it were looking for a little less conversation from Elvis and a little more action from everybody else.
As of 2023, the Walt Disney Company is officially 100 years old. According to the RSPCA, an animal charity in the UK, mice usually live for about three years. At this point Mickey Mouse should be wrinkled and using a walker! Actually, I take that back, Mickey should be rotting and unable to move! What’s his secret?
To celebrate Disney’s 100th anniversary, the company’s animation division released “Wish”, a film about a girl named Asha who wishes upon a star only to have chaos unleash on her homeland. By the way, the film has a nomination tonight for Best Original Song. Congratulations! And to truly honor the 100th anniversary, Disney had all the customers hoping to see this in a theater wait in a two hour long line before they could get in.
Warner Brothers also turned 100 last year. So, in honor of the occasion, Warner Bros. Discovery CEO David Zaslav announced the company will be making 100 tax write-offs.
Warner Brothers released four DC movies in 2023. Despite what the title may suggest, I can confirm “The Flash” is more than a second long.
The last of the Detective Comics Extended Universe films released this year was “Aquaman and the Lost Kingdom.” This film is supposed to close out the DCEU for good. So now it’s sleeping with the fishes.
“The Super Mario Bros. Movie” came out this April and it was a smash hit at the box office. By the way, its song “Peaches” is nominated tonight for Best Original Song. The movie made so much money that Mario can finally quit his dayjobs as a plumber, doctor, tennis player, golfer, and go-kart racer. He finally made it in life!
Chris Pratt voiced the title character in “The Super Mario Bros. Movie.” And to prepare for the role, he ate mushrooms, practiced his jumping, spewed fire and ice at turtles, and pulled down flags on a regular basis.
Chris Pratt also reprised his role as Star Lord in “Guardians of the Galaxy Vol. 3.” And to prepare for that role, he painstakingly refreshed his memory on how to talk to trees.
One of the biggest movie events of the past summer was Barbenheimer. For the people who only saw “Mario” this year, Barbenheimer is the combination of the popular titles “Barbie” and “Oppenheimer,” both of which came out on July 21st. It was the summer of bombs, bombshells, and box office results so explosive; you would think Michael Bay manufactured the results himself.
“Oppenheimer” is the latest film from Christopher Nolan. I’m sure his next film, “Tenet,” will be just as exciting.
…
If you did not get what I just said, I should note, the joke hasn’t happened yet.
You know, it is crazy how a few years ago, “Tenet” was heavily marketed as the film to save cinemas. And in some ways, it brought people back. But it took films like “Godzilla vs. Kong,” “Spider-Man: No Way Home,” and “Top Gun: Maverick” to crack the code. I wish you could have understood what I just said, but Christopher Nolan is in charge of this joke, and the sound mix seems to be a bit off.
…On that note, I should mention “Oppenheimer” is nominated for Best Sound Editing and Best Sound Mixing tonight. The sound in “Oppenheimer” was so powerfully authentic. I can prove it by how many times I shouted “WHAT?!” to somebody when they talked to me after seeing the movie.
“Barbie,” under the vision of Greta Gerwig, became one of the highest-grossing films ever directed by a woman. In a surprisingly charitable move, Gerwig used the money she earned on Barbie to buy Margot Robbie and Ryan Gosling a life-sized dollhouse.
“Barbie” used so much pink paint to design its sets, that the world experienced a shortage of the product while filming. 2022 must have been an atrocious time to open a Baskin Robbins location. That’s literally a huge portion of your identity! Pink, ice cream, and helping Ant-Man when he is in between jobs! That’s Baskin Robbins in a nutshell!
When it comes to Barbenheimer, “Barbie” ultimately ended up making more money than ”Oppenheimer.” In retrospect, if “Oppenheimer” had Taylor Swift in the film, maybe it would have had a chance of winning the box office. Instead, they had to settle for just the biggest MCU star.
AMC Theatres announced over the summer that they could run out of money in 2024. Thankfully though, this crisis was avoided within a few days. How so? Nicole Kidman decided to donate her life savings.
Speaking of taking away people’s money, AMC announced in January they were going to slowly implement a new seating system in all their theatres. The new program, called Sightline, was going to charge people more money for “better” seats. So instead of finding five pieces of popcorn in your seat, you might find four if you pay a little extra!
The AMC Sightline program was going to charge three different prices for seats. There’s the Preferred tier, which is dedicated to the middle of most rows. There’s the Standard tier, where you pay a little less and sit on the sides or a little closer to the screen depending on the auditorium. If you decide to partake in the Value tier and sit in the front row, the price goes down even further. And if you sneak in from the outside, you make the front row bargain hunters look like fools!
AMC ended up not going through with the Sightline program. Partially because according to AMC, there was not much of a change to the number of tickets purchased for the front row, which again, is called the Value tier. Because there is nothing more valuable than straining your neck after sitting down and watching “Oppenheimer” for three plus hours.
Before we get started with the show, I want to give you all a heads up. Literally. We are going to take a moment to thank our sponsor of tonight’s ceremony. I am sure this… partnership… is not breaking their brain whatsoever. Take a look at this ad that has been put together featuring some of tonight’s nominees.
As the host of the Jack Awards, I shall declare the awards-giving to begin!
We will be starting the show the way we always do, with Best Animated Feature.
This year, Best Animated Feature has its fair share of franchise additions to properties like “Spider-Man” and “Slam Dunk” to charming new originals like “Suzume,” “The Boy and the Heron,” and “The Tunnel to Summer, the Exit of Goodbyes.” No matter where these movies came from, or what worlds they represent. They all accomplish the same goal. Make the best movie possible. Here are the nominees for Best Animated Feature.
BEST ANIMATED FEATURE
The Boy and the Heron – Hayao Miyazaki, Toshio Suzuki
The First Slam Dunk – Takehiko Inoue, Toshiyuki Matsui
Spider-Man: Across the Spider-Verse – Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
The Tunnel to Summer, the Exit of Goodbyes – Tomohisa Taguchi, Akenosuke Kanazawa, Makiko Mameda, Keijirô Taguchi
And the award goes to…
“Spider-Man: Across the Spider-Verse!”
This is almost a trip down memory lane! This is the second “Spider-Man” film to win the Best Animated Feature category. The first one being 2018’s “Spider-Man: Into the Spider-Verse!” Congratulations to Sony and everyone involved with these movies, particularly the “Spider-Verse” titles, for maintaining a healthy, lovable franchise! This film is the classic case of how you pitch a sequel. Go bigger, make it better. What may be one of the most basic marketing tactics in making a sequel actually ends up working for “Across the Spider-Verse,” because so much time and care was put into each scene. The film has a large cast, six dazzling animation styles, and a story that both stands on its own but expands lore that people have come to learn in the original film. “Spider-Man: Into the Spider-Verse” introduced a wonderful world that provided for one of the most unique comic book movies of the year. “Across the Spider-Verse” does exactly the same thing, all the while arguably improving what already made that original film so great. Congratulations to “Spider-Man: Across the Spider-Verse!” And may I remind you, this film, and two others on this list, “Suzume” and “The First Slam Dunk,” are nominated for Best Picture. This film could win the ultimate award tonight.
We now move onto Best Visual Effects. This category honors the effects that takes otherworldly concepts and brings them to ours. It honors elements in film that turn fantasy into reality. The ones that turn science fiction into non-fiction. The ones that do everything and more to immerse the viewer into a world that may not exist, but nevertheless seems believable. Here are the nominees for Best Visual Effects.
BEST VISUAL EFFECTS
The Creator
Dungeons & Dragons: Honor Among Thieves
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Transformers: Rise of the Beasts
And the award goes to…
“The Creator!”
Of the films listed here, “The Creator” is the only one that is not based on any preexisting property or franchise. The film did everything it could to create a world that centers around a future that not only feels closeby, but one that contains a great deal of verisimilitude. The four other nominees are more than deserving of their place here. They all have clean, crisp instances of CGI and visuals up the wazoo. I almost cannot imagine seeing these movies without the amazing, unbelievable effects work. But the thing about “The Creator” is that it was able to create something so lifelike to the point where it made the film itself feel twice as relevant as it could have been. “The Creator” is what happens when you stick to your guns, stick to your $80 million budget, and create a world that could only be described as one of the most polished of the year. And while $80 million is a lot of money in many circumstances, not only is it cheaper some of the other nominees, it is chump change compared to a lot of movies that come out today. And it many cases, it looks better! Let’s face it, if you are going to see a movie at the theater, chances are you are going to pay very similar prices for every movie on the list. But if we are strictly talking budgets, “The Creator” may be one of the biggest bangs for your buck on the 2023 roster. Congratulations to “The Creator!”
Now it is time to introduce our first Best Picture nominee. Throughout the show, we will be introducing the nominees for Best Picture by giving a description of the film, how many nominations they have, and inserting a trailer for your viewing pleasure.
Our first Best Picture nominee comes from Japan. And it brings forth one of its biggest and most popular properties to the big screen one more time. This reimagining on a classic premise unleashes a powerful punch. Between a gripping, hallowing, eerie vibe… An emotional, hypnotizing, edge of your seat story… And human characters that can only be described as some of the best that have ever been created for the genre… This entire movie is one of the most obnoxiously visceral and satisfying thrill rides of the decade. The titular character may be a familiar face, but you have never seen him like this. Nominated for 6 Jack Awards, this is “Godzilla Minus One.”
If you have experienced the Jack Awards before, you may be familiar with my formula for the sound categories. In the process of filmmaking, editing comes before mixing. In the process of citing the alphabet, E comes before M. Therefore, in the process of the Jack Awards, it only makes sense to present the Sound Editing category first, and the Sound Mixing category second. These films have done everything to provide an audio experience that brings endless doses of immersion and chills. Here are the nominees for Best Sound Editing.
BEST SOUND EDITING
Godzilla Minus One
John Wick: Chapter 4
Mission: Impossible – Dead Reckoning Part One
Oppenheimer
Spider-Man: Across the Spider-Verse
And the Jack goes to…
“Oppenheimer!”
This is “Oppenheimer’s” first win! For the record, “Oppenheimer” is today’s frontrunner with 14 nominations. That makes the film the second most-nominated title in Jack Awards history. And trust me, audio-wise, “Oppenheimer” blows the competition out of the water. Both literally and figuratively. Yours truly saw “Oppenheimer” in IMAX three times, and each one was sweet as the last. Not only was the audio brought with Christopher Nolan’s trademarked, over the top volume, but some of it was used to enhance the emotion of the film. There are moments where the ears are just overwhelmed but in a way that can only be described as raw. One of the best instances of audio in the entire movie are sequences involving the stomping of feet. Not only is it great sound, not only is it immersive sound, but it is drilled into my memory. There is honestly a good chance that the next time I end up hearing tons of people stomping their feet, I will think of “Oppenheimer.” With context, it might be kind of sad to think that way, but that is the power of terrific sound editing. “Oppenheimer” achieves its first win of the ceremony, and in its first category too! It needs thirteen more for a clean sweep, and seven more to beat “Everything Everywhere All at Once” as the winningest film in Jack Awards history.
And now onto the second sound category, here are the nominees for Best Sound Mixing.
BEST SOUND MIXING
Godzilla Minus One
Mission: Impossible – Dead Reckoning Part One
Napoleon
Oppenheimer
Suzume
And the Jack goes to…
“Oppenheimer!”
And “Oppenheimer” takes its second win! Christopher Nolan’s latest film dominates the sound categories! These are words I never thought I would say! The sound mixing in “Oppenheimer” is not just top tier, but it is a significant improvement over some of Nolan’s recent fare like “Dunkirk” and “Tenet.” I liked both movies. Very much so in fact. But the thing about those movies is that the sound and music were so obnoxious that it was hard to hear the characters speak sometimes! “Oppenheimer,” even in scenes where the talking may seem endless, you can at least decipher every word out of everyone’s mouth. And that is with Ludwig Göransson’s excellent score. That is with the endless instances of explosive, visceral bursts of audio that put me in the middle of each scene. Watching “Oppenheimer,” in many ways, felt like watching a slice of life. It is not a slice of life film per se. But in some ways, it felt like a documentary with slightly more epic scenes. I felt like I was a part of every moment. You could almost argue that my eyesight almost became black and white at times. The audio in “Oppenheimer” was so good that it ended up making the more visual aspects of the films all the more pleasing. Congratulations to “Oppenheimer” for its second win of the night! It takes home both sound awards!
Our second Best Picture nominee is James Gunn’s third, and likely final, installment to an iconic Marvel franchise. A band of unlikely heroes return one more time to take on the High Evolutionary, played with pure captivation by Chukwudi Iwuji. The film lets us get to know more about the backstory and origins of one of the franchise’s notable faces, Rocket. It shows us how he lived, how he bonded with old friends, and how he became the ferocious raccoon we have all come to know. The film features a killer soundtrack, bombastic action, and stunning visual effects. It is a feast for the eyes and ears, all the while delivering one heck of an adventure. Nominated for 2 Jack Awards, this is “Guardians of the Galaxy Vol. 3.”
It is time for the first acting award of the ceremony. Best Supporting Actor. They say there is no I in the word team. You gotta have some help from those around you. For Leonardo DiCaprio in “Killers of the Flower Moon,” some of the help came from Robert De Niro. For Cillian Murphy in “Oppenheimer,” much of that movie, including his performance, wouldn’t have been as iconic if it were not for the talent on display from Robert Downey Jr.. These nominations belong to five men who broke their legs in support of their craft and their individual films. And ladies and gentlemen… Do you hear that? That… is the sound of competition!!! It is our first “Barbenheimer” matchup! The double feature event of the summer makes its way to the Jacks! So let’s get to it! Maybe “Barbie” will win an award. Maybe “Oppenheimer” will win an award! We will see! Here the nominees for Best Supporting Actor.
BEST SUPPORTING ACTOR
Ryan Gosling – Barbie
Glenn Howerton – BlackBerry
Robert de Niro – Killers of the Flower Moon
Robert Downey Jr. – Oppenheimer
Jacob Elordi – Priscilla
And the Jack goes to…
Ryan Gosling for “Barbie!”
And this “Barbenheimer” matchup is a win for “Barbie.” Congratulations! He says he’s just Ken, but in the greater span of the “Barbie” movie, I would say Ryan Gosling so much more than that. He is one of the most integral characters on screen. He has an instant charm that can do no wrong. He has a performance that brings forth tons of range in various scenes. The beautiful thing about “Barbie” is how it imagines what could happen if the toys we know came to life, perhaps came to our world. And the way it goes about it sometimes delivers spectacular results. This is especially true with Ryan Gosling’s Ken. Not only is he funny. Not only is he charismatic. He dances! Sings! Flexes! As the song says, he’s great at doing stuff! And I would have to say that stuff is acting his butt off as one of the year’s most iconic and memorable characters. Many people were surprised by “Barbie” in 2023. Even though I knew to expect something unique and happened to maintain high expectations for the movie, even I was delightfully shocked by how intense and hardcore Gosling’s performance is. Congratulations to Ryan Gosling! And this is another fine, sweet, delightful addition to his Mojo Dojo Casa House! Here is a clip of Ryan Gosling from his time in “Barbie.”
Moving onto the Best Supporting Actress category. These five women brought some assistance of their own. “The Creator” may have had John David Washington, but that movie would not be what it is if not for the endless charm of Madeliene Yuna Voyles being there by his side. Of course, “The Holdovers” has Paul Giamatti, but the movie was made even better knowing that a great actress like Da’Vine Joy Randolph could be in several scenes with him. These five women brought their best to their roles, and now they are recognized as the nominees for Best Supporting Actress.
BEST SUPPORTING ACTRESS
Viola Davis – Air
Madeliene Yuna Voyles – The Creator
Minabi Hamabe – Godzilla Minus One
Da’Vine Joy Randolph – The Holdovers
Emily Blunt – Oppenheimer
And the Jack goes to…
Da’Vine Joy Randolph for “The Holdovers!”
“The Holdovers” is one of the most charming movies I have seen all year. But even with its endless comforting vibe, it does have its moments where things take a bit of a downward turn. And a large part of that is based on the presence of Da’Vine Joy Randolph as the character of Mary Lamb. Throughout the movie, we find out that she is a lunch lady who is dealing with the loss of her son. And while we may get a sense that the character may be a positive individual, there are various subtleties to help realize that there is more than meets the eye. But this is what the best performances do! They give a multitude of emotions, and this one is no exception! This multitude is best exemplified by a scene from a Christmas party where we see the character taking everything in, but also realizing how much she misses her son. It is a scene that provides a defining moment for every character in this film, including her. It helps us get to know her weaknesses, her pain, her grief. It is just a small fraction of a performance for the ages. Here is a clip of Da’Vine Joy Randolph in “The Holdovers!”
Our third Best Picture currently stands as the fourth highest-grossing Japanese film of all time. Makoto Shinkai is back with a brand-new movie and vision to captivate audiences everywhere. The movie is stunningly animated, brilliantly voiced, and gorgeously colored. It follows a young girl who discovers what it means to be a closer, or someone is supposed to close doors to prevent incoming disasters. Not only is the film easy on the eyes, but also the ears. The sound is thundering and the music is booming. It is easily one of the most immersive theatrical experiences of the year. The film also asks and brilliantly answers the question, “What if a person’s body and soul entered a three-legged chair and brought it to life?” Nominated for 4 Jack Awards, this is “Suzume.”
They say no film is perfect, and those who say that are absolutely right. For example, “The Hunger Games” does not have a ton to do with eating. There are more uses of guns than knives in the “Blade Runner” series. And last time I checked, there are not many wolves on Wall Street. No film is perfect. Even the films from this year. And there are many good ones, keep that in mind. Even those films have their imperfections. That is where this segment comes in. Because it is time to take the films of 2023, no matter how perfect or imperfect they are, and make them even better. It is time for the latest edition of Film Improvements.
This is a movie awards show, but it does not mean there is no room for the recognition of other art forms. For example, one of our nominees would not be possible if it were not for comic books. And another one would not be possible if it were not for television and manga. But all five of our next films would not be here today if it were not for the memorable pieces of music that play throughout each one. From vocally active choirs to banging and clanging percussion to the master’s touch of a fine conductor, these five films all have scores that both enhance the film as its being watched, and may also be played elsewhere once the film is over. Here are the nominees for Best Original Score.
BEST ORIGINAL SCORE
The Boy and the Heron – Joe Hisaishi
The First Slam Dunk – Satoshi Takebe
Godzilla Minus One – Naoki Satô
Oppenheimer – Ludwig Göransson
Spider-Man: Across the Spider-Verse – Daniel Pemberton
And the Jack goes to…
Joe Hisaishi for “The Boy and the Heron!”
To be honest, of all the categories during this show, this may be the hardest one to declare a winner. All are deserving, but I have to pick one. And the reason why I picked “The Boy and the Heron” is because the soundtrack throughout feels the most diverse. Not only do we get a good variety of tracks for the taking with all sorts of different sounds and tunes, but all of them are done well! Not only that, but it seems to match the otherworldly feel of the film from start to finish. “The Boy and the Heron” is one of those movies whose best moments are about discovery, exploring the unknown. When it comes to world-building, it is one of the year’s finest examples of that. The music in “The Boy and the Heron” not only work as great singular pieces, but they do a spectacular job at matching the visuals, the art style, the characters, every little sprinkle you could imagine. And it is all wound together beautifully with an admirable protagonist who takes on engaging obstacles. It is no wonder why this film’s director, Hayao Miyazaki, brought Joe Hisaishi onboard one more time to conduct his latest film. The two previously worked together on films like “Kiki’s Delivery Service,” “Spirited Away, and “Howl’s Moving Castle.” Hisaishi has always had a magic touch with his work and it has all led to this. One of his best creations yet. Fun fact about “The Boy and the Heron,” there was one piece of music that conductor Joe Hisaishi presented to director Hayao Miyazaki on his birthday. And Miyazaki loved it so much that he made it the main theme for the movie. I can tell you right now, it is a fine choice. There are several variants of the piece throughout the film, and this is one of them. Here is a sample of the music, particularly the main theme, simply known as “Ask Me Why,” from “The Boy and the Heron.”
Our previous category was about things that you hear. Now let’s move onto the things that you see. And what I see are five dazzling pictures that put all their glitzy, glamour-esque glory onto the screen. Specifically, its talent. And more specifically, the makeup and hairstyles on the talent. This category is dedicated the makeup artists and hairstylists who have done everything they can to make the movie’s talent pop, represent an era, or blend right into their character like a chameleon. It is time for “Barbenheimer” matchup number two! Here are the nominees for Best Makeup and Hairstyling.
BEST MAKEUP & HAIRSTYLING
Barbie – Ivana Primorac
Ferrari – Marcelle Genovese, Marco Pompei, Brian Wade, Scott Wheeler
Maestro – Kazu Hiro, Kay Georgiou, Lori McCoy-Bell
Oppenheimer – Luisa Abel
Poor Things – Nadia Stacey, Mark Coulier, Josh Weston
And the award goes to…
Ivana Primorac for “Barbie!”
That’s another win for “Barbie!” So far, it has defeated “Oppenheimer” twice, and individually, the movies are taking home two trophies! Double trouble! But I can tell you, there is no trouble in the makeup department in this film. This film is like seeing a giant toybox come to life. It is almost amazing, but almost not surprising, to think that something so heavily associated with a child’s fantasy could translate this well to the screen. Never has it been more appropriate say these characters are dolled up to the max! Out of all the movies this year, it is fair to say that “Barbie” may be the best one when it comes to hair. Margot Robbie’s character very much resembles what many people think of when it comes to the idea of a Barbie doll. One of the more memorable scenes in the entire movie is where the narrator jumps in and rejects the idea that Margot Robbie isn’t “stereotypical Barbie pretty.” Well, this win proves the narrator right! Other Barbie doll characters like those played by Issa Rae, Kate McKinnon, and Alexandra Shipp also sparkle and shine on screen with their unique styles. And as for Ryan Gosling as Ken, never has the actor looked more like a blonde boy toy. His hair is puffy, wild, and stylish. It completely works! And it is all due to some magical behind the scenes work. Congratulations to Ivana Primorac on the win!
Our fourth best picture is like a great basketball game. Fast-paced, intense, and engaging. Inspired by the “Slam Dunk” manga and television series, this film is about Ryota Miyagi. A point-guard for his high school basketball team who plays the game in honor of his late brother. The story is mainly set around a high stakes match against a rival team, and the game itself never feels low in stakes. The film is not short on non-linear storytelling and flashbacks. All of it is essential to tell a story that starts with a bang and ends with a swish. With a well-established rivalry and fantastic set of characters, this is not only a spectacular piece of animation, but it joins the ranks of the greatest sports movies ever made. Nominated for 3 Jack Awards, this is “The First Slam Dunk.”
Each and every year during the Jack Awards, we give out two Lifetime Achievement awards. This includes the Roger Deakins Award, which honors someone who has made outstanding contributions to film and cinema. Additionally, we also hand out the Stan Lee Award, which honors someone who made equally outstanding contributions, but is no longer with us. We will award that one later in the show. For now, it is time for the Roger Deakins Award.
This year’s Roger Deakins Award is given to a fantastic filmmaker. Born in 1941 in Tokyo, Japan. This mind is considered one of the greatest in the history of animation. To say he is a master of anime is an understatement. This man who would become one of the industry’s most iconic names joined Toei Animation in 1963. During his time there, he helped with notable productions such as “Doggie March” and “Gulliver’s Travels Beyond the Moon.” He worked with another notable name in the field, Isao Takahata, who he would also collaborate with after moving to another animation studio, A-Pro. Together, they co-directed “Lupin the Third Part I” released in 1973. He also worked at Zuiyō Eizō, which would later be known as Nippon Animation, and Tokyo Movie Shinsha. For the latter, he helmed his feature-length directorial debut. That film being “Lupin III: The Castle of Cagliostro.” He also directed the television series “Sherlock Hound” in the 1980s. In that same decade, he would be working on the manga “Nausicaä of the Valley of the Wind,” which he would adapt as an animated film released by Toei Company. In 1985, he would go on to co-found Studio Ghibli with his collaborator, Isao Takahata. Today he is known for directing many of the studio’s iconic works. These include “Castle in the Sky,” “My Neighbor Totoro,” “Kiki’s Delivery Service,” “Howl’s Moving Castle,” and “The Wind Rises” just to name a few. His 1997 feature film, “Princess Mononoke” was for a time the highest-grossing film in Japan. His 2001 feature, “Spirited Away” received endless acclaim and just so happened to hold the top spot at the Japanese box office for 19 years. To this day, it remains the country’s second-highest grossing film. It is also the second film to win the Academy Award for Best Animated Feature, beating notable western competitors like “Ice Age” and “Lilo & Stitch.” He also has a Critics Choice Award, a Golden Globe, and several Annies. This is on top of many other wins and nominations from various platforms. His cinematic legacy lives on today. His son, Goro, directed “Tales from Earthsea,” “From Up on Poppy Hill,” and “Earwig and the Witch.” His latest feature, “The Boy and the Heron” is being recognized tonight. This was said to be his last film, but Studio Ghibli vice president Junichi Nishioka said in September 2023 that he comes to the office daily to plan his next film. Whatever that next film is, it will add to an already historic library. Ladies and gentlemen, this year’s Roger Deakins Award goes to Hayao Miyazaki.
Honorary Award recipient Hayao Miyazaki during the 2014 Governors Awards in The Ray Dolby Ballroom at Hollywood & Highland Center® in Hollywood, CA, on Saturday, November 8, 2014.
First off, shoutout to our friends at the Oscars for taking all our celebrity guests. Hope they have a good time in a couple weeks. But more importantly, the work of Hayao Miyazaki is some that will never be forgotten. His accomplishments are some of the finest amongst his peers in animation, and an enormous rival to those even in live-action. Between his many originals and even some work on previously established projects, he gives every bit his all. Miyazaki is being honored tonight for his work on “The Boy and the Heron,” which may or may not be his last film. Who knows if he’ll announce another one?… But as far as I am concerned, he has released banger after banger after banger. So, if he does come out with another project, the numbers don’t lie. Chances are it will be a banger. Congratulations to Hayao Miyazaki.
Now, the way I personally much of experienced Miyazaki’s work was through physical media. I watched most of his movies on Blu-ray. And to buy some of those Blu-rays like “My Neighbor Totoro” and “Spirited Away,” Best Buy was a good store to go to. Key word… Was. That is because Best Buy was in the news this year for a significant reason. The popular electronics chain announced that in 2024 they are going to get rid of their movie inventory. That goes for all DVDs, Blu-rays, and so on. As someone who goes to Best Buy every week to press my luck at picking up a new title, this is an issue near and dear to my heart. Obviously, I love my movies. I go to the theater all the time. Thank you, AMC A-List… But when it comes to the home experience, I love being able to hold movies and possess them. I thought I would take a moment to record a trip to a local Best Buy to see what the inventory is like in its final days. And if you are watching this several years from now, this is a reminder of what made people like me go to Best Buy week after week. Take a look.
Our fifth Best Picture is a showcase of the adventure of life. It dives into the journey of being a two-time immigrant. It shows both the inevitability of adapting another country’s trademarks, all the while having nostalgia for how you grew up. It is a tale of love, friendship, and finding your identity. Celine Song directs one of this year’s most romantic films and brings forth one of the most admirable on-screen marriages in a long time, all the while highlighting a long lost connection that maybe could have been something more. The film highlights the choices we make as people that change the course of our lives, and flirts with the idea as to whether those choices were meant to be or we could have backed out of it. But one choice is clear, the one where you go out and see this movie. Nominated for 4 Jack Awards, this is “Past Lives.”
And now we move onto a couple of design categories! Starting with Production Design, this category is dedicated to the people who put together some amazing sets and backdrops this year. From Barbieland to Los Alamos to 1920s Oklahoma, all of these designers are deserving of their place here. But only one can build themselves up to taking home the gold. Here are the nominees for Best Production Design.
BEST PRODUCTION DESIGN
Barbie – Sarah Greenwood, Katie Spencer
John Wick: Chapter 4 – Kevin Kavunaugh, Rand Abdel Nour, Mark Rosinski
Killers of the Flower Moon – Jack Fisk, Adam Willis
Oppenheimer – Ruth De Jong, Claire Kaufmann
Poor Things – James Price, Shona Heath, Zsuzsa Mihalek
And the Jack goes to…
Sarah Greenwood and Katie Spencer for “Barbie!”
“Barbie” takes another “Barbenheimer” victory! On that note, a hearty congratulations to Ruth De Jong and Claire Kaufmann on their nominations today, including the other three films here as well. This is the third win for “Barbie,” meaning it is now the winningest film tonight! Says a lot considering the film did not receive a Best Picture nomination! As I have established previously on Scene Before, movies are experiences. Movies are escapes. And few have brought as otherworldly of an experience as “Barbie” did this year. The film does a spectacular job at creating a world where you believe these characters actually happen to exist. Everything is pink, glossy, and colorful! Aesthetically, this is one of the finest-looking movies of the year. This movie creates an original story revolving around popularly known toys, and part of why that story works so well is because much of it is done in this attractive dollhouse-esque, toybox-like environment. It is hard to imagine Barbieland looking any other way after watching this film. Well done!
Moving onto costume design, this category is dedicated to five films that showcase the year’s finest outfits, fashions, and getups. The talent on screen wear these costumes well, and part of it is because the movie has designers who put them together well. From dolly designs to historical throwbacks, the films represented here have designers who allow their talent to dress to impress. Here are the nominees for Best Costume Design.
BEST COSTUME DESIGN
Barbie – Jacqueline Durran
Napoleon – Janty Yates, Dave Crossman
Oppenheimer – Ellen Mirojnick
Priscilla – Stacey Battat
Sisu – Anna Vilppunen
And the award goes to…
Jacqueline Durran for “Barbie!”
That is win number four for “Barbie!” For those keeping track, that’s four wins total, and it has won every Barbenheimer matchup we have done so far. Unbelievable! But you know what? It makes sense! Because when it comes to the costumes of “Barbie,” there is no other movie that goes as all out as this one does. I mentioned the film has a colorful, detailed, glossy production design, and the costumes honestly match the backdrops. They match the characters and their personalities. And they honestly look like something you would put on a toy if given the opportunity. When it comes to costume design, “Barbie” is the perfect example of quality and quantity. Not only are there tons of costumes to admire throughout the movie, but every outfit is polished and serves their purpose. To all the random dresses to the roller-blading gear to the cowboy getup, there is a lot to take in throughout the span of two hours! It all adds up to be completely fashionable. Congratulations!
Our sixth Best Picture is the fourth installment of a popular action franchise that has only gotten better with each installment. Its first film had humble beginnings with a Keanu Reeves comeback and a simple revenge plot. Since then, it has expanded into one absolutely ridiculous thrill ride of a saga. This movie is the definition of epic. And I mean that in more ways than one. Between its long runtime, fast-paced sequences, globe-trotting adventure, emotional scenes, and one of the most painful trips down a stairwell ever caught on camera, this film is massive. Keanu Reeves is not only thinking he is back, but he is also knowing it this time and giving 110% as the titular character. We also see the return of franchise mainstays played by Laurence Fishburne, Ian McShane, and the late Lance Reddick. And that is not to say the newcomers fail to bring their A-game. Because the performances from those including Donnie Yen, Bill Skarsgård, and Clancy Brown just to name a few, help make the movie as compelling as it is. Nominated for 4 Jack Awards, this is “John Wick: Chapter 4.”
In 2023, the Writers Guild of America went on a long, hard fought strike. One of the reasons why writers went on strike this year against major studios, specifically those represented by the AMPTP, was due to terms regarding use of A.I.. When the strike ended, it was agreed that A.I. could not be credited as a writer. These writers struck for the ability to continue their craft without worry, and with a 99% vote in favor of a new contract over the fall, it is safe to say the writers are proudly continuing to do what they love. These writers are coming up with stories that are totally extraordinary, totally admirable, and totally human. We are honoring ten films tonight for their brilliant writing. Five of them are adapted. Five of them are original. All ten are made by the people for the people. Here are the nominees for Best Adapted Screenplay.
BEST ADAPTED SCREENPLAY
American Fiction – Cord Jefferson
BlackBerry – Matt Johnson, Matthew Miller
Oppenheimer – Christopher Nolan
Poor Things – Tony McNamara
Spider-Man: Across the Spider-Verse – Phil Lord, Christopher Miller, Dave Callaham
And the award goes to…
Tony McNamara for “Poor Things!”
Going back to what I said about films being escapes, “Poor Things” is another great example of that. And that is most certainly highlighted with its screenplay. Yes, it takes some inspiration from “Frankenstein” and is based on previous work, but it has a feel to it that can arguably be described as original. There is no other movie from this year that feels like this one. While Yorgos Lanthimos did not write this movie, Tony McNamara crafted something so beautiful to match the wacky, cuckoo, colorful style Lanthimos had in mind and brought to the screen. And this screenplay has the essentials of what a movie experience should be. It is funny. It is emotional. It gets you attached to the characters. There are some deep scenes that enhance certain characters and their backstories. The entire movie feels like it was written for its own universe. It is something that we could never obtain, even in our future. But it is a universe that for a couple of hours, I would not mind visiting. Congratulations to Tony McNamara and his work on “Poor Things.”
And now, onto the Best Original Screenplay category, here are the nominees!
BEST ORIGINAL SCREENPLAY
Air – Alex Convrey
Bottoms – Emma Seligman, Rachel Sennott
The Holdovers – David Hemingson
Maestro – Bradley Cooper, Josh Singer
Past Lives – Celine Song
And the Jack goes to…
Celine Song for “Past Lives!”
This is a film whose dedication to authenticity knows no bounds! The film proves that great stories, even original ones, have to come from somewhere. And in the case of “Past Lives,” the film comes from the life experiences of the writer herself, Celine Song. What separates this film from its competitors is its ability to do what films do better than any other art form, showing and not telling. Of course, the film has dialogue. In fact, the dialogue is spoken in multiple languages. But even with the dialogue, you can tell the emotional backdrop is there. And that is because of Song’s personal touch. But there are tons of moments where the film takes its characters through various environments where the frame allows you to be there watching everything that is going on with minimal interruption from anyone’s voice. It is the definition of a visual trip. Every word feels real. Every interaction feels lifelike. This movie may have the single most romantic encapsulation of marriage put on screen in years. And that is while also showcasing the reality of what life could have been had our characters gone in a different direction. Every scene had my eyes and ears paying attention. This is easily one of the best movies of the year, and much of it is owed to Celine Song. It shows what it means to appreciate what you have now. It shows what it means to reminisce over what you enjoyed then. It shows what it means to love. It shows what it means to live. It shows what it means to be human. Congratulations!
Our seventh Best Picture is about an electronic that defined a few years of many people’s lives, and one that would give way to several others. This film is about the rise and fall of a company that you would literally encounter everywhere you go. It was in advertisements! Hands! Pockets! Offices! And look what happened to it! This film details the company’s humble beginnings, unbelievable tick to relevancy, and its downfall to notable competitors. It is hilarious, well-written, stupendously acted, and all around just a great dose of fun. This entertaining and thought-provoking take on geek history has all the ingredients to achieve nerdvana. Nominated for 3 Jack Awards, this is “BlackBerry.”
Our next category involves cuts. Not paper cuts. Not pizza cuts. But we’re talking rough cuts, final cuts, J-cuts, L-cuts, and sometimes, scenes that go on for so long that you wonder when it is going to cut. But let’s cut to the chase. Editing is one of the most important, individualistic aspects that defines what movies are. Without it, filmmaking would not be what it is today. And these five films have made the cut for today’s show, so it is time to give them the honors they deserve. Here are the nominees for Best Film Editing.
BEST FILM EDITING
The Holdovers – Kevin Tent
Maestro – Michelle Tesoro
Oppenheimer – Jennifer Lame
Poor Things – Yorgos Mavropsaridis
Spider-Man: Across the Spider-Verse – Michael Andrews
And the Jack goes to…
Jennifer Lame for “Oppenheimer!”
That is win number 3 for “Oppenheimer!” For those keeping track… That is “Barbie” – 4, “Oppenheimer” – 3.
And what a victory this is! This is Jennifer Lame’s third Jack nomination and second win! She was previously nominated for “Marriage Story” and won for, coincidentally, another Christopher Nolan movie, “Tenet.” And much like “Tenet,” the craftsmanship in this work is off the charts good. It is actually kind of crazy to know that a movie could be this well done. Much of why “Oppenheimer” works so well is owed to the precise timing and pacing within Lame’s work. And there are certain scenes that if they were done by a different crew, chances are they would be nowhere near as emotional. Nowhere near as gripping. And at times, nowhere near as horrifying. While “Oppenheimer” may not be a horror movie, it has a story that idealistically would have a feel that evokes scares, chills, and fear. The film is very much a visual experience. It is a trip not only through World War II, it is trip not only through a piece of history that will be long remembered, but it is a trip through a person’s mind. We see that person’s mind brought to life within the span of three hours. And what a mighty three hours it is. Jennifer Lame should be proud of her work. Congratulations! She has another Jack on her mantle!
Moving onto cinematography. These next five nominees are beautifully shot, exquisitely lit, and easy on the eyes. Without cinematography, there would be no movies. There would be no lights, there would be no camera, and there would certainly be no action. Whether they were shot on digital, film, or IMAX, these movies contain many frames that sparkle, shine, and stand out. Here are the nominees for Best Cinematography.
BEST CINEMATOGRAPHY
Asteroid City – Barney Pilling
John Wick: Chapter 4 – Dan Laustsen
Killers of the Flower Moon – Rodrigo Prieto
Oppenheimer – Hoyte van Hoytema
Poor Things – Robbie Ryan
And the Jack goes to…
Hoyte van Hoytema for “Oppenheimer!”
This is the fourth win for “Oppenheimer!” And it is a big win! Literally! So big you could fit it on an IMAX screen! For the record, this is Hoytema’s fourth Jack nomination! He was previously nominated for “Ad Astra,” “Tenet,” and “Nope!” Hoytema ended up winning Best Cinematography last year for his work on “Nope,” making this is the second year in a row he won a Jack. Much like “Nope,” “Oppenheimer” was shot using a mixture of standard 65mm film and IMAX film. But this film also uses a mixture of black and white and color. The spectrum and shot variety of this film knows no bounds. Just when you think a film of this subject matter should look bleak, they somehow make it look as pretty as can be and somehow make it work. This film was nominated in both sound categories, but you could arguably watch “Oppenheimer” with the sound off and be riveted in every frame. This is a movie that takes an event that actually happened and frame it in such a way that feels nothing more than an outrageous, nightmare-fueled fantasy. I am over six feet tall. Probably 6 foot 2 or something like that. That’s fairly tall. Not necessarily humungous, but it’s fairly tall. Having watched this film in IMAX, it has undoubtedly made me feel tiny. It is hard to believe that some of the shots in this film actually exist. There are instances of explosions, fire, and sparks that are incomparable. This is Hoyte van Hoytema’s fourth collaboration with Christopher Nolan, not to mention the fifth movie he shot using IMAX film cameras. If I were directing a movie and wanted to shoot it in IMAX, I would go by the numbers and trust Hoyte van Hoytema to give the best possible results. He knows what he is doing. He’s done it for years. Not to mention, he’s done it well. Bravo! Congrats on another year of taking home the gold!
Our eighth Best Picture is a trip through the early life of an interesting individual. Cailee Spaeny leads a brilliantly done story helmed by Sofia Coppola. Talk about a riveting, captivating, sometimes terrifying flick that takes a deep dive into a relationship featuring two prominent people. Plunging into the perspective of its titular protagonist, it delivers one of the most raw, honest, and emotional tales of the year. It centers around a character whose choices are ones they would look back on and regret, but at the same time, they come across as genuine and understandable. Overall, it is a compelling tale of first love and what one would do to continue to stay connected to one of the most popular stars of their time. Nominated for 4 Jack Awards, this is “Priscilla.”
One of the most talked about films of 2023 is “Barbie.” In fact, not only did a lot of people see the movie, the hype and conversation going into the film was sky high. It was so high in fact that Mattel, the toymaker behind the Barbie brand, announced they are going to create, get this, 45 films based on their properties. Some of these include He-Man, Barney, and Uno. How the heck are you gonna make an Uno movie?! What the heck are you gonna do? Is the protagonist gonna try to stop the villain from making him draw 4 every 5 minutes?! But there is also another property Mattel is looking to give the Hollywood treatment, and we have the first exclusive footage of the film. We can confirm it is happening, it is in the works, and we are proud to show it to you. Take a look.
This next category is gonna sing! And that is because we are moving onto Best Original Song! This year honors three animated films and two live-action films that are responsible for the creation and execution of five memorable tunes. These are the bops so good you’ll never want to get them out of your head. The lyrics so catchy you’ll wanna sing along. The beats so terrific you’ll want to headbang until the day you die. Every verse, every riff, every note has led to this. Here are the nominees for Best Original Song.
BEST ORIGINAL SONG
I’m Just Ken – Barbie – Mark Ronson, Andrew Wyatt
Wahzhazhe (A Song for My People) – Killers of the Flower Moon – Scott George
Peaches – The Super Mario Bros. Movie – Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, John Spiker
Suzume – Suzume – Radwimps, Toaka
This Wish – Wish – Julia Michaels, Benjamin Rice, JP Saxe, Ariana DeBose
And the Jack goes to…
Mark Ronson and Andrew Wyatt for “I’m Just Ken” from “Barbie!”
Hi-five to “Barbie!” Because it is win number 5! “Barbie” was a film that I knew from the beginning was going to be unlike anything anyone could have predicted. Even with that notion in mind, I can say I was blown away at times. The film has a few good original songs in it between Dua Lipa’s “Dance the Night,” Billie Eilish’s “What Was I Made For,” and I even enjoyed Lizzo’s opening song, “Pink.” The film has a few good tunes. But the track that dominates the competition is “I’m Just Ken,” sung fantastically by the one and only Ryan Gosling, who of course plays Ken. The track is one of the most integral in the entire movie. It perfectly defines his character, what he is going through, and his emotional state. So in the context of the movie, it is perfect. But of course, it would help if the song is good. But it is not good, it is bloody incredible! The lyrics are top-notch. The pace is bombastic. The song is basically what happens when a Hot Topic and the entire decade of the 1980s get married. It is a thing of beauty. If you want to hear the track for yourself, I provided two links. One is the track itself. The other one is the track in context of the film. Enjoy!
Congratulations! In more ways than one! First, congratulations to everyone who was nominated today. Second, congratulations to everyone who won today! Third, congratulations to everyone who somehow managed to make it this far into the show. You’re the real heroes! For those keeping track, we are down to the final four categories, starting with the one that honors maybe the most prominent position in film, the director. It is the job of the director to imagine their vision, and translate it into a visual medium. Because of these five individuals, we’ve had visions of lifelike dolls, a composer’s love and life story, a throwback to one of the most important times in all of history, a reconnecting of childhood friends, and an oddball, unique journey of self-discovery unlike any other. Here are the nominees for Best Director.
BEST DIRECTOR
Greta Gerwig – Barbie
Bradley Cooper – Maestro
Christopher Nolan – Oppenheimer
Celine Song – Past Lives
Yorgos Lanthimos – Poor Things
And the Jack goes to…
Christopher Nolan for “Oppenheimer!”
These are words I have waited to say for the longest time. Christopher Nolan wins Best Director. And I mean it! Nolan is responsible for some of my favorite movies ever. “Memento,” “Inception,” “Interstellar,” “Dunkirk.” All of these films have helped define my tastes. Much like tonight’s Roger Deakins Award winner, Hayao Miyazaki, I cannot say he has a single bad film on his resume. And now he comes out with his most visceral sucker punch of a vision yet. The telling of a man’s progression through one of the most important events in the history of the world, and the wild aftermath that ensues as a result. When I go watch a movie at the theater, I usually want to go and have a good time. In the case of “Oppenheimer,” the reason why I had such a good time was because it made me leave on a sour note. Because that was the point. The whole idea of “Oppenheimer,” everything the movie established, would not work as well if it were not for an emotional script. If it were not for intriguing drama. If it were not for the fact that it allowed a shift in multiple perspectives. But I think Nolan’s greatest achievement as a director of the film is simply this… Taking a concept like this, taking a script like this, and making it interesting. Because on the surface, a three hour movie featuring nothing but people talking and maybe an occasional explosion here and there, would be boring. But Nolan does his best to keep your attention, keep the pace flowing, and put his best foot forward. Per usual, Nolan’s use of IMAX technology here is astounding. When it comes to Hollywood movies, he started using IMAX scenes with “The Dark Knight” in 2008, and with his latest effort in “Oppenheimer,” his use of the technology continues to be jaw-dropping. There is nothing like a Christopher Nolan movie, and this year proves that. Congratulations!
And you know what? This is the most perfect of transitions! Because our ninth Best Picture just so happens to be the latest film from Christopher Nolan! The director of epic action films like “The Dark Knight,” “Inception,” and Jack Awards Best Picture winner “Tenet” is back to deliver his grandest outing yet. It features intense scenes of people talking in a court. People talking in a home. People talking on grass. People talking in the hallway. But that’s not a bad thing. Because there are several moments in this film that make it worth talking about. It is a three-hour masterpiece combining 65mm and IMAX shot scenes, audible sound editing, a booming score from Ludwig Göransson, and one heck of a screenplay. It is a film that I walked out of both happy that I saw it but also a little weary for the future. Much like one of his previous films, “Dunkirk,” this is yet another worthy World War II-set picture that will be remembered for a very long time. With a stacked cast from Cillian Murphy to Emily Blunt to Robert Downey Jr. to Florence Pugh to Matt Damon, this film is packed with enough star power to fill a galaxy. And if you thought a three-hour film about a guy inventing a bomb with black and white scenes would fail to get audiences in seats, think again. This film did it, and it did so perfectly. Nominated for 14 Jack Awards, I present, today’s frontrunner! This is “Oppenheimer!”
From the beginning, my objective with the Jacks has always been to put on a show. But when I look at these next five nominees, all I can say is that they are nothing more than “showstoppers.” These five actors broke a leg, then refused to end there. They utilized their chameleon-like powers. They turned into authors, businessmen, teachers, musicians, and scientists. These are the five leading actors that make this show pale in comparison to their magnificence. Here are the nominees for Best Actor.
BEST ACTOR
Jeffrey Wright – American Fiction
Adam Driver – Ferrari
Paul Giamatti – The Holdovers
Bradley Cooper – Maestro
Cillian Murphy – Oppenheimer
And the Jack goes to…
Cillian Murphy for “Oppenheimer!”
“Oppenheimer” has achieved win number six! It is one win away from tying the record “Everything Everywhere All at Once” set last year as the winningest film in Jacks history. And I’m not necessarily doing this for show, Murphy is THAT good in this movie! When I saw his marvelous portrayal of this important, notable man in July, I wondered if anything else during the upcoming awards bait season could top him, but they didn’t! The reason why Murphy’s performance works so exquisitely is because he refuses to play it up. Of course, the movie is quite fast-paced for a biopic on the building of the atomic bomb, but Murphy plays a center of the cast who frankly lives in the moment. Never once does he feel like a character. The entire time, he feels like a person. Some may reenact history. But people like Cillian Murphy choose to embody it. To capture it. To live it. In doing so, he makes a history-defining performance of his own. He is arguably Christopher Nolan’s most impeccable lead yet. It should not come as a surprise that these two are working together as they’ve established a relationship in previous works, but “Oppenheimer” brought the best out of both of these two. Film is about showing, not telling. And what several frames reveal just from Murphy’s facial expressions tell you everything you need to know about the character. When you take that and his incredible, intimate delivery, and combine it with the off the charts technical mastery this film aces across the board, you know that this is something special. And you know how I said these actors are showstoppers? Well, speaking of that, I feel like this show has been stopped a little. I cannot believe I am saying this… But for the first time in Jack Awards history, I do not have a high quality clip to share of the actor’s performance. I’ve looked everywhere but I cannot find a thing! So, I figured, as a substitute, I put a little featurette of the “Oppenheimer” crew talking about Murphy’s performance. It’s the best of a bad situation. If you so much as decide to watch, enjoy. It’s two minutes long. I’m sure they’ve had plenty of footage to work with for this video…
Moving onto Best Actress, we have five more showstoppers to discuss! These five women used their powers to bring some well realized characters of their own. They’ve turned into the heart and soul of the Osage Nation. A bartender and Uber driver who will do anything, or anyone, to have a car. A two-time immigrant whose past is being brought into her present. A revived individual who discovers what it means to live, indulge, and discover. And the woman who rose to prominence through her attachment to an equally prominent musician. The show cannot stop now, because here are the nominees for Best Actress!
BEST ACTRESS
Lily Gladstone – Killers of the Flower Moon
Jennifer Lawrence – No Hard Feelings
Greta Lee – Past Lives
Emma Stone – Poor Things
Cailee Spaeny – Priscilla
And the award goes to…
Emma Stone for “Poor Things!”
Looks like big things are in store for “Poor Things!” In fact, two big things for that matter! This is the second win of the night for the film, its first being for Best Adapted Screenplay. This is a performance that I honestly thought redefined acting. I say that without exaggeration. It is hard to come up with another performance I have seen in my entire life that is like this one. It is difficult to know whether it is the greatest of all time. There are a lot of movies out there, including some I have never seen. But this is perhaps the best performance of Emma Stone’s career. And she has brought forth a series of scene stealers and showcases of talent. She did a great job as Gwen Stacy in “The Amazing Spider-Man” movies. She was stupendous in the technically brilliant “Birdman.” She was spectacular in “La La Land.” She was great in “Battle of the Sexes.” As far as modern actresses go, there are few with as prolific, diverse, and fantastic of a resume as Stone. And despite all this praise, this is Stone’s first Jack nomination and first win! But she deserves it! She is given so much to do in this one film as Bella Baxter, not to mention as Victoria Blessington. She has to blend into this fairy tale of a universe with a scientific edge. She has to embody the personality of an infant, a child, a teenager, and someone barely trying to be an adult all in one body. It is a great mix of quantity that unleashes some unforgettable quality. There is nothing like it. Her performance defines the film. While the story has a consistently tragic flair to it, there are little doubts about its comedic edge. Stone has to balance drama, comedy, sensuality, and curiosity all at once. It is a performance that very much centers around the human condition, all the while displaying the life of someone who is spending much of their time refusing to play by the rules. And I have some good news, the show is not completely broken, because I have a decent clip showcasing Emma Stone’s performance in “Poor Things!” All is right with the world!
It is time for the second Lifetime Achievement Award. This one is known as the Stan Lee award. It is given to an individual who has made significant contributions to the film industry who is no longer with us. Nevertheless, their legacy will live on through eternity. This year’s winner is an actor and filmmaker. Born in New York, New York on March 26th, 1934, this gentleman has been active as a performer in the industry since the 1950s. He had a career in folk music – performing in groups like The Tarriers and The Baby Sitters. On the film side, his first role was in the 1957 musical “Calypso Heat Wave.” In the early 1960s, he made his Broadway debut in 1961’s “From the Second City.” He also entered the world of television, where he appeared in shows like “East Side/West Side” and “ABC Stage 67.” Over the years, he has received many accolades. He has won an Academy Award, a BAFTA, a Tony, two SAGs, a Golden Globe, and has been nominated for six Emmys. Different people across multiple generations will remember him for varying roles. One group of people will say they know him best from his work as Captain John Yossarian in “Catch-22.” Some will point to his portrayal of Bill in “Edward Scissorhands.” Others will remember him most from his sole Oscar winning role as Edwin Hoover in “Little Miss Sunshine.” Then you have another group of people fondly reminiscing over the times they’ve seen him as Lester Siegel in “Argo,” which earned him his fourth and final Academy Award nomination. He has also not shied away from animation and voiceovers. On the television side he has lent his voice for four episodes of Netflix’s “BoJack Horseman” and on the movie side he appeared in 1982’s “The Last Unicorn” as Schmendrick. His last role for the screen was in 2022’s “Minions: The Rise of Gru” as Wild Knuckles. He is also no stranger to being behind the camera. Throughout his career he directed three films, including 1971’s “Little Murders,” which was given a limited release. Reviews were positive for the picture. To this day, the film has an 80% Rotten Tomatoes audience score and a 71% critic score. Roger Ebert of Chicago Sun-Times gave the film a perfect four stars. Ebert’s eventual on-screen partner in “At the Movies,” Gene Siskel of Chicago Tribune also gave the film high praise with his own top grade of four stars. There are way too many credits to name in order to fully discuss this man’s prolific career in one show, so I am just going to say that this year’s recipient of the Stan Lee Award is none other than Alan Arkin.
Alan Arkin has lived a prolific, busy life and it is more than appropriate to honor it with pride. From comedy to television to film, he kept himself going until the end. I think a little part of us all aspire to live a life like that. All we can do is keep going until the end. Congratulations to Alan Arkin! May he rest in peace.
Our tenth and final Best Picture is a spectacular, amazing, animated sequel that would make for a great watch in any multiverse. The original film received a Best Picture nomination during the first Jack Awards, and now, we have this thrilling sequel to continue the tradition. The film sees the return of Shameik Moore as Miles Morales, a teenager living in Brooklyn who must maintain a balance between his personal life and hero life. Joining Moore is a talented voice cast including Hailee Steinfeld, Oscar Isaac, Jason Schwartzman, Daniel Kaluuya, and Karan Soni just to name a few. This is one of the most ambitious animated titles of all time with one of the longest runtimes for an animation made in Hollywood, six different styles, and tons and tons of characters, many of whom have memorable personalities and great utterances of dialogue. The film dives into a fantastic arc with its main character but also introduces compelling villains like Miguel O’Hara and the Spot. We also see the return of Gwen Stacy, whose journey is one of the most enthralling I have seen this year. The film is funny, action-packed, and full of wonder. Nominated for 5 Jack Awards, this is “Spider-Man: Across the Spider-Verse.”
Back in July, popular musician Taylor Swift held a couple concerts in Seattle, Washington. According to a seismologist, the noise during those concerts was enough to equal a 2.3 magnitude earthquake. Swifties, I see your earthquake and ask my readers to raise the roof! Because it is time to give out the biggest honor of the show, BEST PICTURE! Per usual, this category is not up to me. It is up to you! Now I pick the ten films that are to be awarded Best Picture, but I let you decide which one you think is the most deserving to win. Pretty balanced relationship I’d say. And this year we have ten of the finest films humanity has ever seen. Just to have a place amongst this group is a huge honor and everyone behind these projects should be proud. From the crews who worked tirelessly through days and nights, to the studios who greenlit the project, to the producers who put up all the money to make some magic happen. Congratulations to everyone. But… There can only be one winner. And one has been decided! So it is time to introduce this year’s nominees for Best Picture!
BEST PICTURE
BlackBerry – Fraser Ash, Niv Fichman, Kevin Krikst, Matthew Miller
The First Slam Dunk – Toshiyuki Matsui
Godzilla Minus One – Minami Ichikawa, Shūji Abe, Kenji Yamada, Kazuaki Kishida, Gō Abe, Keiichirō Moriya
Guardians of the Galaxy Vol. 3 – Kevin Feige
John Wick: Chapter 4 – Basil Iwanyk, Erica Lee, Chad Stahelski
Oppenheimer – Emma Thomas, Charles Roven, Christopher Nolan
Past Lives – David Hinojosa, Christine Vachon, Pamela Koffler
Priscilla – Sofia Coppola, Youree Henley, Lorenzo Mieli
Spider-Man: Across the Spider-Verse – Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
Suzume – Kōichirō Itō, Genki Kawamura
Once again, if “Oppenheimer” wins this award, it ties “Everything Everywhere All at Once” as the winningest film in Jacks history. Here we go…
Without further ado, the Jack goes to…
“Oppenheimer!”
This is the seventh win for “Oppenheimer.” The film has also won for Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Cinematography, Best Director, and Best Actor. The film was also nominated for Best Supporting Actor, Best Supporting Actress, Best Original Score, Best Makeup & Hairstyling, Best Production Design, Best Costume Design, and Best Adapted Screenplay. This is the second Best Picture win for a film released by Universal Pictures.
The world will remember this day! The day “Oppenheimer” won Best Picture! This is the second Christopher Nolan film to be bestowed with such an honor at the Jack Awards. The previous one being “Tenet.” This film is everything that movies should be. Entertaining. Moving. And captivating. Plain and simple. Actually, you know what? I take that back. Because it’s not simple! In fact, it is one of the most intriguingly complicated narratives of 2023! This is a film I saw in theaters three times, and each one was as sweet as the last. The film is a triumph like no other! It has a star-studded cast featuring Nolan regular Cillian Murphy as the title character. His performance is one of the most grounded, hallowing, and emotional he has ever given. Joined by him is Robert Downey Jr. as Lewis Strauss. Of course, he’s had a notable career in years prior. But after many years of contributing to the success of the MCU and having that success therefore contribute to his own, this movie answers the question, can Robert Downey Jr. maintain a career nowadays outside of Marvel? The answer to that? A definite yes. Not only does he show off in his performance, he slays it with heat vision! Both Murphy and Downey Jr. were nominated today for their acting roles, but let’s not forget one more nominee. The talented Emily Blunt as Kitty Oppenheimer, whose presence in every scene makes the movie better. She is a tour de force. But there is also plenty of magic behind the camera. The movie is shot on 65mm and IMAX 70mm film. And in no way does this feel like a throwback gimmick. If anything, it looks more pristine and appealing than most of the movies that came out this year. Not just because of the high quality of the material used to the shoot the movie, but the talent of Hoyte van Hoytema as a cinematographer. Throughout his career, he has continued to work with high quality cameras and work with them exquisitely. I cannot wait to see what he shoots next. Aesthetically, the film could not be better. The locations are beautiful. The costumes are authentic. The makeup is grounded. Top tier work all around! But of course, I need to talk about the biggest surprise for me… The sound. Now, I will not deny that Christopher Nolan’s movies have always been good when it comes to sound editing. His sound choices and ability to immerse you into the scene continue to amaze me. But even when the sound editing is good, there have been times where the sound mixing feels like an afterthought. Not here. For the first time in years, I not only felt immersed by the sound of a Christopher Nolan movie, I could essentially decipher and take in just about every word the characters say. And given how the film is chock full of dialogue in its nominated screenplay, that is especially important. In front of the camera, the film is magical. Behind the camera, it is astounding. Together, it makes for the Best Picture of 2023! Congratulations to the producers, cast, crew, and everyone involved with this film!
And I apologize because this show is already long enough, but I want to say one more thing. I want to acknowledge one of the biggest surprise events in the history of moviegoing. Barbenheimer. July 21st, 2023 will go down in the books as one of the most iconic, celebrated, epic, unmatched days in film’s lifespan. Honestly, it is one of the best things that has ever happened to movie theaters. Combined, the two movies made more than $2 billion at the box office. Both have earned rave reviews. Both have significant followings from fans and average moviegoers. It got people to dress up to go to the theater. It did so many things this year for the people who made these pictures and the viewers going to see them. And I also want to shout these movies out for this reason, “Oppenheimer” is today’s top winner with 7 awards. For the record, it was nominated for 14, including Best Picture, which of course it won. “Barbie” was nominated for 6 awards. While Best Picture was not one of them, it nevertheless ended up winning 5 awards, making it a near perfect run at today’s show. These are the two winningest movies of the ceremony with 12 awards combined. That’s more than half of the categories! It just goes to show, if you make a great movie. Put in the time, the care. the effort, your heart and soul… People will show up. You can make whatever argument you want about “Barbie” winning the box office or “Oppenheimer” winning the awards. The real winner as far as I am concerned is the audience. And I’m talking about the critics, the average moviegoers, those who go to the theater every weekend! And how could I forget the fashionistas, cosplayers, and those folks who made a last minute trip to the store to buy something pink or perhaps a suit, tie, or a hat!!! Because these people are getting two great movies that are worthy investments of their time and money. If you have not seen either of these films, you owe it to yourself to check them out. Do a double feature at some point, make a night of it, and have some fun. Congratulations to both of these films for bringing people together, creating long-lasting memories, and keeping movies alive! Cheers!
And that’s our show! Special thanks to everyone who tuned in this year for the 6th edition of the Jack Awards! Shoutout to everyone who voted for Best Picture! Shoutout to even those who accidentally clicked on the link to be here! Congratulations to all our nominees and winners! I owe my gratitude to everyone who put in tons of effort into movies this year! And it is my pleasure to honor them all here. The Jack Awards is a Scene Before tradition and I enjoy doing it every year!
For those wanting to stick around on Scene Before, I’ve got several reviews coming, including one for one of our nominees, “American Fiction!” I will also soon be reviewing “Lisa Frankenstein,” “Madame Web,” “Drive Away Dolls,” and “Bob Marley: One Love!” So for those who hate reading, movies, and guys who won’t shut up about their opinions, prepare to be disappointed! That said, thank you for the clicks! And speaking of clicks, click onto the official Scene Before Facebook page and give it a like! Scene Before is your click to the flicks!
“Argylle” is directed by Matthew Vaughn and stars Henry Cavill (Man of Steel, Mission: Impossible – Fallout), Bryce Dallas Howard (Spider-Man 3, Jurassic World), Sam Rockwell (The Bad Guys, Three Billboards Outside Ebbing, Missouri), Bryan Cranston (Malcom in the Middle, Breaking Bad), Catherine O’Hara (Schitt’s Creek, Beetlejuice), Sofia Boutella (Atomic Blonde, The Mummy), Dua Lipa (Barbie), Ariana DeBose (West Side Story, Wish), with John Cena (Peacemaker, Blockers), and Samuel L. Jackson (Kingsman: The Secret Service, The Avengers). This film centers around a notable spy novelist named Elly Conway who finds out the events she happens to be writing in her next book are similar to those that are playing out in front of her.
I have not seen all of Matthew Vaughn’s work, but I am a fan of the “Kingsman” movies. Particularly “Kingsman: The Secret Service.” I have nothing against the second one. I had fun with “The Golden Circle” even though I think there are one or two moments I would rather have not sat through. Elton John alone was worth the price of admission for me. But I would rather honestly forget about Vaughn’s latest feature film, “The King’s Man,” a prequel to those two other movies. If you asked me what the heck happened in that last movie, I honestly would not be able to tell you. I was immensely bored with it and I cannot believe it even got made.
Nevertheless, I was looking forward to “Argylle.” Vaughn’s been on a bit of a downward trend lately, but I figured a fresh idea could give him a boost. You have new characters, a fresh story, but you also have some of Vaughn’s directorial trademarks making a comeback. “Kingsman: The Secret Service” definitely has a flashy, glitzy, in your face style, but it does not mean the movie lacks a good story to back it up. The good news about “Argylle” is that if you like Matthew Vaughn’s style, you will find it here. The bad news, the story ends up falling flat on its face.
I will be fair though. The story is not all bad. If anything, the first act of the film is easily my favorite part. It is the part where I had the most fun, emitted the most laughs, and not once was I ever taken out of it. I like how they handled Elly Conway’s mannerisms and point of view throughout between how she visualizes her stories, how she puts one thing and another together, and there is also a neat first-person perspective shot gimmick that comes into play. I like those techniques. There is also some good action. There is a fight on a train that is nothing short of a thrill ride. It also introduces us to my favorite character in the film, Aidan, played by Sam Rockwell. I have not seen everything Rockwell has done, but one of my favorite works of his is his performance in “The Way Way Back,” a coming of age comedy where he plays a waterpark employee. Having seen “Argylle,” his mannerisms here reminded me of how he executed his more comedic lines in “The Way Way Back.” He is very much a scene stealer and while it is in the trailer, the way he utters, “I love this book!”, got a genuine laugh out of me in the film.
Unfortunately, once the first act concludes, the whole movie enters this spiral of madness that almost gave yours truly a headache. I saw the film in IMAX, and while I love the IMAX experience, I must say that this one was on the verge of breaking me. It was almost too loud, too zany, and too rambunctious. I love when a story keeps you guessing, when it is full of twists and turns, but there is a sense of novelty that is lost once we find out where the movie is taking its characters. The movie is twisty. No doubt about it. A tagline for the film is “FROM THE TWISTED MIND OF MATTHEW VAUGHN.” But the movie throws so much at you all at once that is overwhelming. It is like sitting through ten AP classes at once and being forced to digest those subjects at the same time! I could only take so many notes! Yeah, there are elements to this charade that stick the landing, but there are plenty of others that leave a bit to be desired.
Also, if I have to be real, while the movie has great action in the beginning, I felt it became too much to handle by the end. Going back to “Kingsman,” one of the reasons why I find “The Secret Service” to be a better movie than “The Golden Circle” is because “The Secret Service” had action sequences that appeared to consistently exist in their own reality. They were ridiculous, but they were fun. “The Golden Circle” still has good action, but there are moments where the movie tends to jump the shark that lack a sense of heightened realism. It’s almost as if they broke some sort of rulebook. By the end of this film, “Argylle” felt more akin to “The Golden Circle” than “The Secret Service.” Yeah, there were a couple stylistic moments that pop, but there are others that are too flashy and do not emit much emotion.
There is a moment at the end of the film where it basically pulls a “Batman & Robin.” Unfortunately, as far as I can recall, there is not a single ice pun in the entire film. That’s not cool at all. But what I mean is, if you remember “Batman & Robin,” there is a moment that the titular characters conveniently emit ice skates from their boots to take down some baddies. There is a moment in “Argylle” that instantly triggered a memory of that, and how stupid that instance truly is. There is something involving skates in “Argylle” that is so played up, so over the top, so ridiculous, that it had me shrugging angrily in the middle of the theater! I was dumbfounded by this! How is this convincing?! You kind of have to see it yourself to fully embrace and grasp the feeling I got as soon as it came up. I wanted to roll my eyes.
Unfortunately, “Argylle” basically feels like an adolescent girl’s cringeworthy spy fantasy brought to life, but they gave the keys to Matthew Vaughn to tidy up the writing and make a $200 million movie out of it. It’s flashy, it’s shiny, and everything is all over the place. There’s cats! There’s good-looking men like Henry Cavill and John Cena! There is a kind-hearted, but somewhat shy woman in the center of it all! But unfortunately, those elements do not come together to make a neat package. The film kind of reminded me of Guy Ritchie’s “The Gentlemen,” which from a filmmaking perspective, looks nice, but I cannot say I appreciated the story.
At the risk of beating a dead horse, if you want a fun spy movie with Matthew Vaughn, watch “Kingsman: The Secret Service!” In fact, here is another thing that movie does better! Let’s talk about animal companions! Remember how in “Kingsman: The Secret Service” all the spies had to have a dog alongside them? The way they went about that story tactic was essential and delivered plenty of emotion to everyone’s journey in the film. “Argylle” makes it clear that our character is a cat lady, but when it comes to the cat itself, it was almost like watching a Disney animated film trying to utilize its most merchandisable character to the point where the film essentially becomes a commercial. For the record, I am not much of a cat person. So you could say I am biased in my assessment here. But I will also remind you that I am the furthest thing from a dog person! I am even allergic to dogs! Despite that, I can say that “Kingsman: The Secret Service” does a significantly better job at utilizing its animal companion than “Argylle” does in spades. If you want me to be real about “Argylle,” when it comes to fare prominently featuring cat characters, this is not as catastrophic as 2019’s “Cats.” But, this movie certainly had me angrily hissing by the time it was over.
In the end, “Argylle” is just plain bad. This movie has so much gloss and glamour to the point where they just put a bunch of people on sets and forgot to make a movie. I like the cast. Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Samuel L. Jackson. These are all big names. And I imagine much like some recent action fare on Netflix such the intolerable “Red Notice,” this could factor into why the film has a $200 million price tag. Honestly, for all I know, Apple is a great streaming service. I have never used it to watch a show. But I have heard titles like “Ted Lasso” and “For All Mankind” are worth seeking out. But their movies are for the most part, forgettable. The one exception was “CODA,” which despite some cliches, was one of the most emotionally powerful movies I have seen in the past couple years. It was perfect. But from “Killers of the Flower Moon” to “Napoleon” and now this hot mess, Apple needs to get their ducks in a row and unleash a good movie. If you know me in real life, you know that I use an Android phone. I use Windows computers. I stream most of my music through YouTube. To get me to buy or invest my time in an Apple electronic would be like getting Howie Mandel to shake my hand. It would be nearly impossible. I wonder if the same fate could be coming to Apple’s movies if they continue to be this sloppily executed and poorly contrived. I am going to give “Argylle” a 3/10.
“Argylle” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for “American Fiction!” I have seen so many titles in 2023, but this was not one of them. I had to wait until this year to watch it. But I will have my review up very soon! By the way, I will not give away my final score on the film, but let’s just say that it has already been nominated for a couple Jack Awards! Which leads me to say…
THE JACK AWARDS ARE NEXT SUNDAY, FEBRUARY 25th! If you have not already done so, cast your vote now for this year’s Best Picture! Hope you tune in! Be there or be square! 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 “Argylle?” What did you think about it? Or, what is your favorite Matthew Vaughn movie? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! It is that time once again! It is time to announce this year’s nominations for the Jack Awards! The Jack Awards have been a Scene Before tradition going back to 2019. Back when it was called the Jackoff Awards. As I have explained before, I did not choose that name. It won an X poll, back when it was better known as Twitter, a much more sophisticated and engaging social media platform. The 2024 edition of the Jack Awards is the 6th edition of the ceremony. It will honor and recognize the movies of 2023. These movies come from far and wide. Most are from the United States, but there are a few outside the country as well. Just a reminder to everyone reading this post, the Jack Awards is, quite literally, Jack’s awards show. So, all the nominations and winners will be decided by yours truly, except for one. More on that at the end. This also means I have to have seen the movies listed here. Otherwise this would not be a legitimate show. This means movies like “May December,” “Nyad,” and “The Color Purple” are unfortunately disqualified. Another rule that must be noted is that every movie that is listed for a nomination has to be a theatrical release. No DVD exclusives. No straight to television fare. No streaming originals. Unless of course they played in theaters. The show will also have two Lifetime Achievement Award winners. Someone who is still with us will be taking home the Roger Deakins Award. Someone who unfortunately passed in 2023 will be remembered with the Stan Lee Award. Those winners will be revealed during the ceremony. With that said, this show is set to honor the best pieces of cinema offered to audiences in 2023, and it is time they have their moment in the sun. Here are the nominees for the 6th Annual Jack Awards!
BEST ANIMATED FEATURE
The Boy and the Heron – Hayao Miyazaki, Toshio Suzuki
The First Slam Dunk – Takehiko Inoue, Toshiyuki Matsui
Spider-Man: Across the Spider-Verse – Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
BlackBerry – Fraser Ash, Niv Fichman, Kevin Krikst, Matthew Miller
The First Slam Dunk – Toshiyuki Matsui
Godzilla Minus One – Minami Ichikawa, Shūji Abe, Kenji Yamada, Kazuaki Kishida, Gō Abe, Keiichirō Moriya
Guardians of the Galaxy Vol. 3 – Kevin Feige
John Wick: Chapter 4 – Basil Iwanyk, Erica Lee, Chad Stahelski
Oppenheimer – Emma Thomas, Charles Roven, Christopher Nolan
Past Lives – David Hinojosa, Christine Vachon, Pamela Koffler
Priscilla – Sofia Coppola, Youree Henley, Lorenzo Mieli
Spider-Man: Across the Spider-Verse – Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg
Suzume – Kōichirō Itō, Genki Kawamura
And those are your 6th Annual Jack Awards nominees! Congratulations! Per usual, Best Picture is not up to me, it is up to YOU! The list of nominees is inspired by my own top movies of the year, but I have listed them all here for you to decide which one is the greatest of them all. For those who want to vote for Best Picture, CLICK THIS LINK RIGHT HERE. The survey will expire on Sunday, February 25th at midnight! It will take you to a poll where all these movies are listed. That is the only legitimate way these votes will count. Do not even try commenting on this post, it defeats the purpose of the poll and will not be counted towards the final tally. Either way, these are the nominees of the most legitimate, ambitious, groundbreaking awards show you could ever find on a movie blog. Why? Because I said so. Therefore, it’s true! Be sure to tune into the Jack Awards on Sunday, February 25th. For those keeping track, it is the same day as the Film Independent Spirit Awards. I am sure the nominees appearing at that show in California are gonna look at this show and think, you know what? Maybe I’ll make a guest appearance on the Jacks instead. That’ll be a hoot. If you are not following Scene Before, do so now with an email or WordPress account to get the 6th Jack Awards in your feed when it arrives! Also, be sure to like the official Facebook page!
I dropped a new trailer for the 6th Annual Jack Awards on my YouTube channel, feel free to view it above! Scene Before is your click to the flicks!
“I.S.S.” is directed by Gabriela Cowperthwaite (Blackfish, Our Friend) and stars Ariana DeBose (West Side Story, Wish), Chris Messina (Alex of Venice, The Mindy Project), John Gallagher Jr. (Come Play, Underwater), Masha Mashkova (McMafia, For All Mankind), Costa Ronin (The Americans, Homeland), and Pilou Asbæk (Overlord, Game of Thrones). This film centers around a group of American astronauts and Russian cosmonauts who work together at the International Space Station, when suddenly, conflict breaks out between their respective nations back on Earth. Meanwhile, both sides are ordered to take over the space station no matter the method or cost.
If you have known me or followed Scene Before for some time, it is no secret that I love space movies. Some of my favorite movies include “2001: A Space Odyssey,” “Interstellar,” and “Star Wars.” When it comes to cinema, I may have a predisposed bias to anything that takes place in space, but it does not mean I am guaranteed to like it. For example, “The Space Between Us” stands as one of the worst travesties I have ever witnessed in the sci-fi genre. But I should note that the movie came out in February 2017. As I and others have noted, February is one of the worst months for films. Right alongside that rathole is its next door neighbor, January, so going into “I.S.S.,” I had to temper my expectations despite the trailer looking decent.
Nevertheless, “I.S.S.” has a presentable concept. I like the idea of taking an object in space that has been the subject of years of collaboration and having war break out on it between its two respective parties. The Americans and the Russians. And when it comes to handling this concept, I have to say the film is very well done. If you asked me if I wanted to go space one day, the answer is a resounding yes. But after watching this movie, it reminds me of my slight fear toward the idea. Because depending on how things go, that childlike dream can potentially become a nightmare. While it is not my favorite of the recent space fare, one movie that has always stuck in my mind both from its technical power and storytelling mastery, is “Gravity.” “I.S.S.” very much reminds me of “Gravity” because the story is not only gripping on paper, but the way it is told allows for some scary moments. “I.S.S.,” much like “Gravity,” is not the best space film I have seen. In fact, I think “Gravity” is the superior watch of the two. But I am going to be thinking about this movie for some time because some of the imagery is vividly haunting. On top of that, the way it goes about handling its characters easily strikes fear as to what could potentially happen if something goes wrong in our world, and eventually makes its way into space. Regardless of how realistic this movie is in its execution, it is one that got me thinking, and I appreciate it for that.
One reason why I think this film is good, but not as good as the recently mentioned “Gravity,” is that I am looking back at the characters, and I have to say they are not the film’s strongest asset. Do not get me wrong, they are not an insult or anything. But as I look back on the film, I do not think I will remember anybody’s name within the next month. The movie sometimes does an okay job at establishing character quirks, individualities, those sorts of things. But sometimes it feels surface level. There is one astronaut, Christian, played by John Gallagher Jr., who we learn has two daughters. They are obviously a driving force for his journey and role. But it is also hard to fully appreciate the character because we are simply told about these characters and never get a visual or audio reference to the daughters themselves.
At the beginning of the review, I mentioned one of my favorite films was “Interstellar,” and one reason why I adore that film so much is because it took its time in letting its audience get to know not just Cooper, the main astronaut, but it also let the audience know about his family. So whenever the film references his family or children, either through his mouth, or simply by showing them, the impact is so much bigger. One of the strengths of “I.S.S.” is that the film is tightly paced in its 95 minute runtime. So if you are looking for a short movie that gets the job done, this is not a bad watch. But the film sometimes suffers from its short runtime, and the more I think about it, its limited scale. The film lets us spend time with a select number of characters, but it also prevents us from having a full-fledged story. Granted, when I look back at “Gravity,” one of its standout scenes is when Ryan and Matt are just having a conversation while floating through space and we learn about Ryan’s backstory about what she does, her origins, and how her dad wanted a boy. But not only was that well written, but the movie does a fantastic job at unleashing memorable performances out of Sandra Bullock and George Clooney. The performances in “I.S.S.” serve the movie quite well. But when it comes to main protagonists, Kira Foster (DeBose) is no Ryan Stone.
But if you want me to be real, the performances, while not legendary, are genuinely good all around. The chemistry between everyone in the cast is perfect. DeBose breaks a leg in the lead role. I thought on the Russian side, Masha Mashkova and Pilou Asbæk were the two most prominent standouts. The moments where all the astronauts meet and get to know each other make for some fun bonding scenes.
Another problem I have with this film is the ending. The ending is not the worst I have seen. But it concludes in such an abrupt manner to the point where I can simply go, “Well, it’s over.” It neither left me wanting more nor did it leave me passionately angry. It just happened. It is like the movie did not how to wrap up so it just whipped something into shape really quickly and said, “Here you go!” Enjoy! Except it was not as enjoyable as it probably could have been. That’s just the reality. “I.S.S.” is both paced well enough to justify its runtime, but lacks just enough depth to make me wish it was longer.
In the end, “I.S.S.” is not the best space movie in recent times, but it is one that I do not regret seeing. The film is not getting the best scores from audiences, and while I can understand why, I cannot say I am in line with those audiences. On Rotten Tomatoes, the film has a 62% critic score and a 44% audience score. I am going to have to lean towards the critics on this one. This is not to say I loved the movie, but I would give it a thumbs up. As a thriller, it is exciting. As a space movie, it is riveting. And while it is not as terrifying as some recent horror fare, it has its moments of chills. Everyone in the film’s small cast does a good job and there are select characters I almost cannot see anyone else playing. Does the film have problems? Yes. But I will not deny that it had my eyes on the screen the entire time. For that reason alone, I would describe my experience with “I.S.S.” to be a positive one. I am going to give “I.S.S.” a 6/10.
“I.S.S.” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for the brand Matthew Vaughn spy flick, “Argylle.” I found myself giving the trailer a lukewarm response, but I have to admit in the past decade, “Kingsman: The Secret Service” has stood out as one of my more rewatched action flicks, so I cannot deny that I at least had some excitement about checking this film out. Was it worth the watch? You will have to find out yourself. 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 “I.S.S?” What did you think about it? Or, what is your favorite space movie? Let me know down below! Scene Before is your click to the flicks!
“Driving Madeleine” is directed by Christian Carion (Merry Christmas, The Girl from Paris) and stars Line Renaud (I Can’t Sleep, Welcome to the Sticks), Dany Boon (Welcome to the Sticks, Murder Mystery), Alice Isaaz (Night at the Museum: Kahmunrah Rises Again, Elle), and Jérémie Laheurte (Blazing Neon, Blue is the Warmest Color). This film centers around a woman who reflects on her life to a cab driver all the while being given an adventurous ride to a nursing home.
On the surface, “Driving Madeleine” sounds somewhat uninteresting. The whole movie is basically an extended car trip. That is probably what I would have said before I was a teenager. I love the concept of this film because even at my age, I find the whole idea relatable. As someone who lives in the U.S., a country who unfortunately treats trains like second class citizens, car rides are an everyday thing to me. Taxis are not something I am that familiar with from experience. Of course, as someone who has been in urban environments, I know what they are. I am not an idiot. I just live in an age where Uber and Lyft dominate the rideshare market. But having seen “Driving Madeleine,” the film reminds me of a personal joy of taking certain Uber and Lyft rides. Interacting with the driver.
My relationship with rideshare drivers have never blossomed into anything remotely close to lifelong. Though there have been a couple cases where I have encountered the same driver. But it is fun to know about their life, their job, what they like to do. And at the same time, you get to see the world around you. It’s a winning combo. This is just a small fraction of why I found myself entranced with “Driving Madeleine.”
That said, when I am immersing myself in the world of rideshare, very rarely is it for something I do not want to do. In the case of this movie’s story, the titular character of “Driving Madeleine” does not necessarily have that luxury. This is a once in a lifetime trip. But it is not to a place on every person’s bucket list like the Empire State Building or Disneyland or the Sydney Opera House. Instead, it is perhaps the last place we will ever want to attend. A nursing home. One of the joys of this film is seeing this woman embrace every moment in front of her and make the most of what some may consider to be a gateway to the end. This film definitely has its downer moments, but it also contains many more sprinkles of fun and happiness than I would likely expect of a film with this kind of concept. In some ways, this is just a fun road trip movie with an unfortunate endgame. There is a saying that it is not about the destination, it’s the journey, and there are few movies that come to mind that represent that idea as effectively as this one does.
This is more than just a road trip adventure. It is a slice of life story. A tale of friendship. Nostalgia. Regret. It is, in one sense or another, an encapsulation of what it means to be human. This is not the best movie I have seen recently, but it is one that had me thinking some time after leaving the theatre.
“Driving Madeleine” reminds me a bit of “Green Book.” Of course, both primarily take place inside cars and heavily involve car trips. But the two films have another standout quality in common. Both feature characters who given the context of the situation, develop an unlikely bond. I enjoy both of these movies because they allow these kinds of companionships to blossom. The way these films go about that idea vary a bit. But they nevertheless get their point across all the while unleashing fantastic chemistry between the two leads.
One of my more notable surprises with “Driving Madeleine” was that there were moments of genuine stakes. There was a real sense of tension in a number of scenes that stuck the landing. The obstacles that the characters encounter throughout the film are appropriate, well-timed, and allow the duo to think on their feet. There were two scenes in this film where the tension reaches a maximum that I cannot stop thinking about.
“Driving Madeleine” is not only one of those films that shows what it means to be a person. But it shows what it means to be around other people. I am a bit of a lone wolf, an introvert, a recluse to some degree. My social life is kept to a minimum. But even with that, I will admit that there is a supposed necessity to have other people in my life. Whether it is my family, friends, acquaintances. This film, in multiple situations, shows the beauty of what happens when two total strangers hit it off, develop a bond, and take things further. Does this film make me want to potentially befriend every cab or rideshare driver I meet? I wouldn’t necessarily say that. But it is a magnificent adventure that pays tribute to the value of the human connection.
But on top of the main journey, we get several insights into Madeleine’s life. How she grew up. What she does. Significant events. There are a couple curveballs in this film involving the character that I would bring up, but given how this is a spoiler free review, I will just suggest you watch the film yourself.
The film sometimes follows a slightly beaten path, but as I have said in other reviews, I am okay with that as long as the movie itself is good. As long as the familiar beats are admirable. And that is the case here. The familiar beats in no way water down the two most important aspects of the film, those being the leads. Not only are these two insanely likable centers of the film, but they are played by two people who give it their all from the opening scene all the way to the film’s conclusion. Those two being Line Renaud and Dany Boon.
The film’s music selection is quite good too. I have no real compliments about the score. That said, I have no real complaints about the score either. If anything it serves its purpose. But there are some good tunes in the film’s soundtrack. There is one song in the film that is used marvelously. Particularly “At Last” by Etta James. I do not think I can remember a song that has been this fantastically used in a film’s soundtrack, specifically a song that was not originally made for the film, since one or two songs from “Once Upon a Time in Hollywood” or Led Zeppelin’s “Immigrant Song” in “Thor: Ragnarok.”
In the end, I am not sure how much replay value “Driving Madeleine” is going to get from yours truly, but I am glad I saw it. This is quite a good movie and I would recommend it to anyone looking for something simple, short, but deep. The film is in French, but as Bong Joon Ho famously said in during the 2020 Golden Globes, “once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” “Driving Madeleine” is a lovely, pleasant, hour and a half long rideshare experience, without having to worry about paying way more than what most people would pay just to fill their own gas tank. You know, depending on how many people you have in your party at the theater or how much you are willing to spend on food. I am going to give “Driving Madeleine” a 7/10.
“Driving Madeleine” 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 thriller, “I.S.S.!” I always love a good space movie. This felt like a necessary watch for me. Was it as necessary as I was expecting? You will find out soon enough! 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 “Driving Madeleine?” What did you think about it? Or, what is the best car trip you have ever had? For me, I always love going through the middle of New Hampshire every fall to see the foliage. I always enjoy those trips. Let me know about your excellent rides down below! Scene Before is your click to the flicks!
“The Beekeeper” is directed by David Ayer (Suicide Squad, Fury) and stars Jason Statham (Fast X, The Meg), Emmy Raver-Lampman (Central Park, The Umbrella Academy), Josh Hutcherson (The Hunger Games, Five Nights at Freddie’s), Bobby Naderi (Black Summer, Bright), Minnie Driver (Good Will Hunting, Speechless), Phylicia Rashad (Creed, The Cosby Show), and Jeremy Irons (The Lion King, Batman v. Superman: Dawn of Justice). The film centers around a beekeeper and former operative who goes on a revenge quest after a woman falls for a phishing scam.
January and February are the two months where movies go to die. That is an objective fact. Do not get me wrong, there are some cases where you can release a movie in those months and have a hit. Look at movies like “Kung Fu Panda 3” or “Deadpool.” Both were well received and made a lot of money. When it comes to Jason Statham’s newest film, “The Beekeeper,” there is no way that I can see this film surpassing those at the box office. But much like those films, there is definitely a marketability behind this film that got me in the door. For one thing, it was not “Mean Girls,” which I do not plan on seeing. But in all seriousness, Jason Statham, kind of like Dwayne Johnson, has become one of Hollywood’s more likable action leads. Even if he does something that I would rather forget about like “Meg 2: The Trench,” I nevertheless like him. I just want to see him bust some heads.
Bust some heads? Should I say buzz? You know, buzz some heads?
…
Whatever, doesn’t matter.
Thankfully, we get plenty of head-busting in “The Beekeeper.”
This film is simple in its premise. It has some trademarks that action junkies may be used to seeing in other films, but that does not mean that this is a lackluster effort. If anything, it uses those trademarks decently. This film seems to follow a somewhat by the numbers revenge film formula, but the way it goes about it is entertaining. And a large part of that is because Jason Statham does a good job in the lead role.
Similarly, the same can be said for actors like Phylicia Rashad who plays the part of the victimized retired teacher, Eloise Park, with excellence. You also have Josh Hutcherson who arguably gives the best performance in the film as the antagonist, Derek Fanforth.
I have been used to seeing Hutcherson in certain roles over the years. In “The Polar Express” he voiced the Hero Boy. In the 2013 animated film “Epic,” he played a young Leafman named Nod. In “The Disaster Artist,” he plays Phillip, who ends up playing “Danny” in “The Room,” the film that movie is about. And of course he is well known for his time playing Peeta in “The Hunger Games.” In these roles, I often got a Mr. Nice Guy vibe from Hutcherson to some degree, even if his character had personal flaws. In this film, it is a much different role for Hutcherson, and I admire what they did with him. From the first scene, he is a moron with little to no remorse whatsoever. His character is almost what happens if you take someone with the looks and personality of John Mulaney but mixed it with that of a charismatic cult leader who has been involved in many a scandal.
Another notable positive that captivated me from scene one is the overall aesthetic of the film. The set design, such as that inside the UDG call center for example, is eye-popping. Everything leaps off the screen and it either makes me feel like I am either in the scene or I want to reach out and touch something in the scene. Everything is not only neatly patterned, but insanely colorful. The lighting in the film is quite nice. Technically speaking, I am not going to pretend this film is the next big thing. In fact, there are a few action films from the last ten years that I would point to that look a bit better and creatively more ambitious than this film makes itself out to be. That said, every trick this film goes for, it seems to nail. The camerawork is dazzling. The lighting is pristine. The editing is quickly paced and well spliced. Overall, I would give the film’s look a thumbs up.
Now there is clearly a lot that I enjoy about “The Beekeeper.” In fact, as far as January movies go, this is surprisingly good. That said, it is predictable and somewhat cliché. If you have seen certain action films in recent years, again, there are things that feel repetitive from those other movies. But that’s not the problem with “The Beekeeper” that seems to linger on my mind the most. That problem in particular is the ending. Now, I do not feel cheated. I am not going to say that this is the worst ending I have witnessed in the history of cinema. But in terms of recent film, I cannot think of one that is as abrupt and out of nowhere than what this film gives. It is not really that satisfying. Yes, the main issue of the film comes to a conclusion, but the film ever so quickly says goodbye to its audience. It does not give much time to breathe. It is kind of like “Transformers: Dark of the Moon” in a sense where the big climax hits its peak and just like that, the movie takes little time to wrap itself up. It feels spontaneous.
Going back to positives, “The Beekeeper” sort of reminds me of the original “John Wick” in a sense. Both films star charismatic men who kick tons of butt and take names, but the films offer similar vibes throughout their runtime. There is a dramatic flair, but with some occasional wit here and there. But the real reason why the two feel like a match made in Heaven is because they both have protagonists who you can watch and root for just for violently taking out tons of people left and right. I have lived entirely in an age of computers, I think phishers are the scum of the earth, and that is putting it nicely. As someone who briefly worked in tech at Staples and as someone who uses a computer every day, I love seeing a man go to town on people who think it is okay to take advantage of those who may not know as much about technology. Of course, the real me knows killing people is wrong. But I am watching this movie feeling as if many of the kills Jason Statham makes happen to be justified. Honestly, after watching the obnoxiously dreadful “Fast X” and the intolerably dull “Meg 2: The Trench,” it is great to see Jason Statham in something worth watching for the first time in awhile.
No, I did not watch “The Expendables 4” for those who ask. I am well aware of the negative reviews. That said, they did not steer me away from the movie. I did not watch the prior three.
In the end, “The Beekeeper” is not quite an A, but I am sure that a movie of this title would happily settle for a B. Jason Statham kills it in the lead role. The supporting cast, across the board, all do their best and deliver satisfying results to this thrilling ride. Does it have problems? Sure, it has a few. But as far as January movies go, this is a win. The film reminds me of other revenge flicks I liked in the past decade like “John Wick” and “Nobody.” It is hard to know if I will remember “The Beekeeper” to the same degree I to which remember those two films, but I had a good time with it nonetheless. I am going to give “The Beekeeper” a 7/10.
“The Beekeeper” is now playing in theaters everywhere. Tickets are available now!
Thanks for reading this review! My next review is going to be for “Driving Madeline.” I just had a chance to watch the movie over the weekend with a couple pals. I will share my thoughts soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Beekeeper?” What did you think about it? Or what is your favorite Jason Statham movie? Let me know down below! Scene Before is your click to the flicks!
“Night Swim” is written and directed by Bryce McGuire and this is his feature directorial debut. This film stars Wyatt Russell (22 Jump Street, Overlord) and Kerry Condon as a couple who move into a new house, they settle in with their family, and they quickly become accustomed to their surroundings. Only thing, there is a haunted swimming pool in the backyard.
To start things off, this is my first review of a 2024 film. I just saw “Night Swim” over the weekend. I did not get around to it the weekend before as I was a bit busy. But as we cannonball into this review, I thought the idea for this film had potential of working. There have been numerous titles over the years that have used water environments and turned out to be really scary. Look at “Jaws” for instance. Despite the shark looking fake, that movie continues to make people not want to go in the ocean. Shark movies like that one have been a cinematic staple for years. Not many films have lived up to that 1975 original classic, but I cannot deny that even lesser shark movies understand how to make the ocean or sharks scary.
When it comes to “Night Swim,” it is a much different scenario. There are no sharks, and there is also no ocean. Instead, we have a swimming pool. But again, there is potential. If you learn how to swim when you are young, that can be scary. Sometimes there are cases where people never learn to swim. Depending on the direction those people’s lives lead them, it could induce anxiety. I like a good pool. But I am just saying, the potential to make pools terrifying is there.
And I can confirm something about “Night Swim” was absolutely terrifying indeed. No, it was not the pool. It was the fact that the movie somehow released!
Then again, I should not be surprised that we are getting a throwaway horror film at the beginning of January. This is an unfortunate tradition in cinema as infamously consistent as showing all the funniest parts of a comedy movie in the trailer.
I want to be fair though, because this film is directed by Bryce McGuire, and this is his first feature as a director. He has done a number of short films in the past, and for all I know, he has a knack for filmmaking. That said, “Night Swim” is based on a previous short film he did of the exact same name. As someone who has made short films himself, I have often thought about maybe one day turning them into a feature. I made a short film in college that I am still proud of to this day. I consider it some of my finest work as a creator. But part of me wonders if taking that movie and making it longer would sacrifice some quality. I feel like that is what happened here. It’s not like this is a completely new thing. This is not a short film, but take “The Lion King” for example. The 1994 animation was short and sweet. There was no filler whatsoever. So when I watched the so-called live-action remake that came out in 2019, I was not afraid to point out that one of the biggest critiques I had was that the new material, which extended the movie’s runtime, dragged the product as a whole. Longer does not always mean better.
You might be thinking I am pulling these statements out of my butt. You might be thinking I did not watch the original short film. This link I pulled from YouTube may suggest otherwise. Having watched the film, it is very simple in premise and effective in what it is trying to convey. I think as a horror short, it’s not bad. But this new feature inserts all sorts of concepts that honestly don’t work only to make the runtime somewhat reasonable.
It is not that the entire movie fails to make sense. In fact if you want me to be real, much of the movie’s story and structure derails for me mostly in the second half. The first half is serviceable to some degree. The reason why I enjoyed “Night Swim” is because I feel the film did a decent job at establishing Wyatt Russell’s character, Ray Waller, a former professional baseball player. I like the little hints they drop about his backstory. There is also a part of the film where we see him playing baseball with a bunch of kids and that made for one of the film’s highlights for me. I liked the scene overall. It felt rather wholesome, nostalgic, and fun. But as I am watching this film, I got the sense that Ray Waller probably ended up being the only character I was remotely interested in watching. It is not that the other characters were incomprehensible, poorly structured, or the banes of my existence. It is just that when it comes to putting these characters together, explaining their backstories, and what makes them tick, the movie almost refuses to go above the bare minimum. Even in moments where it feels like it tries to, they just cannot stick the landing.
For example, there was a decent subplot about the character of Izzy, played by Amélie Hoeferle. She, naturally, decides to join the swim team, develops an instant crush on this one boy, and that becomes a driving force of the plot. I think their chemistry is in a word, acceptable. It is a fine depiction of puppy love to some degree. But when I am looking back at these characters, some of them feel cliché. Or, I did not care about them that much to recall everything about them upon leaving the theater.
But characters and story aside, I must ask the million dollar question. Is “Night Swim” scary? Kind of. It’s got a few neat tricks up its sleeve. I think the film gets rather creative with what random ideas they could utilize regarding the pool every once in a while. Sometimes that feels inventive. But again, by the second half of the movie, I just stopped caring. One thing led to another where I lost any and all interest in the plot, the characters, and whatever events could follow. When I reviewed “Godzilla Minus One” a month ago, one reason why I gave that movie such high marks is because it knew what to do with its characters. I said a large part behind why that movie was horrifying was because I cared about the characters and did not want them to get hurt. While the story in “Night Swim” makes sense, its characters kind of go off the rails to some degree by the movie’s end. There is a certain flair that they are missing as the movie progresses.
The film features a character named Kay, played by Jodi Long. Knowing what I am watching, I should be shivering during the moments in which she happens to be on screen. But knowing what is happening in the scene in addition the visuals and sound that could potentially make the scene eerier, I am watching it feeling more annoyed than terrified. It reminded me of when I watched “Midsommar.” I didn’t find that movie scary. If anything I found it annoying in terms of how they went about executing certain scenes. I was not amused. “Night Swim” is the first major movie to release in 2024, and as far as I am concerned, the cinematic calendar this year can only go up from here.
In the end, “Night Swim” dives head first and hits the ground hard. The first two thirds are mildly interesting and somewhat compelling. It is not perfect, but it had my attention the whole time. I like the main dad character, but everyone else took a back seat for me. That said, the film is not that scary. There are occasional scares, do not get me wrong. But at the end of the day, there is nothing to write home about. And by the third act, I tuned out. This film is cliché, tonally inconsistent, and I had my arms crossed for a good portion of the runtime. If you are looking for a good movie at the cinema to start off the new year, maybe pick something from last year. I am going to give “Night Swim” a 3/10.
“Night Swim” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! I want to end this post by saying that you may have noticed something missing from me this year. Specifically, my most anticipated movies of the year list. I do not do one every year, but I did them for 2021 and 2023. Sadly, I am not doing one this year. It is a bit late and when I was making one, my head almost burst open because one movie switched its release date as I was making it and I had no idea. So I am just going to say that my most anticipated movie of 2024 is “Dune Part Two.” I will leave it at that. But if you are interested in knowing my thoughts on the movies of the previous year, check out my countdowns for the top 10 BEST and WORST movies of 2023! 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 “Night Swim?” What did you think about it? Or, what movies are you looking forward to seeing in 2024? Let me know down below! Scene Before is your click to the flicks!
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