“Kung Fu Panda 4” is directed by Mike Mitchell (Trolls, The LEGO Movie 2: The Second Part) and Stephanie Stine (Raya and the Last Dragon, How to Train Your Dragon: The Hidden World) and stars Jack Black (The Super Mario Bros. Movie, School of Rock), Awkwafina (Renfield, Migration), Bryan Cranston (Godzilla, Malcom in the Middle), James Hong (Everything Everywhere All at Once, Mulan), Ian McShane (John Wick, Pirates of the Caribbean: On Stranger Tides), Ke Huy Quan (Everything Everywhere All at Once, Indiana Jones and the Temple of Doom), Dustin Hoffman (Kramer vs. Kramer, Rain Man), and Viola Davis (Suicide Squad, Fences). This fourth installment to the “Kung Fu Panda” franchise centers around Po, who must become the Spiritual Leader and seek the next Dragon Warrior. As he deals with this new curveball in his life and finds himself in kahoots with a grey fox, Po must also keep the evil Chameleon from bringing back his past foes from the spirit realm.
One of the reasons why I am such a movie nut is because ever since kindergarten, I had a television in my bedroom. Therefore, almost every night, I would put a movie on the television. Around third and fourth grade, one of the movies I would loop on my DVD player is “Kung Fu Panda.” And I mean it when I say loop. One of the things I noticed early on about that DVD is that unlike many others I owned, it automatically starts the movie after a short period of inactivity. So when I would fall asleep to it, I would eventually wake up and find myself watching another scene from the film. It was like playing movie roulette. Safe to say, I watched “Kung Fu Panda” a buttload of times as a kid. And I must also note that the second film, which I watched a few years later, is on the same level as the original for me. To be frank, based on a recent rewatch of all three films, I think the second one might be my favorite. The third one’s not bad, but it has its fair share of weaknesses. It leans more heavily towards a comedic route whereas the other two tend to keep comedy and drama slightly more balanced. Although that is kind of funny to say because if I had to choose a movie I think is the funniest of the three, my mind directs itself to “Kung Fu Panda 2.” Guess it goes to show how much I liked it.
When they announced a “Kung Fu Panda 4,” I did not think it was as odd of an idea as say, a “Toy Story 4” when they announced that. That said, when they announced a “Toy Story 4,” I was not prepared for how much I would end up enjoying it. Even though “Kung Fu Panda 3” is the weakest of the previous installments, I thought it did an okay job tying things up in a bow and sending off our characters with grace. But now, apparently, there is more material to unravel. If “Toy Story 4” could work, there is always a chance that “Kung Fu Panda 4” could work as well.
What did I think of this new “Kung Fu Panda” installment? Much like the “Toy Story” movies, I can claim “Kung Fu Panda” is 4 for 4. All the movies released in this franchise are good. Unfortunately, also like “Toy Story,” this fourth installment is the worst of the quadrilogy.
That said, there is one noticeable positive consistency between this film and its predecessors, and that is Jack Black as Po. Obviously, having done the amount of material he’s done in the past, Black has the Po character down to a bit of a science. When it comes to “celebrity” voice actors, I think Black is one of the most talented working today. He is dynamic, upbeat, and always in the moment. He spews every line like he knows there is no tomorrow. There is always a sense of passion with his delivery. As I will highlight in this review, this movie does not have the best storytelling or writing. But Black makes the most of what’s in front of him.
While the main storyline with Po definitely has its moments, one of the most noticeable problems of “Kung Fu Panda 4” is a subplot between the two dads. You have Po’s biological father, Li (Cranston) and his adoptive father, Mr. Ping (Hong) getting into an adventure of their own. Something I have come across a lot through this movie and my recent rewatch of the other three is that these films tend to highlight lessons and experience that can tie to parenting. This one is no exception. An enormous heartbeat that drives the subplot involving these two fathers are their worries for their son. While something like this may come off as relatable to an older audience, perhaps a select few adults who saw these movies as kids and passing the torch to the next generation, it is the weakest part of the film.
In fact, the balance of comedy and drama is not the only thing that seems to be missing in this film. You know who is also missing? The Furious Five. Now, the film does establish they are missing for a reason. They are off on other missions. But a huge part of the “Kung Fu Panda” franchise is seeing Po interact with these five warriors. Unfortunately, co-director Stephanie Stine said on a Discord Q&A they were not in the movie due to the costs of the original actors. I missed them throughout this film, they have great chemistry together.
Instead, the closest thing we get to a side warrior in this film is Awkwafina as Zhen. I will give this character one thing over the Furious Five. Unlike the Furious Five, this new character is not just named after its respective animal. Imagine if I had a kid one day and I named it “Human.” That’s a choice if there ever was one. Moving onto more important characteristics, I will also note that this character very much represents someone who has seen a lot through urban life. Yes, we have seen Gongmen City in “Kung Fu Panda 2,” but “Kung Fu Panda 4” introduces a different kind of city in Juniper City. The first connection I can immediately make with this city with something in our lives is New York, particularly Manhattan. Everyone’s on the move, it’s crowded, and the film goes on with the fitting notion that you cannot trust everyone.
As for Awkwafina’s performance in the film, I had similar feelings regarding it to how I felt watching her performance in “Migration.” I was pleasantly surprised with it. Unlike “Migration,” Awkwafina plays a much more central character this time around so we see much more of her, but I was delighted to have my expectations exceeded. Her performance is definitely enhanced by some okay writing and layered storytelling. Again, compared to the other installments, the story and writing is not as good. But Zhen’s character is one of the script’s highlights. I was kind of worried that she was going to be an annoying sidekick who would get my nerves real fast. And while she is far from the franchise’s best character, the way she is handled in this movie gets my approval.
As of now, “Kung Fu Panda” is a multigenerational franchise. There are a fair share of gen y and z individuals who likely found themselves invested in some crevice of the property at least once when they were kids. Some of those people probably know or have children of their own now that they can share this movie with. Additionally, they made a television series on Netflix called “The Dragon Knight” that some younger viewers likely watched, so the age range this movie is targeting is slightly diverse. As someone who was introduced to the first movie by watching it at the IMAX at eight years old, I have a bit of a nostalgic connection to this property. And a big selling point of this movie is the nostalgia factor. Not just having heroic faces like Po and Shifu back, but also having the franchise’s villains return as well.
…Kind of.
As mentioned earlier, this movie features the Chameleon (Davis), who can turn into other beings, including Po’s old enemies. This means we see the return of Tai Lung (McShane), even if it is some grade B variant of the character because this Tai Lung does not necessarily come with the same depth as the one we saw in the original film. Not that I’m saying this character’s depth is supposed to be exactly the same. The chameleon is the main antagonist this time around. This story is more about her. That said, I liked her motivation to copy as many kung fu masters’ abilities as she can. On paper, it sounds enticing. Voice-wise, Viola Davis was a decent pick to voice the character. She does a good job with the role.
That said, it is nice to see McShane come back to voice Tai Lung, especially when this movie features other characters from the franchise’s past, both heroic and villainous, and we don’t even get a line out of them. We also see Lord Shen and Kai, the villains of “2” and “3” respectively. But they don’t make much of a contribution to the final product. They’re just there. This movie runs at a tight 94 minutes, which is consistent with the previous installments, and the runtime of DreamWorks Animations in general. I know there appears to be a formula to making these movies, but I would not mind them expanding the runtime just a tad to get a little more out of the other movies’ villains, especially when we see as much of Tai Lung as we do. For all I know, their respective actors said “no,” were busy, or they were never in the plan to begin with. But this could have been the “Spider-Man: No Way Home” of the “Kung Fu Panda” franchise where we get an epic return of the franchise’s villains. Maybe that was the plan all along, it did not fall into place, and the crew had to work with what they had. They had to work with no Furious Five, and a couple of wasted villain cameos. At a certain point it could have been too little too late. Is the movie still watchable with the material we have? Sure. But it could be better.
Much like “Kung Fu Panda 3,” the humor seems to be mile a minute. Unfortunately, the jokes are not enough to save the movie. The problem with having quite a bit of jokes is that not all of them are going to hit. They are quite off and on. There are a fair few that land, but there are also many that don’t. The jokes that miss in this film are by no means the worst I have ever heard. I was never offended. They just didn’t work for me. Despite the movie’s flaws, tonal differences from its predecessors, and lack of Furious Five, I am still glad I saw it. I had a good time with what was given to me. But I will not deny that unlike the franchise’s previous weakest link, “Kung Fu Panda 3,” which I had an urge to watch a second time as soon as I left, I do not think “Kung Fu Panda 4” sits in the same camp. That said, give it a shot and see what you think. For all I know, it may be a better experience for you.
In the end, “Kung Fu Panda 4” is a fun movie, albeit a slightly forgettable one. This movie comes with the pros of its predecessors from a polished animation style, flashy action sequences, a great score composed Hans Zimmer and for the first time in this franchise, Steve Mazzaro. To top it off, the movie delivers a spectacular voice performance Jack Black. Having seen this movie though, I do not know if I want to see a fifth installment. That said, if another “Kung Fu Panda” gets made, I hope that they can bring back some of the dramatic flair of the original two movies. I do not mind humor. I am not saying “Kung Fu Panda” should not be funny. If anything, it is a franchise that lends itself to comedy. I just wish the jokes we got were better. Also, between a continuously likable protagonist with Po, an okay supporting character with Awkwafina’s Zhen, and a somewhat well realized, but noticeably gimmicky antagonist with the Chameleon, the characters serve the story sufficiently enough for it to be halfway decent. “Kung Fu Panda 4” is a chance to introduce the franchise to a new generation. But I think a better way would be to put on one of the first two movies. But that’s just me. I am going to give “Kung Fu Panda 4” a 6/10.
“Kung Fu Panda 4” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you want to see more reviews, you’re in luck! Stay tuned for my thoughts on “Ghostbusters: Frozen Empire,” “Snack Shack,” “Godzilla x Kong: The New Empire,” and “Monkey Man.” 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 “Kung Fu Panda 4?” What did you think about it? Or, did you see the other “Kung Fu Panda” movies? Tell me your thoughts on them! Let me know down below! Scene Before is your click to the flicks!
Before we begin this review, you may notice that compared to some of my other reviews, this one is not exactly as visually heavy or varied as some of my others. That is because this film is technically not out yet. I got to see it at South by Southwest this year, at which point there were no trailers or marketing for the film. That is still the case now. So if this post looks jarring, that is because I am working with what’s available. With that said, enjoy the review.
“High Tide” is written and directed by Marco Calvani (A Better Half, The View from Up Here) and stars Marco Pigossi as Lourenço. In this slice of life drama, a queer undocumented Brazilian immigrant living in Provincetown, Massachusetts questions his purpose.
I am a proud Bay Stater. I was born in Melrose, Massachusetts, grew up one town north in Wakefield, went to college in Newton, and currently work in Boston. I also enjoy the occasional trip to Dunkin’, a good ballgame at Fenway, and a fine round of candlepin bowling. Despite living in the Bay State all these years, I have probably been to Cape Cod maybe six times in my life. The last time being 2015. While that may be more than some people, this is something I consider to be a weak spot of mine as a New Englander given how big of a destination it is to some people around here. Safe to say, I have never visited Provincetown. This brings up my first, and perhaps biggest positive of “High Tide,” this movie practically took me on a vacation.
The overall look of “High Tide” is stunning. There is almost no other way to put it. Obviously, Provincetown is a beachy area at the tip of Massachusetts, so there is no doubt it is going to look nice. Getting pristine shots of a town by the water can sometimes be a layup, but everything in the frame felt completely atmospheric. From the opening shot of the film, I thought I was in the middle of the ocean. It practically commands your attention and begs you not to look away. At times I felt like I was on the beach. I was in the middle of town. I was feeling a calm breeze. Each location delivered a great mix of immersion and beauty. If I had to point out one thing though, sometimes the imagery looked a little darker than I anticipated. I watched the film in a theater I have never been to before so for all I know it could have been the quality of the projector. But it does not change the fact that what was on screen enchanted yours truly from start to finish.
Genre-wise, “High Tide” is best described as a romantic drama. It is wholeheartedly serious from start to finish, but there is an endless pinch of innocence in its storytelling. Even when dealing with heavier issues, there is always a sense of lightheartedness in the background. Never once does the film sway too far in one direction or the other, nor do the tones clash to the point where everything feels overdone. And it feels weird to say that the movie feels lighthearted, but it does. Because the reality of the film is that it centers around a man who is dealing with extravagant issues. Many great protagonists have their obstacles, and Lourenço is no exception. His visa is about to expire. He has a distant lover. But even when these issues are brought into the fray, the film delivers a calming vibe that fails to escape my mind. In fact, if I had a critique to name, if you can call it one, I would almost argue the film is almost too light given what it deals with sometimes. But a positive experience is a positive experience. I like to feel good. Who doesn’t? I am not complaining all that much.
But perhaps one of the big reasons why my mind is in a state of calm within a sea of troubles, kind of like our protagonist at times, is the romance he has with a character by the name of Maurice, played by James Bland. This is my first James Bland anything. Movie, TV show, you name it. I hope to see him in more material soon because he knocks his performance out of the park. I doubt Bland is going to win any Oscars, but there is a subtlety to his presence, his actions. There is something about his time on screen that emits perfection.
The reality is, when it comes to movies heavily revolving around romance, if the chemistry does not click between the two leads, then it is difficult for me to buy into their relationship. Maybe even root for them. Shoutout to “Anyone But You” for breaking my brain several months ago. Although in terms of chemistry, this movie hit the jackpot. There is a simple moment with these two in a bedroom right next to each other that brought forth such a charming vibe out of both of these characters. Marco Pigossi and James Bland work individually, but when put together, they bring out the best in each other. Of course, these are also two physically attractive men, so I am sure that helped certain scenes to some degree.
However, I wonder how well this film will actually do by the time it comes out. The film is very well done. It is a stellar feature debut from Marco Calvani. In fact, the only actor I could tell you I knew who they were before going to see this movie was Marisa Tomei, who also serves as an executive producer. By the way, she does a good job in this film. The reality is there are not many recognizable names. The names do not need to be big for me to get in the door, but I understand this reality is not the same for everyone. So it is my duty as someone who saw this film to tell you that it is worth watching when it comes out. It is a film that based on my experience, definitely handles serious topics, but it did so in such a way that failed to make me feel overly awful or icky. Even when things where tough in the forefront, there is a sense of joy in the background. As a slice of life picture, “High Tide” is completely watchable and worth your time.
As I said in the start of this review, one of “High Tide’s” strengths is its ability to take me somewhere beautiful. In this case, Provincetown. But when you consider the phenomenal chemistry between the two leads, the overall vibe of the picture, and how our characters handle their situations, sometimes it goes to show that it is not about the destination, it is the journey. And as far as the journey goes, the movie certainly delivers a fine one.
In the end, “High Tide” is probably not going to be the movie I will hail as this year’s top dog, but it is one that I am glad I went out of my way to see at South by Southwest this year. It deals with several tones in such a way where nothing feels tangled or overwhelming. The cinematography is immaculate. The story and characters are a delight. I have no idea when this movie is going to have a wide release, but whenever it comes out, I recommend giving it a watch. I am going to give “High Tide” a 7/10.
“High Tide” premiered at South by Southwest this past March. No official future release date or schedule has been given.
Thanks for reading this review! My next review is going to be for “Kung Fu Panda 4.” I love the “Kung Fu Panda” franchise. The first two movies are honestly some of the best creations to have ever been put out by DreamWorks Animation. I watched the first one incessantly as a child. I think the second film could possibly be better. I think of the first three movies, the trilogy capper is easily the weakest. So how will this fourth installment fare? We shall see. 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 “High Tide?” What did you think about it? Or, did you go to South by Southwest this year? Tell me about your experience! Let me know down below! Scene Before is your click to the flicks!
“Dune Part Two” is directed by Denis Villeneuve (Blade Runner 2049, Arrival) and stars Timothée Chalamet (Wonka, Interstellar), Zendaya (Spider-Man: Homecoming, The Greatest Showman), Rebecca Ferguson (Reminiscence, Mission: Impossible – Rogue Nation), Josh Brolin (The Goonies, Avengers: Infinity War), Austin Butler (Elvis, Once Upon a Time in Hollywood), Florence Pugh (Black Widow, Don’t Worry Darling), Dave Bautista (Guardians of the Galaxy, Blade Runner 2049), Christopher Walken (Catch Me if You Can, The Deer Hunter), Léa Seydoux (Crimes of the Future, Spectre), Souheila Yacoub (Making of, Climax), Stellan Skarsgård (Mamma Mia!, Thor), Charlotte Rampling (Restless, 45 Years), and Javier Bardem (Being the Ricardos, No Country for Old Men). This film is a sequel to the 2021 science-fiction epic based on the novel by Frank Herbert. It follows Paul Atriedes as he journeys with the Fremen while waging war against House Harkonnen.
It is crazy to think how far we are in the 2020s. The decade is flying by. It kind of feels like yesterday when I saw “Dune” for the first time in theaters. By now, I have seen it a few times in theaters, once on 4K Blu-ray, and a couple times on TNT. Safe to say, this film has taken up a significant part of my screentime through the past two and a half years. And like many people, I happened to dig it. I do not think it is by any means the greatest science fiction film ever. If anything, the pacing could have been improved. The color palette could have been tinkered just a tad in select scenes. The film feels far less eventful in its third act than it does in the first two, which felt a bit odd but I was engaged nevertheless. Overall, I thought the first “Dune” was fantastic. It even made my top 10 best movies of 2021 and won Best Picture at the 4th Annual Jack Awards. It is a really good movie and it is deserving of its praise, even if there are science fiction films I would rather watch first.
In fact, of Denis Villeneuve’s filmography, I think it is one of his inferior outings. I liked “Prisoners” better. I liked “Arrival” better. I liked “Blade Runner 2049” better. He did those previous two movies back to back and both were equally sensational. Even with the slightly weaker “Dune” coming afterwards, I will not deny that Denis Villeneuve is not only on a hot streak, but is building a case to become the greatest science fiction director ever. As far as my excitement for “Dune Part Two” goes, it was astronomical. All the trailers were great. The footage looked beautiful. And knowing that the film was shot in IMAX’s specialized aspect ratio was a bonus. I thought the film was made for the theatrical experience, and I was also happy to know that more people were going to get the chance to see this movie the way this and the last film were meant to be seen.
Shoutout to HBO Max for nearly killing movie theaters in 2021.
But the million dollar question is this… How was the movie?
Well, to answer that question… I am going to start off by stating a potential problem the movie has. And that is that I will never be able to watch it for the first time again. I will likely never get to experience the sense of euphoria the way I did seeing this movie during my initial viewing.
For those who nag about me not getting around to certain film classics like “Rocky” or “12 Angry Men,” those who choose to say I am not a real movie fan, I could do the same thing to you when it comes to “Pulp Fiction” or “2001: A Space Odyssey,” but I am not going to. Instead, I am going to tell you I am somewhat jealous because you have the opportunity on your hands to watch those movies for the first time. When I hear someone is going to watch either of those films for the first time, my initial thought is, good for them! I hope they have a time of their life equal to what I myself experienced during my first viewing. I feel the same way about “Dune Part Two,” because while I immensely enjoyed the first “Dune,” not only does this sequel feel like it is on another level, but it is one of the most innovative additions to the sci-fi genre that comes to mind.
And I say this knowing that this is a follow-up that just so happens to be the second half of a first book of a popular series that has already been adapted to both film and TV in the past. Nevertheless, this feels like something new. There are times where I watched “Dune Part Two” and could not help but make a couple “Star Wars” analogies. Based on its technical mastery and power, this film must emit similar feelings to when people watched “Star Wars” for the first time in 1977. Meanwhile, as a sequel, “Dune Part Two” reminds me a bit of “The Empire Strikes Back.”
This is not only because “Dune Part Two” is a high quality second installment, but when it comes to the duel scenes, those are improved here. Not that the duel scenes in the first “Dune” were bad. If anything, they were terrific. That said, the choreography is much more spellbinding this time around. Additionally, I felt incredibly riveted by the story and characters, which made the film’s action scenes all the more exciting. With these two ideas in mind, I can tell you there is a duel towards the end of this film that is nothing short of jaw-dropping. The choreography is so fast that you would think that Sonic the Hedgehog oversaw it. Meanwhile, it is all in the middle of a key scene of the film where the emotions of our characters reach a tipping point. Where the story reaches its finest moments. Where we get some of the finest exchanges and performances in the history of science fiction. There is a moment towards the end of the movie, it is in the trailer, where Paul Atriedes yells, “SILENCE!” As far as pure line delivery goes, it is arguably the most chilling utterance of dialogue of the decade so far. The only other line in a movie that I can think of that came out in the 2020s that rivals this for me is the final line of “Oppenheimer.” Specifically, “I believe we did.”
Another reason why I found myself calling this the next “Empire Strikes Back” is because it goes all out on its antagonists. Stellan Skarsgård returns once again to slay his performance as Baron Harkonnen. Dave Bautista continues to prove himself as a fine wrestler-turned-actor as Glossu Rabban. In fact, not only does Bautista cement himself as a superior wrestler-turned-actor when compared to John Cena and Dwayne Johnson, he convinces me he could rack up one or two Oscar nominations if he keeps up the good work. I have seen Bautista in quite a few movies now. “Dune Part Two” is easily his greatest performance yet. Between the “Dune” movies and “Blade Runner 2049,” I would love to see Bautista continue to collaborate with Denis Villeneuve as much as possible because they tend to bring out the best in each other. Both of these characters are intimidating and well executed. Every moment they are on screen had me hooked.
But the real star of the show, antagonist-wise, is Austin Butler as Feyd-Rautha. While I did not love “Elvis,” there is no denying that Butler was the best part of it. Much like that film, his performance just so happens to be one of the best elements of “Dune Part Two.” There is such a sinister nature to this character that is almost beyond reality but in the case of this universe, I immediately bought into it from scene one. Butler makes it believable. This is a guy who will literally kill his own people on a whim, perhaps delivering him a great deal of satisfaction as a result. Feyd-Rautha works so well because he emitted a feeling in me that many great villains should be able to emit. He becomes a character that I love to hate. I would not want to go bowling with this character, but as a villain, he is perfect. Not only that, but Butler sometimes feels unrecognizable. I have not seen him in a lot of movies, but based on what I have seen him in before, he has a flair to his performance here that comes off as individualistic.
That said, this is film is led by Timothée Chalamet. In today’s culture, it is easy to say the idea of “the movie star” is dead. But if there are sparks of that idea that are still alive, then Timothée Chalamet is certainly one of them. And boy is he a fine star. Not only is he young and good looking, not only is he bankable, but he also just so happens to have incredible range. Prior to this movie, he starred in “Wonka.” While I was not a fan of the movie, I thought he handled the material perfectly. He made the movie fun. He was expressive, upbeat, not to mention a mighty fine vocalist. Now we go to his next movie, “Dune Part Two,” where Chalamet’s character is caught in the middle of war, politics, and drama. And Chalamet’s ability to immerse himself into a world like this is impeccable. It feels weird, but one of Chalamet’s hidden talents is making such a scrawny dude come off as one of the most convincing leading figures in recent cinema. Sure, he’s not exactly short, but muscular is not the first word I’d use to describe Chalamet as a person.
I think “Dune Part Two” has an advantage for general audiences. While I cannot imagine this movie being for everyone, I can see this movie having a wider appeal than the first one. The movie not only has more action, but I would say the action is better this time around. I also think this film’s use of Stilgar makes for a great sidekick role of sorts. He almost comes off as a guy you would be sitting next to as you are watching the movie. Maybe he recommended it to you and is guiding you for the ride. Additionally, he has some of the most memorable lines. One of my favorite moments in “Dune Part Two” is when we see him believe Paul refuses to mention he is “the one.” There is a reason why I am seeing the words “As it is written” all over social media right now, it is Javier Bardem does a phenomenal job as Stilgar. He is perfectly cast and I cannot imagine anyone else filling in his shoes.
That said, if you enjoyed “Dune,” that does not necessarily imply you will fail to do the same in regards to “Dune Part Two.” I am proof of that. I really liked the first “Dune.” I gave it a positive review. But I think this sequel feels more adventurous. The score, somehow, is more memorable its predecessor. There is a theme that blares throughout the movie that I cannot get out of my head. It does a good job at expanding the lore and building the world. The acting is better. And as a pure experience, “Dune Part Two” is simply put, superior. One of my problems with the first “Dune” is that it very much feels like an intro guide to the world within. The movie has a three act structure, character development, and pretty much everything else you need to call it a movie. But one of its flaws is that it tends to feel more like a “how to survive Arrakis tutorial” than a journey through Arrakis. Now with this movie, it feels like we are taking the tools we acquired from the predecessor and putting them to the test.
Thankfully, as I write this review, “Dune Part Two” is still playing in theaters. And I must tell you, if you have not seen “Dune Part Two” in a theater yet, do yourself a favor and get your tickets as soon as you can, because this is one of those theatrical experiences you have to see to believe. This is easily one of the best times I ever had in a movie theater. I felt like sand was coming through the speakers the entire time. I thought I was in the middle of the desert. I was convinced the wind was flying in my face. If you told me that I was in Arrakis for two and a half hours, I would have believed you. But there is a reason, above all others, why you should see this movie on the big screen. Sandworms. Yes, there are sandworms in the last movie. But that’s not the point.
In this sequel, there are several minutes in this movie dedicated to Paul first experiencing what it is like to ride a sandworm for the first time. This is one of the most riveting, loudest, most visceral, exhilarating scenes yours truly has ever witnessed. This is one of those scenes that shows why movie theaters are built. It shows why we make big movies for the big screen. When I look back at this scene, it was almost as if I were alive a century or two ago, I had never seen a movie and someone from the distant future time-travelled to when I would exist. That person would then show me the power of what movies could be. This scene is perfection. It was well shot, packed with rambunctiously satisfying audio, and is nothing short of a perfect tech demo. But in both the background and the forefront, we are seeing our characters experience the world in front of them, learn more about each other, themselves, and their abilities. As an audience member, I am getting a great mix of thrills, expansion of lore, and details about certain characters.
The movie makes such a simple moment of learning and adapting look like the most intense thing in the history of the world. This is a scene I will never forget. Once again, a moment like this will show why I would be jealous to find out someone tells me they are about to watch this movie for the first time.
I thought the sandworm action could not get as electrifying as this… Until the second half of the movie happened, and somehow it equaled, if not surpassed the thrills I felt before. There is a scene, you’ll know it when you see it, where there is a shot showing the perspective from a sandworm’s eye. It is one of the most eye-popping, beautiful things I have ever seen on a screen. It’s quick, it’s raw, it’s massive. It is basically an encapsulation that describes the film itself. I was thrilled to no end.
Although going back to the original “Dune,” this brings up something noticeable about this sequel. There is a reason why it has “Part Two” in its title. Obviously, it is the second “Dune” movie, yes. Also, it is the second half of the original book. But this really is true to its name, a “Part Two.” There are several sequels you could watch and appreciate without having to see the original movie. Having watched “Dune Part Two,” this is one of those movies where I feel in order to fully appreciate what is in front of you, it would be worth going back and giving the first “Dune” a watch at some point. Either if you forgot what happened, or if you have never seen it before. Because there are a couple moments that would hit harder if you have that movie under your belt.
I have not seen “Dune Part Two” a second time just yet, but knowing the how lost for words I became by the time the movie was over, my second viewing is definitely around the corner. But I will never forget my first time. And this is where I bring in another “Star Wars” comparison. Much like that 1977 science fiction event, I will look back at “Dune Part Two” as a film that will define a generation. It has flaws. I kind of wish to know how people get off the sandworms once they are done with them. Some of the pacing feels inconsistent, but even in the less consistent moments the story is still exciting. And again, if you have not seen the first movie, it could theoretically lessen the impact of this one just a little. Other than that, there is not much else can I say except this is one of the best fiction movies of the decade, and you should see it as soon as you get a chance.
In the end, “Dune Part Two” fits the classic motto of a fine sequel. It goes bigger, and it is better. “Dune Part Two” is not only superior to its predecessor, but it is also the first great movie I have seen in 2024. It is still early in the year, but I needed this. After “Madame Web,” “Night Swim,” and “Argylle,” I truly needed a movie that I could deem somewhere on the level of a master class effort. And this is that movie. Going back to what I said earlier, Denis Villeneuve is on a roll. While I think Christopher Nolan is the superior director, he has a knack for filmmaking that is on the level of Christopher Nolan. I have not seen all of his work. I still need to watch “Enemy” and “Incendies.” But from what I have seen so far from Villeneuve, I can say that I have not seen a single bad movie from him. I can easily name a least favorite, and that would be “Sicario,” but that is still a movie where there are more positives than negatives for me. If Denis Villeneuve ends up making a third “Dune,” perhaps an adaptation of “Dune: Messiah” that is on the level of these last two movies, it would easily further the case of him being the greatest sci-fi director of all time. Villeneuve is that good at what he does. But it is not just him. You have Greig Fraser’s immensely beautiful cinematography. Hans Zimmer’s roaring score. An incredible ensemble of actors across the board. Timothée Chalamet, Stellan Skarsgård, Rebecca Ferguson, Austin Butler, and Dave Bautista just to name a few! I did not even get to Zendaya! She does a really good job as Chani in this film. Regarding the love connection between Chani and Paul, I bought into it immediately. It is still early, so it is hard to know how this movie will do next awards season. That said, not only could I see this movie getting nominated for Best Picture at next year’s Oscars, …I can totally see it winning. It is that brilliant. I am going to give “Dune Part Two” a 9/10.
“Dune Part Two” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, good news! I have more coming! Be sure to look out for my thoughts on “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” “Godzilla X Kong: The New Empire,” and “Monkey Man.” 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 “Dune Part Two?” What did you think about it? Or, what is your favorite scene in film history? Let me know down below! Scene Before is your click to the flicks!
“Bob Marley: One Love” is directed by Reinaldo Marcus Green (We Own This City, King Richard) and stars Kingsley Ben-Adir (Secret Invasion, One Night in Miami…), Lashana Lynch (No Time to Die, Captain Marvel), and James Norton (Happy Valley, Flatliners). This film follows the titular reggae musician in his journey in music and to overcome his difficulties.
When I surf the Internet or have conversations in my social circles, one thing that sometimes comes up just so happens to movie trailers. Specifically, the idea of seeing the same trailer over and over again at the movie theater. I remember a colleague of mine saying that this happened to them for “Argylle.” And I can say that is one I remember seeing quite a bit as well. But if I had to name a trailer or marketing campaign that has done such a thing for me recently, it would be the one for “Bob Marley: One Love.” To be fair, they put the first trailer out months in advance, so it had the opportunity to be shown plenty of times. But almost every time I went to the movies, it flashed on the screen.
Based on the unlimited exposure “Bob Marley: One Love” has given me alone, I hoped it wouldn’t suck. Partially because, well, “Argylle” did. When you play a trailer enough times to equal a short movie, then I kind of hope by the time I see it, I don’t feel duped. That said, the movie did not look like the next big thing, but by no means did it look awful. There was potential between factors such as the story and Ben-Adir playing the lead role.
Unfortunately, when it comes to films about musicians or music in general, this failed to hit the right notes for me.
To be frank though, it made me question my intelligence. I understand a lot of movies. Sometimes I understand movies will mean certain things to certain people. Sometimes I get that art in general can be open-ended. “Bob Marley: One Love” seems for the most part, straightforward, but it reminded me of one of my weak spots. Languages.
I am not saying I refuse to learn or understand foreign languages, what I am saying is that whenever I am tasked with doing so, say for when I was in school, I found it to be incredibly difficult. But I am always thankful whenever movies have subtitles because they help me understand what is going on. “Bob Marley: One Love” is in English, but a lot of it is spoken through Jamaican accents, which I do not usually hear every day. There is nothing wrong with that. In fact, I appreciate the authenticity. I just wish, and this harkens back to my struggles, I could have been more engaged with it.
I am NOT asking people from this movie to sound like they’re from Ohio. I am just saying that if I were able to see the future, I probably would have asked for a different fate where I could have subtitles flashing on screen throughout the film. Simple as that. It is sad that an issue like this is detracting from my overall experience, but facts are facts.
Ever since “Parasite” director Bong Joon Ho won the Golden Globe for Best Motion Picture, International Feature during the 2020 edition of the ceremony, there is one quote I have often used in regards to watching certain movies.
“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” -Bong Joon Ho
That quote specifically applies to foreign flicks or films not mostly executed in my native language, which would be English. But a part of me thought Bong Joon Ho’s quote could be applied to “Bob Marley: One Love” as well. The movie is part of the Hollywood system and heavily marketed to North American audiences, but as I watched the film, I had trouble deciphering some of what’s being said. Now, maybe my hearing is deteriorating. Maybe I watched “Oppenheimer” one too many times and now I’m paying the price. But it is also possible that I just was trying my best to understand every word that was being said by certain characters, and for whatever reason, it just wasn’t coming through. There is nothing wrong with authentic accents or voices that link to a certain part of the world. That said, if I were to go back and watch “Bob Marley: One Love” a second time, which I am probably not going to, I’d want subtitles.
I am going to give props to “Bob Marley: One Love” for perhaps delivering an authentic, lifelike experience when it comes to several characters interacting with each other or talking with one another. But if we are simply going by first impressions, I felt a little lost watching this film. A bit disengaged perhaps. Because for all I know, I could latch onto a number of the conversation scenes during this movie, but I could not pick up on everything the characters are saying. I remember a few years ago when I saw the 2021 remake of “West Side Story” for the first time and they had a few scenes where they had characters speaking in Spanish, and there were no subtitles on screen. For the record, I dropped out of Spanish I in high school a couple weeks into the class, so I’m no expert on the language. But even I got a sense of the context of what was going on without subtitles. Now when I look at “Bob Marley: One Love” it feels weird knowing that I am going from comprehending a language I do not speak, to not getting a clue of what was going on in this movie in English. I know not every movie can be universal to everyone. But my lack of understanding of what was going on through the dialogue severely hindered my experience. It could have been a lot better.
Even with my complaints, I will not deny that Kingsley Ben-Adir was a good pick to play the titular role. I thought he had charisma, pizzazz, and he also looked the part. And it is almost hard to imagine other people filling in the shoes of this role. When it comes to the overall chemistry in the film, Ben-Adir does a good job with latching onto just about every other character in sight. I am not saying this performance is going to win an Oscar, but as far this movie goes, he does a good job. And honestly, while there are no abominable performances in the movie, there are no other real standouts either.
But if there is another standout, I would have to say the soundtrack is sometimes pretty good. Obviously, this is a music-based film so this should not be a huge surprise, but the moments where we end up hearing Marley’s music make the film a tad better.
Although I want to talk about the part of the movie that for me, really let me down. The ending. It is not heartbreaking per se. It is not offensive to other people. It is by no means a crime against humanity. But the best way I can describe this ending, primarily from a filmmaking and cinematic perspective, is “lazy.” Because I came into this movie with a certain expectation, and once we get to the end, once it feels like we are getting to that point, the movie stops and delivers such an expectation in a way that honestly feels slapped together. I do not know how to talk about this moment without saying the words “spoiler alert,” which come to think of it, would be a weird thing to say about a movie based on real people and true events. But as we got to the ending, my pupils lit up, and my dilation nearly became an eyeroll. The movie started, to some degree, getting better. Or so I thought. It put a massive dent on what I already thought was an underwhelming experience.
The potential is there for a good story regarding this material in particular. I think it is a story that could make a figure like Bob Marley attach to a great span of this world. It would get a lot of people to feel bad for him and root for him. But there are so many little things in the movie that left me unsatisfied. The acting is okay, but I just wish I could have been more attached to the characters. Pacing-wise, “Bob Marley: One Love” is an enigma. The movie is somehow too long to catch my absolute interest. Yet as soon there are crevices where something actually manages to catch my interest, it does not take long for the movie to become boring. This movie came out the same weekend as “Madame Web,” which I saw first. “Bob Marley: One Love” is not “Madame Web” bad, but it is still not good.
In the end, “Bob Marley: One Love” is off-key. I was bored. I was disengaged. I wanted to leave. Now, the film is by no means the worst I have ever seen, but there is nothing that stands out about it that makes me want to watch it a second time. As conventional as say, “Bohemian Rhapsody” may appear, I was more engaged with that film and how it handles its characters. I thought it was a story where I could latch on from start to finish. Additionally, as much as I liked Ben-Adir’s lead performance, it is a far cry from Rami Malek as Freddie Mercury. “Bob Marley: One Love” tries to take a compelling concept to the finish line. But in terms of execution, I felt it needed to pick up the pace just a bit. Maybe a second viewing with subtitles would make the experience better, but I was not riveted enough in my first viewing to warrant a second viewing. I am going to give “Bob Marley: One Love” a 4/10.
“Bob Marley: One Love” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! My next review is going to be for my most anticipated movie of 2024, “Dune Part Two.” Does it live up to the hype? You’ll have to wait and see. Also coming soon, I will have reviews for “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” and “Godzilla x Kong: The New Empire” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Bob Marley: One Love?” What did you think about it? Or, who is an artist whose story would make for a good biopic? Let me know down below! Scene Before is your click to the flicks!
“Drive-Away Dolls” is directed by Ethan Coen (The Big Lebowski, No Country for Old Men) and stars Margaret Qualley (Once Upon a Time in Hollywood, Fosse/Verdon), Geraldine Viswanathan (Blockers, Miracle Workers) Beanie Feldstein (Booksmart, Neighbors 2: Sorority Rising), Colman Domingo (Ma Rainey’s Black Bottom, Rustin), Pedro Pascal (The Mandalorian, The Last of Us), Bill Camp (The Queen’s Gambit, The Night of), and Matt Damon (Oppenheimer, The Martian). This film centers around two women who find themselves intertwined with crime-riddled shenanigans during their last minute road trip to Tallahassee, Florida.
So far, February has not been kind to yours truly. At least in terms of the movies we are getting. Shoutout to “Madame Web” for literally slapping me across the face, kicking me in the shin, and gouging out my eyeballs. Then again, it’s February. I should not be surprised that we are getting some underwhelming sacks of crap. But even over the past decade there is often at least one film in February that not only stands out, but ends up being a contender for best film of the year. In 2014 there was “The LEGO Movie.” In 2016 there was “Deadpool.” In 2019 there was “How to Train Your Dragon: The Hidden World.” But in this instance, it seems that February is back to its usual shenanigans of destroying any chances of good times at the movies unless the movie you’re seeing came out in the previous year.
Well, “Dune Part Two” happened, but that’s another story for another time.
Speaking of “Dune Part Two,” I have to say of all the movies coming out in February this year, “Drive-Away Dolls” takes my second place position for my most anticipated title of the month. That is one spot below “Dune Part Two,” so at least I had something to look forward to the week before that one came out.
And thankfully, I would have to say “Drive-Away Dolls” is a delight. It contains two likable leads, a well-rounded supporting cast, and plenty of intriguing moments that are accentuated by good characters. Many of the film’s wins perhaps would not be possible if it were not for Ethan Coen’s vision. I have not seen all of the Coen Brothers’ movies, regardless if they are solo or together. That said, this one works because it successfully delivers a big bang in such a short runtime. The scenes fly by partially because of fast-paced dialogue and fairly tight editing. There are moments to breathe, but I will not deny that the movie gives quite a bit in just 84 minutes including credits.
Technically speaking, this is one of the most vibrant films I have watched in recent memory. This film is colorful, bright, and polished. One film I watched earlier this month was “Lisa Frankenstein,” and in that review I say the film “looks like something from another world.” When I look back at that movie and compare it to “Drive-Away Dolls,” they sometimes feel similar from a looks perspective. Both offer spectacular lighting that offers a bit of variety from scene to scene. Some of the costumes in both projects stand out. And there are moments where even the sets are easy on the eyes. There is a particular hotel in “Drive-Away Dolls” that not only looks exquisite, but beautifully fits the tone of the movie. Every moment we spend in this hotel with our two leads is worthwhile.
Speaking of the two leads, not only do Margaret Qualley and Geraldine Viswanathan give solid performances that allow the duo to be as dynamic as possible, but I cannot see anyone else playing them. I have respect for both of these actresses. I have not had a ton of experience with Margaret Qualley, but I thought she shined like the sun in “Once Upon a Time in Hollywood,” one of my favorite Quentin Tarantino flicks. I noticed some of her mannerisms from that movie seem to make their way into her role of Jamie as well. And while I would not specifically call “Drive-Away Dolls” a comedy per se, there are plenty of comedic elements. There is a natural goofiness, if that is even the correct term to use, to the main duo that is incredibly palpable. The movie does a good job at fleshing this duo out and authenticating them. They feel like they belong in a world like the one this movie presents.
And of course, Geraldine Viswanathan plays the other leading lady, Marian. Sticking with the comedy aspect, I think Viswanathan also does a good job at playing up some of the more comedic parts of the film. I should not be surprised though given her background. She was in one of my favorite comedies of 2018, “Blockers.” She was also a regular in TBS’s “Miracle Workers,” which is a fantastic show. Viswanathan is a natural when it comes to matching her personality with the movie’s tone.
But just because there are comedic moments in the film, does not mean the it refuses to get serious for a moment or two. Multiple tones intertwine beautifully and in no way feel inconsistent. That said, knowing what this movie is about, how the events progress, and the way everything unfolds, of course comedy is to be expected out of something like this. I do not want to give any spoilers as to certain things that happen in the movie as the marketing shrouds some things in secrecy and I was admittedly surprised when certain things come up, but this movie gets wild.
On top of Qualley and Viswanathan, you have an amazing group of supporting actors. Need any more proof this film scores big in the comedy department? Watch Beanie Feldstein play Sukie the cop. Perfect is a word I wish to use sparingly in life, but Feldstein’s performance comes close to perfection. Bill Camp as Curlie has a notable presence throughout the picture. And Matt Damon easily makes the most of his screen time. Similarly, I think I made the most of my time watching this film. I would give it a thumbs up.
In the end, “Drive-Away Dolls” is quite good! In fact, sometimes, it delivers a flair only a movie of its kind can bring to the table. Great acting. Great directing. Eye-popping aesthetics. What more could you want? “Drive-Away Dolls” is not the most surprising movie of all time, and when it comes to quality I have to admit there are better movies from the Coens, not to mention in general, but if you want a good movie that could make for a decent one time watch, “Drive-Away Dolls” is an entertaining ride. I am going to give “Drive-Away Dolls” a 7/10.
“Drive-Away Dolls” is now available to rent or buy on VOD.
Thanks for reading this review! If you liked this review, I have more coming! Stay tuned for my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” “Kung Fu Panda 4,” and “Ghostbusters: Frozen Empire.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Drive-Away Dolls?” What did you think about it? Or, what are some good road trip movies that come to mind? Let me know down below! Scene Before is your click to the flicks!
“Madame Web” is directed by S.J. Clarkson (The Defenders, Jessica Jones) and stars Dakota Johnson (Fifty Shades of Grey, The High Note), Sydney Sweeney (Anyone But You, Euphoria), Isabella Merced (Transformers: The Last Knight, Dora and the Lost City of Gold), Celeste O’Connor (Ghostbusters: Afterlife, Selah and the Spades), Tahar Rahim (The Serpent, The Mauritanian), Mike Epps (The Hangover, Next Friday), Emma Roberts (Nerve, Scream Queens), and Adam Scott (Parks and Recreation, Big Little Lies). This film centers around a woman named Cassandra Webb. When this paramedic discovers she is clairvoyant, she tries to balance learning about her past all the while protecting the future of three teenage girls.
In the moviegoing market, comic book movies are a dime a dozen nowadays. But there are reasons for that. For starters, a lot of them have received positive reviews in recent years. DC titles like “Joker,” “The Suicide Squad,” and “Wonder Woman” have received a lot of love over the years. In the case of the first title, it even got some recognition at the Academy Awards. The MCU has had a lot of positive critical reception and have been darlings with fans and audiences. On Sony’s side, the animated “Spider-Verse” titles have tons of dedicated fans. But let’s not forget the real reason why these films keep getting made. It’s the same reason every film gets made. Profit.
Films like “Iron Man 3,” “Aquaman,” and “Captain Marvel” for example, all made more than a billion dollars. Naturally, Sony wants a piece of that pie as well. And it’s not like they’re a stranger to it. Their collaborations with Marvel Studios, “Spider-Man: Far from Home” and “Spider-Man: No Way Home” both joined the billion dollar club. At the time, 2002’s “Spider-Man” became the fastest movie to ever reach $100 million at the box office. But in recent years, the studio has moved over to making films about Spider-Man characters without the use of the webhead as its primary protagonist. “Venom,” despite how much I think it is hot garbage, made more than $856 million. “Venom: Let There Be Carnage,” even though it came out when the COVID-19 pandemic kept some audiences at home, still managed to pass the $500 million mark. Then came “Morbius…” With the film grossing $167.5 million against a reported $75 million budget, it barely reached a point of breaking even.
And some may ask why these films seem to be making less than some of their competitors. While there are other factors that definitely come into play, I can shed light on one of them. These films are just not as memorable or high quality compared to say a lot of the MCU installments we have gotten over the years.
If you all remember my review for “Morbius,” I railed that movie into the ground. I wondered why Sony decided to get the writers of “Gods of Egypt,” Matt Sazama and Burk Sharpless, to pen the picture. Maybe they are nice people. Maybe they save kittens from trees on a regular basis, I have no idea, but it does not change the fact these two are some of the worst writers in Hollywood. I was especially shocked that Sony saw “Morbius” and thought, “You know who we should get to write our next comic book film?” The guys who gave us that schlocky Jared Leto film we pushed back for a couple years! As for the one trailer released in this film’s lackluster marketing campaign, it honestly did not help things. But of course, there have been plenty of uninteresting trailers to good movies. But what did I think of the movie itself? Well, to answer this question, I am just gonna have to ask anyone who is reading this to strap themselves in. Because this movie is getting the angry, tangent-filled review it deserves. Why? Because this movie is one of the worst I have ever seen in my entire life. I am not exaggerating. I am not being hyperbolic. This may be the worst film of the decade. Period. End of sentence. Done. Finito. The rain has taken the spider out.
This film is the first I have seen where they flashed the Columbia Pictures 100 years logo. I guess it only took a century to make something as truly diabolical and asinine as whatever this ridiculousness happens to be. I do not know how they did it. But somehow, Matt Sazama and Burk Sharpless wrote a film that is worse than “Morbius.” Get ready guys, I am about to do something I hoped I would not have to do, use “Morbius” as THE POSITIVE.
While “Morbius” was not great, the film at least started with a hint of promise. Looking back, the film had an okay, not great, but mildly amusing first act that did an alright job at establishing a key relationship in the film. You got to know Michael. You got to know Milo. It actually helps the film somewhat as it shoddily progresses. In “Madame Web,” I was about to break just from scene one.
As far as big budget movies go, this is one of the most headache-inducing I have watched. This may seem like a small thing, but there are a couple moments in the film that had these unnecessary zooms. It felt like the cameraman was trying out a camera for the first time and attempting to figure out how the zoom works! It’s that bad! Of course, the cringeworthy dialogue from the beginning did not help much either. And if you like cringeworthy dialogue, fasten your seatbelts, because you are in for a treat! This movie has it in spades! Disappointingly, “He was in the Amazon with my mom when she was researching spiders right before she died,” is not one of those lines. Yep, that infamously awful line from the trailer, it’s not in the movie. As for the other straight up abysmal utterances of words and phrases that did make it into the final project, they are not much better.
What makes “Madame Web” inferior to “Morbius?” Well, looking back at “Morbius,” I think Jared Leto did a great job staying in character the entire time and Matt Smith had the energy of a lively game show host with an edge. As much as I hate bashing actors nowadays, there is not one performance in the film to write home about.
With the exception of one scene past the film’s halfway mark, I cannot say Dakota Johnson gave her best work in this film. To be fair though, going back to the irritatingly terrible screenplay, it did not help things. The one moment Johnson shines in the film just so happens to be the one halfway decent moment in the screenplay. It is one where we get to have a nice, charming moment between her and another character. It is perhaps the only moment of the movie where any of the characters unleash authentic emotion. It was the one moment of the movie where I didn’t hate myself. Then we get to the next scene, and I am not kidding, where it only took a few lines for me to slap myself in the face like I was the first guy trying to figure out how to cure amnesia.
Dakota Johnson may play the protagonist of the film and had top billing. Given what she had to venture through, I’d argue she was underpaid. Right below her is Sydney Sweeney. In the time it took me to write this review, I think significantly more teenage boys took the time to buy posters of Sweeney to put on their bedroom walls than they did to secure “Madame Web” tickets. Knowing the inexcusably bad execution of her character on the page, I think those teenagers made some comparably reasonable purchases. For one thing, from a casting perspective, I find it hilarious that they ended up casting Sydney Sweeney to play a shy, reserved teenage girl. It might be the funniest casting since getting John Cena to play Vin Diesel’s brother in “F9: The Fast Saga.” Now I have seen twenty-something year old actors play teens decently before, and I have seen suave, confidence-exuding actors play roles that do not quite match those aspects of their real life persona. The profession is called acting for a reason. Look at Ana de Armas in “Knives Out!” She is perhaps one of the most beautiful actresses in the business today, but I don’t think you would get that impression of Ana de Armas if your first watch of her in a movie happened to be “Knives Out.” The best thing I can say about Sydney Sweeney in “Madame Web” is the same thing I can say for Jared Leto in “Morbius.” She did her best with the excruciatingly dull material given to her.
In comic book movie speak, the placement between Sydney Sweeney, the other teenage girls, and Dakota Johnson reminds me of the 2015 “Fantastic 4” reboot. An uninteresting, poorly contrived group of four people that is randomly placed together with no semblance of personality or likability. But you know what? I was able to find more positives in “Fantastic 4” than I did for “Madame Web.” The visual effects look nice, some of the first act was okay, and I think Miles Teller did a good job in the lead role. Meanwhile, “Madame Web” pales visually minus a few creative moments, I rolled my eyes from scene one, and I could not find a good performance even if you put a hypnotist in front of me to convince me that one was in front of me all along.
Speaking of “Fantastic 4,” this film, not to mention their respective distributors, have something in common. They come from similar obligations. Rights maintenance. It’s not show friends, it’s show business. Sony is obligated to commence production on a “Spider-Man” project every five years and nine months. They do not have to release the film, they just have to say that it is in production. After seeing “Madame Web,” I can say to those complaining that studios are not making enough original movies, Sony probably feels your pain. They likely felt that they did not want to make this film and instead, they had to. But you know what they could have done? I don’t know, cancelled it?! Go all David Zaslav on it and scrap it for a tax write-off?! That’s what they could have done! For those who say “Batgirl” should never have been cancelled, I think “Madame Web” may prove why that movie met its fate. After all, “Madame Web” is not making all the money in the world. You know why it is not making all the money in the world? It’s unwatchable! Simple as that!
As a fan of the Marvel Cinematic Universe, which this movie does not connect to, I recognize that the entirety of that timeline is not based on the vision of one director, or writer. A lot of it traces back to Kevin Feige, the President of Marvel Studios. As much as I am not one for what many would call studio interference, I will not deny that a lot of the success of the MCU is owed to Feige and his ability to balance connectivity from one project to the next. Not everything is a hit. There have been duds like “Thor: The Dark World,” but everything makes sense and at least feels like it is coming from some hint of passion. Feige cares about what goes on the screen. The filmmakers care about what goes on the screen. I am not saying this film’s director, S.J. Clarkson does not care. But as a whole, this movie feels like made by people who could care less about how it would turn out. Despite how much money these movies make and their extreme presence in popular culture, the MCU movies feel like they are made with love. At least they are when standing next to “Madame Web,” which feels like it was made to fit into a release schedule.
Speaking of release dates, I love how this movie was released on Valentine’s Day. I have never been in a relationship myself, but I nevertheless feel like I am in a fair position to give some advice. If you took your partner to see “Madame Web” on Valentine’s Day, they have every right to use that as a reason to block your phone number, ghost you, or break up with you. I don’t make the rules. I just tell things as they are.
Seriously! Who in their right mind saw “Morbius” and thought the writers should continue working in this cinematic universe? The fact that they were able to conjure a script that is inferior to their previous project is baffling to me.
And if you think I got into the movie’s most shameful moments yet, just wait. You have seen nothing yet. If you have been following this blog for the past five or six years, chances are you may remember my thoughts on “Uncle Drew.” But for those who need catching up, I have to say the movie was not funny, not charming, and completely lacking in any likability whatsoever. As far as I am concerned, “Uncle Drew” has only given me two things. One of the most passionate reviews I have done on this platform, and ire. Not much else. In that review, I titled it the “worst Pepsi commercial ever.” That highly talked about ad with Kendall Jenner has nothing on just how bad that movie was. It was filled to the brim with Pepsi product placement to the point where I almost wanted to chuck a couple Coca-Colas directly at the screen.
Ladies and gentlemen, I think “Madame Web” is now a fine contender to be the worst Pepsi commercial in history.
I am almost scared to know what went on behind the scenes of “Madame Web,” but at the same time, I am curious to know how much money Pepsi shelled out just have the exposure they’ve gotten in this film. Sony films in general are usually obnoxious enough for how much they advertise their own products. Just look at “Gran Turismo!” Not only is that based on a PlayStation exclusive video game, but it also doubles as a Nissan commercial, and ends up making the Walkman an essential element to the story. When it comes to product placement, Sony is arguably the most shameless major studio when it comes to this heinous trend. I understand, movies are expensive and studios need to pay the bills. But why does Pepsi need to be thrown in my face so obnoxiously? At this point, this is not a movie. It’s a giant, uninspired, bloody two hour ad! The real protagonist of this film is not Cassandra Webb, it’s Pepsi!
Speaking of lazy, the ending of this film downright sucks on so many levels. For starters, it reuses footage from Sam Raimi’s “Spider-Man 2.” Not only did it feel like a quick copout, but it made me wish I was watching a much better movie! As for other reasons why the ending sucks, I must once again go back to my old friend “Morbius.”
I said one of the reasons that film did not work for me was because it lied in its marketing campaign about certain things. Unfortunately, Sony learned nothing when marketing “Madame Web.” Because there is an entire segment of the trailer dedicated to showing off something regarding the teenage girls. Now, as mentioned, the teenage girls are in the movie. And that “something” I just mentioned is in the final picture. Unfortunately though, that something is used to basically tease a certain thing in the future. Perhaps a “Madame Web 2.” To that I must say, if you cannot give me a cool movie the first time, why should I care about what you are going to give me the second time? The ending of this movie basically just tells me that after being trapped in front of a screen for two hours, it wants me to come back for an occasion where we actually see something potentially worthwhile. One of the flaws of cinematic universes or modern film franchises in general is that everybody is so concerned about building excitement in regards to what’s next to the point where it is easy to forget that you have to focus on the feature that is in front of you. Additionally, we get a costume reveal for our title character and I have to say, it is strange to look at. Maybe it is because so much of this movie looks dark and greyish at times. Compared to a lot of other comic book movies, the color palette looks bleak. If these Sony Marvel movies have one thing in common, it’s that they look dark and depressing. It sometimes turns me off. I get that characters like Venom are often seen as villains, but still.
Honestly though, the movie is sometimes hilarious, but not in a good way. There is an entire subplot dedicated to the birth of a certain character whose name is never mentioned. As a “Spider-Man” fan, I am able to put the pieces together and determine who this character is, but the way this movie goes about this feels insulting and lazy. The subplot also brings out one of the most cringeworthy jokes in the movie. Basically, Emma Roberts’s character reveals her water just broke, to which one of the teenage girls ends up shouting, “Ewwwwwwww!” I am not joking, to say I facepalmed in that moment would be an understatement. If you were in my auditorium and you heard a loud slapping sound out of nowhere, that was me slapping my hand on my face in anger.
And yes, for those who ask, that was the scene that followed the one decent moment in the movie.
From a technical perspective, “Madame Web” has some okay moments in terms of the action sequences, but nothing I will worship until the day I die. In fact, once again, there is one action sequence that further emphasizes my displeasure with Pepsi’s overexposure throughout this turd of a film. I think the weakest part of the film from a technical standpoint is the sound. Now, everything’s clear. I could hear all the dialogue, in its everlasting, infinite, sigh-inducing glory… But there are multiple parts of the film where I thought I was getting brain damage from how loud the movie was. I watched the film in IMAX, which would naturally mean the sound would be louder. But I have been to numerous IMAX experiences and have witnessed plenty where louder sound has only served as a benefit. Take “Oppenheimer” for example. That trinity test scene was bonkers in IMAX. It was something else. It was one of the most riveting things I witnessed in my entire life simply because I felt like I was a part of that scene. Sometimes “Madame Web” was just loud enough to the point where my headache must have gotten irritated by what was in front of it. Speaking of headaches, the way this movie goes about explaining our main protagonist’s powers sometimes got on my nerves. It’s not that I did not understand it, but rather that it was showcased in such a way that messed with my mind the longer it lasted on the screen.
“Madame Web” is an hour and 56 minutes long. Honestly, that runtime is incredibly flawed. According to my calculations, I think I found the perfect runtime for the film. And that runtime is nothing because a film like this should have never been released. The fact that it even got made is mind-blowing. When this film started, I was turned off. As it progressed, I was seething. When the credits showed up, I stormed out of the theater like a young child who got blue shelled by their friend twice in one race during a session of “Mario Kart!”
I wish I were exaggerating. You may think I am simply telling you this for dramatic effect. It’s true. But I assure you, that short paragraph I just wrote, has more substance than “Madame Web” can provide in less than two hours.
In the end, to call “Madame Web” a joke would make sense, but to do that would be insult against comedy. Because comedy makes you laugh. The only thing “Madame Web” did was intensify my anger. I love comic book movies. I know they are not exactly in the best state right now, but I remember walking out of every MCU movie that came out last year. And even if they were not fantastic, they at least had some redeeming qualities. I know a lot of people have been recently bagging on “Ant-Man and the Wasp: Quantumania” and “The Marvels,” but I dare you to watch those two movies and “Madame Web” in a marathon and tell me that “Madame Web” is not the worst of those three. Because those two movies, despite their flaws, manage to pack in some fun. They deliver good action, neat effects for the most part, and have likable protagonists at the forefront. When I say that “Madame Web” is the worst film of the decade, it is hard to imagine such an assessment being a stretch. Between a wasted superhero story where we barely get any superhero DNA throughout, a lackluster villain, bad writing, terrible jokes, obscene dialogue, and tired homages to “Spider-Man” lore, “Madame Web” is an utterly atrocious mess that will go down in history as one of the most asinine, sloppy, downright criminal pieces of cinema that has ever disgraced the silver screen. Martin Scorsese, if you are reading this, I may disagree with you on comic book movies in regards to whether or not they are cinema. But after seeing “Madame Web,” I think it would be wrong to even call it a theme park ride. Why? …Because theme park rides are fun. I am going to give “Madame Web” a 1/10.
“Madame Web” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for “Drive-Away Dolls!” Hopefully that will serve as a palette cleanser for the fiendish brain cell-eradicator of a movie I just watched. One can only hope. Also coming soon, I will have my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” and “Kung Fu Panda 4.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Madame Web,” and why did you think it was terrible? Err, sorry! My mind nearly broke for a second, what I meant was, what did you think of the movie? Or, what is the superior project? “Madame Web” or “Morbius?” Let me know down below! Scene Before is your click to the flicks!
“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.
When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.
You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.
This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.
Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”
Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.
The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.
For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.
Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.
In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.
“Lisa Frankenstein” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!
“American Fiction” is directed by Cord Jefferson and this is his directorial debut. The film stars Jeffrey Wright (Asteroid City, What If…?), Tracee Ellis Ross (Black-ish, The High Note), John Ortiz (Fast & Furious, Clyde Goes Boating), Erika Alexander (The Cosby Show, Living Single), Leslie Uggams (Roots, Deadpool), Adam Brody (Shazam!, Ready or Not), Issa Rae (Barbie, Spider-Man: Across the Spider-Verse), and Sterling K. Brown (This Is Us, Army Wives). This film is about an author who creates a satirical book under a pen name that becomes bigger than anyone, even he, could have imagined.
As we approach the end of the 2023 film awards season, it is time to discuss a movie that may not be a frontrunner to win all the Oscars this year, but one that has had a respectable share of spotlight. I knew about a lot of movies coming out towards the year’s end, but “American Fiction” was one that kind of came out of nowhere for me. It took me a couple trailer watches, mentions from social circles, and online pundits to drill the title in my head, but the whole idea of the film was something that I could get behind. It looked funny, well-acted, and well-written. Thankfully, when it comes to my expectations, this film hits all three of those checkmarks. The humor is great. The acting is great. The screenplay is great. And what makes all of this even better is that the director of this film, Cord Jefferson, is making this picture his debut.
According to his IMDb page, Cord Jefferson has never once directed anything else before “American Fiction.” This includes other features. This includes shorts. This includes television. Up until now, Jefferson has had a hand in television producing and writing. His resume includes “Master of None,” “Watchmen,” and “The Good Place,” the latter of which I have watched and find quite hilarious. It got me through my recovery after getting my wisdom teeth removed so I feel like I owe something to the people who made that show. And now Jefferson his taking his TV talents and using them to deliver one of 2023’s funniest films.
The ensemble for “American Fiction” can do no wrong. From the commanding, but not quite in your face presence of Jeffrey Wright, to the quality charisma of Tracee Ellis Ross to the flamboyant glory of Issa Rae, the latter of whom makes me imagine that she could eventually become one of my favorite performers in the near future. I thought Rae was a standout in “Barbie.” But she is a different kind of great here. Honestly, I almost cannot see anyone else playing her character. She does a great job not only having a hypnotic presence from scene one, but when we see her read her book, she does a great job at immersing me into the scene and feeling as if I am not only getting to hear the book, but maybe also getting some speck of imagination to the point where I would be mistaken to believe the events of the book are actually playing out in front of me.
As I have grown older, one of things I continue to appreciate about movies is the very idea of how people can take something and deliver a primarily visual experience, but if you have to ask me, “American Fiction’s” greatest asset has to be its dialogue. There are several lines from this film that are contenders to be some of the year’s best. I don’t think any of them will have as monumental of an impact as “Oppenheimer‘s” final line, “I believe we did,” but when it comes to individual lines, there is one quote from the main character that is funny, not only because of its delivery, but because regardless of its context, the more I think about it, the more I feel it applies to some aspects of modern society. Specifically, “The dumber I behave, the richer I get.” In fact, some would say this line even links to how entertainment works nowadays. There seems to be a consensus that we keep making entertainment, whether it is through movies, television, or in this movie’s case, books, arguably for the lowest common denominator. In fact, that falls in line with the main protagonist’s goal as well, because the film follows his journey as an author who cares about and finds passion in what he does, even though he does not have the widest audience. But the more he panders to a demographic or lie about himself, the more successful he becomes.
As for other standouts, the film itself looks beautiful. This film is shot by Cristina Dunlap. Cinematography-wise, it is not the top dog of the year, but it is sometimes enchanting to look at. The film is packed with a variety of eye-popping exterior shots. I may be biased because I am from Massachusetts and this movie is set around various areas I have been to around the state, but I can say that when it comes to showcasing those areas on camera, I will not deny that the showcase itself is rather pleasing. But the film is not just easy on the eyes, but also the ears. Laura Karpman’s score is quite good. It fits every scene well.
While this film may not win Best Picture at the Oscars this year, that said, you never know, it could pull an upset… I will say when it comes to this year’s slate, particularly the movies that are going for the heavy-hitting awards, this film gets some things right that I would say “Barbie” also gets right. Specifically the vibes and tone, mixed together with the overall look of the film. In some sense, “American Fiction” is a down to earth story about people you could probably find in our society, but it also comes off with this slight sense of fantasy. It is hard to describe, but I appreciated it.
I also must note that when I remember this film, I will remember it well for the laughs I had. The smiles I had. But it is a pretty balanced movie in terms of emotion. When we get to know Thelonious’s family, we also get to know his mother, who we find out has Alzheimer’s. While I will affirm the film is not quite as memorable as “Everything Everywhere All at Once,” when you take the main idea of “American Fiction” and combine it with this Alzheimer’s subplot, the two films feel similar tonally. Because “Everything Everywhere All at Once” had tons of multiversal shenanigans, but you also have an intriguing subplot that is more down to earth like the turmoil between multiple family relationships. As for the subplot itself, I thought it was handled with grace and it unleashed a great performance out of Leslie Uggams (right). In terms of story and characters, what “American Fiction” provides on the surface, is intriguing. That said, there is more to it that paints a pretty picture.
In the end, “American Fiction” is unpredictable, exciting, and hilarious. When it comes to commentary, this is one of 2023’s finest works. But it also does something equally as important. Entertain. Once again, this is the first film from Cord Jefferson, and I honestly cannot wait to see what he does next. It is not just a good time, it is a great time. And I think you will have a great time should you decide to watch this film. Not the best of 2023, but it gets a lot of things right. When it comes to flaws, they do exist. I will remember some aspects of this film more than others. Some scenes feel a tad abrupt in terms of flow. But there’s nothing game-breaking. As for my score, I am going to give “American Fiction” a high 7/10, and honestly if I were to watch it a second time, it could go up.
“American Fiction” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, I have more where that came from! Pretty soon I am going to have reviews for “Lisa Frankenstein,” “Madame Web,” “Bob Marley: One Love,” “Drive-Away Dolls” and my most anticipated movie this year, “Dune Part Two.” Also, if you have a lot of time on your hands and you want to find what films defined the art form in 2023, check out the 6th Annual Jack Awards, possibly the biggest waste of time in your entire life. Who knows? If you want to see more great content like this, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “American Fiction?” What did you think about it? Or, what is your favorite directorial debut? I don’t have a concrete answer, but I recently rewatched “Deadpool” over Valentine’s Day, because what other movie would I watch?! That was Tim Miller’s first feature film and it ended up being one of the funniest I have ever seen. If you have an answer of your own, say it down below! Scene Before is your click to the flicks!
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!
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