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Avatar: Fire and Ash (2025): James Cameron’s Third Smurf Theme Park Ride

“Avatar: Fire and Ash” is directed by James Cameron (The Terminator, Titanic) and stars Sam Worthington (Clash of the Titans, Man on a Ledge), Zoe Saldaña (Guardians of the Galaxy, Star Trek), Sigourney Weaver (Alien, Ghostbusters), Stephen Lang (Don’t Breathe, Public Enemies), Oona Chaplin (The Longest Ride, Game of Thrones), and Kate Winslet (Titanic, The Reader). This is the third installment in the “Avatar” franchise and once again follows the Sully family as they deal with grief and cross paths with an unfamiliar Na’Vi tribe, the Ash people.

After the 13 year wait between the first two “Avatar” movies, it is clear that the hype for this franchise has not died down. Say what you want about the “Avatar” property, but when you have a first film that ends up being the biggest theatrical release of all time, and a second film that also ends up making a couple billion bucks at the box office, it is a sign that things are not over yet. That is where “Avatar: Fire and Ash” comes in. One big difference going into this film is that the wait for it was much shorter than the wait for “Avatar: The Way of Water.” However, that wait may have played a small part into the shrinkage of hype I had for “Avatar: Fire and Ash.”

Another part that played into my low expectations was the result of the last movie. For those who missed my “Avatar: The Way of Water” review, I found the film to be middle of the road at best. It was a step down from the original “Avatar,” which was not revolutionary in terms of structure or story, but at the time, it was technically impressive. It arguably upped the standard for how 3D should look after the first film blew audiences away back in 2009. The CGI makes fantasy come alive. The color palette is incredibly easy on the eyes. So, it is unfortunate that all of this technical splendor was in the same place as a watered down, formulaic, boring script.

I went into “Avatar: Fire and Ash” with about as open of a mind as I could offer. The film, in some ways, met my expectations. Each frame looks dazzling and packs itself with glamour. The style is, unsurprisingly, pleasing. The substance, to my shock, improved somewhat slightly from the last film. Granted, it does require some significant suspension of one’s disbelief. For example, Quaritch is back. Because it is not “Avatar” without Quaritch for whatever reason. By itself, the idea of bringing Quaritch back peeves me because it lessens the stakes of this franchise. But they already revived in him in the second movie, so it is perhaps only necessary keep up the tradition in the third.

That said, once the movie leaps past this logical barrier with this character, it actually gives him some good material to work with. I liked seeing Quaritch, the big bad in the previous two movies, sort of cater to the savagery of the Ash people by presenting them with weaponry. Of all the Na’Vi that have been introduced throughout the three movies, the Ash people are by far the wildest and most untamed.

I never reviewed the first “Avatar,” but if you recall my review for the second, you may know despite my negative opinion regarding the film, I did appreciate it from a technical perspective. The third film is no exception to the rule. Like the past two films, the 3D will dilate your eyes. Like the past two films, the sound editing will energize your ears. It is something that in a sense you have to see and hear to believe. But it would be a lot more exciting if this were not a third installment showcasing tricks we have seen a couple times already.

In fact, “Avatar” is starting to remind me of what has happened in the past decade with Michael Bay’s “Transformers” movies. Like those movies or not, each and every one seems to follow a noticeably similar story and formula. This “Avatar” movie, like the previous ones, introduces a new group of Na’Vi, tries to explain why humans may be monsters, and has big climactic battles with birds flying all over the screen. It is not to say that some of what I described is not enticing, but there is less of a sense of novelty this time around compared to my experiences in 2009 and 2022. Maybe the 13 year gap had something to do with it, but still.

One thing that was featured in the second movie that reappears here is the high frame rate. For those who do not know, most movies are shot and presented in 24 frames per second. “Avatar: Fire and Ash” is a rare exception, as it is shot and presented in 48… Some of the time… “Avatar: Fire and Ash” has some scenes, particularly the more action-centric ones, in 48 frames per second, while the slower, more dialogue-driven scenes are in 24. This kind of reminds me of some filmmakers in recent decades shooting their projects in IMAX, where in the final product, the aspect ratio switches in select scenes. Only in most cases when that happens, the switch does not tend to feel as jarring. Maybe I am just used to that technique, which when it does happen, I often find myself marveled by it. Including this year during “Sinners” and “The Fantastic Four: First Steps.”

I found the switch between the two frame rates to be incredibly distracting. I remember when the movie started and we see the opening logos and there is a scene where characters are flying in the air. All of it is in 48 frames per second. So, when the movie decides to suddenly switch to 24, it felt somewhat jolty. For a movie that prides itself for its immersion factor, this is something that immediately took me out of it.

As I watched “Avatar: Fire and Ash” I immediately thought about Martin Scorsese’s comments about Marvel movies, specifically about them being theme park rides. This sentiment is one I would personally give to the “Avatar” movies at this point. It is really weird to say because I think James Cameron can tell a good story. I love the first two “Terminators.” I love “True Lies.” While I find “Titanic” to be overrated, I do like the chemistry between Jack and Rose. These “Avatar” movies, while they do make a lot of money, feel incredibly cookie cutter and predictable by now. Not to mention, its casts do not stand out as much as the ones in Cameron’s other movies. I do not think it is a bad thing for a franchise to have similar movies. It makes it easy to tell you are watching separate things in the same universe. But I also think there is a little room for variety. Sure, instead of introducing Water Na’Vi, this movie is introducing Ash Na’Vi, but the nuts and bolts of the story feel almost entirely identical to what’s been told before.

Sigourney Weaver once again makes an appearance in this film, and her character, Kiri, stood out to me for a couple reasons. First off, if you pay close enough attention, the film does have an Easter egg to Ripley from the “Alien” franchise, specifically one of her most iconic lines. Second, like the last film, Weaver herself, who is in her 70s, has a tremendous age gap with her teenage character. I am not going to pretend that “The Way of Water” hid this age gap the entire time, but I thought “Fire and Ash” did an inferior job at keeping it hidden. Weaver’s voice sometimes sounds too wise and deep for a 14 year old. I sometimes found this performance to be a tad distracting. I love Weaver. I think she is a phenomenal actress. But the more I watched this film, the more I felt Cameron should have cast someone who was younger to play her character. Perhaps someone unknown.

It may sound like I hate “Avatar: Fire and Ash.” But the truth is that I liked the film more than the last one, which I thought was mediocre. As much as I think the film feels like it plays the hits, it sometimes plays them well. I thought the characterization was also better this time around. Again, once this film finishes jumping the shark with Quaritch’s death in 2022’s outing, I like the direction in which they took him. I also thought this film gave some fascinating material for Spider. I thought the way he was handled in “The Way of Water” was rather questionable, but I like some of the ways he was developed in this film, particularly in regard to his overall connection with the Na’Vi. There is also a gripping scene in the second half of the film where his character serves as a crucial subject of the film’s larger message. We see Jake Sully trying to determine the best of two difficult choices, both of which involve Spider’s character. I thought the scene was excellently dramatized and may be one of the better character moments this franchise has offered.

Speaking of the Sully family, I thought they were another positive in this film. I found myself to care more about the children this time around than I did in the previous outing. I thought them dealing with the loss of one of their own gave each member some substance, including Neytiri, who establishes her opposition for humanity. But if you were to ask me what stood out to me in this film as a positive, I would find it difficult to come up with immediate, definitive answers. There are things I liked, but nothing that I truly loved. Part of me wants to say the CGI and the 3D are great, but “Avatar” can only offer the same thing so many times before it feels less fresh than it did before. If we get an “Avatar 4,” I am slightly more onboard for that than I was for this film. But I am still worried about this franchise becoming an old dog that can no longer learn new tricks. But, what do I know? This franchise makes buttloads of money, and people keep watching them. That is how the business works.

In the end, if you were to ask me if you should go see “Avatar: Fire and Ash,” chances are I would answer yes. That said, it may be a specific yes. I would say to go see the movie, but I would not commit to seeing it at night. Settle for a matinee showtime when it is cheaper. “Avatar: Fire and Ash” sometimes feels like more of the same, but sometimes the repetitive parts work. I also thought the characterization was improved from the second movie. I found myself bored with that experience at times. With a three hour and 17 minute runtime, “Avatar: Fire and Ash” may be five minutes longer than “The Way of Water,” but this threequel comes with a much more engaging, faster pace. I cannot say I found a moment during the film where I wanted to drift off to sleep. In terms of the storytelling, I was surprisingly hooked. “Fire and Ash” does a not great, but good job with that. That said, if they are going to do the high frame rate in “Avatar 4,” I hope the film stays at 48 frames per second the whole time. I think 24 frames per second looks cooler. It makes things look more dramatic. But that is just me. Regardless of how many frames this film handles in a second, the switches honestly jarred me. If anything, it made the high frame rate come off as more of a gimmick. I will give this “Avatar” installment, as well as the others, props for the stunning 3D, which I often find gimmicky in other projects. But the high frame rate? Forget about it. I do not think it needed to be there. I do not give this film the highest of recommendations, but in no way am I going to disapprove of it either. I am going to give “Avatar: Fire and Ash” a 6/10.

“Avatar: Fire and Ash” is now playing in theaters everywhere. Tickets are available now.

Photo by Courtesy of Searchlight Pictures – © Searchlight Pictures

Thanks for reading this review! My next reviews are going to be for “Is This Thing On?” and “Marty Supreme.” Stay tuned! Also coming soon, I will be unveiling my picks for my best and worst movies of 2025! I enjoy doing both lists. It has become an annual tradition. It is always fun to keep up with it. If you want to see these upcoming posts 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 “Avatar: Fire and Ash?” What did you think about it? Or, what is your favorite of the “Avatar” movies? Let me know down below! Scene Before is your click to the flicks!

The Fantastic Four: First Steps (2025): Marvel’s First Family Finally Gets the Big Screen Treatment They Deserve

Posted on August 15 by Jack Drees

“The Fantastic Four: First Steps” is directed by Matt Shakman (WandaVision, It’s Always Sunny in Philadelphia) and stars Pedro Pascal (The Mandalorian, The Last of Us), Vanessa Kirby (Mission: Impossible – Fallout, The Crown), Ebon Moss-Bachrach (Andor, The Bear), Joseph Quinn (A Quiet Place: Day One, Stranger Things), Julia Garner (Wolf Man, Ozark), Sarah Niles (Catastrophe, Ted Lasso), Mark Gatiss (Mission: Impossible – Dead Reckoning Part One, The Father), Natasha Lyonne (American Pie, Poker Face), Paul Walter Hauser (The Luckiest Man in America, Inside Out 2), and Ralph Ineson (The Witch, Nosferatu). This film is the latest entry to the Marvel Cinematic Universe and centers around a family of superheroes who must defend earth from the space God Galactus.

Photo by Marvel Studios/MARVEL STUDIOS – © 2025 20th Century Studios / © and ™ 2025 MARVEL.

This movie felt like a long time coming. Remember that sizzle reel Marvel had promoting all the movies coming out in the 2020s, trying to get people back to the cinema following the closures prompted by the COVID-19 pandemic? If you did not see it, I highly recommend checking it out, it is perfectly edited. But if you have seen it, you may recall at the end came this giant “4,” letting fans know that a Marvel Studios attempt at “Fantastic Four” was finally on its way. Only question was, when would we actually see this film come to life? The answer, long before Mahershala Ali gets his own “Blade” movie. That said, while the idea of a Marvel Studios-produced “Fantastic Four” was intriguing, the property comes with some baggage that has likely lowered expectations for future projects.

“Fantastic Four” is one of Marvel’s most celebrated franchises, and much like “Spider-Man,” the property has been adapted for the big screen multiple times. Although unlike “Spider-Man,” “Fantastic Four” has never been a surefire hit. Sure, some people have nostalgia for the 2000s “Fantastic Four” movies, but overall, they do not have the best track record critically. Having seen them, I cannot exactly say those films are good myself. The 2015 film, which some dub as “Fant4stic,” is not the worst comic book movie I have ever seen, but it is undoubtedly soulless and reeks of corporate desperation. On a positive note, if you can call it that, at least that film got released…

…Unlike that discarded project from 1994.

Now that the Walt Disney Company, and therefore Marvel Studios, maintains the rights to the “Fantastic Four” property, I was curious to see what Kevin Feige and crew were going to do with it. This is where “The Fantastic Four: First Steps” comes in. While not everyone appears to agree with me, I love the film’s marketing. The film promises a retro-futuristic ride with a family trying to save their world. I was hoping the movie would be as epic as its trailers had me assume it would be, and I am glad to report it most certainly is.

One thing about the Marvel Cinematic Universe that is both a blessing and a curse is that most of the movies feel the same as the next. This results in a tonal consistency from one project to the next. But it also sometimes leaves little room for variety and outside the box thinking. “The Fantastic Four: First Steps” has some familiarities from Marvel’s other projects, but it comes off as one of the most individualistic entries to the MCU. It sometimes has a “Guardians of the Galaxy” feel due to the film taking place in space, but “Fantastic Four” ultimately feels like its own movie because it is set in a universe outside most of Marvel’s projects. As an added benefit, the film lessens the need for homework or to connect itself to other properties or characters.

Speaking of that “Guardians of the Galaxy” vibe, the film’s space scenes are visually awe-inspiring and full of color. Although whereas “Guardians of the Galaxy” reminds me a bit of “Star Wars,” there are ways that “The Fantastic Four: First Steps” reminds me more of “Star Trek.” The sets sometimes feel like something out of Gene Roddenberry’s mind. Compared to “Guardians,” “Fantastic Four” feels less action-centered. Plus, the film carries this vibe of setting the stage for tomorrow. Much like DC’s “Superman,” “Fantastic Four” maintains a sense of hope. It leans into the idea of persevering even through the impossible. It celebrates brawn, but also brains. The film at one point leans into this seemingly impossible plan on Reed Richards’ mind, all in the hope of saving mankind. If this film were set on Earth-616, which seems to have quite a bit in common with our own universe, I would probably be more critical of Richards’ plan. But the movie is instead set on Earth 828, which likely opens the doors for more creativity and imagination. Therefore, as silly as Richards’ plan sounds, I was so sucked into this film that part of me was going along for the ride.

Speaking of Reed Richards, Pedro Pascal is in way too many projects! …Is what I might say if he did not do a good job as this film’s lead. Pascal has been busy lately between this film, “Eddington,” “Materialists,” among other projects. But there is a reason why he is getting so much work. He never fails to impress. First off, I am super happy to see Pascal redeem himself in the comic book movie sub-genre after the colossal disappointment that is “Wonder Woman 1984.” Second, Pascal is charming as Mister Fantastic. He is never over the top, but I bought into Pascal’s constant drive, and sometimes his disappointment. There is a scene in the middle of the film where Richards faces a large crowd and lets out his brutally honest thoughts, and I could truly feel his pain with each word that came out of his mouth.

While not my favorite character in the film, its heart and soul for me is Sue Storm, or the Invisible Woman. I liked Vanessa Kirby leading up to “The Fantastic Four: First Steps,” but this might be the first film where I can say I truly love her. Kirby gives such a powerful performance. I got a sense that she wants what is best for other people, especially her family. I also like how the film utilizes her powers, even if the action in this movie is minimal. More on that in a second.

Joseph Quinn puts on a good portrayal of Johnny Storm. Whereas Reed and Sue feel grounded, Johnny’s placement in the film shows him to be upbeat and hyperactive. Of the family, he comes off as the comic relief. Throughout the film I also could not help but notice Joseph Quinn and think he looked like a younger Chris Evans. Of course, if you know your Marvel history, Evans played Johnny Storm in the 2000s “Fantastic Four” movies. As for which performance is better, Quinn excels by miles, perhaps unfairly, given how he had much better material to work with as opposed to having every other line out of his mouth showcase his womanizing tendencies.

I would have to watch the film a second time to confirm how I really feel, but I think the Thing might be my favorite hero in the film. Ebon-Moss Bachrach unleashes a heap of charisma as one giant pile of CGI rocks. The special effects look pristine and there is not a moment where they took me out of the movie. Ultimately, if I had to choose one member of the Fantastic Four to meet for lunch somewhere, it would easily be The Thing. Ben Grimm is a genuinely likable guy who appears to be great with children. He has fun with everything that comes with his superhero life.

The action in “The Fantastic Four: First Steps” is really good, but if you are looking for nonstop, chaotic sequences, this is where “Superman” will serve you better. When it comes to the action in “The Fantastic Four: First Steps,” what we get is great, but it left me wanting more. The best thing I can say about the action is that each sequence had a logical and meaningful place in the story. Never once did I feel that I was watching an action sequence that was overdone just for the sake of showing off flashy effects.

On that note, while some Marvel projects as of late have some problematic special effects, I cannot think of one scene in “The Fanatastic Four: First Steps” where the effects were bad. I thought everything looked polished and maintained a sense of verisimilitude.

The climax in “The Fantastic Four: First Steps” undoubtedly comes with a sense of finality, but it also in a sense feels much smaller than some of the other films in the MCU. Despite my appreciation for the film unveiling Reed Richards’ smarts, I wish we could have gotten a tiny bit more of a showcase of his superpowers. I do not hate the climax, but I could understand people watching it and thinking “Man, that was short,” or, “Wow, that could have used more sparkle.” But for me, I appreciated it because it put the characters first. You have Galactus with an easy to understand motivation. Then you also have a family of superheroes thinking on their feet, while trying to protect the planet and their circle.

Speaking of Galactus, he looks terrific. He is quite literally a massive improvement over whatever the heck the crew behind “Fantastic Four: Rise of the Silver Surfer” conjured up. Unlike that film, Galactus is a tall space god, not a giant cloud. And his motivation is nothing more than to consume worlds. Sometimes you do not need to go higher than that. The film makes such a simple idea so compelling. Ralph Ineson does a good job with the role.

Photo by Marvel Studios/20TH CENTURY STUDIOS/MARVEL STUDIOS – © 2025 20th Century Studios / © and ™ 2025 MARVEL.

On that note, speaking of villains, I thought Julia Garner was well cast as the Silver Surfer. To my surprise, the film does such a marvelous job at humanizing her. I did not know what to expect from the trailers. It did not show a ton of her character, but I was pleasantly delighted to see how the movie handles her. Also, props to the effects team for bringing her to life. She looks attractively glossy but also menacing when she needs to be.

Part of why I was so sucked into this movie was its narrative. Also like “Superman,” “The Fantastic Four: First Steps” skips over the origin story. The film does explain it, but it does not spend much time showing it. What the film is really about is the team, most especially Reed Richards and Sue Storm, preparing for the birth of their child. Only thing is, there is a whole galactic event that could prevent such a thing from going smoothly. The characters are presented with an incredible dilemma that seems tough to take in once it is given to them. However, it is one that depending on what choice is made, other people could interpret as self-centered. I love this dilemma. It kind of reminds me of that scene in “Spider-Man” where the title character is faced with a choice to save Mary Jane or the people onboard the Roosevelt Island tram, but this stakes here are so much higher. There are many more lives that these characters have to worry about. For those not in the know I will not spoil how this dilemma gets resolved, but I imagine some of you could probably predict how it unfolds.

For years, I thought Marvel ate DC for breakfast when it comes to their film slate. This is evident in so many regards including story, characters, humor, tonal consistency, and world-building. But while select titles like “Avengers: Infinity War” and “Endgame” have moved me with their original scores, DC has always slayed when it comes to its music. I am not the biggest fan of “Wonder Woman 1984,” but I play that film’s tracks on a highly consistent basis. That said, Michael Giacchino may have delivered the best score in a Marvel Studios film, not to mention a contender for my favorite score of the decade so far.

As mentioned before, “The Fantastic Four: First Steps” heavily dives into the realm of retro-futurism, and the music compliments that vibe to perfection. By itself, it is an epic superhero theme. When you break it down even further, it combines the magnificence of old school orchestras but every other millisecond you will hear a sound that evokes a sense of moving forward. As I hear this film’s main theme, I both imagine myself wanting to hear it at Carnegie Hall while also thinking about what it would be like to get down to it at the club. This is my favorite Michael Giacchino score since “Rogue One: A Star Wars Story,” and that says something considering how boisterously epic that music gets at times, especially towards the climax.

“The Fantastic Four: First Steps” might be my favorite comic book movie of the year. Is it a perfect film? No. If anything, I think it would benefit from a smidge more action. That said, I have no problem with the action scenes we have. Each one is essential to the story and feels special. Nothing feels overdone. Even the big final fight feels smaller for Marvel standards, but that does not mean it is bad. The fight successfully ties up loose ends established throughout the film, and finishes in a fashion that leaves me more than satisfied. Much like “Thunderbolts*,” another Marvel title released earlier this year, “The Fantastic Four: First Steps” is a film that I will remember fondly because of how well utilized its main ensemble turned out to be. If the characters do not work, then the movie does not work. Thankfully, the characters are phenomenally written and truly feel like a family.

By the way, the film contains two scenes during the credits. The second one is more of a “fun scene.” It does not really add much to the film other than referencing something that was highlighted earlier. You will not miss much if you skip it. But make it your mission to stay in your seat for the first one. DO NOT get up when the credits roll. If you are at risk of being late for your table at Seasons 52, then so be it! Do not miss the mid-credits scene!

In the end, I cannot wait to watch “The Fantastic Four: First Steps” a second time. This film is legitimately some of the most fun I have had at the movies this year. It is a film that never lets its characters escape from conflict. Every single scene had me engaged. While his motivation is not complicated, Galactus quite literally stands tall with such a commanding screen presence. “The Fantastic Four: First Steps” is an exceptional start to phase 6, and it only has me beaming for whatever Marvel has up its sleeves next. It is by far the best “Fantastic Four” movie without “Incredibles” in the title. I am going to give “The Fantastic Four: First Steps” an 8/10.

“The Fantastic Four: First Steps” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Bad Guys 2!” Stay tuned! Also coming soon, look forward to my reviews for “Smurfs,” “Together,” “Oh, Hi!,” “Weapons,” “Freakier Friday,” and “Nobody 2.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Fantastic Four: First Steps?” What did you think about it? Or, what are your thoughts on the other “Fantastic Four” movies we have gotten? Do you have a favorite “Fantastic Four” movie? I am willing to bet most people would agree that this latest one is the best of the bunch, but it is the Internet. Crazy things can happen. Leave your comments down below! Scene Before is your click to the flicks!

Deadpool & Wolverine (2024): The MCU’s First R-Rated Outing Heavily Delivers on Fan Service, Action, and Humor

Posted on August 21, 2024 by Jack Drees

“Deadpool & Wolverine” is directed by Shawn Levy (Free Guy, Night at the Museum) and stars Ryan Reynolds (Free Guy, The Adam Project), Hugh Jackman (The Greatest Showman, Reminiscence), Emma Corrin (My Policeman, A Murder at the End of the World), Morena Baccarin (Firefly, Greenland), Rob Delaney (Tom & Jerry, Ron’s Gone Wrong), Leslie Uggams (American Fiction, Empire), Aaron Stanford (12 Monkeys, Nikita), and Matthew Macfadyen (Quiz, Succession). In this film, Deadpool is invited to have a place in the sacred timeline of the Marvel Cinematic Universe, but he instead tries to find a variant of Wolverine to save his own universe.

There are no words in cinema in which I have opposed to a greater degree over the past number of years than comic book movie fatigue. And yes, comic book movies are cinema. End of story. While there have been bumps in the road in the comic book movie and television genre, I must admit that I have never once felt the need to jump ship. Despite the DCEU coming to an end, the final efforts of said cinematic universe were all quite fun from “Shazam: Fury of the Gods” to “The Flash” to “Blue Beetle.” That cinematic universe also gave me my favorite DC movie of all time, “The Suicide Squad,” which spun off into the incredible TV show “Peacemaker.” On the Marvel side, I do not give two squirts of urine about what anyone says here… I liked every MCU movie since “Endgame.”

Now the genre has had its downsides in recent years like “Wonder Woman 1984,” “Morbius,” “Madame Web,” and as much as I enjoy the MCU movies, I think some of the Disney+ originals pale in comparison. Although “WandaVision” is must-see TV. That said, the genre has delivered way more positives than negatives for me over the years, so I was excited for “Deadpool & Wolverine.” I love the first couple of “Deadpool” movies, I was excited to see what Kevin Feige, Ryan Reynolds and Shawn Levy can do with an R-rated MCU flick, so it was definitely going to bring some novelty to this ongoing saga. Admittedly, I never grew up with Hugh Jackman’s Wolverine unlike say Tobey Maguire’s Spider-Man. “X-Men” was just never a part of my household at the time. But I have seen a few of those movies, which I have mostly enjoyed. I think Jackman does a good job in the role, he is a fine actor, so it was going to be fun to see what he would bring to this role one more time.

Safe to say, “Deadpool & Wolverine” was one of my most anticipated films of 2024. So how did it turn out?

It is one of the best comic book movies of the past few years.

To some of you reading this, such a statement may either mean a lot or a little to you. Because again, unlike some of you, I have not been fatigued by this sub-genre. But I honestly think if some of you reading this were done with Marvel movies or comic book movies in general, this film could revitalize some of your interest in that realm of film. Now, is it the best MCU movie ever? No it is not. In fact, the biggest problem I have with “Deadpool & Wolverine” is actually the biggest problem I had with many other MCU titles. Particularly the villain. Though I will say the villain this time around is a bit of a step up from “The Marvels,” which again, I had fun with.

But this movie is not about the villain, it is about the heroes. It is about two comic book icons coming together at long last. In fact, this movie, to my lack of surprise, reminds me of “Spider-Man: No Way Home.” If you read my review for that film, you would know that I refer to that it as a love-letter to the Spider-Man character, and the multiple eras such a character represents. That is what “Deadpool & Wolverine” is in a different way. Because this film not only serves as a love letter to the Deadpool and Wolverine characters. It also manages to sprinkle some love to an era of comic book movies that means a quite a bit to a certain group of people, even if they managed to vary on their level of success and failure.

What makes the release of “Deadpool & Wolverine” such a big deal is that it is one of the rare attempts at Disney making an R-rated film. This is a concept that is rather novel to the brand, particularly in its main line of films. Sure, Disney used to release films under Touchstone Pictures, which has its share of R-rated titles. Another defunct label of Disney’s, Hollywood Pictures, also had films with R-ratings. And now they have 20th Century Studios, which has not stopped with its mature slate. But this is the first R-rated Marvel Studios title. I honestly thought we would never see this day. Sure, DC has some R-rated titles in its own cinematic universe like “Birds of Prey” and “The Suicide Squad,” but neither of those films were particularly successful at the box office. That said, the first film came out just before a pandemic and the second film simultaneously released on HBO Max during a time when some people were weary about going to the cinema, so there is that. Yes, DC also has “Joker,” which was the first R-rated film to make a billion dollars at the box office, but I did not think something as popular as the MCU, which attracts a large audience, would have the guts to make something like this. In fact, if I were an executive at Disney, I too, would be somewhat weary of doing an R-rated film there. I would love it from a creative perspective, but from a financial and brand perspective, it is tough to justify.

But this film unleashes all the creativity it can, and judging by the box office total so far, it only helped the film financially. Conceptually, this film is quite clever. It manages to take certain portions of the Fox “X-Men” universe and sprinkle them over with things from the MCU and blend them together perfectly. This film has the DNA of the past two “Deadpool” movies, but it manages to make the universe feel more epic. It is a perfect hybrid of your typical MCU movie and your typical “Deadpool” movie. The tones never feel like they are clashing. It is like they took the first couple “Deadpool” movies and decided to put more money on the screen. The action sequences are incredibly stylistic and thrilling. Each one is as sweet and flashy as the last. This film has a marvelous opening sequence that could potentially make for the most exciting first five to ten minutes the MCU has ever done.

Also like “Spider-Man: No Way Home,” this film is also filled with moments that if you see this in a theater at a certain time and place, will likely result in audiences cheering and applauding. Only thing is, with “Spider-Man: No Way Home,” I was somewhat able to predict pretty much all the surprises that happened to be in those movies. The “Deadpool” movies have repeatedly mastered its marketing campaigns, and this one is no exception because it kept so many things under wraps to the point where certain moments happened that caught me totally off guard throughout the runtime. I would love to talk about some of these events, but I will let those of you who have not seen this movie enjoy the magic of checking them out yourselves.

But as for the things we know going in, Ryan Reynolds and Hugh Jackman have perfect chemistry as the titular characters. Knowing their relationship behind the scenes, this is a film that despite the existence of “Logan,” felt like a passion project these two wanted to do for years. I do not know what it took to get Hugh Jackman to play Wolverine one more time, but knowing how fun it is to watch these two together, it was worth it. This is primarily Deadpool’s story. The movie starts with Deadpool, features the character prominently in situations where he has to make tough choices and fight for the people he loves, but Wolverine gets a lot of screentime and every minute is well utilized.

Despite this being Deadpool’s story, we do not really get a lot of time with the characters from the past Deadpool movies like Colossus, Negasonic Teenage Warhead, Vanessa, Yukio… They are in the movie. But their roles in the film are minor. They do not have a ton to do on screen even though they play a part in the plot and outcome.

In fact, on the more mainline “X-Men” side, Wolverine is for the most part, the main character we see in regards to that universe. That is not necessarily a bad thing because the film focuses more on making a robust story for its main duo rather than shoehorning as many X-Men characters as possible. It feels more like a movie than a stale reunion special. The film honors the legacies of both of these characters while giving them both another story for audiences to love. Maybe even Hugh Jackman’s swan song… Until he decides to make a crapton more money.

As mentioned, “Deadpool & Wolverine” comes with many of the successes and failures of the other MCU films. While the titular characters shine, Cassandra Nova, played by Emma Corrin is a semi-lackluster villain. Now, she is not all bad. During the first half of the film, I did not have any problems with her. I thought she was rather menacing and intimidating. I think they did a good job at introducing her. But by the end of the film, she came off as cliche-riddled and power hungry. There was not as much depth as I would have wanted for a character like this. In fact, I am rather surprised to say that I left this movie liking Matthew Macfadyen’s performance as Paradox a bit more in comparison. Not that I think Macfadyen’s a bad actor, he is great. But despite his role being smaller than Cassandra Nova’s in the grand scheme of things, his scenes are more memorable on top of his charisma and personality.

This film is not just a potential revitalization of the MCU, it is not just a finale for the Fox “X-Men” universe, it is not just a love letter to several comic book movies that came before, but it is also one that is not afraid to make fun of the industry. If you have followed either of the cinematic universes this movie represents, know a little bit about how filmmaking works, or even followed movie news over the past number of years, this film may be able to hit you in some way. There is one moment where Deadpool sort of highlights the collective reaction of the ongoing multiverse saga, which even as someone who appreciates said saga, it made me laugh. This is arguably the funniest movie in the MCU. Humor-wise, it is up there with the first “Guardians of the Galaxy” and “Avengers: Infinity War.” Only thing, I would say those movies have jokes that stick the landing perfectly for general audiences, whereas the humor in “Deadpool & Wolverine,” while still likely to get large crowds laughing, is sometimes a bit more niche and maybe not for everyone. “Deadpool & Wolverine” is full of comedy gold from fantastic fourth wall breaks, excessive, yet well placed f-bombs, and some brilliant visual gags. There was no shortage of cackles in my screening. And if you go see this film in a crowded theater, I am sure you will have the same experience.

As far as the MCU goes, I would have say that “Deadpool & Wolverine” is definitely one of the better films. It is easily my favorite MCU installment post-“Endgame.” In the case of the proper “Deadpool” movies, I would still say the first film is my favorite, but this is a slight step up from “Deadpool 2.” I think it is a little bit funnier, a bit more action-packed, and has more memorable moments. “Deadpool & Wolverine” comes off as the most ambitious movie of its trilogy, and it shows. This has a slightly different feel from the past two “Deadpool” movies but manages to maintain what makes those predecessors great. If this is your genre, you have to see this movie as soon as possible. It is one that if you have friends or more mature family members in your circles, you have to watch with them just to see their reaction. Can you take a 10 year old to this movie? That’s a hard sell… Depends on the 10 year old. There are some things that are a bit tamer in this film compared to the original, but it is filled to the brim with excessive violence and foul language. I will let the world’s parents judge for themselves on whether or not they want to be remembered as the cool cats who gave their kids the memory of a lifetime.

As an entry point to this genre of movies and the MCU, there are definitely more accessible films like “Guardians of the Galaxy” or “Iron Man” or even “Ant-Man,” but I would say you’d be okay should you decide to skip the first two “Deadpool” movies, the “X-Men” films, or any of the MCU installments. Like all the other MCU followups, it definitely helps watching the past entries or even briefly brushing up on Wikipedia as you may be able to pick up on some nuance. But you can still watch “Deadpool & Wolverine” on its own and have a good time. The movie is stacked with fan service, so if you are hyperactively into these movies, chances are you will lose your mind in select moments of this latest installment. But if you are simply looking for a killer time at the movies, “Deadpool & Wolverine” is practically guaranteed to give you just that.

In the end, “Deadpool & Wolverine” is a blast that honors the past of the comic book movie genre. There is not a lot that I can complain about when it comes to the overall experience of this movie other than maybe how they handled the villain. But again, despite Cassandra Nova’s flaws, I will not deny that she had her moments and Emma Corrin did an okay job playing the character. If there is one movie that you should make an effort to see this summer, look no further than “Deadpool & Wolverine.” Great action, killer soundtrack, fun chemistry between the leads… It is a riot! “Deadpool & Wolverine” is now my favorite movie of 2024, and I am going to give it a 9/10.

“Deadpool & Wolverine” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review. My next reviews are going to be for “Kinds of Kindness,” “The Instigators,” “Sing Sing,” and “Borderlands.” 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 “Deadpool & Wolverine?” What did you think about it? Or, what is your favorite Marvel movie from the 20th Century Fox era? Let me know down below! Scene Before is your click to the flicks!

The Creator (2023): A Timely Sci-fi Story Featuring Heavy Inspiration from Numerous Predecessors

Posted on October 17, 2023 by Jack Drees

“The Creator” is directed by Gareth Edwards (Rogue One: A Star Wars Story, Godzilla) and stars John David Washington (Tenet, Amsterdam), Gemma Chan (Eternals, Crazy Rich Asians), Ken Watanabe (Inception, The Last Samurai), Sturgill Simpson (Queen & Slim, The Hunt), and Allison Janey (Mom, I, Tonya). This film is set during a time where humanity and artificial intelligence are at war. The story shares what happens when one human soldier finds the robots’ secret weapon. A young child.

As a science fiction junkie, I feel like we have been spoiled over the past decade in regards to IP between “Guardians of the Galaxy,” “Star Wars,” and depending on how the second film ends up doing months from now, “Dune.” Science fiction is easily my favorite genre in film. It can range all over the place in tone, atmosphere, and can sometimes be really thought-provoking. Going back to the “Star Wars” example, Gareth Edwards has honestly made my second favorite thing that has been done during the Disney “Star Wars” era, specifically “Rogue One.” I love how that movie manages to enhance a certain plot hole from the original, introduces a great story and concept, and unleashes an utterly likable antagonist in Director Krennic. Now, when it comes to the final product, it is hard to determine how much Edwards had to do with everything in it, but he handled that movie perfectly. It is easily a highlight of the “Star Wars” franchise. His “Godzilla” movie… Well, I guess it is fine. Not perfect, but I thought the climax was worth watching.

But if you look at Gareth Edwards’s resume in recent years, you would notice that he, like some other directors, has descended deep into popular properties. “The Creator” is a bit of a departure from his recent work as it is an original idea. I was really looking forward to this film because it was an original piece in addition to one that has Edwards’s touch. If you have both of these things, it may summon a winning combo. And thankfully, it does. For the most part, that is.

I have heard other people praising this movie as if it is amongst the top sci-fi classics. I disagree. That said, I think that this is a solid outing for Gareth Edwards. John David Washington is good in the lead role. It is a marvelous debut for Madeleine Yuna Voyles acting-wise. One of the more controversial topics in film is the idea of hiring prominent child actors. After all, they’re young, they do not have the experience that more adult actors do, and there is also the issue of labor laws. But I have to say, Madeleine Yuna Voyles handles the material given to her with utter ease. She is incredible throughout the picture and I would love to see more from her. I honestly could not believe this was her first role.

Much like many other sci-fi classics through the ages, “The Creator” did a fine job at making me think. If there is one thing to note about this film, I think they released this at the perfect time. “The Creator” has come out at a time where artificial intelligence is already here, we are using it, and we honestly do not know where that is going to take us as a society. If there is any reason why you should see this movie, there is a good chance that it may remind you of something that is happening in your life. More and more people are handling technology and A-I to the point where it makes me wonder where we will take the technology, or where said technology will take us. This movie establishes that certain sectors of mankind should have no problem destroying A-I because it does not have emotions, it is just programming. It cannot “feel” death. But this movie makes me wonder what we will interpret as the greater good should A-I be taken to a point one could consider to be too far. The movie, on a surface level, shows what happens when A-I becomes a part of our everyday lives and we eventually resist it, but there are also many other people out there who refuse to give it up. To some people, it is so essential that they cannot see themselves living without it. To them, it is a part of evolution. It is like a generation gap except with a segment of the world.

That said, when I say that, the film also seems to treat A-I the same way another enjoyable sci-fi film, “District 9,” treats aliens. The film does suggest that A-I can be considered a threat for the most part, but it also shows that A-I kind of blended with humans over the years to the point where the two groups work together sometimes. Speaking of comparisons, “The Creator” very much reminds me of another one of my favorite science fiction films, “Terminator 2: Judgment Day.” Only in this case, the roles are reversed where the kid is the robot and the adult is the human. I am not saying that this movie is as good as those, but if you want a proper set of comparisons, these are the two that instantly come to mind. But there are plenty of others I could make too.

This film reminds me of “Rogue One” from its aesthetic which seems to have been carried over by Gareth Edwards. In fact sometimes various environment have a more down to earth “Star Wars” vibe. Obviously with the technology aspect, “2001” comes to mind. And speaking of Gareth Edwards films, you could even say “Godzilla” is an easy comparison to make given how a major catalyst for events to come throughout the movie happens to be a nuclear explosion. Maybe I am overthinking this, but I wanted just a little more out of “The Creator.”

“The Creator,” despite its original name, spends a lot of time taking things that have worked in prior science fiction stories and putting them all in one package. This is nothing new. I compare films all the time, whether they are good, bad, or in between. But with “The Creator,” the comparisons are abundant, perhaps not in the best way. I understand that as stories continue to be told, it becomes harder to come up with something new. But when this movie came out, I felt like that was what was being delivered to us. Instead we got “District 9” meets “Terminator 2: Judgment Day,” with some other ideas in the mix. Both of those are really good movies. I saw “District 9” not long before seeing “The Creator” and had a good time with it. “Terminator 2: Judgment Day” is a hallmark of the science fiction genre and does a really neat job at addressing its A-I infused message. When it comes to “The Creator,” I am going to look back at it and call it the film that tried to be the next “Terminator,” only to remind me of why I would rather watch “Terminator 2.” Or even the first “Terminator” for that matter. I think “The Creator” is a fine watch, and if you do go and support it in theaters, I think you are doing yourself a favor because it is a nice choice amongst the catalog of movies out right now. You cannot go wrong with it. But I honestly think the movie is slightly lacking in substance and despite it trying to present itself as a new idea, it feels somewhat familiar.

If I had to name the biggest positive of the movie, it is not the fact that it is an original movie being made today. If you look hard enough, you will find them in almost every corner. What matters is going to support them. And of course it would also help if the movie itself is good, which this one is. But this movie cost $80 million to make. There have been cheaper films, and there have also been more expensive films. But they use the budget nicely. Because effects-wise, the film honestly looks superior to some of the bigger blockbusters we are getting nowadays. If you look at a couple movies from last year like “Moonfall,” which cost $150 million, or even “Thor: Love and Thunder,” which cost $250 million, I would honestly say that “The Creator” packs in more polish and pizzaz than both of those examples. $80 million is a lot of money, but when you consider how much certain films are being made for in these times, I think the money was utilized to its full potential. When it comes to the world of “The Creator,” I was in awe. But once the movie concluded, I left wanting more. And I do not mean a sequel. I mean more in terms of what we got in the span of a couple hours. What we got was decent, and the movie does admittedly fly by pacing-wise. But if you ask me, it could have been better.

In the end, I had high expectations for “The Creator,” and walking out, maybe I should have considered whether they were too high. That said, it was a fine one time watch. “The Creator” has a marvelous idea behind it with a decent message and interesting characters. Performance-wise, Allison Janey is a standout as Howell. The movie does an excellent job at building a world that I could sometimes get lost in, even if it at times feels like a world from somewhere else. The characters are likable, the performances are good, and this includes the gem of a debut from Madeleine Yuna Voyles. She is going places. “The Creator” is not gonna be on my top 10 of the year, but I will say it is a fine movie. I am going to give “The Creator” a 7/10.

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

Thanks for reading this review! If you enjoyed this review for “The Creator,” you might want to know that I have reviews coming up for “Dumb Money” and “It Lives Inside.” 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 “The Creator?” What did you think about it? Or, what is your favorite of Gareth Edwards’s films he has done thus far? Let me know down below! Scene Before is your click to the flicks!

A Haunting in Venice (2023): A Not so Happy Halloween with Hercule Poirot

Posted on October 1, 2023 by Jack Drees

“A Haunting in Venice” is directed by Kenneth Branagh (Belfast, Hamlet), who also stars in the film as Hercule Poirot. Also joining him in the cast are actors including Kyle Allen (West Side Story, The Path), Camille Cottin (Stillwater, House of Gucci), Jamie Dornan (Fifty Shades of Grey, Belfast), Tina Fey (Saturday Night Live, 30 Rock), Jude Hill (Belfast, Magpie Murders), Ali Khan (Red Rose, Everyone Else Burns), Emma Laird (The Crowded Room, Mayor of Kingstown), Kelly Reilly (Sherlock Holmes, Yellowstone), Riccardo Scamarcio (John Wick: Chapter 2, The Woman in White), and Michelle Yeoh (Everything Everywhere All at Once, Shang-Chi and the Legend of the Ten Rings). This film is the third installment in Kenneth Branagh’s ongoing series of Agatha Christie novel adaptations. In this movie, Poirot is retired, but reluctantly attends a seance, an event where people attempt to make contact with the dead. Interestingly, that is how one person at the event ends up. Therefore, it is up to Poirot to figure out the mystery behind said person’s death.

Given how this is Branagh’s third Hercule Poirot adaptation in six years, I think his passion for the character is more evident than ever. He is once again starring as the heavily-mustached detective, in addition to putting his cushion in the director’s chair. That said, I wish I share the same passion for this series that he must have. For the record, I have still not found any time, and supposedly any interest, in checking out “Murder on the Orient Express.” I bought the 4K Blu-ray for a fairly cheap price, but even with the bargain, I still ended up never checking it out. Although I did see “Death on the Nile” last year, which I thought was in a word, fine. Even though it barely meets decency, I did technically watch it twice, as I put on HBO in a hotel room earlier this year and used it as background noise. I thought the casting was effective. And yes, I even liked Gal Gadot in it. Was she stiff at times? Maybe. But she still had enough charisma throughout the picture to be a highlight. Perhaps by just the barest of minimums, I still had enough interest to check out Branagh’s latest attempt at bringing the Poirot character to the screen.

Oh, and Michelle Yeoh is heavily used in the marketing for this film. So that won me over as well. With that in mind, how is the movie?

Unfortunately, not great.

I have seen some people saying online that “A Haunting in Venice” is apparently their favorite or the best of this particular franchise. Again, I still have not seen “Murder on the Orient Express,” but between “A Haunting in Venice” and “Death on the Nile,” I honestly would give the slight edge to “Death on the Nile.” Even with the film’s problems, I will still rather invested in everything that was going on. “A Haunting in Venice” has some entertaining moments. But it is also riddled with its fair share of moments that either annoyed or bored me. The pacing of this film is probably the most insufferable of the year.

The reason why “A Haunting in Venice” does not work, and I hate to say this because there are people I admire in this movie, is the cast. When it comes to these murder mystery style stories, I cannot imagine how hard it is at times to balance a large roster of characters like this. I do not envy Kenneth Branagh for putting himself in this position. That said, I wish the execution for these characters happened to be better. It’s been a little over a week since I have seen “A Haunting in Venice,” I honestly would not be able to tell you a single character’s name without the assistance of the Internet. That goes to show you how unappealing this movie’s characters are. And this is also why I give the edge to “Death on the Nile.” The story is more appealing. There’s more interesting drama. The rivalries kept my attention throughout. “A Haunting in Venice” had none of that. Honestly, as soon as the murder happens, the movie goes from being mediocre to a hot mess.

To be honest though, it is really sad to be saying this, because I think when it comes to the aesthetic of the film, that is the best part of it. I was totally immersed in the film’s environment, but not so much the story. Watching this film reminds me of sometimes when I would play “Watch Dogs.” I would spend some time playing that game neglecting the actual story and find myself more invested in hacking things around Chicago.

The production design of “A Haunting in Venice” is some of the best I have seen all year. I imagine if “Barbie” or “Oppenheimer” did not already exist, it could be my favorite production design of 2023. The film is set in the 1940s and the architecture, interior, and everything in between felt like they fit in with the time. While I will say “Death on the Nile” is the better film, I must admit this is one consistency that is carried over from that film to here, and it is one that is possibly better realized in this case.

Speaking of the film’s look, the cinematography is very well done from start to finish. It sort of fits the spooky, almost creepy crawly vibe the film is going for. If I had one complaint, it is that some of the imagery seems to be a bit fish-eye-like at times. It might not fish-eye by definition. But a lot of it reminds me of a fish eye effect. I would prefer if that effect, if there is one, were removed. There were some shots that were kind of distracting and took me out of the film for a second.

“A Haunting in Venice” is not just a murder mystery, it also doubles as a horror flick. Unfortunately, it is not much better as a horror flick than it is a murder mystery. The film is barely scary, if at all. There are a couple attempts to scare me that probably annoyed me more than they made me jump out of my chair. They kind of felt cheap.

To top this all off, I would like to remind you that this movie prominently features Michelle Yeoh, which I will remind you, earned an Oscar this year for her epic performance in “Everything Everywhere All at Once.” I honestly think the Academy made the right choice by giving her the win. With that in mind, it is still too early to tell, but I think the Razzies could potentially make as equally of a smart choice by nominating Yeoh for the next ceremony. This performance is not only a significant step down from her previous effort, but honestly, kind of wasted. Yeoh is a great actor, so I want to hope that this may just be based on the direction that was given to her by Branagh. But when we get to the moment where Yeoh says “Listening…,” I almost had a headache. Do not get me wrong, I still love Michelle Yeoh, but she has been in better movies, and given better performances.

In the end, “A Haunting in Venice” is one of the biggest bores of the year. Thankfully, it is not even Kenneth Branagh’s worst outing in the past few years. Have you ever seen “Artemis Fowl?” If your answer is no, you have just saved yourself an hour and fifty-five minutes of torturous nonsense. That said, of the two Branagh-directed Poirot films I have seen, “A Haunting in Venice” is the worst of them. Maybe one day I will watch “Murder on the Orient Express,” but knowing that this franchise not earned the highest of praise overall, it is hard to say whether I actually will check out that film anytime soon. I have no idea if Kenneth Branagh wants to continue this franchise, but part of me thinks the franchise has died at this point. Then again, maybe he has something neat up his sleeve and I am underestimating him. I always love a good surprise. Sadly though, “A Haunting in Venice” fails as a murder mystery, and it also fails as a horror movie. Terrible combo if you ask me. I am going to give “A Haunting in Venice” a 4/10.

“A Haunting in Venice” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Fun fact, this film was produced by one of the industry’s most revered directors, Ridley Scott. And this is the perfect segway to introduce an all-new segment that I will be debuting this month, RIDLEY SCOTTOBER! That’s right! Once a week, I have not decided on the days yet because this month is kind of busy for me, I will be dropping a brand new review for a Ridley Scott-directed film. It only feels appropriate. There is not too much coming out this month that I want to see right away. I should also note I am not a Swiftie. Plus Scott has a brand new film coming out in November, specifically “Napoleon,” therefore this serves as proper preparation. The first film in the series is going to be “Body of Lies,” a 2008 action thriller starring Leonardo DiCaprio and Russell Crowe. I will announce the other films to be reviewed at a later date. 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 “A Haunting in Venice?” What did you think about it? Or, what is your favorite of Kenneth Branagh’s Agatha Christie adaptations? Let me know down below! Scene Before is your click to the flicks!

Avatar: The Way of Water (2022): Is the Movie Event of 2022 Worth the 13 Year Wait?

Posted on December 16, 2022 by Jack Drees

“Avatar: The Way of Water” is directed by James Cameron (The Terminator, True Lies) and stars Sam Worthington (Sabotage, Clash of the Titans), Zoe Saldana (Guardians of the Galaxy, The Adam Project), Sigourney Weaver (Ghostbusters, Alien), Stephen Lang (Don’t Breathe, Tombstone), Kate Winslet (Titanic, Divergent), Cliff Curtis (Training Day, Three Kings), and Joel David Moore (Dodgeball, Bones). This film is the long-awaited sequel to the 2009 film “Avatar,” also directed by James Cameron. This time around, Jake and Neytiri, along with their children, move from the forest and adapt to life by the sea. Meanwhile, humanity strikes once again to kill Jake Sully.

I have not seen every film James Cameron has done. I still have not seen “Aliens.” I still have not seen “The Abyss.” That said, he can direct a movie. I loved “The Terminator.” Its follow-up, “Terminator 2: Judgment Day,” belongs amongst my favorite films of all time. “Titanic” is a massive spectacle with a thrilling climax. “True Lies” is a hilarious, fun action movie. Cameron also recently produced “Alita: Battle Angel,” directed by Robert Rodriguez. It has some of my favorite visual effects and action sequences in recent cinema. The man knows how to entertain.

The first “Avatar” is not my favorite movie James Cameron made. Kind of like “Titanic,” the beauty of the film does not always lie in its screenplay, and more so its looks. However, the film made over $2 billion and is the highest-grossing movie of all time. Naturally, whether Cameron wanted to or not, a sequel definitely had to be made. “Avatar: The Way of Water” is the result of thirteen years of Cameron’s transition from one movie to the next. Even I, someone who barely cares about the original “Avatar,” was curious about this film. The trailers looked decent, and whatever visuals they revealed looked stunning. I had a couple chances to see the trailers in 3D, and I was marveled by a couple sequences in said format.

This leads me to my biggest positive with “Avatar: The Way of Water.” This film is the single-greatest use of 3D I have ever seen. For the record, I got to see the original film in 3D last September, and this film surpasses it. It surpasses some other 3D standouts for me like “Gravity,” “Oz the Great and Powerful,” and “The Hobbit” trilogy. As far as blockbuster filmmaking goes, there is no movie I can think of that has done 3D this well to the point where it felt like more than a cheap gimmick. Speaking of unusual technical specifications, “Avatar: The Way of Water” was shot in 48 frames per second. This is an aspect which “The Hobbit” trilogy also utilized both in filming and during select screenings. For the most part, it works. At times, I felt like I was watching a series of video game cutscenes, which sounds like a detractor, but I kind of intend it as a compliment.

However, the unfortunate thing is that since these are my biggest positives, I imagine there are people out there who might never get to experience said positives if they watch this movie. For one thing, 3D at home is not as big of a thing as it may have been over a decade ago. And I am not sure what Disney/James Cameron plans to do in regards to the frame rate for this film’s home release. Although one positive that can be experienced regardless of the setup is the visual effects.

If I have to be honest, if there is any other film that is going to win the Oscar for Best Visual Effects this year, I might start trying to defy gravity because nothing would make sense any more. Similar to what I said about the 3D, the visual effects were great in the original “Avatar,” but they are a step up in “The Way of Water.” The water sequences in this film are some of the best-looking of the year. For the most part, the visuals in this sequel are as perfect as can be. It really felt like everyone took their time with minute details to allow for the perfect color and polish. Some of the cinematography, done by previous Cameron collaborator Russell Carpenter, accompanies said visuals well. There is one shot of a sunset where my eyes lit up. The aesthetic of “Avatar: The Way of Water” does not disappoint.

What does disappoint instead is the story and characterization. You know, the essential things that make movies worth watching.

While I liked the trailers for “Avatar: The Way of Water,” what these trailers always lacked is depth into what the story is about. The film thankfully provides a story, but not a good one. It is less by the numbers than the first movie, but somehow it feels more boring. The visuals are pretty enough to distract me from that, but the characters are uninteresting. In one of my most recent reviews, specifically for “Strange World,” I said the movie is “like a first date with the most attractive woman alive, only to find out she has zero personality whatsoever.” “Avatar: The Way of Water” is kind of like “Strange World” in the sense that the environment feels more important than the characters, but to the point where the characters lack a certain prominence they would otherwise have in most halfway decent movies.

There have been movies where the characters do not stand out that nevertheless find a way to stick the landing. But not every movie can be “Dunkirk.”

“Avatar: The Way of Water” presents a fascinating concept. Specifically, now that Jake and Neytiri have offspring, how does this affect their behavior compared to the first film? In general, I dug the family dynamic, and there were moments in this film that felt relatable based on said dynamic. Although the characters themselves lack dimension and personality. I admire Sigourney Weaver for trying her best at playing an animated teenage girl, but I would not say it is my favorite performance of hers.

In fact, the family dynamic is not the only concept of fascination. The whole water land itself comes with some halfway decent ideas. Similar to the first movie where a particular tree plays a prominent role in societal beliefs and customs, the equivalent to that in this film is a group of whales. Although as fascinating as it is to see the bond between the bunches of blue characters with whales in this film, this leads to yet another story critique where this film feels like another version of the original, only less watchable.

This movie reintroduces familiar characters like Jake, Neytiri, and Quaritch. It also brings in new faces. Some of these include Jake and Neytiri’s kids: Kiri, Lo’ak, Neteyam, and Tuk. I bet some time after writing this review, I will not remember some of these names. At a point in the movie, the story revolves more about the children than it does their parents. I am not against this. In fact, despite my lack of interest with the story itself, some aspects of this were handled with competency. The film’s new characters have their moments. However, if I have to name a least favorite of the characters, it would be this one person named Spider.

Unlike Jake and the rest of the Sullys, who are half human, half Na’Vi, Spider, who Jake also raised, is entirely human. Although he tends to behave like one of the Na’Vi. While I am optimistic about Jack Champion’s future as an actor and wish him nothing but the best, his character was awfully written. At first sight, the character is presented with an intriguing backstory, but as the movie went on, he felt increasingly out of place, and by the end, I questioned his actions. There are few words that I could come up with to describe Spider as a character. “Conflicting” would certainly be one of them.

“Avatar: The Way of Water” takes a lot of what works in the original. Such things include the visuals, the exploration, the flying sequences. Ultimately, this sequel improves those things. At the same time, a lot of I found to be imperfect with the first film such as the story, the dialogue, and its lack of getting me to care for certain characters, make a return here as well. If you want me to be real with you, the climax of this film, at times, is more entertaining than the climax in the original “Avatar.” Should you pay to see this film in theatres, the climax alone makes the film worth the price of admission. I am clearly not a huge fan of the film, therefore I would not pay to see “Avatar: The Way of Water” a second time. That said, I imagine plenty of people will. I think if there is a reason to see this film, the climax would make for a compelling argument.

The theater experience for “Avatar: The Way of Water” rivals “Top Gun: Maverick” in terms of immersion, but if I had to choose a film between the two to watch again, I think “Maverick” is the superior option because despite the film occasionally coming off as another version of the original “Star Wars,” the characters are likable and serve the story. Do the characters serve the story in “Avatar: The Way of Water?” Sure. But I would say they do so with less charisma and personality than those in “Top Gun: Maverick.”

I have not ridden the “Avatar” theme park ride at Disney World. Maybe if I take a trip there in the future I would give it a whirl, but I just never had the opportunity to ride it. Although I must say that “Avatar: The Way of Water,” much like a ride at Disney World, is wildly immersive, but almost to the point of being a pretty gimmick. The 3D definitely stands out, and while I said earlier the 3D does not feel like a gimmick, it belongs in a film that nearly comes off as a gimmick itself. When I left the film, I thought more about how it took me into Pandora, which may sound like a compliment, until I thought about how little it took me into the lives of its characters. While last year’s big movie event, “Spider-Man: No Way Home,” had some imperfections, I would rather watch that again to see the characters go through their individual journeys. Although one imperfection “No Way Home” has, like “The Way of Water,” was that I found the ending to be somewhat poor. Although the journey to get to the ending for “No Way Home” invested me emotionally while getting me to care for the core characters. I will give credit to “Avatar: The Way of Water” for having a more appealing visual aesthetic to it, but as the old saying goes, “Avatar: The Way of Water” is yet another example of style over substance.

I would even say that “Avatar: The Way of Water” has narration that at times that is either as tacked on or as bad as the original “Blade Runner.” When I say the original “Blade Runner,” I am talking the original. As in, the one where Harrison Ford sounds like he is half asleep when voicing what he learned about Roy. The one that I imagine a lot of young people experiencing the film for the first time will not even get to hear. I am sorry, but for a movie that carries itself so much on visuals, I am somewhat surprised in regard to how much narration this film has.

Through the ages, there have been several movies that have been able to tell a great story while also delivering eye candy. “Star Wars” took me to another galaxy while also presenting the relatable Luke Skywalker. “The Matrix” presents a fun tale of good vs. evil while also showcasing a one of a kind digital landscape. The Academy Award Best Picture winner, “The Shape of Water,” is a beautiful-looking film with an unusual, but still captivating romance. “Avatar: The Way of Water,” finds itself choosing to focus a lot on the film’s background and surroundings to the point where I do not care one bit about the characters in the foreground. Yeah, I know what happens in the movie. But I would flock to a multitude of other movies before this one again because they presented their stories more admirably. I would imagine there are people who are going to leave this movie, much like the original, who would claim they want to live in Pandora. I on the other hand, would not. I would rather live in Middle Earth, where the visuals are just as stunning, but the stories are ten times as interesting.

In the end, “Avatar: The Way of Water” is possibly the biggest disappointment of 2022. Not only because it is James Cameron, not only because the film looks amazing, but because this is a film that was thirteen years in the making. I cannot believe I am living in a year where I have gone back to the cinema to watch “Top Gun: Maverick,” which is a sequel I frankly think was not all that necessary until seeing footage. Meanwhile, I do not think I want to go back to watch “Avatar: The Way of Water” a second time. This is crazy because I have thought about seeing an “Avatar” sequel maybe since I was ten years old. I thought the potential was there. Sadly, the execution was lackluster. But who cares? Sequels are already scheduled, and there is a solid chance that this is going to make a billion, possibly a couple billion bucks at the box office. While the original “Avatar” is similar to titles like “Pocahontas” and “FernGully,” when it came out, it felt like a distinctive title. “Avatar: The Way of Water” not only feels like a slight retread of the original, but somehow comes off as more boring. Does it look pretty? Yes, but so did “Elvis.” If you read my review for that movie, you would know that movies should sometimes do more than just look shiny. That said, “Avatar: The Way of Water” is undoubtedly a technical beast. I applaud Cameron and crew for delivering a solid-looking film. I just wish I could say the same for the story. I am going to give “Avatar: The Way of Water” a 5/10.

“Avatar: The Way of Water” is now playing in theatres everywhere, including formats such as Real-D 3D and IMAX 3D. Tickets are available now.

Thanks for reading this review! Next week I will be sharing my thoughts on the brand new DreamWorks Animation “Puss in Boots: The Last Wish.” I am attending a press screening of the film this Monday, so I will share my thoughts on the film as soon as possible. Hopefully it has more substance than “Avatar: The Way of Water.” 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 “Avatar: The Way of Water?” What did you think about it? Or, which film do you think is better? “Avatar” or “Avatar: The Way of Water?” Let me know down below! Scene Before is your click to the flicks!

West Side Story (2021): Steven Spielberg Reinvents the Musical Genre Through This Compelling Adaptation

Posted on October 28, 2022 by Jack Drees

Hey everyone, Jack Drees here! Welcome to the final installment of Steven Spielberg Month! You know what that means? It is time for shameless self-promotion! If you are interested in checking out more of my Steven Spielberg-related reviews for the month, this is your opportunity to read up on my thoughts regarding “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial,” and “The Post.” With that out of the way, it is time to introduce the last review of the themed event. It is one of Spielberg’s most recent outings, “West Side Story.” I would have reviewed this film last year if I had the time to. Unfortunately, I could not make it happen. Although I am glad to finally be able to give myself an opportunity to release my thoughts on it, and for you to finally find them out. Ladies and gentlemen, here is my review of “West Side Story.”

“West Side Story” is directed by Steven Spielberg (Lincoln, Ready Player One) and is based on a 1957 play by Jerome Robbins. The film stars Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, and Rachel Zegler as Maria, a young Puerto Rican girl who falls in love with New York native Tony (Elgort). These two are caught in the middle of rivaling gangs, conflicting sides, and altering identities. While these two may be star-crossed, the turmoil beyond their relationship heats up.

I saw this movie on December 6th, 2021 during a free IMAX fan event screening in Boston. The screening took place days before the film’s wide release. This was my first time seeing anything related to “West Side Story.” Prior to rewatching this film for review purposes, not to mention after, I still have not watched the 1961 “West Side Story” adaptation, despite its acclaim. The film won ten Oscars, including Best Picture. In recent months, Steven Spielberg’s “West Side Story” sort of followed in its footsteps. The 2021 remake won an Oscar for Best Supporting Actress in addition to earning other categorical nominations. One such nomination was Best Picture, which the film lost to “CODA,” which I have no problem with as that film was brilliant.

Having rewatched “West Side Story,” it honestly was more fun than it was the first time around. And that says something because that first viewing was a great time. Did I mention that my most recent watch of the film is not my second, but my third time? I went to go see the film in theaters twice, and both times it knocked my socks off. Therefore, it should be no surprise that I am handing the film this much praise.

I am so glad to finally get to talk about “West Side Story” after being busy during the tail end of 2021, partially because it is my favorite musical movie of that year. I had fun with “In the Heights” and I admired “Tick, Tick… BOOM!”, but “West Side Story” takes the cake as the most serotonin-emitting of these films. When I first heard about a remake for “West Side Story,” I had mixed thoughts, and slight indifference as I had not seen the original film. When you announce that you are about to remake something iconic or highly acclaimed as this, it begs the question as to how you can make something that is on par with what the prior material provided. Again, I did not see the 1961 movie, so I cannot compare and contrast these two films together. Although as a standalone movie, “West Side Story” 2021 is one of the most finely crafted creations of the decade thus far. The decade has only started, but if things continue to go in a certain direction, “West Side Story” could end up in my top 50, maybe even top 25 films of the 2020s by the time the ten year span ends.

The cast of “West Side Story” could not be better. Every actor is perfectly placed in their role, they feel at home, and they play their part to the best of their ability. Rachel Zegler is a goldmine of adorableness as Maria. Not only is Zegler a ridiculously talented singer, which is an ability that is somewhat expected in a film like this, but she is also unspeakably beautiful. Every time I glance at Zegler in this movie, I can sense that not only is Zegler happy to be in the movie, I can sense her character is always in the moment. Even during an occasional sense of hardship, every time I look at Rachel, I am, assumingly, as happy as her. She is always either upbeat or expressive, which for a musical, is an appropriate set of emotions. Part of the recently mentioned adorableness not only has to do with Rachel Zegler herself, her character, or her acting ability, but also the costume design.

The costumes in this film are designed by Paul Tazewell, who also designed costumes for the musical “Hamilton.” Tazewell’s designs feel straight out of the 1950s. To go along with the extravagant, larger than life feel of a story like this, some of the costumes feel attractively glitzy. Again, Zegler’s costumes, such as her white dress from the first act, are standouts. All the costumes from the dance in the gym are easy on the eyes. Another one of my favorites is Anita’s yellow outfit that she wears during the “America” scene. It goes well with the atmosphere and the time of day. Everything feels intricately planned.

Speaking of Ariana DeBose, she and Zegler pretty much tie for the greatest performance in the film. DeBose won a Best Supporting Actress Oscar for her performance as Anita, which is undoubtedly deserved. Everything from her physicality to her line delivery to her overall charisma makes for one of the best performances I have ever seen in musical film. The past couple times I watched “West Side Story,” every line out of DeBose’s mouth, even minor ones, made me smile. There is a saying about movies providing escapes for audiences. Anita in “West Side Story” is synonymous with such a philosophy. Every time she spoke, I instantly transported to another world. I am going to continuously debate as to whether Zegler or DeBose gave my favorite performance in the film, but as far as non-lead roles go, DeBose may have given the greatest of them all in 2021.

Despite having story in its name, the story of “West Side Story” is not the most original when you break it down. Not just because it is remaking a 1961 movie based on a 1957 play. If anything it is a spin on the “Romeo and Juliet” formula with different characters and dance fighting. If anything, this latest iteration of the musical is a fantastic spin, and even saying that is arguably an understatement. As I have said before, you can always supply a cliché story, or a story that has been done in the past. What matters is the execution. If you deliver something great with familiar elements, then job well done. This is exactly what Steven Spielberg did, I was on the edge of my seat during scenes that could have potentially come off as goofy. Dance fighting is a concept that to my surprise, successfully highlighted much of the tension between characters. Not only that, but the music used as a backdrop sounded great. It kept my attention.

This movie is shot by Janusz Kaminski, a brilliant cinematographer who has worked with Spielberg for years. The wides in this film are beautiful. The opening sequence is one of the most intriguing of the year based on the camera movements alone. The scope of the film would not be as massive if it were not for some of Kaminski’s long takes. One of my favorite shots of the film is when we get into the gymnasium and see everyone dancing. The camera swoops around the entire place non-stop until we arrive on our core characters like Anita, Bernardo, and Rachel. Looking back on it and what that one moment was able to capture, is jaw-dropping to say the least. Also, if you ever watch the scene, note the use of color. There is a sense of consistency between the colors of various outfits throughout the shot. It almost comes off like a painting. Again, credit goes to Paul Tazewell for how well he handled the film’s costume design.

Musicals, including this one, often thrive based on the spectacle. “West Side Story” has a ton of poppy moments where the cinematography and musical numbers keep my eyes on the screen. That is despite there being a sense of danger throughout the movie. “West Side Story,” at its core, centers around two star-crossed lovers. Although this film effectively encapsulates how their connection affects the people around them. The rivalry between the Jets and Sharks was already heading for trouble, but as soon as we see Rachel and Tony together for the first time, we also begin to see how various supporting characters handle this matter. Even though it should barely affect them on paper, it ends up resulting in increased calamity. As for said calamity, it made for a great movie.

If you ask me, based on everything I presented so far from the costumes to the shot selection to the editing to the acting, this is a sign that Steven Spielberg has brought together one of the greatest directorial efforts of his career. Or, as some might call it, just another Tuesday. “West Side Story” is apparently a part of Spielberg’s childhood, and it shows. The numbers are handled with grace, the characters are well realized, and the aesthetic of the film has a perfect blend between lighter and darker moments in addition to tones. There is no surprise that a sense of passion was present in every scene.

Aside from the cliché elements and familiar story treads, there are not many noticeable flaws with “West Side Story.” This might not be my favorite Steven Spielberg movie, but I cannot help but recognize how massively bonkers and fun this movie is. At the same time, it also successfully hits emotional beats. Performances from Rachel Zegler and Ariana DeBose highlight this. One of my favorite elements of the film, as someone who watched it perhaps the way Spielberg intended, is that when the characters speak in Spanish, they do not provide subtitles to aid in regard to what they are saying. I have taken a screenwriting class in college, and one thing my professor noted is that dialogue does not always matter. Sure, movies can have great lines that enhance the experience. Whether they are funny, dramatic, or emotionally charging. Although what makes “West Side Story” great is its tendency to use Spanish, a language which I do not understand, without subtitles, and nevertheless compel me into the scenes in which such a language is spoken. Given select moments and the supposed attitudes of various audiences, this sounds like a big risk. As someone who dropped out of Spanish class in high school for Sociology, I have been moved by this choice and its execution.

Big risk, big reward.

One might as well make the conclusion that this is what the whole movie sounded like from the beginning. A big risk. Sure, when you have Steven Spielberg in the chair, he makes everything look easy. Sure, name recognition is definitely a selling point in modern media. The film did not do well at the box office for various reasons. COVID-19, competition with other movies, and controversy with Ansel Elgort are contributing factors. However, this film is now available to watch at home and if you ask me what movie in the musical genre you should watch nowadays, this is one of the first I can think at the top of my head. It is that good. I do not know if Spielberg will make another musical, but if he does, I wonder how the heck he could top this one.

In the end, “West Side Story” is one of the best musical films of this century. Why should I be surprised that this movie is as solid as it is? Steven Spielberg is at the helm. Then again, maybe I should be surprised. After his many previous monumental successes, Spielberg has yet to create a film in the musical genre. He has done a variety of genres prior to “West Side Story” like science fiction (Close Encounters of the Third Kind), period pieces (Lincoln), adventure (Raiders of the Lost Ark), war (Saving Private Ryan), drama (The Post), and you could even argue that “Jaws” would be considered a horror film. By today’s standards, it is not the most terrifying option on the table, but it has its eerie moments. The man has done everything, and yet he continues to pump out gold. For some filmmakers, this would be an achievement. But I cannot call it that for Spielberg after watching “West Side Story.” As far as Spielberg is concerned, his efforts have amounted to another day at the office. That is how effective of a filmmaker he continues to be. Spielberg could have ended his career at say “Jurassic Park” and have an endlessly celebrated library of films. But that is not the case. His adaptations of songs like “Somewhere,” “Cool,” and “America” have stayed in my memory for a long time, and will likely continue to do so. The look of the film is stunning, the shots are beautiful, and the cast is incredible. Again, I have yet to see the 1961 film, so I cannot confirm if this is better or worse, but I can hardly think of a single problem I have with Steven Spielberg’s “West Side Story.” So much so, that the film is worthy of a 10/10.

Musicals are not my genre, but this is a film that I liked the first time, adored the second time, and found myself eating up by the third time. I am floored by this film’s craft and how extravagantly immersive it is, even when watching it at home. I feel bad for skipping this review last year, but I am more than happy to have gotten my thoughts out by now. Although some of you reading this might not be that surprised that I liked the movie so much, because I ended up nominating it in a few categories during the 4th Annual Jackoff Awards. If you want to see what the film did or did not win, check out the post!

“West Side Story” is now available on DVD, Blu-ray, and 4K Blu-ray. The film is also available to rent or buy on VOD. For those who have the services, it is also available to watch on Disney+ and HBO Max.

Thanks for reading this review! This is officially the end of Steven Spielberg Month! But this November, we will be seeing the latest addition to Spielberg’s neverending library. That my friends, is “The Fabelmans.” The film is loosely based on Spielberg’s childhood, and the trailer looks phenomenal. Between this and Damien Chazelle’s “Babylon,” this awards season is likely going to have lots of talk about Hollywood’s self-indulgence. Whether such self-indulgence will be successfully utilized, is a question waiting to be answered.

Also, my next review is going to be for the all DC film “Black Adam.” Be sure to stay tuned for the nine-millionth superhero movie I will be reviewing in my blogging journey. 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 “West Side Story?” What did you think about it? Or, did you see the 1961 “West Side Story?” What did you think of that? How would you compare the two movies? Let me know down below! Scene Before is your click to the flicks!

Barbarian (2022): The Best Horror Movie of 2022 So Far

Posted on October 24, 2022 by Jack Drees

“Barbarian” is directed by Zach Cregger, who you may know from playing Owen on the TBS comedy series “Wrecked.” This film stars Georgina Campbell (Murdered by My Boyfriend, Krypton), Bill Skarsgård (It, Deadpool 2), and Justin Long (Alvin and the Chipmunks, Live Free or Die Hard). This film follows a woman who books a stay at an Airbnb only to find another person already staying in the property. Despite the unexpected encounter, the two end up staying together only to discover the house is haunted.

I went into “Barbarian” doing something that I do not typically do when it comes to movies I see. Specifically, unless there was one playing at a screening and I do not remember, I went into “Barbarian” having seen no trailers. My earliest memory of this film was hearing about it from someone I follow on Twitter who saw the movie and had a good time. I checked out “Barbarian” for a couple reasons. First off, and least importantly, apparently there is going to be no physical media release, so I wanted to watch the film in a theater before it goes to streaming, and I inevitably forget about it. Streaming is temporary, physical media is forever. Second, I have heard nothing but good things about “Barbarian.” People I know who have seen it, liked it. The critics are eating it up too. “Barbarian” has a whopping 92% on Rotten Tomatoes.

I saw the movie, and the first thing I must say is that this is the best horror movie of 2022 so far. I am happy to say that because not only is this a great movie, but this shows how spectacular of a year the horror genre is having. I am happy for a lot of people working in horror right now. I hope everyone is proud of themselves. I just saw “Smile,” which was fantastic and I literally claimed a week or two ago to be my favorite horror film of the year. “The Black Phone” is really good and had plenty of creepy moments. Even though it is not pure horror, “Nope” was also quite entertaining. I also really liked “Bodies Bodies Bodies.” This movie surpasses all of them.

Before I continue my thoughts, I must state that this review is going to be vague. This is a movie that not only do I recommend, it is one that would recommend with providing as little detail as possible as to why it works so well. The trailer for this film, which I did see while doing this review, perfectly details my sentiments. Whoever worked on that trailer is a legend.

The best part of “Barbarian” is its simplicity. You start off by seeing two characters who immediately develop an inciting incident over who can stay at a house they are renting. This simple bump in the road causes them to get to know each other and deliver some of my favorite chemistry between a duo I have seen this year. In the first ten minutes, I found myself buying into every single one of these two’s interactions. Campbell shines as Tess and Skarsgård is perfectly cast as Keith. The two are great together. I also like how this movie is told from Tess’s perspective instead of Keith because in addition to all the traditional horror elements, there is also another sense of danger I did not initially think about, specifically stranger danger.

Now, if I, a straight white male, showed up at the door of the rental house and I saw Keith staying inside, I would be confused. But if I had nowhere to go, it was raining, I were low on money, and a bunch of hotels were booked, I might walk it off if we agree to spend the night together. Perhaps if neither of us were forced to sleep on the floor. Meanwhile, there is a scene that stood out to me where Tess secretly takes a picture of Keith’s driver’s license. Little things like that reveal the creeps Tess is experiencing.

Some of this movie’s more tense moments are more or less linked to basic, everyday thoughts that runs through one’s mind if they are somewhere unfamiliar or far from home. I tried to get inside Tess’s head for a second. What is she thinking? She must have been asking questions such as… What if this guy drugs me? What if this guy is not what he says he is? How safe is this part of town? The key word here is tense, not scary. The scary shenanigans do not come until maybe a half hour into the movie. If you are looking for scares, they are there, and they are terrifying. You will get them eventually, and the wait is worth it.

This movie is 102 minutes long. As far as I am concerned, that is a perfect runtime. Pacing-wise, this movie could not be better. Despite the kind of short runtime, the pacing is not balls to the wall. It is not quite a slow burn either, at least to me, but everything that happens during the runtime feels either minimalistic or quiet. Even a simple conversation kept my attention, partially because of the conflict in every scene, even if it did not involve something horrifying.

Even when a movie of this sort is not good. I always enjoy a project that challenges its audience. “Barbarian” takes a big swing and it is undeniably a grand slam. I do think the climax is less entertaining than the first two acts. Not that I did not enjoy it, but if I had to name which part of the film I thought was the weakest, that would have to be the one. That said, everything that builds up to the climax from the relationship between Tess and Keith, to the scary shenanigans, to even simple interactions that could backfire, make the ride worth it.

I always make an effort when I show a movie to a family member or a friend to let them go in the way I often did. I want that individual to experience the movie firsthand as blind as a bat. Thankfully, this movie has a great trailer that I would not mind showing to someone who has not watched the movie. But this movie is a perfect encapsulation as to why I keep my mouth shut on all the details as to why I like certain movies when showing them to other people. Maybe if I show my friends “Barbarian” one day, they will disagree with me as to why I like this movie so much. But it does not change the fact in this solid year of horror, “Barbarian” is the genre’s biggest swing and mightiest payoff yet.

In the end, “Barbarian” is a fantastic movie that I would watch again some year on Halloween if given the chance. It is crazy, mind-boggling, yet simple. It is a movie that even though it belongs in the horror genre, can also qualify as a simple human drama. The cast is great, the script is phenomenal, and Zach Cregger’s direction is perfect. The movie’s final moments, while fun, are not as hypnotizing as its initial moments. Even so, this movie is, as I said, the best horror movie of 2022. I am going to give “Barbarian” an 8/10.

This movie is not coming to physical media and instead, only getting a Digital HD release for home viewing, which I think is a shame. This is a movie, if I bought it on Blu-ray, would probably go in my player every other October. Although if you have the chance to check out “Barbarian,” just do it.

“Barbarian” is now playing in theaters and will be available on Digital HD tomorrow, October 25th. The film will also soon be available to stream on HBO Max and Hulu.

Thanks for reading this review! My next review is going to be for the all new romcom “Ticket to Paradise.” The film just hit theaters this weekend, I had the chance to see it with my family, and I will have my thoughts very soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Barbarian?” What did you think about it? Or, what is your favorite horror movie of the year? Let me know down below! Scene Before is your click to the flicks!

Amsterdam (2022): David O. Russell’s Latest Fast-Paced, Star-Filled, Forgettable Time

Posted on October 17, 2022 by Jack Drees

“Amsterdam” is directed by David O. Russell (Silver Linings Playbook, American Hustle) and stars Christian Bale (The Dark Knight, Ford v. Ferrari), Margot Robbie (Suicide Squad, I, Tonya), John David Washington (BlacKkKlansman, Tenet), Chris Rock (Madagascar, Grown Ups), Anya Taylor-Joy (The Queen’s Gambit, Last Night in Soho), Zoe Saldaña (Avatar, Guardians of the Galaxy), Mike Myers (Shrek, Bohemian Rhapsody), Michael Shannon (Revolutionary Road, Nocturnal Animals), Timothy Olyphant (Once Upon a Time in Hollywood, The Mandalorian), Andrea Riseborough (Bloodline, Battle of the Sexes), Taylor Swift (The Lorax, Cats), Matthias Schoenaerts (The Danish Girl, Red Sparrow), Alessandro Nivola (American Hustle, Selma), Rami Malek (Night at the Museum, The Little Things), and Robert De Niro (Raging Bull, Meet the Parents). This film is mainly set in the 1930s, and centers around three people who are framed for murder. Together, this trio uncovers a plot that will change the course of history.

I have not seen all of David O. Russell’s films. I have seen “American Hustle,” which I was not a fan of. I have mostly forgotten it by now. I saw “Joy,” which I thought was cute. The acting was great, especially on Jennifer Lawrence’s part, but it was not my favorite movie of the year. I also saw “Silver Linings Playbook,” which, while not one of my favorite movies ever, is probably the best attempt at a feature Russell has ever given. I still have yet to see films like “Flirting with Disaster,” “Three Kings,” and “I Heart Huckabees.” I am mostly familiar with David O. Russell’s recent work. That said, he has built quite a name for himself as a filmmaker and it is no surprise that names like the ones listed happen to be working with him.

When you have this many Academy Award-nominated or winning actors and actresses in your film, it builds promise. It builds interest. It reminded me of when I saw “The Circle” back in 2017. You had all these culturally relevant or critically acclaimed performers like Tom Hanks, Emma Watson, John Boyega, Patton Oswalt, and Bill Paxton. Given their resumes, I was excited to see what they could do. Unfortunately, their collaborative efforts could not escape them from this misfire. “Amsterdam,” while definitely more satisfying than “The Circle,” is in the same boat.

The best way I can describe “Amsterdam” is to say that the film is all over the place. There is a lot that goes down in just a span of two hours that I felt like I had to take some notes. The film is not wholly incompetent by any means, but it begs me to keep up with its quick pacing. I like quick pacing, but at times, the movie goes too quick. There are a lot of characters and interwoven storylines that there is a good chance that I will have forgotten a couple of them by the next couple weeks. I think this is a film that could warrant a second viewing, but I am not sure yet if it has the replay value. At times, the pacing of this movie reminded me of Guy Ritchie’s “The Gentlemen,” which I know some people like, but for whatever reason I just could not get into. One moment we’re here, one moment we’re there, and in the next my brain, which has escaped from my body, might as well have traveled to the end of the universe.

If there is any saving grace in “Amsterdam,” it would have to be Margot Robbie as Valerie Voze. I thought she had the best moments in the movie. I thought the casting matched the character and the way she was written and directed. This performance solidifies Robbie as one of my favorite actors working today. Her chemistry with Christian Bale and John David Washington is solid, and as much effort as those two put into their performances, Robbie feels like the clear winner here.

Speaking of Christian Bale, if you want me to be completely honest, I think he had a more memorable performance in “Thor: Love and Thunder” of all things. I am not saying that Christian Bale gave a terrible performance in “Amsterdam.” If anything, it was stellar. But I think when combining acting with overall characterization, Bale’s attempt at playing Gorr the God Butcher was somehow more convincing and compelling despite a movie like “Amsterdam” appearing to be more along the lines of Bale’s forte.

It is crystal clear that the story of “Amsterdam” is not the highlight of the movie. If you ask me, it had its moments. There was a specific moment that intrigued me at the beginning where our main characters find themselves in an unspeakable situation. Unfortunately, as soon as we dive away from that, the quality of the movie lessens.

If I had to look in advance at 2022 in film and predict any Best Ensemble nominees at the SAG Awards, “Amsterdam” would have been a contender based on name recognition. However, much like Garry Marshall’s unwatchable holiday-based movies like “New Year’s Eve” and “Mother’s Day,” the movie’s cast is the one glimmer of hope within what can simply be referred to as a hot mess. At least on paper. I never thought I would see the day where we have Margot Robbie, Anya Taylor-Joy, and Robert De Niro in the same movie. I just hope when that unpredictable day came along, there was good script for them all to bring to the screen.

As for other positives, the movie is attractively colorful. Not quite as glitzy and glossy as say “Elvis,” which in some ways might happen to be a good thing if you ask me. However, the look of the film is sometimes easy on the eyes. In addition to having a stacked, recognizable cast, a lot of them are wearing stunning outfits, some look handsome or sexy. If this were a silent film, this might be okay depending on what you put for text. The sets at times look presentable, elaborate, and occasionally have a vintage feel to them.

There is a saying that looks are not everything, and this movie is exhibit A as to why that saying exists. Yes, some of my favorite actors are put in the forefront. Yes, some of the costumes and sets look dazzling. Yes, the movie has an occasional feeling of immersion. Although this cannot save the film itself from providing what could be one of the sloppiest stories of the decade, and that is despite this movie claiming “A LOT OF THIS ACTUALLY HAPPENED.” Just because a story is true, does not make it entertaining. You want to know a true story? I woke up today and wrote this review. Imagine if I tried to sell that as a movie. The distributor would probably go out of business!

Here is a fun fact. Christian Bale, who has worked with David O. Russell in the past, signed on to do “Amsterdam” before a script was written. I get the notion of wanting to work with a big name director. Especially one you supposedly have a decent relationship with. Heck, if I were an actor and I hear the name Christopher Nolan or Jordan Peele I automatically think “business partnership.” I hope while these two high-profile industry insiders were thinking about how great it would be to work with each other, they took a moment to think of the quality of what they were going to make. Because despite the quantity of big names, quality seems to be sacrificed when it comes to the final product of “Amsterdam.”

In the end, “Amsterdam” has occasional glimmers of enjoyment, with some extreme emphasis on the word “occasional.” The film has an okay start, but the film itself never finds a way to be as compelling or entertaining as its first ten or fifteen minutes. I liked “Silver Linings Playbook,” but I cannot say the same for “Amsterdam.” I am going to give the forgettable and dull “Amsterdam” a 4/10.

“Amsterdam” is now playing in theatres everywhere, tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have more coming! I will soon unveil my thoughts on a couple of horror movies I watched recently, specifically “Smile” and “Halloween Ends.” Also, if you want to see more reviews from me, check out my thoughts on “See How They Run.” 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 “Amsterdam?” What did you think about it? Or, what is a movie with a stacked cast whose script could not justify its star power? Let me know down below! Scene Before is your click to the flicks!

See How They Run (2022): An Admirably Staged Whodunnit with a Lesser Known, But Solid Cast

Posted on October 13, 2022 by Jack Drees

“See How They Run” is directed by Tom George (Defending the Guilty, This Country) and stars Sam Rockwell (Moon, Three Billboards Outside Ebbing, Missouri), Saoirse Ronan (Lady Bird, Little Women), Adrien Brody (The Pianist, King Kong), Ruth Wilson (Jane Eyre, The Affair), Reece Shearsmith (Spaced, The World’s End), Harris Dickinson (Maleficent: Mistress of Evil, The King’s Man), and David Oyelowo (Selma, Gringo). This film is set in 1950s London, where Agatha Christie’s “The Mousetrap,” which has become a popular play in the West End, is set to become a film. Unfortunately, when one crucial member of the film’s eventual production has been murdered, plans halt and it is now up to Inspector Stoppard and Constable Stalker to find out more about what happened.

While I have not watched a good amount of them, I do love a good murder mystery. In fact, my favorite television episode of all time, specifically And Then There Were Fewer from “Family Guy,” is a murder mystery.

“Derek lifted up the Hollywood sign.” -Peter Griffin

Simply put, iconic.

In fact, one of my favorite movies of the past few years happens to be “Knives Out,” directed by Rian Johnson. All the actors play their part well, especially Daniel Craig, Chris Evans, and Ana de Armas, and it was one of the funniest movies of its year. In fact, while both movies have notable differences, I got “Knives Out” vibes from watching “See How They Run,” partially because both have some association with Agatha Christie works. For “Knives Out,” Rian Johnson once went on to reference several of Agatha Christie’s tales as inspiration for his film. As far as “See How They Run” goes, the movie literally uses an Agatha Christie work as a significant part of its story. “The Mousetrap,” which started off as a play, and as this movie reveals, is going to be turned into a film adaptation. As far as play to movie adaptations go, this definitely sounds better than “Cats.”

“See How They Run” is neither the biggest, nor most recognizable movie out right now. Heck, even “Avatar,” a thirteen year old film, beat it at the box office over the past few weekends. But to be fair, “See How They Run” did not release in 3D. Although unlike some of the alternatives out right now such as “Don’t Worry Darling,” “See How They Run” is definitely worth watching.

When I say this movie is not the most recognizable, I mean it. I live in the United States, and there are few big stars in this movie I can pinpoint like Sam Rockwell, Saoirse Ronan, David Oyelowo, and Adrien Brody. And that’s if you can actually call some of these people “stars.” That said, much like the recently mentioned “Knives Out,” every actor in this movie fits their part and feels like they belong in their environment. I have no problem with the casting whatsoever. The same goes with the characters. Everyone brought their A-game and while it may not have as star-studded of an ensemble as say the recent Kenneth Branagh-directed “Death on the Nile,” I would argue that the performances in “See How They Run” are just as, if not more compelling when combined together.

My favorite performances in the film come from the two most prominent characters, Inspector Stoppard and Constable Stalker, played by Sam Rockwell and Saoirse Ronan respectively. Rockwell transforms into this experienced, determined detective who has some noticeable quirks. I cannot imagine anyone else playing his character. The same assessment would have to be given to Saoirse Ronan, who is not only great in the movie, but based on her resume in recent years, this is a different performance than I am used to seeing from her.

Obviously, Sam Rockwell has been acting for years, therefore he has had the opportunity here and there to diversify his performances. From the little that I have seen from Saoirse Ronan, specifically through her work with Greta Gerwig on “Lady Bird” and “Little Women,” she has a knack for playing outspoken characters, and the character of Constable Stalker feels comparatively quiet. She is never shy, not necessarily nervous, but compared to her work as say Jo March in “Little Women,” Ronan plays a character who, based on what the story provides, is not the elephant in the room. Granted, Constable Stalker is not the main character of the film, therefore that also comes into play. Although she had some of my favorite moments in the movie. She had this recurring gag where she would often jump to conclusions that got an occasional laugh out of me.

My other hint of enormous praise of the film is the look of everything in it. Everything from the locations to the cinematography by Jamie Ramsay to the costumes by previous Jackoffs winner Odile Dicks-Mireaux (Last Night in Soho, Chernobyl). I felt like I was in the 1950s the entire time. I wanted to leave my world and enter this one. Kind of like last year’s “Last Night in Soho,” this movie sets up a spookily enchanting environment that is as beautiful as it is rugged. Being set in London is a wonderful coincidence if there ever was one.

This film packs a lot in its fairly short runtime. Unfortunately, I feel like I am not going to remember many of the supporting characters within the next month. I will likely remember Inspector Stoppard and Constable Stalker for their fabulous chemistry, but there are a good number of people that we meet by the film’s climax that I think I will disregard in comparison when talking about the movie to other people.

“See How They Run” may not be as smart or fun as say “Knives Out,” but it is worth a watch. The best way I can describe “See How They Run” to someone who hasn’t watched it is by referring to it as a Wes Anderson-style film if had some of the tones of “Knives Out.” I think both of those aspects could provide for a promising time. But this is no “Knives Out,” and if you want me to go by Wes Anderson terms, this is no “Rushmore.” Although if you are looking for something fun, something that could be an escape from reality, this is a quick, easy option. And I can honestly see myself watching it a second time if it ever comes around.

In the end, “See How They Run” is not my favorite movie of year, it is not the best murder mystery, but it is a quirky, delightful time. I do mean it when I say quirky. The movie even takes time to make fun of particular storytelling methods. A specific instance of this in particular had me dying. One character noted how cliché or predictable some murder mysteries are to some people, which I thought added for a nice touch for a story like this. I like the two main characters, they were played wonderfully by Sam Rockwell and Saoirse Ronan. The overall aesthetic of the film is pleasing. My flaws with “See How They Run” do not detract from the delight this film is. I think you should see it if given the chance. I am going to give “See How They Run” a 7/10.

“See How They Run” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you like this, you might want to stay tuned for another review I have coming up. Specifically, for the new movie “Amsterdam.” I had a chance to see it, perhaps unfortunately. Therefore, I will be talking about it soon! Also, stay tuned for tomorrow, because I will be unveiling my thoughts on Steven Spielberg’s classic film, “E.T. the Extra-terrestrial.” I am reviewing the film as part of an ongoing Steven Spielberg Month and in honor of Steven Spielberg’s new movie, “The Fabelmans,” which is set to release November 11th. 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 watch “See How They Run?” What did you think about it? Or, what is your favorite murder mystery? Let me know down below! Scene Before is your click to the flicks!

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