The First Slam Dunk (2022): My Favorite Sports Movie in Years

Posted on by Jack Drees

“The First Slam Dunk” is directed by Takehiko Inoue and stars Shugo Nakamura, Jun Kasama, Shin’ichirō Kamio, Subaru Kimura, and Kenta Miyake in a film about Ryota Miyagi, an athlete who tries to achieve the status of basketball star, as he is inspired by the dreams of his late brother. The film is also based on the manga series “Slam Dunk,” written by this film’s director himself.

I used to play sports as a kid. In fact, one of the conveniences of living near an elementary school is having easy access to a basketball court, so I shot a lot of hoops for fun when I had free time. I am not as much of an athlete now, but it does not mean I do not look back at my youth with some fond memories over at the court for instance. But as I have transitioned over the years from athlete to cinephile, I have come across and appreciated numerous sports-related films. A couple of my favorites include “Moneyball,” “Happy Gilmore,” “Ford v Ferrari,” and even though I have not watched it in a long time, the sports film I always think about as the quintessential watch is “The Sandlot.” On the surface, it is a fun little baseball movie. But over the years I continue to appreciate how it handles its characters, coming of age nature, and rivalry between the team and The Beast. Whereas a film like “Rookie of the Year,” another solid movie about baseball, showcases how the game becomes more important with time, “The Sandlot” showcases how a bunch of friends can continue to have fun over a simple game. There are adventures to be had and consequences to avoid, sure, but the stakes over who wins a game of baseball in the film never feel that high, even when it is team vs. team. “The First Slam Dunk” shows the importance of a basketball game, but it does it in a way that I feel is incredibly unique.

And that is part of why I think “The First Slam Dunk” is up there with “The Sandlot” as one of the best sports films. Ever. I say this as someone who has never read the source material or seen any of the televised content. This film not only serves a potential gateway to explore the franchise even more down the road, but it also happens to be one of the best movies I have seen this year. In my limited experience of watching anime, this is an enormous standout. When it comes to anime, as much as I liked “Suzume,” which I saw earlier this year, I think “The First Slam Dunk” might be better.

Let’s go back to the importance of the game, the reason why that importance is handled so well is because whereas some other stories build up to a climax where the team has to play their hearts out at the “big game,” this movie mostly sets itself around the big game and gets you to care about the characters along the way. This is like if they made a story set at the Daytona 500 for example, showed you random bits and pieces of some people’s lives in between, and used those moments to fuel your desire to see someone win as a result. I, as much I cannot stand American football, watch the Super Bowl every year. Sometimes I might get invested in a team based on certain factors. Maybe there is an underdog story. But I can only imagine what it is like for someone who follows the NFL so religiously to see two teams who bust their butts, or a favorite team of theirs, in such a daunting environment where the stakes hit a high. They have to be stoked out of their mind. But that sometimes could take months. “The First Slam Dunk” got me behind not only the team, but its individuals, in just a short amount of time.

The way this film is told reminds me of “Slumdog Millionaire.” If you watch that film and witness Jamal on “Who Wants to Be a Millionaire,” you see him answer each question as it is presented to him, but you also see his thinking process. You see how he answers the questions. You get flashbacks into his life, his memories, his experiences. And as the movie went along, I rooted for him. This movie, despite being rated R, is nowhere near as disturbing as that film, but it is just as effective in its storytelling. As someone who watches lots of game shows, I am happy when anyone does well under hot lights. But that movie gives a ton of visual context to root for someone completely fictional. In same way, when we see moments of Ryoto’s life for example, they get me to care about him more as a player in the big game. Despite watching a number of professional basketball games, I will probably never know the pressure of physically playing in the NBA Finals, but this movie took me to a game perhaps about as dramatic and climactic as one of those. I honestly do not remember the last time watching a sports-related climax and being as on the edge of my seat as I was here. By the end, I cared about the team, its players, and the appreciation is only heightened by the movie’s effective use of flashbacks.

Technically speaking, this film is a goldmine. The music is great, the sound effects are realistically top notch. Going back to the notion that I have played a lot of hoops in my youth, the sound effects, most especially those set around an outdoor court, took me back to my childhood. The shots are spectacularly laid out and executed. A lot of the movement in the film felt fluid and dynamic. It matches the movie’s quick pace at times. There is a visceral feel to “The First Slam Dunk” that put me into the film and never allowed me to leave.

The animation, as it should in 2023, looks fantastic. Never once does it feel completely lifelike, but that does not mean it is not immersive. The big game segments often feel a bit faster, more active. Everything else feels more down to earth. This is a story that probably could be told in live-action, but it has maximized its potential with animation. The angles, the stylization, the neat little tricks in between, all come off as things that are best seen in an animated form. Honestly, if this story were done in live-action, it would not be the same. It would be inferior. And if you need a further example, specifically towards general audiences living in the United States, why animation is not just for kids, show them this movie. This film is not over the top in sex, violence, or gore, but it is simply mature. And that is what makes it great. As for other minor details, the way this film shows the players’ sweat is a nice touch.

Despite its animated flair, the film is a grounded story that can only be described as captivating. The drama does not only extend to the game, as again, the flashbacks do a good job at fleshing out characters. But it does not mean the movie lacks lighter moments. There is a gag I liked in particular about one player bickering about how they are never receiving the ball on the court. The screenplay in the movie’s more present moments is already exciting enough, but it is enhanced with excellent backstory given in every little crevice. “The First Slam Dunk” is not playing in too many places at the moment, but whenever it hits DVD or streaming, you owe it to yourself to check the movie out as soon as you can.

In the end, “The First Slam Dunk” is… I’ll say it, a slam dunk. There are maybe one or two sports films that have been as well-crafted and executed as this one. I cared about the characters, I cared about the team, the animation is exciting and gorgeous to witness in action, and I love the way this story was told. “The First Slam Dunk” is my first exposure to the “Slam Dunk” IP and I think it is a mighty fine introduction. I cannot wait to watch this film a second time just to digest the full story, all the beautiful shots, and see the exciting big game play out one more time. If there are any flaws with this film, they would be hard to come by. It has been a few weeks since I have seen the film, so if there are any flaws I probably would have forgotten them by now. Not that I had any to begin with. “Spider-Man: Across the Spider-Verse” has some competition for this year’s best animated picture, because I have to say “The First Slam Dunk,” from what I can tell you based on my initial watch, has to be a 10/10.

“The First Slam Dunk” is now playing in a few theaters. If you live near one, see the film while you can. Because it has yet to hit VOD, physical media, or streaming.

Thanks for reading this review! My next review is going to be for one of the biggest movies of the year, “Barbie.” So you guys can finally stop wondering why the Movie Reviewing Moron has not reviewed the hot topic of the summer. You’re welcome. Also, I have reviews coming for “Teenage Mutant Ninja Turtles: Mutant Mayhem,” “Talk to Me,” and “Blue Beetle.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The First Slam Dunk?” What did you think about it? Or, what is your favorite movie about sports? Let me know down below! Scene Before is your click to the flicks!

Haunted Mansion (2023): A Mildly Amusing, Mildly Eerie, Mildly Decent Ride

Posted on by Jack Drees

“Haunted Mansion” is directed by Justin Simien (Bad Hair, Dear White People) and stars LaKeith Stanfield (Sorry to Bother You, Selma), Tiffany Haddish (Girls Trip, Night School), Owen Wilson (Cars, Loki), Danny DeVito (My Cousin Vinny, Jumanji: The Next Level), Rosario Dawson (Clerks II, The Mandalorian), Dan Levy (Schitt’s Creek, Happiest Season), Jamie Lee Curtis (Everything Everywhere All at Once, Halloween), and Jared Leto (Blade Runner 2049, The Little Things). Inspired by the Disney ride of the same name, this film centers around a group of people who band together in a large mansion. Together, they try to rid of evil spirits roaming around the house.

Before we begin, I must make something clear. I have not seen the other “Haunted Mansion” movie starring Eddie Murphy. I am specifically referring the one titled “The Haunted Mansion.” Therefore if you want to my thoughts about it and how it compares to this latest film, you will not be getting them. Although I do have some experience with Disney ride-based movies. While the franchise is not perfect, I think a number of the “Pirates of the Caribbean” movies are fun. “The Curse of the Black Pearl” and “At World’s End” particularly stand out. I also saw “Jungle Cruise” in the theater a couple years ago. I thought it was fine at best, but the charismatic cast, catchy score, and occasionally joyful imagery make the film worth seeing at least once. Speaking of “Haunted Mansion,” there was a Halloween special on Disney+ by the name of “The Muppets Haunted Mansion,” which blended the iconic puppets with a spin on the Disney attraction. Safe to say, that film was hot garbage, so I was hoping this “Haunted Mansion” movie would at least be slightly more tolerable than that.

Safe to say, this 2023 film is a step up from the 2021 “Muppets” Disney+ special. Although this should not be a surprise considering how this is not made for television. That said, it is far from being a must see picture.

As an adult, I cannot see myself watching “Haunted Mansion” again. But maybe I would if I was a kid. I am not saying that this is movie that insults anyone’s intelligence, but I think that if I were a kid watching this film, this could serve as a gateway to other horror titles down the road. It probably would have gotten me into the genre. Now that I am an adult, I have an appreciation for horror, even though I do not always watch the titles of the genre. This is not as scary as many of the more mature titles I have seen, but if we are talking about occasional chills, this movie does its job. It does not make my eyes jump out of their sockets, but this film has the unique distinction of being what I would call pleasantly scary. It is a fine line between tame and scary that will not make me have nightmares. Now to be frank, if “Haunted Mansion” upped the scares a bit, there is a good chance I would revisit the film. But if I were watching this with kids, I would enjoy the moment with them. The film is cute, but not cuddly.

One of the more notable aspects of the film is the cast. The film is stacked with big names, and they are arguably the bigger attraction in this film than… Well, the attraction. Look at these names! You have Jamie Lee Curtis, the legendary scream queen who recently won an Academy Award! There is Roasrio Dawson! Her charisma knows no bounds and it continues to shine in this film! Let us not forget Owen Wilson. Of course, with a film like this one containing a blend of scares and fun, he is definitely here to deliver some of the latter. But the protagonist of the picture is played by LaKeith Stanfield, an actor who continues to get better with time. He plays an astrophysicist turned paranormal tour guide by the name of Ben Matthias. His investment in both dark matter photography and the supernatural, or more particularly, a love interest’s investment in the supernatural, drives his every move throughout the film. I thought Stanfield was a smart, charming center of the story. But it does not mean that I was not able to latch onto anyone else. Gabbie’s (Roasrio Dawson) angle as a single mom was specifically compelling. She made a number of scenes stand out. Given the nature of this film, it is hard to complain, even though I will, about the fact that this star-studded ensemble gives average performances. Not bottom of the barrel performances, though they could have been better. But I must also say that if there is another complaint I have acting-wise, it is that even though they has some funny moments, actors like Owen Wilson and Danny DeVito for instance feel like they are playing a version of themselves to some degree. They never annoyed me throughout the film so I can forgive them somewhat, but as far as this picture goes, chameleons they are not.

The film reminds me of other lighthearted horror films to have come out in recent years. Particularly the 2015 “Goosebumps” movie and “The House with a Clock in Its Walls.” Only thing, I think enjoyed both those movies more. Maybe it is because I watched those in my teens whereas I watched “Haunted Mansion” in my twenties. But I remember thinking about “The House with a Clock in Its Walls” in particular, which is also family friendly, and seeing certain pieces of spooky imagery that continue to linger in my head today. Yes, the movie has colorful moments despite having a dark side, but it does not necessarily hold its dark side back. Maybe if I were six, I would be scared by “Haunted Mansion.” But those worries might go away by the time I am say, twelve, thirteen years old.

“Haunted Mansion,” which as of this writing came out just over three weeks ago, is not going to make a lot of money at the box office. In fact, it has practically fallen flat on its face already. The film, which cost $157 million to make, has recently surpassed the halfway mark to making its budget back. I am not talking domestic. I am talking worldwide. So for all the people who helped contribute to this film’s lack of box office, should I recommend you see “Haunted Mansion?” That requires a complicated answer. I would not recommend this movie over say “Oppenheimer,” but it may be worth watching if are going with family, or if you intend to watch the film alone like I did, maybe go for the matinee price. Or if you have a theater subscription like A-List or Unlimited, take advantage of it. The best things in life are (sort of) free.

The film, despite its forgettability, bland humor, and cast that sounds great, but could have been used more effectively, does look nice. Jeffrey Waldron’s cinematography looks really good. The CGI is unrealistic, but it fits the movie at hand. If it were in say an “Indiana Jones” flick, then we might be having a different conversation. The inside of the mansion also looks really cool. Although at the end of the day, if I have to be real, if I want the Haunted Mansion experience, I would not watch this movie again. I might just flock to Disney World if I had the money. The long line would be worth it. Again, I have not seen the Eddie Murphy film. Maybe that would be a better use of my time as well. Although judging by the 31% audience score and even less promising 13% critic score on Rotten Tomatoes, maybe not.

In the end, there are things to like about “Haunted Mansion,” and the positives definitely outweigh the negatives. But the positives do not really stand out. Thankfully, the negatives are not anger-inducing. Not once did “Haunted Mansion” feel like an endurance test. It was a just a movie that I wish could have been better. It is not the scariest movie I have ever seen. It is not the funniest movie I have ever seen. It is just passable enough to the point where I can say I enjoyed a series of moments throughout. Some of the characters are neat, but the writing could be better. The look is nice, but the scares are off and on. There are better movies out there, but there also are worse movies out there. “Haunted Mansion” is somewhere in the middle. I am going to give “Haunted Mansion” a 6/10.

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

Thanks for reading this review! My next reviews are going to be for “The First Slam Dunk,” “Barbie,” “Teenage Mutant Ninja Turtles: Mutant Mayhem,” and “Talk to Me.” 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 “Haunted Mansion?” What did you think about it? Or, if you saw the 2003 film “The Haunted Mansion,” how does this 2021 film compare to that? Let me know down below! Scene Before is your click to the flicks!

Oppenheimer (2023): A World-Defining Film for a World-Defining Time

Posted on by Jack Drees

“Oppenheimer” is directed by Christopher Nolan (Interstellar, Tenet) and stars Cillian Murphy (Inception, Peaky Blinders), Emily Blunt (Edge of Tomorrow, Mary Poppins Returns), Matt Damon (Downsizing, We Bought a Zoo), Robert Downey Jr. (Iron Man, Chaplin), Florence Pugh (Black Widow, Don’t Worry Darling), Josh Hartnett (Cracked, Pearl Harbor), Casey Affleck (Manchester by the Sea, Gone Baby Gone), Rami Malek (No Time to Die, Bohemian Rhapsody), and Kenneth Branagh (Death on the Nile, Tenet). This film is about the adult life of J. Robert Oppenheimer, a physicist who would play a major role in changing the course of both science and history.

Christopher Nolan is my favorite film director working today. I appreciate every single one of his films. “Interstellar” is my top film of the past decade, not to mention all time. “Inception” is a marvelous, trippy, dream-esque trip like no other. While they are not my favorite comic book movies, I think “The Dark Knight” trilogy is full of great action, characters, and performances. “Memento” is one of the better non-linear stories that comes to mind. I even liked “Tenet.” I have seen it four times in theaters. I do not know how many people can say that. While I call what I do critical, I will not deny that I am a Christopher Nolan fan. I look forward to every one of his films, including “Oppenheimer,” which I put amongst my most anticipated of the year. This film is a different angle for Nolan, who has created dark material, but he does so with a sense of joy sparkled in somewhere. For “Oppenheimer,” there is no joy. Only sour vibes. If you look at “Dunkirk,” which is set during a depressing time like World War II, the movie fails to earn a more mature R rating, instead of a PG-13, because there is a lack of blood and other things in it like excessive foul language. “Oppenheimer” is Nolan’s first R rated film since 2002’s “Insomnia,” a remake of a 1997 Norwegian film of the same name.

Safe to say, when it comes to the content of “Oppenheimer,” Nolan does not hold back compared to some of his other films. Much like “Dunkirk,” there is not much blood to be seen. There is not much violence either. However the film earns an R due to sexuality, nudity, and language. If you take out some of the sex or swearing, Nolan and crew probably could have earned a PG-13. Even with the sex and nudity, it honestly feels tame, especially when compared to another recent film, “Joy Ride.” There is nothing that comes off as super objectifying or over the top about it. In some ways, it feels everyday, but with some extra flair to it. Of all of the Christopher Nolan films, and this is not a diss on any of the others, this is some of his most lifelike work yet. Then again, having it be based on history definitely helps.

But overall, what did I think of the film? Well, as of now, I have seen “Oppenheimer” twice. That should tell you something you need to know by the end of this review.

In addition to being his most mature work yet, Christopher Nolan fires on all cylinders in “Oppenheimer” to tell a story that not only captivated me through showcasing history’s past, but also highlighting where we may be going. On the surface, “Oppenheimer” chronicles the life of a man who dedicated his life to his field, only to have his choices lead to monumental events. It is so much more.

For those who are often challenged when facing three hour films, I can tell you that this film is a heavy watch, but even with that in mind, those three hours are used brilliantly. There is a lot to see, and a lot to digest. Despite the long runtime, “Oppenheimer” is especially worth seeing in the theater. If you have a small bladder, plan wisely. Because if you are like me, you will enjoy much of what is in front of you.

“Oppenheimer” is told in a way that despite being non-linear, flows like a straight line. It is also told in a way that I think only someone resembling a Christopher Nolan-type could tell it. The film is heavy in flashbacks and storytelling shifts. The story may be called “Oppenheimer,” and it is ultimately a film about the titular character from start to finish. But it is not always told from his perspective.

Speaking of Oppenheimer, Cillian Murphy is gold throughout the picture as the title character. If the Oscars were tomorrow, he would be a serious contender for Best Actor. A lot of what makes Murphy pop is his subtleties. There are multiple signals throughout the film of what Oppenheimer was thinking, that may sometimes be highlighted by either something he says, or an expression on his face. In addition to Murphy’s mannerisms, he looks the part, and ultimately, feels the part.

Joining Murphy is a stacked cast whose talents know no bounds from Florence Pugh to Kenneth Branagh to Robert Downey Jr. in a bit of a departure from what he has been doing in recent years through his time in the MCU. I have seen users on social media say that Robert Downey Jr. is finally “acting” again. First off, he never stopped, he just played Iron Man so many times that it may feel like he is. Over the years he has done a great job as Tony Stark, and he also kills it here as Lewis Strauss. Like Murphy in his lead role, Downey Jr. is probably gonna be a frontrunner for Best Supporting Actor by the end of the year. But in all seriousness, look at this cast! Matt Damon! Emily Blunt! Rami Malek! That is not even the stretch of it! The cast is a murderer’s row of both star power and off the charts performances. It is like what “Amsterdam” was trying to be, even with an iconic, experienced director to back them up, but the difference here is the comparatively greater execution.

This film sort of reminds me of “2001: A Space Odyssey,” because “Oppenehimer” deals with weapons somewhat similarly to how “2001” deals with technology. Throughout history, mankind has had an obsession with tools. In a way, they made us stronger, they kept us alive, and in some ways, we refuse to live in a world without them. Technology and weapons continue to evolve, and therefore, there could be a breaking point. “Oppenheimer” begs to ask what happens if mankind not only gains enough power to destroy an entire group of people, but possibly themselves. When this film highlights the development of the bomb, there is a lot of talk about the weapon’s uncertainty. During its assembly, the chances of the bomb destroying the entire planet were near zero, but some would argue even that is too intimidating of a chance. When the bomb went off, it seemed like the weapon that made all others inferior. But like how there is always a bigger fish, there may also be a bigger weapon as time goes on.

I have seen a couple horror titles this year and I can say “Oppenheimer” is eerier than both titles. “Oppenheimer” may not come off as a horror movie at first sight, but it is certainly one by the end of it. Speaking of the end, to drive that point home, I will not say anything about what happens, but there is a final exchange in the film that I cannot stop thinking about. “Oppenheimer” is responsible for possibly the greatest last line in the history of film. It is up there with “Well, nobody’s perfect,” from “Some Like it Hot.” I am not going to give the line away, but it is a series of words that will stick with me, along with the hallowing shots that follow.

One of the reasons why Christopher Nolan is a favorite director of mine is that while his movies vary across the board, is that they are some of the most prominent examples of narratives that get me to think. “Interstellar” got me thinking about the earth’s future, in addition to my own. “Dunkirk” made me think that people are genuinely good at heart even in the worst of times. “Tenet…” Well, it certainly got me to think. Maybe think backwards sometimes. “Oppenheimer” is another one of those thinker kind of pictures, but it is making me think in ways where I am afraid that mankind may achieve a point of self-destruction. As a moviegoer, I often watch films for an escape from my problems. But not all films are created equal. Sometimes there is room, depending on the occasion, for a film that reminds you of your problems, or in this case, highlights problems that could haunt you for the rest of your life.

I was off and on as a history student in school, but there is a basic saying about history that justifies teaching even the darkest of tales. Those who do not know history are doomed to repeat it. That saying is perhaps the backbone of “Oppenheimer,” no matter how you slice it. This film may tell the story of J. Robert Oppenheimer, and he is by all means the protagonist of this picture, but he is more of a notable presence than a “hero” in some ways. There are certain scenes where other characters may see him as such, but he is not entirely a proper fit for the description of “hero.” Understandably, “Oppenheimer” was not released in Japan. There is also no scheduled release there as of yet. That said, as I watched the film, there are moments where I got the notion that the film served as an occasional apology to the country. It is not necessarily in your face propaganda, but from start to finish, the film never comes off as an attack towards Japan or its people. If anything it comes off as a warning to anyone who desires mass destruction on a large group. And yes, that is all the while the movie highlights an event of mass destruction. But it says that if we get to a point in our history where we continue to fight, where we continue to destroy each other, we may ultimately destroy ourselves.

Again, “Oppenheimer” is a horror movie disguised as a three hour historical drama. If you think ghosts, ghouls, and goblins are the scariest things you will see this year, just wait until J. Robert Oppenheimer gives a speech to flag-wielding Americans in a gym. If I watch a new horror movie in theater around spooky season, there is a good chance that it will not leaved as haunted as I have the past two times I have watched “Oppenheimer.”

In the end, “Oppenheimer” is a hallowing time at the movies, but nevertheless a remarkable achievement of cinema. While I really liked “Tenet,” I think “Oppenheimer” is a step up from Christopher Nolan’s previous efforts. If anything, this may end up being a top 3 film of his for me. The film stands as a technical achievement that must be seen in a large format like IMAX. This is especially considering it was partially shot with IMAX film cameras by Hoyte Van Hoytema, who also used the camera to shoot three other Nolan titles and even Jordan Peele’s “Nope.” Additionally, it is a dramatic achievement that has been perfectly executed by its star-studded cast. Even with the haunting nature of this film, a good portion of the imagery is awe-inspiring, the music is captivating, and the sound is beautifully audible. That said, if I had a complaint with the film, the sound mix, despite the powerful audio and score, is not the greatest, which is not new for Christopher Nolan. Other than that, the movie stands as one of the director’s best. I am going to give “Oppenheimer” a 9/10.

“Oppenheimer” is now playing in theatres everywhere. The film is also available in select IMAX 70mm locations for a limited time. I had the grand opportunity to see it in one of those locations, and if you are thinking of taking the opportunity to see “Oppenheimer” in one of those locations, I highly endorse it. Tickets are available now.

Thanks for reading this review! Pretty soon I will be dropping reviews for “Haunted Mansion,” “The First Slam Dunk,” “Barbie,” and “Teenage Mutant Ninja Turtles: Mutant Mayhem.” Stay tuned! Also, if you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Oppenheimer?” What did you think about it? Or, what is the scariest non-horror title you have ever seen? Let me know down below! Scene Before is your click to the flicks!

Mission: Impossible – Dead Reckoning Part One (2023): Another Epic Mission from Tom Cruise and Christopher McQuarrie

Posted on by Jack Drees

“Mission: Impossible – Dead Reckoning Part One” is directed by Christopher McQuarrie (Jack Reacher, The Way of the Gun) and stars Tom Cruise (Top Gun, Risky Business), Hayley Atwell (Agent Carter, The Duchess), Ving Rhames (Lilo & Stitch, Pulp Fiction), Simon Pegg (Ready Player One, Run Fatboy Run), Rebecca Ferguson (Dune, Reminiscence), Vanessa Kirby (Pieces of a Woman, Fast & Furious Presents: Hobbs & Shaw), Esai Morales (Resurrection Blvd., Bad Boys), Pom Klementieff (Guardians of the Galaxy Vol. 2, Oldboy), Mariela Garriga (Bloodline, Nightmare Cinema), and Henry Czerny (Ready or Not, Revenge). This film is the seventh installment of the ongoing “Mission: Impossible” movie franchise based on the hit television series of the same name. In this latest installment, Ethan Hunt and crew must track down a dangerous weapon before it is too late.

The “Mission: Impossible” franchise is, in some ways, the definition of irony. Because there is a general saying that a movie’s sequel is not usually as good as the original. If “Mission: Impossible” stopped at two movies that would be true, because I liked the first film quite a bit, but felt a significant dip in quality in John Woo’s “Mission: Impossible II.” Thankfully, “Mission: Impossible III” was better. Not perfect, but J.J. Abrams at least did enough to thwart the franchise in the right direction. “Mission: Impossible – Ghost Protocol,” directed by Brad Bird, not only ended up being really good, but revitalized the franchise. I still think about the scene set around the Dubai Tower on a regular basis. Then we get “Mission: Impossible – Rogue Nation,” directed by Christopher McQuarrie, which much like its predecessor, had incredible action sequences and stuntwork that define Tom Cruise’s career. That would have been my favorite “Mission: Impossible” movie, had it not been for the fact that Cruise and McQuarrie reunited to make the last “Mission: Impossible,” specifically “Fallout.” That film is the peak of what I consider to be one of the greatest action franchises. It was my favorite film of 2018, and I would put it right next to “Risky Business” as my favorite film starring Tom Cruise. The film is simple in plot, but has jaw-dropping action, likable characters, and a bone-chilling climax to back it up. It is everything a modern action movie should be.

This is also part of why I was excited for “Mission: Impossible – Dead Reckoning Part One,” which I put my as my #2 for my top 10 most anticipated movies of 2023. This franchise has a special talent. Specifically, a talent where almost each film ends up surpassing its predecessor. With how good “Fallout” was, this seventh installment had big shoes to fill.

Time for some good news and bad news. Bad news, the streak of these sequels surpassing their predecessors has ended. I think “Fallout” is a better film than “Dead Reckoning Part One.” Good news, “Dead Reckoning Part One” is all around, a great time at the movies. It contains the essentials I am used to seeing in these films between the quick pace, the character moments, the fun action sequences, and everything in between. If you are looking for summer blockbuster thrills, look no further. This film is an excellent outing for everyone involved, and it will make an excellent outing for you once you step outside your home and into the theater.

One of the reasons I, and I imagine many others, ended up looking forward to “Mission: Impossible – Dead Reckoning Part One” is because it is a continuation of Tom Cruise pulling off death-defying stunts. In fact, much of the marketing pushes the moment where Ethan maneuvers a motorcycle off a cliff and shortly thereafter removes himself from said motorcycle, allowing himself to fall through the air like an absolute moron. I can tell you, that stunt alone is worth the price of admission. When that scene came up in my auditorium, I could tell just about everyone felt a shiver through their body.

But what if I told you that is not even the most intense thing this movie has to offer? Because there are a couple of other scenes that continue to stand out to me. First off, there is a chase through Venice that will go down as not only one of my favorite sequences in the “Mission: Impossible” franchise, but also as one of the funniest action scenes I have ever watched in the history of cinema. I do not think I laughed this hard watching action either since “The Suicide Squad” or “Free Guy.” One of those two movies. When I say this action scene is funny, I mean it. There are a lot of visuals that caught me off guard in the best possible way. Although I must say, I apologize to the company because their car is prominently featured in said sequence, I do not think I will be buying a Fiat anytime soon. If there was any product placement involved, I think this action sequence basically told me to not spend my money on one of those cars. I will stick with my Ford for now.

Another standout sequence in “Dead Reckoning Part One” is set further into the movie, specifically on a train. First of all, the interior of the train, which was assembled for this movie from scratch, is stunningly designed. If the Oscars were tomorrow, I would consider putting this film amongst the Production Design nominations for how solid the inside of that train looks. Secondly, this movie may have the greatest train scene since “Spider-Man 2,” which is an impeccably high standard to match. But the reason why this train sequence will stick with me for a long time is because it does what “Mission: Impossible” does best. It does not only put our characters in danger from a story perspective, but as I watch the sequence, I am increasingly worried for their physical safety. Both the characters and the actors playing them. Anyone can do a train sequence in a film if they wanted to. I have seen boring train scenes before, just go watch “Solo: A Star Wars Story.” But this film does it in such a way that had me wondering how the heck anyone could make it out alive. Heck, there is a movie from last year called “Bullet Train,” and the train scene in “Dead Reckoning Part One” is arguably more thrilling than that entire movie. For the record, I liked “Bullet Train.” But my point stands.

If I had a problem with the film, it would be the opening scene. Sure, it is a homage to a respected title, “The Hunt for Red October,” but the dialogue during this scene honestly felt wooden. Maybe if I watch it again it would be better, but it felt more like a parody of “Mission: Impossible” rather than an actual “Mission: Impossible” movie. Which, quite frankly, is a dead on way to describe “Mission: Impossible II.” I said what I said. But other than that, there are not many flaws to point out about “Mission: Impossible – Dead Reckoning Part One.” If there is one, maybe the A.I. was not as threatening as it could have been, but maybe the crew is saving the good stuff for part two. Staying on topic though, I think the antagonist, Gabriel (Esai Morales), is a bit of a step down for the franchise. Especially when compared to August Walker (Henry Cavill) from the previous installment.

On the note of multi-part efforts, despite having part one in the title, I will contend that “Mission: Impossible – Dead Reckoning Part One” plays as a complete movie. It contains a full, concrete story. Sure, there are loose ends, but the main story ties itself up in a bow. It is a much better part one than what “Fast X” gave us a few months ago, which offered possibly the dumbest, most insultingly complicated cliffhanger in recent film. It did not feel like an end to a movie. It felt like the beginning of something much worse. I left “Mission: Impossible – Dead Reckoning Part One” feeling satisfied with what I saw. Maybe I overhyped it a little, but it does not change the fact that it is a solid option for the big screen this summer.

Going back to “Fast X,” when it comes to the big spy movie franchises out right now, the “Fast & Furious” and “Mission: Impossible” franchises are the two that immediately come to mind. This movie manages to get something right that the “Fast & Furious” movies do not. Characterization. Sure, maybe every once in awhile it is soothing to hang out with the “family,” but those movies fail when it comes to getting me onboard with the characters due to a lack of stakes. Once again, this film reinstates the notion that I am worried for everyone’s safety. Part of it is because a lot of the stuff on screen is done for real, but they flesh out the characters and treat them more like people as opposed to big muscular bodies moving from one place to another. Grace (Hayley Atwell) is layered and has an intriguing mysteriousness to her throughout the film. Additionally, Paris (Pom Klementieff) is another new character that stands out and brings a lot to the table. There continues to be genuine chemistry between Cruise, Rhames, and Pegg as friends. When I left this film, one of the thoughts in my mind happened to be that I cannot wait to see “Mission: Impossible – Dead Reckoning Part Two.” Not only to get back to a franchise that I adore, but to continue seeing cool characters like these. Here is hoping the upcoming sequel is a worthy entry to the franchise, much like this one.

In the end, if I had to rank the “Mission: Impossible” movies, “Dead Reckoning Part One” would not be my favorite, but it would be on the higher end. I would put it above “Ghost Protocol,” but I would put it below the last two. The more I think about it, I think I like it just a little more than the 1996 original, which is a great movie on its own. When it comes to pure summer action, “Mission: Impossible – Dead Reckoning Part One” delivers. It is exciting, thrilling, and I left the film satisfied, but still wanting to know what is next. While this may not make as much money as Tom Cruise’s last outing, “Top Gun: Maverick,” “Mission: Impossible – Dead Reckoning Part One” brings in some big guns of its own. I am going to give “Mission: Impossible – Dead Reckoning Part One” an 8/10.

“Mission: Impossible – Dead Reckoning Part One” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Oppenheimer,” the brand new movie from my favorite filmmaker, Christopher Nolan. Also, I will soon be dropping reviews for “Haunted Mansion,” “The First Slam Dunk,” and “Barbie.” 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 “Mission: Impossible – Dead Reckoning Part One?” What did you think about it? Or, what is your favorite “Mission: Impossible” movie? Mine is “Fallout,” but I want to know yours! Comment below! Scene Before is your click to the flicks!

Joy Ride (2023): Four Young Women Go Global to Deliver the Hardest Laughs Imaginable

Posted on by Jack Drees

“Joy Ride” is directed by Adele Lim, and this is her directorial debut. Prior to this outing, she has spent a much of her career writing various movies and TV shows. This film stars Ashley Park (Girls5eva, Emily in Paris), Sherry Cola (Turning Red, Good Trouble), Stephanie Hsu (Everything Everywhere All at Once, The Marvelous Ms. Maisel), and Sabrina Wu. This film is about four Asian American friends who go to China together in search of one of their birthmothers.

It is hard to find good comedies nowadays. I am not saying it is impossible. But usually when I think about some of the funnier recent movies, they honestly come from movies that could not be defined as comedies by themselves. “Free Guy” had me busting a gut, but you could argue that it is more of an action-adventure film than a comedy. The Marvel Cinematic Universe has delivered plenty of humor, but again, those are action movies. At times, “Everything Everywhere All at Once,” which is sort of a blend between action, adventure, and science fiction, had me wheezing and shaking my body. The only true comedies I recall watching in recent years that have been really good are “The Unbearable Weight of Massive Talent,” which yes, I guess you could say there is an actionish element there too. But in addition to that, I also really enjoyed films like “Clerks III” and “No Hard Feelings.” Either through a lack of good material or slim pickens, maybe both. If there are other comedies I saw, so be it, but that goes to show how weak the genre has been. When it comes to pure laughter, nothing has surpassed those titles. Sticking with the latter for a second, when I did my review for “No Hard Feelings,” I said I’m glad I saw it. However, I also said at the time, it was not even the funniest movie I have seen in the past few weeks.

Ladies and gentlemen, this is that movie.

Continuing to stick with the “No Hard Feelings” comparisons, I appreciated the raunch factor that movie provided. There are a few scenes that push some boundaries. But if you thought “No Hard Feelings” was dirty, hold your horses, because “Joy Ride” may the be, aside from maybe “Sausage Party,” the single filthiest movie I have reviewed on this blog. This film pulls no punches and unleashed all sorts of wild vulgarity that few movies of its kind have delivered. It is not as heavy in language as “The Wolf of Wall Street,” (the shorter runtime partially helps), but it nevertheless has tons of bombs and plenty of sexual content, much of which actually blends seamlessly with the situations at hand. There does not appear to be a moment of this movie that either feels tacked on or a waste of time. Everything works and is done to the point where it almost could not have been executed any better than it was. Though in all seriousness, if you are one of those people who does not like watching explicit scenes with parents, maybe find a way to watch this movie without them. Considering how “Joy Ride” was originally going to be called “Joy F*** Club,” it should not come as a surprise to know how naughty this movie is.

But just because this movie is all sex, all drugs, and all filth, does not mean it lacks a story. If anything I am pleasantly surprised with how amazingly laid out the story is. The concept is not too complicated, and if this movie had a minimalistic point a to b narrative to make me laugh, that would have been serviceable. But the trio of writers behind this movie decided to go beyond that barrier and not only bring a good story in addition to tons of laughs, but I would say when it comes to turning points, this film brings one of the best I have seen this year. I was kind of taken aback by how invested I became in the story for a film that is best described as a pure comedy. When I look back at movies like “Horrible Bosses” or “Anchorman,” I remember those movies not so much for the narrative, even though they tend to make sense, there is nothing broken about them. But I remember them mostly for the characters. Much like “Anchorman,” this film has a lead quartet that works both together and as individuals.

You have Audrey (left center), the serious lawyer who wants nothing more to remain successful and find her mom. Along for the ride is her best friend, Lolo (right), an artistic individual who has been by Audrey’s side since her youth. Also on the team is another artsy type, Kat (left), a famous actress, played marvelously by Stephanie Hsu, whose top tier work in “Everything Everywhere All at Once” is followed up nicely here. Finishing things off is Deadeye (right center), Lolo’s cousin, who deeply loves k-pop. Of the group, she seems to be the geek type. Not in a shy, reserved way though. Each individual appears to be rather outgoing, which matches the party-like vibe of the film from start to finish, but much like certain geeks such as myself, her obsession for what she loves is crystal clear.

Overall, the phenomenal lead cast makes this movie shine. The four lead women may not be the most well-known performers. Personally, the only one of the bunch I could have picked out was Stephanie Hsu. And unfortunately, due to how bad this film did at the box office, they might remain as such. But they make this movie worth the watch. All of the cast members play off each other perfectly and I loved every second they were on screen. I do not think a sequel is in the cards right now for “Joy Ride,” but I would love to see these four together again in some capacity. They did a great job.

The supporting cast is great too, between everyone on the basketball team to those in Audrey’s family, but perhaps the highlight of said cast would have to be Meredith Hagner (Search Party, Disenchantment). Hagner plays Jess, a drug smuggler, and she is not in much of the movie, but the scene she is in is one of the film’s best. Look out for it, if you like gross humor, you might be entertained.

One of the best things about “Joy Ride” is that despite how it is heavily marketed as a laugh out loud comedy and contains all sorts of vulgar humor, it does not shy away from being heartfelt. Because I like these characters so much, I not only end up rooting for them, I feel bad for them when something tends to not go their way. When the characters hit a certain low, I am hoping they get back up. There is a certain goldilocks zone with this film by the end of it that despite being filled with dark humor through most of it, it ends up meshing together with, like the title, a joyful vibe. Check out this film, you’ll laugh, you’ll have a good time, and it is the filthiest comedy I have seen in years.

In the end, “Joy Ride” does not always make sense. But even in its more unrealistic moments, there is a sense of immersion in them. This movie builds a world around it in which I found myself invested. The characters are layered, the jokes are hysterical, and the screenplay is more Shakespearean than it has any right being. If you are not cool watching certain films with your parents, think twice before turning “Joy Ride” on with them in the room. But I think this is a great film to watch with friends, or even by yourself. The premise may be simple, but the movie within the premise can only be described as a goldmine. I am going to give “Joy Ride” an 8/10.

Also, this movie would not be as good as it is if were not for the writers. Adele Lim, Teresa Hsiao, and Cherry Chevapravatdumrong are responsible for one of the best comedies in the past decade. Also, I want to shout out Cherry Chevapravatdumrong specifically, as she also wrote my favorite television episode of all time, specifically “And Then There Were Fewer” from the “Family Guy” series. I talked a bit about the episode a few years back and it still remains a gem in my book. Here is hoping we get more good material from her, in addition to Lim and Hsiao.

“Joy Ride” is now playing in theaters and is also available to rent or buy on VOD platforms.

Thanks for reading this review! My next review is going to be for “Mission: Impossible – Dead Reckoning Part One.” Also coming soon are my reviews for “Oppenheimer,” “Haunted Mansion,” “The First Slam Dunk,” and “Barbie.” 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 “Joy Ride?” What did you think about it? Or, what comedy has your favorite main cast of characters? Hard to pick one, but I would either have to go with “Ghostbusters” or “Anchorman” at the top of my head. Let me know your picks down below! Scene Before is your click to the flicks!

Indiana Jones and the Dial of Destiny (2023): Far from Spielberg, But Not Offensive

Posted on by Jack Drees

“Indiana Jones and the Dial of Destiny” is directed by James Mangold (Ford v Ferrari, Logan) and stars Harrison Ford (Star Wars, Blade Runner), Phoebe Waller-Bridge (Fleabag, Solo: A Star Wars Story), Antonio Banderas (Puss in Boots, The Hitman’s Wife’s Bodyguard), John Rhys-Davies (SpongeBob SquarePants, The Lord of the Rings: The Fellowship of the Ring), Toby Jones (Wayward Pines, The Dark Crystal: Age of Resistance), Boyd Holbrook (Narcos, The Sandman), Ethann Isidore (Sam, Mortel), and Mads Mikkelsen (Rogue One: A Star Wars Story, Chaos Walking). This film is the latest installment of the “Indiana Jones” franchise. This time around, the title character is done with adventures, and he is just about done with teaching. But when the opportunity to retrieve a time-spanning artifact strikes, Jones, with the assistance of his goddaughter Helena (Waller-Bridge), goes on one last adventure to acquire the object.

My dad introduced me to “Raiders of the Lost Ark” when I was eight years old. Back when Blockbuster Video was a thing. My dad picked up a copy of “Raiders of the Lost Ark” from my local Blockbuster Video and presented to it me. He said it was like “Star Wars,” an integral part of my childhood that I have carried to my adulthood. Safe to say, when he said that, my first thought was that I should just go watch “Star Wars,” so I ended up never watching the film before it was returned. Though I did eventually watch it with him when I was 13 years old because I recorded it on the DVR. I thought it was a really solid movie. For years, it was the only one I fully watched. With “Dial of Destiny” now out, I went back and revisited the first film, and watched the sequels for the first time. Despite a major hole regarding Jones’s actions towards the climax that “The Big Bang Theory” ruined for me, “Raiders” still held up nicely. “Temple of Doom” had its moments, but was not without its camp and flaws. “Last Crusade” is a contender to be one of the greatest adventure films ever made. Among other things, the film had rambunctious action scenes, great dialogue, dynamite chemistry between Harrison Ford and Sean Connery. If this were the finale of the “Indiana Jones” franchise, I would have been fine with it. Especially considering the massive downgrade that came with “Kingdom of the Crystal Skull.” With that came iffy at best CGI, a lack of verisimilitude compared to the other installments, haphazard characters, possibly Cate Blanchett’s career worst performance, and an underwhelming climax. The film had its moments, but they were few and far between.

Basically, the “Indiana Jones” franchise is like a see saw. One moment it is up, the next it is down. Then it goes back up, and suddenly back down. If we are going by statistics, this should mean that “Dial of Destiny” should be a step up from the franchise worst “Kingdom of the Crystal Skull.” Thankfully, that is the case. But that is not saying much.

I had some excitement for “Indiana Jones and the Dial of Destiny,” but I am not going to pretend I was bouncing off the walls about it. In addition to my long-standing indifference about “Indiana Jones” compared to other franchises, part of it might be because of how long this movie took to make since it was announced. They kept talking about the movie with little action to back it up. Also, this time around, Steven Spielberg is not at the helm. This time, the director’s chair has been given to James Mangold, whose recent “Ford v Ferrari” stands as one of the greatest car-related films of all time. When it comes to Mangold’s direction, it is not bad. The film looks good from a production standpoint. Many of the performances fit the characters. When it comes to basics, nothing stands out as a revolting negative.

That said, while the film does look good to a degree, I think it is still the worst-looking film of the “Indiana Jones” movies. Part of it has to do with how the movie is shot, specifically on digital, whereas all the previous installments were shot on film. I understand times change and digital is easier to handle. But when it comes to the look of “Indiana Jones,” it always had this dirty aesthetic to it. While it is here in parts, it is a far cry from its predecessors. With film you typically get more detail and there is a less artificial vibe to the image than digital. If I were behind the film, that is a change I would have made. As much as I knock “Kingdom of the Crystal Skull” for its bad effects, everything from the sets to the framing to the grading looks a tad better. Just a little.

But if I have to point out one set piece I really liked, a lot of the moments in New York City are eye candy. I have always thought of “Indiana Jones” as a larger than life franchise, where everything has this huge scale to it. Thankfully, the Big Apple lives up to its name. There is a chase through the city during a parade that was worth watching on the big screen.

Though, per usual, Harrison Ford puts in a good performance as the title character. While I will always think of Harrison Ford as Han Solo before anyone else, I can probably gather that Indiana Jones may have been his favorite character to play all these years later. In recent years, Ford has come back to revisit a series of characters he played throughout his career. The recently mentioned Han Solo, Rick Deckard, and now Indiana Jones for the second time this century. Of these kinds of roles, I still think Ford’s outing as Rick Deckard in “Blade Runner 2049” unleashed his best chops, but it is undeniable that this outing as Indy gave him a lot more to do, and he does it all nicely. I think Ford carries the film with excellence.

Speaking of Harrison Ford, the opening scene features Indiana Jones in his prime, and in doing so, this required artists to de-age him. I have seen a mix of face alterations and instances of de-aging on film to a mix of results. Thankfully, I can say much of the de-aging in this film is more on the positive end. There is one moment where Ford tilts at a 90 degree angle that took me out of the scene, but it is so minor that it fails to ruin the big picture.

Phoebe Waller-Bridge also appears in this film, and while her performance may be great, her character is not. When I watch movies, I do not ask characters to be perfect individuals, but I want a reason to root for them. In Waller-Bridge’s case, she plays Helena, Indy’s goddaughter. The best way I can describe this character is money-hungry. Do not get me wrong, money talks. But in the case of Helena, it is practically all she thinks about and all she seeks. She is nearly the most one-dimensional character of the film by the end of it. I will admit, there is one action towards the end she did that I could get behind, but for the most part, I was not fond of her. Her chemistry with Indy is okay at best and some scenes between them are better than others.

But if I have to be real, a lot of the film’s cast is surprisingly unmemorable. When I look back on “Dial of Destiny,” Helena and Indy are the only two characters that stand out. Maybe Mads Mikkelsen, who plays Jürgen Voller, an okay antagonist, adds something to the table, but other than these three, I cannot say I outright loved any of the other characters in this film. While I did not like the characters in “Kingdom of the Crystal Skull,” I will admit they at least stood out. Maybe not in the best light, but still.

I do not want to spoil the climax for this movie, but all I will say about it for those who have not seen it, there is a scene that goes on for an extended time that introduces a never before seen, but totally fitting concept to the “Indiana Jones” franchise. As much as it fits, I wish it could have been explored more. So much to the point that I would have been happy had they made a whole movie about what was happening in the climax, instead of the one we got. I am not going to pretend what happens in the climax is the best thing the franchise has ever done. But if they turned that into a 2 hour movie with the title character, or heck, even a Disney+ or Paramount+ series, I think it has the potential to be really good. It would catch a lot of eyeballs. The climax had some good ideas, but it did not do enough to make the rest of the movie worth my time. This is the longest “Indiana Jones” installment yet, and I occasionally felt that runtime.

In the end, “Indiana Jones and the Dial of Destiny” is not the worst film in the series, but also far from the best. This film tends to stick to the franchise’s admirable roots to some degree, but it is not enough to recapture the success of films like “Raiders of the Lost Ark.” Although on the topic of roots, it is not hard to appreciate any film placed in front of you when the music is scored by John Williams. If you are a fan of the “Indiana Jones” franchise, I think there is some precedent to checking out this film. I like the franchise, though it is, as discussed, something I never grew up with. Some of you reading this, should you check out this film, may have a greater attachment to it than I did. It is by no means the worst tentpole of the year. It has a long way to go to compete with the atrociousness of “Fast X.” I just think there are better movies you can watch right now. I am going to give “Indiana Jones and the Dial of Destiny” a 5/10.

“Indiana Jones and the Dial of Destiny” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new comedy “Joy Ride.” Also stay tuned for my reviews for “Mission: Impossible – Dead Reckoning Part One,” “Oppenheimer,” and “Haunted Mansion.” I also have plans to watch the brand new anime “The First Slam Dunk” this Saturday, so that will be added to the list as well. Though I imagine some of you are wondering, when will I review “Barbie?” The world needs to know. Well, world, I should have you know that I have not watched it yet, but I have tickets for Sunday. If everything proceeds accordingly, I will be watching the all new blockbuster this weekend, so I will have a review for that coming soon. If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Indiana Jones and the Dial of Destiny?” What did you think about it? Or, what is your favorite “Indiana Jones” film? Let me know down below! Scene Before is your click to the flicks!

Ruby Gillman, Teenage Kraken (2023): Bland Movie, Ridiculously Predictable

Posted on by Jack Drees

“Ruby Gillman, Teenage Kraken” is directed by Kirk DiMicco (The Croods, Vivo) alongside Faryn Pearl, and this is also the latter’s feature-length directorial debut. This film stars Lara Condor (Alita: Battle Angel, X-Men: Apocalypse), Toni Collette (Hereditary, Knives Out), Annie Murphy (Schitt’s Creek, Russian Doll), Colman Domingo (Selma, Lincoln), and Jane Fonda (Barbarella, Book Club). This film is about an adolescent who lives an normal life amongst mankind but discovers her royal kraken origins. Under the guide of Grandmamah (Fonda), Ruby Gillman finds out there is much more to her life and family than meets the eye.

Animation in 2023 so far has been… All right. Recently, “Elemental” disappointed me to a degree I never thought such a concept could reach when it comes to Pixar. “The Super Mario Bros. Movie,” despite a couple decent moments, might have been the textbook definition of a “safe” adaptation of that franchise. Meanwhile, we also got “Spider-Man: Across the Spider-Verse,” which has now become one of my favorite animated, not to mention comic book movies, of all time. If we are counting anime in this conversation, “Suzume” is spectacular in more ways than one, and I am desperately awaiting a Blu-ray release so I could watch it a second time. In addition to these movies, 2023 is also seeing the release of “Ruby Gillman, Teenage Kraken.” I saw the trailer, and I thought it was okay. I did not think it was offensive, I did not think it was going to change the world, but it told me everything I need to know. …Maybe too much even. But who knows? Chances are we would get a decent movie out of it.

While Ruby Gillman may say it is time to go big, this movie does very little to unleash a gigantic impact. “Ruby Gillman, Teenage Kraken” is far from special.

In some ways, 2023 is an underwhelming year for animated movies. The two most prominent studios I can think of today, specifically Pixar and as highlighted through this review, DreamWorks, have officially released movies that I can both consider to be below par. Although for DreamWorks this is a bit different, because watching recent Pixar films seemed to indicate a slippery slope. With DreamWorks, we go from perhaps one of the most innovative and charming animated projects in recent years, “Puss in Boots: The Last Wish,” to one of the most ordinary, generic, by the numbers family movies I have seen in some time with “Ruby Gillman, Teenage Kraken.”

The one enormous positive I can confirm is that the animation style pops. Now, it is not as fresh as some of the other projects of this kind as of late, but it is vivid, dynamic, and sometimes immersive. The underwater scenes look great and there is a lot of flair to them at times. The power-based scenes also stand out. Safe to say, my eyes definitely grew a couple times throughout the film. But while this movie has the looks, it does not have the personality.

Sure, maybe I had one or two chuckles here and there like a lot of animated films that come out nowadays. But these chuckles are surrounded by scenes that range from uninteresting to cringeworthy. There are a few lines in this film that I actually cannot believe this movie got away with. In fairness, the voice cast tends to give it their all. Jane Fonda is perfectly cast as Grandmamah. Toni Collette is a good choice as Agatha Gillman. Lana Condor, despite having to ace some cheesy dialogue here and there as well as she can, plays the lead role to the best of her ability.

The script is about as predictable as the end result of me going into the ocean despite seeing a murderer’s row of sharks race towards the surface. Chances are I am as good as dead. Equally, so is my brain while I am watching “Ruby Gillman, Teenage Kraken.” The movie is only just above an hour and a half! For such a short movie that flies by, I am shocked as to how close I was to being bored.

Some of you might think, “Jack, this is an animated movie for children, therefore it does not matter.” First off, animation is cinema. Did we not just hail “Spider-Man: Across the Spider-Verse” for the past month? Second, who do you think happens to be taking these kids to watch these movies? Sure, we could make the argument that some animated movies will appear to be good in the eyes of children, but to only go far enough to keep said children from revisiting that movie as they age. If I watched “Ruby Gillman, Teenage Kraken” at 8 years old, there is a slim chance that I would be watching it again in five years whereas “Puss in Boots: The Last Wish” might get another few watches as I become an adult. I have seen predictable movies that I liked, last year’s “Brahmastra” is a vivid example that comes to mind. But it takes a special, rare movie to make the ultra-predictable come off as the most entertaining product I could enjoy.

“Ruby Gillman, Teenage Kraken” is by no means the worst movie ever made. It is by no means an insult to anyone’s intelligence. I think if you present this movie to your children, they could end up enjoying it without losing all their brain cells. Then again, I do not think it will boost their brain either. There is nothing about this movie that I can say, throughout my years of watching, that I have never seen before. Okay, sure. Maybe the visuals look stunning, and honestly better than say “The Super Mario Bros. Movie” at times. I think if you want a tech demo, this could be a good test for high dynamic range. But when I am busy complimenting the movie on its appearance over its been there, seen that writing, and predictable from ten miles away storyline, it makes me wonder how this movie is going to age.

Honestly, if you have seen the trailers for “Ruby Gillman, Teenage Kraken,” I hate to tell you, there is not much else that is not in those trailers that could separate this movie from anything else. The characters who are not highlighted in those trailers are mostly forgettable, sometimes annoying. Story-wise, I cannot pinpoint any other major element of the plot that has not been exposed. This movie is, in whole, a nothingburger. It is lacking in any sort of oomph whatsoever, and there is no reason for me to recommend it other than to say it looks pretty. You know what also looks pretty? “Avatar: The Way of Water.” You do not see me recommending that movie every day.

Speaking of the trailers, however, if there is one coincidence I can appreciate, I love how this movie came out a month after Disney’s remake of “The Little Mermaid,” because during trailers before that film, and the final movie itself, there is a scene where Ruby confirms that people love mermaids, to which Grandmamah claps back by saying “People are stupid.”

Although I should end this review on a somewhat positive note, as much as I did not love the characters as much as I wanted to, I found myself pleasantly surprised as to how much I enjoyed Will Forte’s character, Captain Gordon Lighthouse. I thought he was well written, well executed, and he sort of reminded me of a J. Jonah Jameson type. He has an endless obsession over being able to find a kraken, and I thought his motivation, while simple, may have been the most intriguing to witness of all the characters in this movie. Does it make the movie worth watching? I wish I could say that it did.

In the end, I honestly think DreamWorks should have thought twice before they released the kraken. “Ruby Gillman, Teenage Kraken” is not a good movie. It is possibly a contender to be the most cliché movie I have seen all year, and this is coming from a year where “The Super Mario Bros. Movie” exists. I understand what the movie was going for sometimes with the over-expressive dialogue, but it felt TOO over the top at times. I do not think I ever want to hear the word “alga-bae” ever again in my entire life. The movie fails to be funny, it fails to stand out, and even if I did not watch the trailers, I could probably see where this movie is going instantaneously. There are better animated movies out there right now. Not to beat a dead horse, because I said the same thing in my last review for “Elemental,” go watch “Across the Spider-Verse” instead. I am going to give “Ruby Gillman, Teenage Kraken” a 4/10.

“Ruby Gillman, Teenage Kraken” is still playing in theaters. It is also available to rent or buy on digital platforms.

Thanks for reading this review! If you want to read more reviews coming soon, I will be sharing my thoughts on “Indiana Jones and the Dial of Destiny,” “Joy Ride,” “Mission: Impossible – Dead Reckoning Part One,” and “Oppenheimer.” 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 “Ruby Gillman, Teenage Kraken?” What did you think about it? Or, what is a bad animation you have seen lately? Let me know down below! Scene Before is your click to the flicks!

Elemental (2023): Pixar’s First Mishap

Posted on by Jack Drees

“Elemental” is directed by Peter Sohn (The Good Dinosaur, Ratatoullie) and stars Leah Lewis (Nancy Drew, The Half of It), Mamoudou Athie (Underwater, Jurassic World: Dominion), Ronnie del Carmen (Inside Out, Soul), Shila Omni (The Illegal, Tehran), Wendi McLendon-Covey (The Goldbergs, Rules of Engagement), and Catherine O’Hara (Schitt’s Creek, Second City Television). This film is set in a world where elements, such as water or fire, are living, breathing creatures. They all live their own lives and often follow one rule. Specifically, they cannot mix with other elements. When the fiery Ember and watery Wade meet each other, they become friendly, but as others discover their connection, they fear the consequences.

“Elemental” ended up being one of my most anticipated movies of 2023. Compared to some of the other animated titles like “The Super Mario Bros. Movie” or “Ruby Gillman, Teenage Kraken,” “Elemental” had an unfair advantage. Specifically, its attachment to Pixar. Of the animation studios working today in Hollywood, Pixar is by far my favorite of the bunch. Because they have continuously pumped out quality movie after quality movie. Even some of their lesser fare like “Cars 3” and “Onward” has been enjoyable if you ask me. Though if you also ask me, I think their latest movies have not been the best efforts they have given. I have often considered Pixar to be the gold standard of modern animation with films like “Toy Story,” “The Incredibles,” and “Wall-E” for instance. But ever since the beginning of the pandemic, I have seen a streak of Pixar titles that do not live up to their predecessors. Although I thought “Turning Red” was incredible and was robbed of a wider theatrical release. Perhaps the greatest example of this is “Luca.” I thought the protagonist was shallow, the stakes and characters were not as up to par as I would have expected, and by the time we got to the end, the movie lacked a climactic feel. I saw “Lightyear” twice. But I will admit that I have no plans to watch it again in the future despite the positive times I had with it.

But “Elemental” looked like it could turn things around. At least from the teaser. I thought it looked promising, and the thought of Pixar doing a love story of sorts intrigued me. Sure, Pixar has had romantic connections in the past, but none of them appeared to drive the film as much as this one. If anything, the marketing promised something with a “Romeo & Juliet” vibe. The structure is totally different, but much like “Romeo & Juliet,” the film suggests that the two love interests cannot interact for the good of everyone, including themselves.

Sadly, it did not turn things around. And it is not like “bad” Pixar in the sense that the movie was good but not great. It is worse. For the first time in my life, I can say that I have seen a Pixar film I disliked. For the record, I do not have every Pixar feature under my belt. I still need to see “Brave,” “Monsters University,” and “The Good Dinosaur.” Other than that, I have seen everything. Of everything I have seen, this is the worst of the bunch, and distinctly so.

Though before I get to the bad, I will talk about the good. Leah Lewis and Mamoudou Athie click as Ember and Wade. The two are well cast and play off each other fantastically. As far as other voices go, I also liked Ember’s parents, Bernie (Ronnie del Carmen) and Cinder (Shila Omni). I bought into these two as a long-married couple who have been through a lot with each other and everything around them. Their voices were excellent for their parts. For the most part, the voicework, like many Pixar projects, is pretty good. The animation is also pretty stellar. Not only is it colorful and vibrant, but there is a scene towards the end of the film, where I thought I was looking at real interior. The frame cut to this concrete area and my eyes lit up. I could not believe what I was seeing. Going back to Pixar being the gold standard, one reason for that is because they always tend to make their films look incredible. Good animation is essentially a requirement in 2023, but one way Pixar separates themselves from the competition is that they will have at least one increment of the movie that looks lifelike despite being made on a computer. And this is not an exaggeration. While “Toy Story 4” is my least favorite of the franchise, one thing I still think about is how realistic a particular cat looks in it. My mind is still blown by it.

Though if I have to be real, this film bored me. Pacing-wise, this might be the weakest of the Pixar films yet. If I were watching this as a child, there is a good chance that I would be bored. One of the compliments I give to Pixar films like “Inside Out” is how much more adults might end up liking it than their children, but I say that while acknowledging that the movie would also appeal to children. Then again, I remember being a child and it was a rarity for me to think a movie could be “bad.” But if I were a child watching this movie, I would probably pick “The Incredibles” or “Up” before watching this one again. There are more fantastical elements about those titles that would appeal to me at the time, and honestly, still appeal to me today. I like the idea of this film, as it is inspired by Peter Sohn’s parents and their story of being immigrants in the United States, but it did not translate well to a movie. Maybe if it were translated into another movie, I would feel different. But this is what we have, and unfortunately, it kind of blows.

For the most part, Pixar films have decent humor. I still think one of the greatest visual gags in not just Pixar’s history, but in all of cinema, is the scene in “Toy Story 2” where Al exposes he needs “to go all the way to work on a Saturday.” He drives from his apartment building to his place of work located, of all places, across the street. America. Scenes like this highlight why it pains me to say the worst thing about “Elemental” is the humor. Not only does just about every joke and gag in the film fail to land, but they feel interchangeable. Every joke in the film is a play on words or actions regarding the element at hand. This would have been fine if I were laughing, but again, I was not.

Perhaps the worst example of the bad humor in this film comes from the supporting character of Clod, a teenage tree. This character has a crush on Ember, somewhere between casual and to the point of desperation. That would be fine, but every line and visual gag of out of this character regarding that made me cringe. I could tell the movie was trying to be funny, it was trying to be clever. But in doing so, it kind of resorted to basic puns the whole way. For the record, I do plays on words and puns all the time. Though I recognize to some capacity, they are on the lower end of the humor scale. They do not take much time or effort to craft. And they can land phenomenally, but there are plenty that if you mention them, you should be… PUNished.

I have no idea if this is inside joke or not, but there is a scene in “Elemental” where it honestly comes off as a parody for the entire Pixar brand. There is a game the water characters tend to play, specifically “the crying game.” Okay…? First off, regarding the inside joke thing, I would not be surprised if this is written in response to Pixar’s history of making viewers cry during certain movies. Movies like “Toy Story 3,” “Inside Out,” and “Coco” just to name a few. Second, I know this is not a real world, but even if it is not, what a ridiculous game! I mean, if these people played it on occasion maybe I would not be CRYING about it, oh boy, here we go with the wordplay… Why would you want to play a game where you cry all the time? It is actually kind of cringeworthy to be honest. Yeah, maybe there is a water joke attached to this, but I did not find the scenes in which these games were attached to amusing or entertaining whatsoever.

In the end, “Elemental” is Pixar’s worst film yet. This is an easy call to make because, again, it is the first one I saw that I walked out of saying I did not have a good time. I have a long history with Pixar. “Cars” was my first movie in the theater. For years, “The Incredibles” stood as my favorite animated title. I love Pixar. But their last few films, minus “Turning Red,” have not met that standard I am used to the studio achieving, and “Elemental” is just the latest film to avoid the prestige many other Pixar titles have acquired. If you want to go see a killer animated title in theaters right now, just stick to “Spider-Man: Across the Spider-Verse.” You will thank me later. I am going to give “Elemental” a 4/10.

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

Thanks for reading this review! I have more reviews coming soon including “Ruby Gillman, Teenage Kraken,” “Indiana Jones and the Dial of Destiny,” “Joy Ride,” “Mission: Impossible – Dead Reckoning Part One,” and “Oppenheimer.” 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 “Elemental?” What did you think about it? Or, what is a film that destroyed your positive track record with either a studio or a filmmaker? Let me know down below! Scene Before is your click to the flicks!

No Hard Feelings (2023): A Hot Hot Hot Summer on Long Island

Posted on by Jack Drees

“No Hard Feelings” is directed by Gene Stupnitsky (Bad Teacher, Good Boys) and stars Jennifer Lawrence (The Hunger Games, Joy), Andrew Barth Feldman (A Tourist’s Guide to Love, High School Musical: The Musical: The Series), Laura Benanti (Nashville, The Detour), Natalie Morales (The Grinder, Abby’s), and Matthew Broderick (Election, Ferris Bueller’s Day Off). This film is about a woman whose car breaks down and will do anything to receive a new one. Anything. Even date the brains out of a 19 year old. When the 32 year old woman finds this 19 year old man undateable, chaos, hilarity, and awkwardness ensues.

If you have been looking at some of the movies coming out this summer, you would notice that some have unusual or unique marketing campaigns. If you go on YouTube, Universal is airing a year-long countdown to “Oppenheimer.” “Mission: Impossible – Dead Reckoning Part One” director Christopher McQuarrie alongside star Tom Cruise started a trend of buying movie tickets for their competition all the while promoting their own film. Barbie director Greta Gerwig and star Margot Robbie followed suit showing off their own tickets on social media. Although there is one marketing campaign that also caught my attention, that being the one for “No Hard Feelings.” In addition to the funny red band trailer, Sony and crew took advantage of billboards to not necessarily promote the movie, but put up an ad promoting a car, specifically this one that says NEED A CAR? “DATE” OUR SON. The head-turning ad of course was not real, but rather a potential boost for the “No Hard Feelings” movie. I saw that ad occasionally on a billboard by I-93 on the way to work. The ad also presents the fascinatingly taboo concept of the film. Specifically, Maddie, a 32 year old woman, must “date” Percy, a 19 year old boy, to get the car she is after.

This is not the first time this decade where we had a lead couple with a bit of an age gap in cinema, as Paul Thomas Anderson’s “Licorice Pizza” had a 25 year old woman dating a 15 year old boy. Although the biggest difference between these two films is that I actually found “No Hard Feelings” to be a fine use of my time. I know a lot of people enjoyed “Licorice Pizza.” It is competently made. But I found the characters to be unlikable, most notably Gary Valentine. I found him to be creepy and power hungry and it did not sit well with me. A romcom is only as good as its two romantically involved leads, and I think Jennifer Lawrence and Andrew Barth Feldman make for a great pair.

When I wrote my “Licorice Pizza” review, I addressed the age gap between the two leads, but I also said that if Gary Valentine were 18 years old, that would make the romantic connection between them more palatable. In this film, Percy is, again, 19, which makes him a legal adult. Despite being 13 years apart from Maddie, I think their connection, while taboo, is not outright uncomfortable or obscene because it is by all accounts, fair game according to U.S. law. Sure, it is 3 more years apart than the leads in “Licorice Pizza,” but still.

That said, I think both leads are not only great in this film, I almost cannot imagine anyone else playing their characters. Jennifer Lawrence is perfectly cast as this down on her luck individual who just so happens to have a bit of a potty mouth. The casting only makes sense because Lawrence was raised to be tough, there is an interview where she was supposed to drop as many swears as she could to raise money for charity. That toughness is often exuded from Maddie, who tries to change Percy for what she thinks is for the better. She observes Percy, listens to him, and comes to the conclusion that his helicopter parents have had a tremendous influence on his day to day life. He does not take any risks, lacks confidence, and has no experience with partying or letting himself loose. He is kind of a pariah. He kind of reminds me of my younger self in some ways as I was, and kind of still am a reserved dork (though I have my moments of extroversion).

Though I was also pleasantly surprised to see how much I enjoyed this film’s portrayal of Percy’s parents. Laura Benanti and Matthew Broderick play their parts with excellence. Both of them have their moments of levity, but do not steal the spotlight from our lead duo. Speaking of the two leads, the way their romantic connection throttles the rest of the story only makes the presence of these parents all the better. This is especially true in the second act.

“No Hard Feelings” in some ways elicits the vibes of sex comedies like “Risky Business” and “The Graduate.” Much like “Risky Business,” there is a heavy part of the plot dedicated to a car. There is even, maybe in the greatest of coincidences…? A heavy part of the plot dedicated to Princeton University. The protagonist is transitioning from high school to college. The love interest, if you can call them that, propels the protagonist to change themselves to the point of making them appear more individualistic. “The Graduate” has a couple romantically-attached leads, both of whom are adults, who have quite the age gap as well. If I had to choose a film to watch on a Friday night, I would honestly pick either of those two. But there is a healthy mix of comedy and romance in this film, which is also the case with those two. “No Hard Feelings” feels surprisingly more intimate than its advertising lead me to believe, but that is not a bad thing because I bought into the chemistry between the two leads and they make it work.

I am not going to pretend “No Hard Feelings” is the funniest movie on the planet. In fact, without giving much away, as this pertains to a future review, it is not even the funniest movie I have seen in the past few weeks. But if you are looking for a romantic comedy that does a bit more than scratch the surface, “No Hard Feelings” gets the job done. I have no plans to see it again, but I am glad I saw it this once. If anything, I am glad we are getting movies like this to begin with. It is a movie that I went in expecting a hilarious dose of sex humor, which I ultimately got. But I also felt what was watching was surprisingly heartfelt. I like the two leads not only as an unlikely duo, but they are actually kind of cute together. As I said in the beginning, films like this one are as good as its romantically involved leads. If these two did not click, this would have been a hard watch, and the only feeling I would have acquired, was one of sickness.

In the end, “No Hard Feelings” checks a bunch of marks not only as a romcom, but also doubles as a coming of age story if you are viewing it from the perspective of Feldman. Yes, Jennifer Lawrence is the bigger name and much of the movie revolves around her journey, but it equally gives enough time to Feldman’s character to see where he takes him. I think Feldman, like Lawrence happens to be right now, is going to be a name to look out for. He is phenomenal in his role. “No Hard Feelings” works because not only these two leads are likable together, but as individuals. While the movie definitely presents Percy as shy and reserved, to the point of it being an extended joke, I found that shyness relatable at times because he reminded me of my teenage years. I did not get out much, I was never the life of the party, I had weird interests that stick with me today, and I never had much of a social life. Meanwhile, Maddie is just trying to get by each and every day. All she wants is a car. That’s all anyone living in a country with underfunded, neglected public transit ever wants. It goes to show that opposites attract and that we may be starting to get some genuinely good comedies again. Since the pandemic, I can only name a few straight up comedies that I remember laughing to on a consistent basis, and this is one of them. Yeah, I managed to witness some highlights like “Clerks III.” Sure, we have had funny films like “The Menu,” but to call it a comedy would be a bit of a stretch. Maybe it is a dark comedy, but I would put it somewhere between comedy and horror. It is nice to see more lighthearted fare, even if it contains filth. I am going to give “No Hard Feelings” a 7/10.

“No Hard Feelings” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for Pixar’s “Elemental.” Also coming soon, I will be sharing my thoughts on “Ruby Gillman, Teenage Kraken,” “Indiana Jones and the Dial of Destiny,” “Joy Ride,” and “Mission: Impossible – Dead Reckoning Part One.” 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 “No Hard Feelings?” What did you think about it? Or, what is your favorite sex comedy? Let me know down below! Scene Before is your click to the flicks!

The Flash (2023): Andy Muschietti Helms an Entertaining, Though Flawed Spectacle

Posted on by Jack Drees

“The Flash” is directed by Andy Muschietti (It, Mama) and stars Ezra Miller (Fantastic Beasts and Where to Find Them, The Perks of Being a Wallflower), Sasha Calle (The Young and the Restless, Socially Awkward), Michael Shannon (Nine Perfect Strangers, Mud), Ron Livingston (Office Space, Band of Brothers), Maribel Verdú (Pan’s Labyrinth, Tetro), Kiersey Clemons (Neighbors 2: Sorority Rising, Dope), Antje Traue (Seventh Son, Criminal), and Michael Keaton (Spider-Man: Homecoming, Spotlight). The film is about Barry Allen, otherwise known as the Flash, a speedster whose desire to change the past ruins the present. With the help of Supergirl and an alternate Batman, Allen must fight to save the future.

It is finally here! “The Flash…” The movie with a speedy character but a snail-like development. What took this movie so long? Well, a buttload of happenstances to make a long story short. Directors leaving, delays, COVID-19, Warner Bros. changing hands a couple times, and of course, the curse of Ezra Miller. An individual whose plethora of crimes and accusations include grooming, assault, harassment, among other things. At the end of the day though, Miller only a small part of this movie. “The Flash” is ultimately the product of Warner Bros. and Andy Muschietti. This film is not the first time these two have collaborated, as Muschietti directed the incredible 2017 horror flick “It,” based on the Stephen King novel. He also returned to direct “It: Chapter Two,” which is a step down, but still a halfway decent follow-up. My problems with those films had little to do with Muschietti’s direction. The films look, sound, and present themselves fantastically. Each cast member, including those on the younger side, do a great job in those films. Therefore, I was intrigued to know Muschietti was at the helm for this “Flash” project.

But FLASH forward to the time this film comes out… If we look at the current state of the DCEU, its track record has been mixed as of late. To be frank, I adore James Gunn’s “The Suicide Squad,” and continue to think it is the best DC movie to date. My dad and I quote King Shark almost every other week. “Black Adam,” while kind of disappointing given how much hype there was going into it, had its moments. Despite being a massive box office failure, “Shazam!: Fury of the Gods” is honestly a really entertaining movie. Granted, it is unbelievably cliché at times and features one of the worst instances of product placement I have ever seen, but I recommend the film despite these negatives. Though speaking of James Gunn, he is now one of the two heads of DC Studios, which is going to reboot the DC characters entirely later this decade. Due to his position of power, he got to see “The Flash” early, and claimed it is “probably one of the greatest superhero movies ever made.” From the guy who did the “Guardians of the Galaxy” films, in addition to, again, literally my favorite DC film, this says something. Gunn comes off as not only a solid filmmaker, but an enthusiast of the comic book source material in addition to the sub-genre inspired by it. Though of course, he works for Warner Bros. and DC, therefore he cannot say the film sucks, otherwise he would face serious consequences.

Having seen “The Flash,” I do not concur with James Gunn’s statement. I think “The Flash” is far from being the best superhero movie ever, not to mention far from being the best DC movie ever. This film does not meet the quality of other titles like “The Dark Knight,” “Wonder Woman,” or, not to beat a dead horse, James Gunn’s own cinematic masterpiece “The Suicide Squad.” Though if I have to be honest, “The Flash” is not a bad movie. I had a really good time with it. Having said that, I have come across some people who beg to differ, and one of the issues they often bring up are the special effects. I am not going to pretend all of the effects in “The Flash” work, but if I have to be frank, a lot of them do, it is just a select few obvious green screen shots and… (sigh) FLASHY moments that get in the way.

There is also a segment featuring obviously unreal babies. The moment I looked at those babies, my eyes almost darted away from the screen, but at the same time, I give “The Flash” credit for not putting real babies in danger. In fact there is one part of this specific scene where if they did use real babies, there is a good chance that would raise some controversy because one of them, courtesy of Barry Allen’s actions, ends up in a microwave. Thankfully, the microwave is not timing itself out, but it does not change the fact that Barry put a baby in a microwave. The specific scene has some haunting frames. But if I have to be honest, it was actually a solid scene because once we get to the digital baby highlight reel, it puts Barry in a terrible scenario. Because not only does Barry have to save a surplus of babies at once, he must also acquire a therapy dog. This movie puts the two most prominent creatures people want to protect in danger at once. Human babies and dogs. “The Flash” knows what it is doing. When it comes to handling the protagonist, I like how the film goes about it. That is also evidenced by the heart of the film, Barry’s connection with his deceased mother.

Like many superpowered individuals, Barry’s guardian, specifically his mom, died during his youth. Therefore it should not be a surprise that Barry Allen’s ultimate desire in “The Flash” is to see his mom again. I thought this was a well executed thread that tied everything together. This desire propels Barry to do everything he does throughout the film. While this is a cliché of the hero’s journey structure, this film handles it perfectly. There are a couple scenes featuring Barry’s mother and they continue to stick with me. There is one scene featuring her in particular that serves as a competitor to be my favorite part of the movie. Because while this movie is, as the title of this review suggests, a spectacle, it puts the emotions of the characters first. Well, for the most part. I think when we get to the more spectacular moments, one problem I have with them is that the huge scale action sometimes takes away from said emotion. This is especially noticeable during the climax. There is a moment where a couple characters keep doing something that could present itself as one of high stakes, but as I watch it, I cannot help but feel like the stakes lessen each time. As cool as time travel is, this movie presents a stakes-related flaw in these kinds of stories.

Although speaking of time and reality, this movie continues the multiverse trend that has been a part of many titles as of late. In fact, around 2021 to 2022, I often joked that “The Flash” might as well be called “Batman: No Way Home” because much like “Spider-Man: No Way Home” does with its titular hero, multiple Batmen from alternate cinematic timelines appear in this film. “The Flash” and “Spider-Man: No Way Home” are not even remotely close to being the same kind of movie. Though they have quite a few commonalities in addition to the multiverse aspect. Both have protagonists who at one point have to carry on despite the loss of their guardian consuming them. These protagonists also end up screwing their own timelines, therefore allowing the rest of the story to happen. Not to mention, there is plenty of nostalgia and fan service throughout.

In fact, I was kind of expecting fan service given the nature of “The Flash” and the fact that both Ben Affleck and Michael Keaton appear in the film as their respective Batman characters. Although I was not prepared for some of what this movie had to offer. In fact, going back to “No Way Home,” while I think “No Way Home” has overall more satisfying and better fan service, there is a shock value attached to some of the fan service in “The Flash.” If you stay off the Internet and avoid looking at certain pieces of merchandise, you might be totally surprised by some of the things that happen in this film. There is one moment I heard about going in that I was pleased to see for more reasons than one. But there was one moment in the last scene that made me shout “Oh my god!” out loud in the theater. I was caught totally off guard. In fact, during the moment this scene played, the movie ended, and it made me want more. And I am somewhat disappointed to say that we will probably never get more because the DCEU is coming to an end. The more I think about it post-viewing, this scene could also come off as a joke as much as a shocking story development, but if the DCEU was to continue and this was not a joke, I would love to see where things go next. Given the context of the scene and what it references, it seems weird to say, but I am not kidding. Yet the more I think about it, maybe I would not want to see where things go because I think Ezra Miller needs to focus on things that may be more important to them at this time than acting.

Although if there is one moment of fan service that I did not like, it would be a callback to one of Michael Keaton’s iconic lines. It comes at the end of a particular scene where the heroes get set to move onto the next part of their journey. Specifically, Keaton’s Bruce Wayne utters, “You wanna get nuts? Let’s get nuts.” While I get the context of the line, it feels forced and out of place in the scene. The scene would have already been perfect had he said nothing, but he pops in at the last minute just to check in with the audience and test their memory. It does not add anything to the scene, the plot, or the movie. It is just there for the sake of being there. I know nostalgia can be appealing, but there are moments where it makes sense and others where it does not. This is a case of the latter.

Much like the preceding DCEU entry, “Shazam!: Fury of the Gods,” “The Flash” has incredible pacing. There is not a single moment of this movie where I wanted to drift off to sleep. There is a lot to like within the 2 hour and 24 minute runtime. This movie is a minute longer than “Aquaman” and yet it feels shorter. Maybe it is because there is a notable use of slow motion at times, perhaps that is a culprit, but it does not change the fact that “The Flash” wizzes by and never wastes a second. I was entertained through each act and wanted to know how things unfolded as they went along.

To be honest, this is why I liked this movie. Because while I acknowledge some people can be turned off by the visual effects, I do not think bad visual effects can always get in the way of a good story. For the most part, “The Flash” is a solid story with a likable protagonist. Barry’s relationship with his carbon copy is off and on for me, but there are moments where it works. Although speaking of effects, even though there are two Barrys on screen, their movements compared to one another, felt seamless. Not once did I look at this duo, who are in quite a bit of the movie, and feel distracted or taken out. Again, there are some distracting visuals in “The Flash,” but the two Barrys are an example of some great visual effects in this movie.

If you have not read Scene Before in the past, you may be shocked to hear that I would probably rather watch “The Flash” over the most recent “Avatar” film. Yes, “Avatar: The Way of Water” looks pretty. But the characters range from disposable to forgettable to overly cartoony. The story is also fairly lackluster. Seeing Barry Allen’s journey is honestly more palatable than that of the Sully family. I found myself intrigued with his development as a character, in addition to hanging out with some of the film’s supporting cast. There are better visual effects in the DCEU, though if I have to also be honest, I think the visuals in “The Flash” might even be superior to a recent MCU flick, specifically “Ant-Man and the Wasp: Quantumania.” While definitely stylized, I found myself immersed in the world of “The Flash,” whereas I did not believe what my eyes saw in “Quantumania.” Sure, that movie looks nice at times and there are moments where the effects do pop, but portions of it feel artificial.

Oh, and there is also the revolting eyesore that some people refer to as M.O.D.O.K….

Let me make something clear. If you are skipping out on “The Flash” because Ezra Miller did the things they did, I understand. That said, the movie itself is a blast to watch. The journey of Barry Allen makes the film as joyous as it is. If you take out some of the fan service and the fact that there are two preexisting Batman characters in the film, I still think the narrative is quite good. This is by no means the next “Spider-Man 2” but I had a nice time watching this film.

In the end, “The Flash” is not the best comic book movie of the year, nor is it even the best multiverse-based movie of the year. Both of those honors frankly belong to “Spider-Man: Across the Spider-Verse.” But like “Spider-Man: Across the Spider-Verse,” I walked out of “The Flash” with the notion that I had a good time. It has its flaws, and I am not afraid to point them out. But all of the actors do a great job with their individual characters. There are quite a few fun scenes. For me, the fan service landed most of the time. How it will land with you may depend on your knowledge of comic book movies. But that is probably going to vary from viewer to viewer. When it comes to pure entertainment value, this is a movie I do not regret seeing. Maybe I will watch it again at some point. I would put this in the same boat as I did with the recent “Transformers” film. Not a fantastic movie overall, but as far as imperfect movies go, it is quite enjoyable. I am going to give “The Flash” an extremely high 6/10. So high in fact, part of me would consider changing it to a 7/10 at some point.

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

Thanks for reading this review! My next review is going to be for the brand new sex comedy “No Hard Feelings.” Other reviews coming up include “Elemental,” “Ruby Gillman, Teenage Kraken,” “Indiana Jones and the Dial of Destiny,” and “Joy Ride.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Flash?” What did you think about it? Or, what is a movie with bad effects that you tend to enjoy? Let me know down below! Scene Before is your click to the flicks!