Migration (2023): Illumination’s Second Barely Passable Animated Flick of 2023

Posted on by Jack Drees

“Migration” is directed by Benjamin Renner (Ernest & Clementine, The Big Bad Fox and Other Tales) and co-directed Guylo Homsy (Despicable Me, The Lorax). This movie stars Kumail Nanjiani (Silicon Valley, Eternals), Elizabeth Banks (Press Your Luck, The LEGO Movie), Keegan-Michael Key (Toy Story 4, Keanu), Awkwafina (Renfield, Raya and the Last Dragon), and Danny DeVito (My Cousin Vinny, Jumanji: The Next Level). The film is about a family of ducks who leave their habitat with the intention of migrating south, much to the resistance of their overprotective, closed-minded father.

Of the major animation studios out there today, the one that interests me the least is Illumination. “Despicable Me” never struck me as a franchise I tended to enjoy. “The Secret Life of Pets” has one average movie followed by a painfully awful sequel. “Sing” is the one notable saving grace the studio has delivered over the years. “The Super Mario Bros. Movie” is about as barely passable as movies can get. Granted, it is major step up from the 1993 live action adaptation of the iconic video game franchise, but when it comes to Illumination’s legacy, I have never found myself attached to it. Illumination is no Pixar, which has banger after banger after banger. Well, until they released “Elemental” this year which was one of the most disappointing animated features I have seen in my entire life. That said, this has been a great year for animation. For those who do not know, little preview behind the scenes at Scene Before, I am currently working on my top 10 best movies of the year, and I have not reviewed or seen everything I wanted to see yet, but a good portion of the titles contending for that list are animated.

I have good news and bad news. Let’s start with the bad news first, “Migration” is not going to join the top 10 best movies of the year for me. The good news is, “Migration” is nevertheless a decent movie. I was quite surprised with this film. I honestly thought the movie would not only be bad, but it would completely suck on every level. The marketing has been underwhelming, and ever since it started, I have not had the best impression of it. I remember when they dropped the first teaser back in the spring and half the trailer was just Illumination patting themselves on the back for all the movies they created so far. Now, I am a bit of a hypocrite because “The Boy and the Heron” just came out, which had a trailer close to the film’s release looking back at many of Hayao Miyazaki’s films. But one, I like most of those movies. And two, given the long time it took to make Miyazaki’s latest film a reality, the trailer in that campaign felt somewhat earned.

But you know what? I was pleasantly surprised. I did not pay to see this film, I ended up attending an early screening less than a week before the film came out and I had some laughs and smiles. The film does not reinvent the wheel and is far from the best animated film released this year. If anything, it is somewhat predictable and cliché, but as I said before on this blog, a movie can be predictable and done well. “Godzilla Minus One” has some predictable moments, but as long as they make sense or feel earned, I can forgive them for being there.

All around, the voice acting is decent. Not the best of the year, but when it comes to Illumination, it is collectively better than what we got in “The Super Mario Bros. Movie.” Jack Black as Bowser is the glaring exception. Kumail Nanjiani does a good job as Mack (right center), the lead duck who happens to be stuck in his ways. Elizabeth Banks as Pam (right) is a standout amongst the cast. Banks traditionally has a lively, often upbeat voice that lends itself to roles like this one. As husband and wife, I bought into the duo immediately. Their respective voice actors were well paired.

One voice actor I was shockingly entranced by was Awkwafina. I have not seen everything Awkwafina was in throughout the past few years, but she has built a reputation of being particularly unlikable amongst some people. I never found her that way, but in the past few roles, she seems to be typecast and relying on previous schtick that is not quite old yet, but is getting there. That is why I am pleased to say that Awkwafina, despite my reservations from the trailer, is a fun standout in this film as Chump the pigeon. Her lines landed perfectly within the context of the film. She voiced the character well. And I felt that almost every scene she was in enhanced the picture in the long run. When it comes to Awkwafina, this is obviously nowhere near as memorable of a portrayal as the one she gave to Billi Wang in “The Farewell.” I will also say she is better in films like “Shang Chi and the Legend of the Ten Rings,” but I always like a good surprise.

And that is kind of what this movie is. I watched the trailer months back and absolutely hated it. Then I watched the movie a couple weeks ago and ended up liking it. I am not going to pretend this is Illumination’s best work. “Sing” is a step up from this, though this might be a tad better than “Sing 2.” But like those movies, “Migration” has its flaws.

The most prominent flaw for me, and this may strictly be based on personal preferences, I did not like how the movie portrayed its antagonist. The antagonist in this case is a restaurant chef. It kind of reminded me of another Illumination title, “The Secret Life of Pets 2,” where the villain basically overembellishes everything. I understand this is an animation, but there is a certain threshold that this movie crosses with the antagonist at certain points that I was not able to buy. I do not want to dive too deep into spoilers, but there are select moments where I saw the antagonist do certain things or act in certain ways that did not feel authentic.

However, like other Illumination titles, “Migration” has a nice polish in its animation. The color palette is pleasing to the eye. The film looks good. Much like the studio’s previous effort, “The Super Mario Bros. Movie,” the animation is one of the top tier qualities of the entire film. But also like “The Super Mario Bros. Movie,” “Migration” tends to suffer sometimes from its screenplay. In fairness, the screenplay makes sense and everything lines up. But it is full of cliches. Sometimes it feels safe and familiar. There are some creative decisions here and there, and there is one scene involving herons in the first act that was quite good. It was tense and had some laughs. But I am not going to remember this movie as one of the best of the year because it does very little to lean away from predictability. I think “Migration” is a good family movie. And if you are looking for something to do with the kiddos for the rest of their winter break, this makes for a fine time at the cinema.

In the end, “Migration” is one of the biggest surprises of the year for me. I think it is probably my second favorite title from Illumination. But then again, that is not saying much, because I have not seen every single film from them (I do not give a crap about “Despicable Me”) and when it comes to the films I have seen, their collective average when combining my final scores is not that great. In fact, the film is quite flawed at times. It is utterly nonsensical in terms of its overall story and how some scenes play out. Again, I know this is animated, sometimes there is a ceiling the film needs to avoid cracking. But the film has a couple of chuckle-worthy moments, likable characters, and it is nice to look at. There is not much more to write home about, and there are significantly better animated movies I have seen this year. I could name a bunch of them. but this film was a pleasant surprise. I am going to give “Migration” a 6/10.

“Migration” 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! Stay tuned for my thoughts on “Aquaman and the Lost Kingdom” and “Poor Things!” Also coming in January, it is that time yet again! I will be revealing my best and worst movies of 2023! 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 “Migration?” What did you think about it? Or, what is your favorite animated movie of 2023? Right now it is kind of a tossup for me between “Spider-Man: Across the Spider-Verse” and “The First Slam Dunk.” Let me know your picks down below! Scene Before is your click to the flicks!

Wonka (2023): A Sweet But Tired Prequel Whose Strength Comes from Old Tricks

Posted on by Jack Drees

“Wonka” is directed by Paul King (Paddington, Space Force) and stars Timothée Chalamet (Dune, Call Me by Your Name), Calah Lane (This Is Us, Kidding), Keegan-Michael Key (Toy Story 4, Keanu), Paterson Joseph (Timeless, Peep Show), Matt Lucas (Come Fly with Me, Little Britain), Matthew Baynton (Ghosts, The Split), Sally Hawkins (Godzilla, The Shape of Water), Rowan Atkinson (Johnny English, The Lion King), Jim Carter (The Good Liar, Downton Abbey), Olivia Colman (The Favourite, The Mitchells vs. the Machines), and Hugh Grant (Four Weddings and a Funeral, Bridget Joneses Diary). This film is about a young Willy Wonka who tries to open a chocolate shop in the hopes of making his dreams a successful reality. He must also deal with the greed of a chocolate cartel that looms over him.

I absolutely adore “Willy Wonka and the Chocolate Factory.” When I was seven years old, I would watch that film almost every other night. I was equally as fascinated by some of Roald Dahl’s books, “Charlie and the Chocolate Factory” included. And if you all must know, I did watch the Tim Burton “Charlie and the Chocolate Factory” and while many of you will probably spew pitchforks at me, I do not just like the film, I kind of love it. It is simmered with the dark vibes of Wonka himself in every scene. Danny Elfman’s score is a banger. I really liked Freddie Highmore as Charlie. Johnny Depp as Willy Wonka leaves a little to be desired though, that’s the one big downside. Both films, especially the latter, make me want to stuff my face in chocolate. That’s how good those films are.

Thus far, we have had a couple of “Wonka” features that I tended to enjoy, so when I heard they were doing this new one with Timothée Chalamet, I was onboard. He is one of the best young talents working today. He has range. He has a natural look to him. So I was curious to see what he can do in a film like this. The great news is that Chalamet slays in his performance. As far as the Wonka character goes, he is significantly better than Johnny Depp. He is no Gene Wilder, but one thing to note about these two roles is that they are basically interconnected. This is set long before the events of the original “Chocolate Factory” story and the film does a decent job at making these two interpretations interlink. They don’t feel like the exact same character, but when it comes to a bridge in the gap between these two, it is filled exquisitely. Chalamet’s take on Willy Wonka matches his younger age, upbeat personality, and the dreams that clog his mind. Both Wonkas emit a sense of wonder and joy in their mannerisms, but as I watch Chalamet’s take and think about him, he seems to have more of a heart and significantly more patience than Wilder’s. Credit is due to Paul King as well for his stellar direction, as it felt not only distinctive, but effective enough to allow Chalamet to bring one of the year’s better performances.

Unfortunately, the film is not all pure imagination. In fact, the best parts of the movie to me, are mostly those in reference to nostalgia or things that came before in say “Willy Wonka and the Chocolate Factory.” Pretty much everything that is new feels like a far cry.

Much like “Willy Wonka and the Chocolate Factory,” “Wonka” is a musical. And there are callbacks to songs from the 1971 classic. The highlight of the film for me is the new take on the Oompa Loompa songs. They have new lyrics, new visuals, the whole nine yards. I thought those were well done, and it also helps that Hugh Grant sells the Oompa Loompa character to a tee.

The Hugh Grant Oompa Loompa might be my favorite character in the movie partially because of how Grant voices him. There is a certain snark factor to this character that I immediately welcomed. He also allowed for one of the better gags in the film during the second half. It is in the trailer, but having seen it in the film, it worked for me.

But with that Oompa Loompa bit aside, most of the musical numbers in this movie are some of the most forgettable and bland I have seen in ages. These are some of the most uninteresting musical numbers I have come across since 2021’s “Dear Evan Hansen.” As a movie, I liked “Wonka” better, but as a musical, this movie fails. Sure, there are rhymy timey lyrics, a lot of excuses for spectacles, all that jazz. That is what I come to expect in many musicals. But it is not a matter of it being in the movie, it is how it is done in the movie. I just wish the musical bits could have been done a little better.

The best way to describe “Wonka” to someone who has not seen the movie is that it is basically a Saturday morning cartoon come to life. Given the family friendly nature of the film and the musical aspect, that should not come as a surprise. In fact, Roald Dahl’s work, which this film is inspired by, has a very animated feel to it. Unfortunately though, if I were seven years old, I do not think I would be as transfixed by “Wonka” as I would hope to be. Maybe it would be one of those movies like “Attack of the Clones” that I like as a kid but grow up to realize it is not as good as I thought it was. To be honest, it is quite bland, it is a little boring at times. In fact, much like “Dear Evan Hansen,” I feel like the movie forces itself to be a musical at moments where it is better off staying closer to reality.

Sticking with the cartoony vibes, the antagonists of the film, specifically the chocolate cartel, feel rather mustache twirly. The movie does a terrible job at making these three look intimidating. The movie asks me to see them as bad people. And yes, objectively they are, but it is a matter of execution. There is almost no word I could use to describe this cartel other than unamusing. If anything, going back to the idea of “Wonka” basically being a live action cartoon, I theorize this film would be a lot better if they just went for the cartoon route and just animated it from start to finish. Heck, the musical scenes would pop more. The characters would come off as more appealing. In fact, many of the supporting characters like Bleacher (Tom Davis) and Mrs. Scrubbit (Olivia Colman) feel like they would lend themselves better to that style. If I had my way, I almost would want to see a 2D style animated movie set in this universe. I could imagine enormous potential with that concept. Unfortunately though, I don’t know how it would do at the box office, it would probably be a lot harder to market. But if word of mouth is good, maybe it would be worthwhile.

But if I have to be honest, the dialogue is unmemorable, the humor is metza metza, and the only performances in the movie I am going to fondly remember just so happen to be Timothee Chalamet as Willy Wonka and Calah Lane’s charming portrayal of Noodle. Both of those actors are the highlights of the film. They don’t always have the best chemistry, but going back to the dialogue, I am sure if I liked the dialogue better, maybe their chemistry would have worked better. Both actors seem to have done their best with the material handed to them. And as far as I am concerned, I have done my best on getting through this movie to call it one of the most average watches of the year.

In the end, “Wonka” was quite disappointing. The “Charlie and the Chocolate Factory” property was a big part of my childhood. Unfortunately this latest addition to it is nowhere near as magical or scrumdiddlyumptious. When I watched the 1971 and 2005 Roald Dahl book adaptations, it made me want to eat chocolate afterwards. I was a kid in a candy store. This latest prequel made me feel like an old man getting ready for my latest shouting event directed at a cloud. Paul King likely put his heart and soul into this project, but it unfortunately resulted in something that was poorly paced, uneven, and barely watchable. There are better movies to watch at the cinema this holiday season, or you can just stay at home and watch the other films this property has delivered over the years. I would recommend those over this one. I am going to give “Wonka” a 5/10.

Also, we have had two adaptations of “Charlie and the Chocolate Factory,” some other random takes on the property over the years, this prequel, and yet I have not seen a single “Charlie and the Great Glass Elevator” movie. Life is funny, isn’t it? Then again, having read both the “Charlie and the Chocolate Factory” books, the original appears more cinematic as it progresses, but that’s probably just the way I see it for now.

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

Thanks for reading this review! My next review is going to be for Illumination’s “Migration.” Also coming soon, I will have reviews for “Aquaman and the Lost Kingdom” and “Poor Things.” 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 “Wonka?” What did you think about it? Or, what is your favorite “Willy Wonka” or “Charlie and the Chocolate Factory” movie? Let me know down below! Scene Before is your click to the flicks!

Maestro (2023): Bradley Cooper’s Sophomore Directorial Effort is a Step Down from A Star is Born, but Is Delivered with Undoubted Passion

Posted on by Jack Drees

“Maestro” is directed by Bradley Cooper (A Star is Born, Guardians of the Galaxy) who also stars in the film as Leonard Bernstein. Alongside Cooper is Carey Mulligan (She Said, Promising Young Woman) as his love interest, Felicia Montealegre. This film is about Leonard Bernstein’s journey through life as he spends it focusing on his greatest passions. Composing music and his relationship with his partner.

Actors who become directors is nothing new. In recent years we have seen it with James Franco, Jonah Hill, Olivia Wilde, Jordan Peele, and John Krasinski to name a few. The results have from these people have varied across the board, but another man on that list is Bradley Cooper. His previous outing was the 2018 remake “A Star is Born,” which became one of that year’s most celebrated titles that thrust a popular original song, “Shallow.” I thought the film was very good. Maybe a tad overrated as time went on, but I found it to be well done. And much like that film, Cooper’s directorial followup, “Maestro” also features him as the star. This film was not completely on my radar. Partially because Netflix is traditionally terrible at marketing their originals most of the time, but I at least knew about the film because the Internet has its way of feeding information to me. I was not completely sure what to think, but I was onboard with the concept. Bradley Cooper is currently 1 for 1 in the director’s chair, so I wanted to see if he could make it 2 for 2.

And he certainly scores here.

Overall, “Maestro” is a step down from “A Star is Born.” I don’t think I will be thinking about “Maestro” for as long or as heavily as I did after seeing “A Star is Born” back in 2018. I have not gone back to rewatch the film since, but I praised the film for its music, its acting, its screenplay, and display of what happens to creatives once they are given tools from big names. I still think the idea that people would make fun of Lady Gaga’s nose is unconvincing to the tenth degree, but the movie’s gotta movie.

If anything, Bradley Cooper almost directs this film better than he acts in it, and that is saying something because he is quite a good actor. There is a long orchestra scene more than halfway through that had me fully engaged. The entire film is set in the 20th century, but with that in mind, a lot of the film’s earlier scenes heavily immersed me. But I also think part of why he directs this film so well is because the acting in this movie is so good. One of the key aspects of directing is making sure your actors give the best performances possible. Given Cooper’s acting background, he uses that to his advantage as I felt several characters honestly could not be played by anyone else. Even if I was not a fan of some of the script choices or dialogue the characters had to utter, each character managed to make me escape from my chair into the screen. While this film is based on true events, it felt like a world that was different than my own.

Going back to Bradley Cooper’s acting, I think his acting here is also a slight step up from “A Star is Born,” because it is more chameleon-like here. Yes, factors like makeup, costuming, and others come into play here. But if I have one thing to say about this movie that makes his performance better here than “A Star is Born” it is that when I hear Bradley Cooper talk or look at his face, I see Cooper himself. In “A Star is Born,” he comes off as a movie star sometimes. It does not mean his performance sucked. Not one bit. It just means that felt like I was watching a variation of the actor as I also watched the character. Here, all I see is Bernstein. It is one of the best lead performances of the year and undoubtedly one of the finest of Cooper’s career.

The film is also one of the best edited pieces of the year, it starts kind of fast, but there are plenty of slower scenes to balance everything out. But as we get to the climax, there is a lot of breathing room that allowed the emotions of the scene to sink in. It allowed me to perhaps successfully feel the emotions this movie was going for.

The film is written by Bradley Cooper in addition to one of the finest screenwriters of this generation, Josh Singer (Spotlight, The Post). When it comes to the latter, this is one of his weaker scripts, but there is a lot to like about it. I think the first two acts have their off and on moments. Certain portions of the story worked better than others, but the third act made the film worth watching. The film is a slice of life piece to some degree and very much highlights both its beauty and misfortune. Once we find out a certain revelation about the character of Felicia, I was riveted. The way the scene plays out once the revelation kicks in is nothing short of emotional. I almost teared up. If I took one thing from this film, without going into spoilers, it is the idea that life is short so you should enjoy it however you can. Some of the happenings throughout the film cement that idea to a high degree.

The film is of course called “Maestro” meaning it is about Leonard Bernstein. But at its core, it is a love story. If anything, I think “Maestro” is quite a good love story. Bradley Cooper has a knack for romance between this film and “A Star is Born,” and part of that is because of the chemistry he maintains with his co-lead. This time around it is Carey Mulligan. Both actors and their characters have natural on-screen chemistry and this is shown in every era this film flies through. Speaking of the eras, the film manages to transition very naturally between each timeframe. Not once do I feel like we are spending too much or too little time in one place or another.

“Maestro” is unfortunately from Netflix. I say unfortunately because that means most theaters will not be playing it. I thankfully got to see it in a theater, and I have no regrets. This is a film that is worth seeing in theaters just to take in every little detail from the cinematography, the production design, and to hear the music perhaps the way it was intended. Again, going back to the orchestra scene more than halfway through the film, that was glorious to watch in a theater. It is the holiday season, meaning that there is a chance that you are with loved ones and may be looking for an excuse to get out of the house at some point. This is not a film for everybody, but if there is a theater near you playing this, take advantage of that opportunity and take your partner, take your spouse. take your parents, take your grown children. Have a night out on the town, get some food, and go see this movie. You might not regret it.

Or of course you could order takeout and watch Netflix in your pajamas, your call.

In the end, “Maestro” is a step down for Bradley Cooper’s directorial resume, but that is like comparing winning 200 bucks on a lottery ticket and then scratching another ticket moments later to win 150. Both clearly deliver a sense of satisfaction. One is just clearly greater than the other. That said even with “Maestro” being a lesser film than “A Star is Born,” I would not be against watching it a second time just to study it. The cinematography looks really good, it is well directed, and the editing is top notch. Technically, there is a lot to like about it. And as a love story, it is solid. Both leads are fantastic and make the movie worth watching. Overall, an easy thumbs up from yours truly. I am going to give “Maestro” a 7/10.

“Maestro” is now playing in theaters and is also available on Netflix to all subscribers.

Thanks for reading this review! My next review is going to be for “Wonka,” starring Timothee Chalamet as a younger interpretation of the iconic chocolatier. I just had a chance to watch the film earlier this month in IMAX, and I will have my thoughts on it soon. Also stay tuned for my reviews for “Migration” and “Aquaman and the Lost Kingdom.” 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 “Maestro?” What did you think about it? Or, which of Bradley Cooper’s directorial efforts do you like better? “A Star is Born?” Or “Maestro?” Let me know down below! Scene Before is your click to the flicks!

Dream Scenario (2023): Unlike Dreams, This Film Will Be Hard to Forget

Posted on by Jack Drees

“Dream Scenario” is directed by Kristoffer Borgli (DRIB, Sick of Myself) and stars Nicolas Cage (The Unbearable Weight of Massive Talent, Raising Arizona), Julianne Nicholson (August: Osage County, Masters of Sex), Michael Cera (Scott Pilgrim vs. the World, Superbad), Tim Meadows (The Goldbergs, Saturday Night Live), Dylan Gelula (Unbreakable Kimmy Schmidt, Shameless), and Dylan Baker (Spider-Man 2, Kings). This film is about a professor at a Massachusetts college who for some reason starts showing up in all sorts of people’s dreams. Now this ordinary man must deal with extraordinary fame as the dreams, in addition to his life, take a nightmarish turn.

Who here likes Nicolas Cage? *raises hand*

Actually, better question, who doesn’t like Nicolas Cage? Okay, of course, he has done way too many projects for every single one to be an acclaimed masterpiece, but he has quite a prolific resume, he is a good actor, and he commits in every just about every role that is given to him. Nicolas Cage is one of those actors who will show up in any project and automatically turn it into gold. But I am going to be honest, when it comes to the concept of “Dream Scenario,” that alone is a golden idea. Basically, it is one guy showing up in people’s dreams and becoming a celebrity as a result. It is an idea that could potentially lend itself to decent comedy and tons of engaging consequences. But of course, if you put Nicolas Cage in the lead role, you are going from a golden nugget to a platinum gem. Literally. This might be because of meme culture and such, but when it comes to people’s faces, Nicolas Cage is one of those that I cannot get out of my head for some reason. Between those big eyes, expressive mouth, and crazy hair, it is impossible for that image to leave my noggin. In the case of “Dream Scenario,” Nicolas Cage’s character has a bit of a different look to him, but there is a vibe here that I have also managed to achieve from Cage’s other roles.

Of course, knowing what I just said, Nicolas Cage and the concept have clearly had me knocking on this movie’s door. But how was the execution? For the most part it was quite good, until it begins to falter by the film’s conclusion.

Per usual, Nicolas Cage is bringing his A-game here as the character of Paul Matthews. He has a natural and admirable presence throughout the film that made him come off as a standup gentleman. When it comes to the fame that is brought upon him in the movie, it turns out to be something he clearly never asked for. Fame can be fine and dandy, but it is clearly not for everyone. The movie dives into the downsides of being famous and the consequences that are more likely to ensue to those who achieve fame.

There are a good amount of characters in this movie, and there happen to be more than I expected at the forefront. But one of my favorite characters in the film just so happens to be Molly (right), played excellently by Dylan Gelula. I doubt she is going to be considered for an Oscar this awards season, but when it comes to the demands of her role, she basically checks every box and gets extra credit. Her character also adds a bit to the overall insanity of this film’s premise. She explains her part in the whole dream scenario, what Paul is doing in those dreams. To be honest, when she mentioned what that thing is, I honestly found it to be a bit predictable. I thought based on where the movie was going, I did not find the idea all that shocking, but it does necessarily mean it was stupid. It made sense and what the movie does with it is a highlight.

If anything, I will add that not only would I mind seeing Dylan Gelula in more stuff down the road, but I also would not mind seeing a movie where she and Nicolas Cage happen to be co-leads. Maybe a buddy cop movie or a father-daughter road trip adventure. Both actors do a really good job and unleash tremendous chemistry.

The film kind of goes back and forth between genres. Specifically horror and comedy. But never once does either genre overpower or jeopardize the other. They feel perfectly balanced. But when it comes to the horror aspects, I cannot say I was overly scared by “Dream Scenario.” Although I highly doubt that is what the film was going for. I think it was going more for hypnotizing chills than heart-stopping terror. But when it comes to comedy, I was surprised with how far the movie went. I wasn’t surprised it was funny. I was expecting that from the getgo. I was shocked with how funny it turned out to be. Now I don’t remember every joke in the movie, and when it comes to comedies this year, I think “Bottoms” and “Joy Ride” are better films overall. But there is one joke in this movie that had me laughing so hard to the point where I probably embarrassed my family members with whom I saw this movie. There is one particular joke in the middle of the film. I am not going to share too many details other than to note it was a fart joke. I find fart jokes to be a bit hit or miss, because they sometimes feel like copout jokes when there is nothing else that comes to mind. But here, it could not have been timed any better than it was. I was laughing so hard I almost died. That joke alone makes the movie worth seeing.

My biggest problem with “Dream Scenario” would have to be the climax. Because at this point, the movie almost decides to change course with its tone, vibe, and ideas, and deliver something different than what we have already seen. “Dream Scenario” very much feels like two different movies in one. There is a fairly enjoyable feature we see from the start, then there is some tacked on, rushed short film by the end. You can say the transition between these ideas makes logical sense, but you can also say they don’t belong in the same movie. Maybe the idea could be used in a sequel or spinoff to this film, but the climax takes a short amount of time to establish something we have not seen in the movie and quite honestly, barely even felt like we were building up to. If you had to ask me if “Dream Scenario” is a thumbs up or thumbs down, I would easily give it a thumbs up. But the climax made the film lose a point in my book. At the end of the day, I choose to look at the positives. The idea of the film is clever, and its cast from the lead to everyone else, turn things up to an 11. The movie is sometimes pretty funny. In fact, it probably delivered one of the biggest laughs I had watching any movie from this year. There is some fairly decent social commentary on cancel culture, fame, and how one bump in the road can jeopardize your life.

In the end, “Dream Scenario” is not the best film about dreams. Let me just remind everyone that “Inception” is a thing, but it is quite a good time and you would be doing yourself a favor if you watch it. “Dream Scenario” comes from A24, which is a rather polarizing distributor. A lot of their films are bangers, but there are also a notable few that are less than stellar. This is one of the better ones. And similar to even their bad or less notable films, I will be thinking about parts of this one for some time. I was pleasantly surprised that a movie diving deep into cancel culture and the consequences of fame may have had the best fart joke I have witnessed in a long time. Everyone is really good in this movie. The screenplay is fun, crazy, and wild. But if it were not for the third act, I probably would have liked this movie a little more. The positives heavily outweigh the negatives on this one, so I would have to give “Dream Scenario” a 7/10.

“Dream Scenario” is now playing in select theaters. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for Bradley Cooper’s “Maestro!” Stay tuned! Also coming soon, I will have reviews for “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” 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 “Dream Scenario?” What did you think about it? Or, what is the wildest dream you remember having? Let me know down below! Scene Before is your click to the flicks!

The Boy and the Heron (2023): Hayao Miyazaki’s Imagination Runs Wild in His First Feature in a Decade

Posted on by Jack Drees

“The Boy and the Heron” is directed by Hayao Miyazaki (Spirited Away, Howl’s Moving Castle) and stars Soma Santoki (Koko wa Ima kara Rinri Desu, Idatan: Tokyo Olympics Story) Masaki Suda (The Great War of Archimedes, Death Note: Light Up the New World) Aimyon, Yoshino Kimura (Boku no yabai tsuma, Confessions) Shōhei Hino (My Happy Marriage, Emperor) Ko Shibasaki (47 Ronin, Dororo), and Takuya Kimura (Space Battleship Yamato, Howl’s Moving Castle). This semi-autobiographical fantasy film is about a young boy who longs to see his mother one more time. After discovering an abandoned tower, the young boy ventures into a world shared by the living and dead.

My earliest memory of watching a full piece of anime from start to finish goes back as early as 2011. I was attending summer school and we ended up watching a movie that I would long forget the name of, only to realize years later that movie would end up being “Howl’s Moving Castle.” I have since rewatched the film and continue to think it is really good, but it goes to show how much of an impact Miyazaki has had on the craft. He is a well known individual in this industry, even across the world. And yes, I heard of “DragonBall” like a lot of other kids growing up probably did. But even today I never got around to it. That said, when it comes to my limited knowledge of anime, Hayao Miyazaki and Studio Ghibli have a notable presence in my mind. I have seen most of the Studio Ghibli features, many of which include Miyazaki’s work. The recently mentioned “Howl’s Moving Castle” is an imaginative adventure. “Spirited Away” is an otherworldly ride. “My Neighbor Totoro” is a cute little tale. “Ponyo” is a simple, but incredibly well done story. “The Wind Rises” is an emotionally charged piece of animation. Miyazaki is not my favorite filmmaker, but having seen most of his work, he has a remarkable batting average that puts him up there with the greats.

When it comes to the 2023 roster of films, I would often get excited for “Oppenheimer” and sometimes refer to it as “the next Christopher Nolan movie” to show my fanaticism for the director. I acted similarly when it came to “The Boy and the Heron.” Despite knowing the title of the movie, I would often talk about my anticipation for the film and not even use the title, I would just call it “the new Hayao Miyazaki movie.” That is how excited I was to see one of his films come to life. There is also a novelty that comes with a film like this because it is the director’s first in a decade. But with an extended break, has Miyazaki lost his touch? Absolutely not. If anything, this movie goes to show how good of a filmmaker he is. Watching this film made me realize Miyazaki may be one of the most imaginative minds alive right now.

“The Boy and the Heron” is a layered, beautifully animated, and charming time. All the characters are likable, the journey itself is quite fun, and it successfully does what I ask many movies to do. Have me escape from my own reality. The movie also has its fair share of funny moments, which I was delighted to see.

When it comes to the main character of Mahito, I could not help but root for him once we are first introduced to him. Now I cannot say I followed a similar path to him as his primary motivation is to see his late mother one more time. But I very much liked the character conceptually. I think his primary motivation that we see throughout the film made for quite his journey all the more compelling.

Sadly though, I think the big problem with this film is that there happens to be little impact from most of these characters once I left the auditorium. On the surface, I liked everyone, but some characters either felt surface level, or their substance or backstory could not match their stunning design. Yes, I enjoyed Miyazaki’s other films because of how spellbound I became upon seeing the animation. But I also enjoyed “Kiki’s Delivery Service” because the titular character had my attention the entire time. While not my favorite of his movies, part of why I liked “My Neighbor Totoro” is because of the chemistry between Satsuki and Mei, the two young sisters. I cannot really name too many character relationships in “The Boy and the Heron” that had me in as much of a trance as those. But even with these thoughts in mind, “The Boy and the Heron” is one of 2023’s best film experiences. Everytime I watch a Hayao Miyazaki movie, it is like going on vacation to somewhere fantastical. Everything feels nice and serene, even if there are adventures along the way. This film is no exception. The locations are beautiful, the effects are eye-popping, the story has quite a solid progression to keep me hooked, and of course like many other stories from Miyazaki, it is wildly imaginative.

I say Miyazaki’s imagination is as vivid as the sun. One small part of that has to do with how he handles a particular set of characters in the movie. Specifically the parakeets. First off, these parakeets, while mostly interchangeable to a degree, are fantastically drawn. They’re all colorful and match the palette of the film at hand. Not to mention, these parakeets are the definition of cute but not cuddly. These creatures are kind of like the Ewoks from “Return of the Jedi,” who may look innocent, but if you ran into a couple, chances are they will proudly murder you. I am not going to pretend I own any Studio Ghibli merchandise, but if I saw one of these parakeets in my travels, maybe I’ll pick one up. I don’t know. In terms of world-building and establishing the environment, the film does a great job with that. In fact, one of the minor flaws with this movie is that it does such a good job at building its world to the point where I am more focused on the background as opposed to the characters. And maybe that is part of why I have my previously mentioned character complaints. This is probably where a second viewing would come in handy. But of course, one would be warranted if I like the film enough the first time around. Thankfully, my initial watch of this film provided for a glorious experience.

If I have any real flaws with the movie, portions of the story were inferior to others. I think the film takes a bit to get going. There are a fair share of decent moments when the movie begins, but I think everything from the second to third act had more of my attention compared to select moments in the first act. This is not me ragging on the movie, this is just me stating my personal preferences. I like everything in it. But certain things appealed to me just a bit more.

My other big highlight of the movie is that it has one of the better musical scores I have heard this year. And I should not be surprised because not only does Miyazaki make a comeback here, but his longtime composer, Joe Hisaishi also returns here and he fires on all cylinders. Maybe it is recency bias talking, this is one of the better scores I have heard from him. I think when it comes to my favorite work of his, I think “Kiki’s Delivery Service,” “Howl’s Moving Castle,” and now I am probably going to put this up there. There is one particular theme from the film that is still stuck in my head, and it very much matches the sense of adventure this film provides.

In the end, “The Boy and the Heron” comes with minor flaws, but even with them in mind, there are a gargantuan number of positives that make me reflect on this movie being one of my favorites of the year. 2023 has been an excellent year for cinema. Animation especially. From Japan alone we had “Suzume,” which was marvelous. And we had “The First Slam Dunk,” which turned out to be one of this year’s most overwhelming and delightful surprises. Now we have yet another winner from that market and it comes from the man whose mark on this industry is almost unmatched. I like a fair number of his movies, and Studio Ghibli is a remarkable company. Is this Miyazaki’s best movie? No. But it is far from my least favorite. And even when I say that, I do so knowing that I have not seen a bad film from him yet. If anything, the film is worth seeing. I already saw it in Japanese, and you bet I have plans to one day check out the English dub. I am going to give “The Boy and the Heron” an 8/10.

“The Boy and the Heron” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you enjoyed this review and want to see more, good news, there are more coming! My next review is going to be for “Dream Scenario,” starring Nicolas Cage. I just had the chance to see this movie a couple weeks back and I cannot wait to share my thoughts. Also coming soon, I will have reviews for “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Boy and the Heron?” What did you think about it? Or, what is your favorite Hayao Miyazaki movie? Let me know down below! Scene Before is your click to the flicks!

Ferrari (2023): Adam Driver Shines in a Flick That Cannot Quite Get Into Gear

Posted on by Jack Drees

“Ferrari” is directed by Michael Mann (The Last of the Mohicans, Heat) and stars Adam Driver (Star Wars: The Force Awakens, Marriage Story), Penélope Cruz (Pirates of the Caribbean: On Stranger Tides, Nine), Shailene Woodley (Divergent, Dumb Money), Sarah Gadon (Enemy, Dracula Untold), Gabriel Leone (Dom, Hidden Truths), Jack O’Connell (Skins, Godless), and Patrick Dempsey (Enchanted, Grey’s Anatomy). This film is a biopic about Enzo Ferrari’s mission to keep his auto company from failing as he puts it in a treacherous territory. A thousand mile race in Italy.

Sport movies have not always been my forte. Then again, sports in general have not always been my forte. But if you guys have been following me for a bit then you’d know that one of my favorite sport films I reviewed on this blog, not to mention one of my favorite sport films that come to mind, is James Mangold’s “Ford v Ferrari.” That film is an adrenaline-fueled race to the finish if there ever was one. And that is cemented by great performances, stunning soundwork, and a narrative that had me on the edge of my seat. It was easily one of the best films of that year and it ended up scoring a couple Jack Awards as well.

But with another awards season on the rise, it is time to recognize one of its fiercest contenders, “Ferrari.” I had little interest in “Ferrari” until I saw the trailer. This looked like a hard-hitting story that would fire on all cylinders and deliver on drama and tension. Adam Driver looked like he was going to dominate the lead role and I was there. That said, I did not know when I would end up seeing it because it comes out in December and there are so many things to which in the span of that time. Plus I have to get my best and worst movies of the year lists out the following month, I am doing work on the next Jack Awards, and it is heavily triggering my average at best multitasking skills. But I had the privilege of checking out a free early screening in Dolby in Boston recently, so I got to see the film long before it hits theaters.

Now, there is a certain thrill that comes with getting to see a movie this early. And the fact that the studio is letting people watch it this long before the release date says a lot about their faith in the project. Having seen “Ferrari,” I am sure it will hit a lot of people the right way. But it doesn’t mean that was the case for yours truly.

“Ferrari” is by no means an awful movie, but if we were to make a comparison, I would easily recommend “Ford v Ferrari” over this new Michael Mann effort. That said, I do not think Michael Mann would be completely insulted with this sentiment. After all, in addition to his efforts here, he is an executive producer on “Ford v Ferrari.” He gets to brag about having both movies on his resume.

My biggest problem with “Ferrari” is the characters. I did not outright hate anyone on this film’s roster, but much of the film involves a series of racers participating in the 1957 Mille Miglia. Ultimately, we end up spending a good amount of time with them, so it disappoints me to say that I failed to find myself attached to any one of them. I know this movie is not called “The Drivers of the Mille Miglia” but when the movie features them as prominently as it does, I hope to find myself endlessly attached to at least one driver. Much of the film is about Enzo Ferrari, and some of it lends itself to fascinating storytelling, whereas other moments tend to fall by the wayside.

That said, even with the character flaws in mind, I will not deny that the film puts the pedal to the metal and brings forth some of the best acting I have seen in a movie this year. Of course the film has recognizable stars like Shailene Woodley, Penelope Cruz, and Patrick Dempsey, all of whom are really good. But the film, to my lack of surprise, is as good as it is because Adam Driver gives it his all in the lead role. I could honestly see him getting an Oscar nomination this year for his efforts. Of Driver’s resume, this performance is one of his more chameleon-esque efforts. And a lot of it not only has to do with his mannerisms, his voice, his presence, part of it has to do with the attention to detail given to him on his costuming and makeup. Much like some of my other favorite actors, Driver has always oozed charisma on screen, even when he is in an inferior “Star Wars” movie. But of Driver’s roles, this is one of the first I remember seeing where he does not completely look like himself. I’ve seen him in a number of films. “Lincoln,” “The Man Who Killed Don Quixote,” “Marriage Story,” “The Last Duel.” He has often maintained a certain look to him that I tend to notice from one role to the next. Even in his better performances, I am reminded of how much I enjoy Driver’s presence once I see his recognizable face. In this film, I don’t necessarily see Driver. I see someone else.

When it comes to the film, Adam Driver is quite literally the driving force in more ways than one. He is really good in the lead role and he is surrounded by competent performances all around. But the story itself failed to garner any ongoing emotion and interest from me. There was a center of the movie per se, but not so much a core. Despite those words being similar, I think there is a difference here. The movie centers around Enzo Ferrari, but it does not give me a core reason to admire anyone on screen. Or at least not one that remained on my mind long after leaving my screening.

Much like “Ford v Ferrari,” the sound in “Ferrari” is quite good. Not as good if you ask me, but it appears to take a different approach. The way I interpreted the sound between its editing and mixing in “Ford v Ferrari” is something equivalent to a fantasy. The movie is based on true events, but when I heard that sound, it almost came off like a hyperactive reality. The sound, not to mention atmosphere, of “Ferrari” feels comparatively grounded. Of course the cars sound audible as anything, but they lack a certain oomph to them that “Ford v Ferrari” gave in its final product. That is not to say they sound bad, it is just different.

In the end, “Ferrari” is two different movies wrapped into one. But neither of them exactly surpass the distinction of average. If anything, “Ferrari” is a painfully average, not to mention disappointing time. Because while I did not do a deep dive into the film’s marketing campaign before going to see it, I can you tell you the trailers are on another level. The trailers are honestly much better than the movie. It’s kind of sad, really. Much “Killers of the Flower Moon,” I will not doubt “Ferrari” will get some attention this awards season. But much like “Killers of the Flower Moon,” “Ferrari” might not be my cup of tea. There are plenty of good things in it, but I honestly find the movie quite forgettable and ultimately lacking in any reason for me to watch it a second time. Maybe I could give it a second chance eventually because some positives stand out, but for now, I am going to give “Ferrari” a high 5/10.

“Ferrari” arrives in theaters everywhere December 25th. Tickets are available now.

Thanks for reading this review! I have plenty more reviews coming in the near future as the year comes to an end! I will be sharing my thoughts on “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” 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 “Ferrari?” What did you think about it? Or, what is your favorite movie with Adam Driver in it? Let me know down below! Scene Before is your click to the flicks!

Godzilla Minus One (2023): A Jaw-Dropping, Planet-Shaking, Monster-Sized Masterpiece

Posted on by Jack Drees

“Godzilla Minus One” is written and directed by Takashi Yamazaki (The Great War of Archimedes, Lupin III: The First) and stars Ryunosuke Kamiki (Summer Wars, Your Name) Minami Hamabe (Let Me Eat Your Pancreas, The Great War of Archimedes), Yuki Yamada (Strobe Edge, Tokyo Revengers), Munetaka Aoki (Rurouni Kenshin, The Roundup: No Way Out), Hidetaka Yoshioka (Rhapsody in August, Always: Sunset on Third Street), Sakura Ando (Shoplifters, Love Exposure), and Kuranosuke Sasaki (Hancho, Samurai Hustle). This film is set in postwar Japan when a new crisis emerges in the form of the giant monster, Godzilla.

Before going to see this movie, I found myself to be an appreciator of “Godzilla.” That said, my experience with the character has been mostly limited to the MonsterVerse movies. While there are some cool fights and dazzling displays of VFX from one movie to the next, there is a consistency bogging these movies down. Uninteresting human characters. It’s not that uncommon for movies of this kind to come out in this age and have that problem. As much as I liked the action in say “Transformers: Age of Extinction,” I would not be disappointed if I ever ended up forgetting about Mark Wahlberg’s character. The recent “Jurassic World” movies all have characters that may promise star power, but fall short on fleshing themselves out. I enjoy a good movie where people are running away from titans, but if you are going to have humans at the center of the film, you might as use them to their fullest potential. I should be able to give a crap as to whether the human characters are hurt, or heck, dead, in the next moment or two.

I saw the trailer for “Godzilla Minus One” a couple times in theaters, but I am not going to pretend it was the movie I was looking forward to the most this season. My recent encounters with the so-called king of the monsters have kept my expectations from rising to the beast’s magnificent height. But I saw the movie anyway. It had great reviews, a lot of acclaim, and plenty of chatter in my virtual circles. So I saw the movie.

I have three words for you. Oh my god.

Actually, you know what? Add a “zilla” to the end of that.

This might be the best movie of the year.

Just when I thought 2023 could not get any better when it comes to this year’s roster of movies, this movie stomps forward in the form of a gigantic surprise. And with my limited “Godzilla” experience, I can say this movie gets right what I usually see the other movies with him get right as well. First off, the effects look really good. Some of the best I have seen in recent memory. Any of scenes involving the monster’s power, intense action, and human despair all stand out. And I want to continue on with this last aspect for just a moment.

Of course, when you put Godzilla and terrified humans together, that should result in something intriguing on the surface. But in this film, not only does the basic idea of a collection of people fleeing from Godzilla keep my attention, but the film gets something right that the other films did not. Making me care about specific people in this situation.

Everyone in this film’s cast does a fantastic job in their individual roles. Additionally, I bought into and rooted for all the characters. They might be some of the best I have seen this year. “Godzilla Minus One” centers around a kamikaze pilot who fled from his duty. This plays heavily into some of the movie’s lessons and themes about war, survival, and how we neglect danger. If you look back at the original “Godzilla,” part of why that film continues to stay relevant today is because of its allegorical ties to nuclear war. The movie explicitly suggests that if nuclear war continues, an event akin to Godzilla may be imminent. “Godzilla Minus One” not only utilizes that idea once again in a different manner, but does so while creating a more attractive roster of characters. And I have nothing against the characters in the 1954 “Godzilla,” but these people resonated with me more.

The best side by side comparison I can use when it comes to describing “Godzilla Minus One” is “Star Wars.” As in, the 1977 original. Not only is this film exhilarating and exciting, packed with great characters, and shines as one of the year’s best-looking pictures, but much like Luke Skywalker, I found myself fully invested in the journey of this film’s protagonist, Kōichi Shikishima. Both of these mentioned characters have their major differences in personality and life experiences. But they progress through their own movies realizing similar arcs and journeys that result in giant impacts. There is a particular event that happens in this movie involving the main character and someone else that becomes a love interest that had me in such a state of shock and aghast that no other film experience this year has come even close to providing. Even with their personal flaws established from the film’s start, I got the sense that just about every human character somewhere around the film’s center is a genuinely good person. When that “particular event” goes down, it made me root for the main character even more, and it made me all the more attached and obsessed with his love interest. This character may be one of the most kindhearted, patient, caring souls on the face of the earth.

When we first see the love interest character, specifically Noriko Ōishi, we find out she rescued an orphan baby and now she is raising said child on her own. I have nothing but respect for this woman. She is in every sense of the word, a saint. I am 24 years old, if you were to ask me if I wanted to have a kid at this point in my life, my answer would probably be a “no.” I am still young and I cannot trust myself to raise one properly. But Noriko is honestly one of the most inspiring characters I have ever seen in the history of film. She is living through postwar times trying to survive all the while caring for an individual she probably never asked for in the first place. And she is not just phoning it in, she is a phenomenal motherly figure.

What separates this film from the other “Godzilla” movies I have seen is that it treats its titular titan exactly how he is often described, a fearsome monster. This is not to say he was never once at least slightly intimidating in the other titles I have seen, but you could almost make an argument that “Godzilla Minus One” is more of a horror flick than something along the lines of action and adventure. And part of that has to do with how Godzilla not only looks like pure nightmare fuel, but his actions in the film as well. If I were watching this movie at 7 years old, my skin would crawl to the floor. The creature in the context of the film is a word I was genuinely not expecting to use. Frightening. And I did not sense a single ounce of remorse in the titan’s actions. Everything sinister he did, he did on purpose. And if he had it his way, he would do those things three times over. Sure, watching Godzilla destroy things is cool. But that is only enhanced by the humans at the center of it all who did not ask for any of this to happen. It’s just there. Every time he does something destructive, I’m panicking in the back of my mind. Anybody remember “Halloween Kills” and how cool it was to see Michael Myers go to town on people? Here’s the thing about that movie, the characters are honestly forgettable. I don’t care if Michael Myers chops them up to pieces and plays with their body parts for fun. Because I was never attached to those people. As soon as most of this movie’s characters are introduced, I am fully engaged and I never want to let go of my attachment to them.

If there are any flaws with this movie, they do not bother me specifically. But I should note that as I watched the movie, there are a couple things that made for a slightly predictable structure. Although I say that in full appreciation of how the movie lays everything out in its narrative. You can be predictable and still be great. In this film’s case, the predictable moments work because they feel earned. As a matter of fact, every moment in this movie, regardless of predictability, feels earned, and that is because time is given to establish the characters. Their struggles. Their aspirations. Their everyday lives. When certain things happen later in the movie to these characters, it makes my initial attachment to them worthwhile. I was not expecting a Shakespeare-level screenplay out of a movie with a giant atomic monster, but ladies and gentlemen, we have one. “Godzilla Minus One” is doing very well in the United States. Yes it is based on a popular property, but it certainly helps that the property is handled with care and respect.

In the end, this movie took me from being a “Godzilla” appreciator to a “Godzilla” fan. This film made me not only excited to see what could be done with “Godzilla” next, but it intrigues me to look back at a ton of the “Godzilla” material I have not seen. In fact, you may remember I used the 1954 “Godzilla” to set an example of something in this review. Fun fact, I actually ended up watching that film for the first time because of how much of an impact this movie had on me. Similarly, I am quite curious as to what Takashi Yamazaki has up his sleeves next. Because as far as I am concerned, this is god-tier writing and equally as incredible directing. He aces this picture like a boss. Every actor in this film is admirable and brings out the best in their character. This movie’s interpretation of “Godzilla” is one of the most horrifying sights I have ever come across. The climax of this film is captivating. The score is booming. And there is a sense of awe and wonder I got out of this film I was not expecting. I ended up crying at the end because of how great the final scene was. I genuinely felt like I was 7 years old and just discovering some of my favorite films like “Star Wars.” This film was a ride like no other, delivering a narrative that makes many others from this year look utterly inferior. It is amazing what four years can do. When I watched “Godzilla: King of the Monsters” back in 2019, I gave it a 1/10 because of bad characters, headache-inducing scenes, and the absolute lack of satisfaction I felt as soon as the movie was over. Little did I know what we would get in 2023 from Japan. I am going to give “Godzilla Minus One” a 10/10!

“Godzilla Minus One” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Ferrari.” The film is not in theaters yet, but I did manage to catch a screening of it earlier this month. Also, be sure to look out for my reviews for “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” 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 “Godzilla Minus One?” What did you think about it? Or, what is your favorite “Godzilla” movie? Let me know down below! Scene Before is your click to the flicks!

700TH POST SPECIAL! Blu-ray Movie Collection Update!

Posted on by Jack Drees

Hey everyone, Jack Drees here! And welcome to another Blu-ray movie collection update! Every one-hundred posts, I provide an update on my Blu-ray movie collection. Like I’ve done since the second edition of this in 2019, I upload a video on my YouTube channel showing my collection off. But I also post it here since it is an appropriate video to share. There are a couple notable traditions on Scene Before, and this just so happens to be one of them.

If you need me to spell out the title for you, this is a “Blu-ray movie collection.” No DVDs. No TV shows. If the format is Blu-ray and it is a movie, it qualifies. In this video, we will be talking about hundreds of titles on Blu-ray, 4K Blu-ray, 3D Blu-ray, you name it. So be sure to grab a snack, perhaps order a pizza that you won’t share with anyone else, and enjoy the video!

Be sure to follow Scene Before and like the Facebook page if you enjoy content like this. And if you also have time, please like the video and subscribe to the Jack Drees YouTube channel so you can see my latest uploads! Leave a comment here listing what titles you enjoy, if you have a collection of your own, whatever you want to say! I always like having suggestions as to what I can add to my collection! Therefore, if you have any suggestions, comment about those as well! Scene Before is your click to the flicks!

Also, shoutout to Best Buy for soon no longer being part of my Tuesday errands…

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

Posted on by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

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

Posted on by Jack Drees

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

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

And that is exactly what it is.

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

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

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

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

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

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

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

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

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

Thanks for reading this review! My next review is going to be for the brand new historical epic, “Napoleon.” Also coming soon, I will have my thoughts on “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Holdovers?” What did you think about it? Or, what is your favorite Christmas movie? Yes, “Die Hard” counts. Let me know down below! Scene Before is your click to the flicks!