#Action

The Odyssey (2026): The Ultimate Sword and Sandal Experience

Posted on by Jack Drees

“The Odyssey” is directed by Christopher Nolan (The Dark Knight, Oppenheimer) and stars Matt Damon (Saving Private Ryan, The Martian), Tom Holland (Spider-Man: Homecoming, Cherry), Zendaya (Spider-Man: Homecoming, Challengers), Anne Hathaway (Interstellar, The Intern), Robert Pattinson (The Batman, Tenet), Lupita Nyong’o (Star Wars: The Force Awakens, The Wild Robot), Samantha Morton (The Walking Dead, Elizabeth: The Golden Age) and Charlize Theron (A Million Ways to Die in the West, Atomic Blonde). This film is based on Homer’s epic poem of the same name and follows Odysseus as he makes a dangerous journey back home to Ithaca to reunite with his wife, Penelope (Hathaway).

Well… It is finally here. The movie that may as well be my most anticipated of the year, perhaps even of the decade. 

“The Odyssey” is more than a movie. It is a story that follows an epic that has been around for several thousand years. Despite being an old story, there is a sense of innovation being brought to the table with this film. During my time in high school, “The Odyssey,” or at least adaptations of it, happened to be assigned to me as required reading in English class. I enjoyed getting to know about the story of Odysseus. It was a grand adventure tale that sparked the imagination. While I cannot say that it prompted a fascination with Greek myth in the way it may have with other readers, I found the material to make for a good read.

I even thought “The Odyssey” could make for a decent flick. Granted, the story is old, so there are, unsurprisingly, screen adaptations of it already. But I thought perhaps, unfairly, this would be a decent film from the likes of Peter Jackson, who is a master of sword and sandal cinema. Little did I know that my all time favorite director would one day be stepping in to handle this highly celebrated story.

Christopher Nolan is responsible for some of my favorite films ever, including 2014’s “Interstellar,” which came up in a conversation recently with family. My uncle asked me if I thought this new movie could surpass “Interstellar” in terms of quality. My response at the time, “It’s possible…” Having now seen “The Odyssey,” this did not surpass the quality “Interstellar,” but it finds a way to nearly match that cinematic masterpiece’s high bar. “The Odyssey” is gargantuan in every way. In fact, that is one of the reasons why I found “Interstellar” to have such tremendous replay value. It is a movie that feels larger than life. “The Odyssey” goes by the same philosophy. It is a story that emits endless verisimilitude.

Every frame of this movie, despite being part of a mythical epic, felt real. I believed in the film’s world. Its environment. Its characters. Its sets. If you are looking for peak immersion, this is the movie for you, regardless of what format in which you see it. I kid you not when I say every shot looks beautiful. Just about everything on screen was done for real, in camera. Nolan is a master of practicality. I genuinely could not believe what I was looking at during certain moments. Everything from the various interiors that fill your vision to a Cyclops that made my jaw drop to a crucial night scene in the water that showcases the wrath of a storm.

Given how much I love this movie, and believe me, I love this movie, I think it is arguably fair that I get into my flaws early on in the review. The biggest flaw I have in this film is the lighting. I have seen this movie three times, and the lighting is by no means atrocious overall, but there is a scene or two where I think it could have been pinched up a little. During my first viewing, I do not know if it is more of a fault of the projector than anything else, but it was somewhat hard to pick up all the details in several frames during the Cyclops scene. It is a dark cave, and as immersed as I was in the movie, one could debate that I was too immersed. I think the frames could have been brighter to better highlight essential information. Some of the dialogue is borderline cheesy and out of place, but we are talking bits and pieces. For the most part, I do not have a problem with the writing, but the problems I do have may as well be addressed.

And yes, I made sure as a die-hard IMAX fanatic, that my first viewing of this movie would be in 15/70mm film. I bought my ticket a year ago, as soon as they went on sale, dedicating myself so heavily to this film and its technical glory by buying a ticket in a completely different part of the country from where I live. For the record, I live in Massachusetts. New England forever! I bought a ticket to see this film in Fort Lauderdale, Florida. I am the last person who wants to spend time in Florida in July. I remember walking around Disney World in June when I was 18 years old… I am shocked I did not melt in the middle of Tomorrowland. My trip to see this movie, or my odyssey rather, was worth it despite my apprehensions, and eventually finding out that a theater in Providence, Rhode Island would also be getting the movie in the premium format. Not only is this a great movie, but it is one that I urge everyone reading this to watch in a theater at least once.

When I look back at Nolan’s last movie, “Oppenheimer,” I was amazed by the use of IMAX film in that project. It was most certainly worth the extra money for the IMAX experience. But I will not deny that of all the projects in which Nolan used IMAX to shoot it, “Oppenheimer” might have been the one of the bunch that was not as essential to view on an IMAX screen. This is not a diss. If “Oppenheimer” is playing in an IMAX near you, go check it out. You’d be doing yourself a favor. The trinity test and the black and white scenes are cool to see on a giant screen. That said, I think if you were to view “Oppenheimer” on a traditional cinema screen, you will not miss a whole ton, even if the aspect ratio suggests otherwise. On the other hand, “The Odyssey,” while excellent on any screen, becomes an event when bringing the IMAX experience into play. I have been to many IMAX experiences. This has to easily be a top 5 IMAX experience of all time. “The Odyssey” in IMAX is better than sex. “The Odyssey” in IMAX is better than winning the lottery. Once that IMAX logo flashes on the screen, get ready for 172 minutes of some of the most amazing cinema of your life. Not just because every frame fills the screen, showcasing some of the best imagery of any movie I have seen this decade courtesy of Hoyte van Hoytema’s brilliant camerawork, but because the movie is just that good.

Also, this review is being published after three viewings of the film, the last of which included a four-minute preview of “Dune: Part Three,” which is exclusive to IMAX 70mm screenings. My friends, YOU ARE NOT READY. Anyway, I digress. I just figured I should add that in as a bonus incentive.

The story may be simple and not every character has significant depth, but the movie does a great job at handling Odysseus (Matt Damon) as the center of the story. Damon’s struggle here is that he just wants to get home. He finished fighting in the Trojan War, he is surrounded by his men, and together, they work to overcome the various obstacles that stand in their path. Everything from a Cyclops to Laestrygonians to Sirens. The movie does a great job in its less action-packed moments, of which there are plenty, of showcasing Odysseus’ personal connections to his beliefs, his love, and his family.

Speaking of which, Anne Hathaway plays Penelope in what is her third Christopher Nolan movie. This is her best performance of the three. Hathaway constantly has to deal with the struggle that her husband is gone, and the dilemma as to whether he is gone gone. Meanwhile, tons of suitors are vying for her hand in marriage, thus making them king of Ithaca.

As this is going on, we see Tom Holland as Telemachus watching all of this from the sidelines, believing that “his dad is coming home.” Yes, weird line. There is one of those questionable dialogue choices. But even with some odd dialogue here and there, Tom Holland handles every line given to him with brilliance. This is one of the best performances of his career so far. Holland’s essential presence towards the end of the film is a highlight. That said, if I have one thing to say, of all the actors in the cast, Holland is perhaps the least disguisable. There are a lot of recognizable stars in this ensemble, and if I had to pick a weak link of the performances, Holland may be it. That is not to say he is doing a bad job with his role. But his transformation is not as noticeable as others in the cast. Even with what I just said in mind, if the Academy were to nominate him for his efforts, I would understand it. He is tremendous.

I am not kidding when I say this movie is full of recognizable stars. This feels like the “Super Smash Bros. Ultimate” of movie casts. Everyone is here. Zendaya. Charize Theron. Jon Bernthal. Robert Pattinson. John Leguizamo. Elliot Page. Lupita Nyong’o. Even Travis Scott. Much like one of Nolan’s previous projects, “Tenet,” Scott made an original song for this film.

Sadly, there is no Michael Caine. I cannot blame him though. He says he is getting old, and I respect his choice to stay out of this project.

Although if I had to name a favorite secondary character in this film, it is not Telemachus. It is not Athena. It is not Menelaus. It is the score.

It is so great to acknowledge the extraordinary talents of Ludwig Göransson, especially after watching “The Mandalorian and Grogu,” which I not only found to be his worst work yet, but the first time I recall watching a “Star Wars” project and being turned off by the music. This is Göransson’s third project with Christopher Nolan, and like a certain song suggests, three is indeed the magic number. I thought Göransson’s earliest collaboration with Nolan through “Tenet” was already a contender for the best score of the decade. This might beat that. The score almost serves as a hint of irony, especially when considering how this movie was entirely shot on a format as huge as IMAX. Compared to some of Nolan’s other works, the music is not that complicated. There is no huge, sweeping orchestra. Though much like “Tenet,” there is a lot of percussion. There are several scenes in which the tunes stand out, including one that dives into some background about the Trojan Horse. There is a particular beat that repeats, but every other second that beat increases speed. It is almost like a track you would put in a trailer for a horror movie. Another piece I love is a particular tune that sounds off every time Odysseus readies his bow. It is almost like his superhero theme. When you hear a specific set of four notes towards the final 10 minutes of the movie, they mean business.

I do not approve of filming in movie theaters while the film is playing. No, seriously. Stop it. This has gotten out of control. But I did see a video online where the four note leitmotif plays in the final 10 minutes and the audience just starts losing their minds like they are at a concert. Having seen this exact moment, I get why.

While there is still debate as to whether “The Odyssey” is the year’s best film so far, I am more than certain I witnessed my favorite climax so far this year. Having been exposed to “The Odyssey” in high school, I was familiar with some of what was about to go down, but even with beforehand knowledge, the final 20, 30 minutes of the film were unbelievably satisfying and come after an entire movie whose buildup is immaculate. There is a scene towards the end where Odysseus narrates about something that happened during the war, and just when I thought his words were powerful enough, the visuals were just as emotionally charged. The final ten minutes deliver a well put together action scene that had me glued to the screen. “The Odyssey” is a several thousand-year-old text, so I have no idea if how much I would be spoiling here, but holy heck… Parts of this ending may leave you with all kinds of chills.

And of course, those chills are best experienced in IMAX… For more reasons than one.

IMAX screenings for this movie, whether they are in 70mm, dual-laser, XT laser, or even 2K digital, are selling like there’s no tomorrow. I have an IMAX 10 minutes from home. And it is not part of a multiplex. It is a proper, 8 story IMAX. Trying to get a ticket there is harder than solving a Rubik’s Cube! But if you can see this film in IMAX at least once, consider yourself blessed. For one thing, this is the first Hollywood feature shot entirely on IMAX film. There have been movies shot entirely on IMAX cameras, like “Avengers: Infinity War” and “Avengers: Endgame,” but those were shot digitally, and in lower resolutions. As for IMAX film in Hollywood cinema, Christopher Nolan has always been at the forefront when it comes to utilizing the technology ever since his first go with it in “The Dark Knight.” The results are always a feast for the eyes and allow the movie to reach full immersion. But never did I think we would see an IMAX movie entirely shot with the company’s film cameras. Leave it to Sir Nolan to prove me wrong, and put a gigantic grin on my face. This is something I have been dying to see for a good chunk of my life, if I could not make it happen myself. I have been obsessed with the IMAX film format since my early teens. I am happy to know Nolan has done everything in his power to keep it going.

One surprise I discovered in this film is that I was just about able to make out each line of dialogue given by the characters. As much as I enjoyed “Tenet,” I thought the sound mixing in that film was sometimes a failure. There is one scene in that movie that takes place on the water where subtitles are essentially required to understand everything that is being said. Not here. Nolan seems to understand this problem. On top of making new IMAX cameras, one thing that was made specifically for this production was a blimp that would cover the IMAX camera while it was in use. This was to solve issues related to background noise, including how much noise the camera itself makes. Yet the same time, having such a big blimp creates its own problems. On top of making the cameras themselves heavier to lug around during certain scenes, it can make it harder for the actors to see each other. So, a mirror system was built that way the actors could maintain eye contact. Despite the source material being old, “The Odyssey” feels like a generational product that is not only fun to watch, but brings new tricks to the table when it comes to filmmaking.

It is hard to tell if “The Odyssey” is going to be a one time thing, or if we are going to see more movies shot on IMAX film from start to finish. In fact, where does Nolan go from here? Nolan is at the center of implementing IMAX into Hollywood cinema, but in a way, this feels like the ultimate goal. It is his equivalent to climbing Mount Everest. He has not shot anything on IMAX 3D cameras. I do not think he is a fan of 3D, but that has to be the next step, right?

Do not get me wrong, any theatre is worth the price of admission for “The Odyssey.” IMAX… LIEMAX… NO-MAX… But I stand here saying that I do not think there is a single film in history that has been worth the price of admission for IMAX more than “The Odyssey.” This film is big, loud, clear, and most importantly, an excellent time regardless of the technical aspects.

In the end, “The Odyssey” is my favorite Christopher Nolan movie since “Interstellar.” There are movies, there are epics, and then there is Christopher Nolan’s latest masterpiece. Going back to “Interstellar,” which I have seen 5 times in theaters ranging from 2014 to 2025, “The Odyssey” is likely going to get at least three viewings from yours truly during its initial theatrical run. For awhile I was thinking that “Project Hail Mary” had a straight shot at being my favorite film of the year. I am not saying I like “The Odyssey” more, but if there was a runner-up right now for my top movies list of 2026, this is it. “The Odyssey” is the cinematic form at its absolute peak. This movie has already made more than a billion dollars at the box office, it is a hit with critics and audiences, and I can see why. The entire cast is on their A-game. The score is stupendous. The techniques that went into the making of this film look incredible in the finished product, and those are just the ones that you can see for yourself. I do have some slight nitpicks with the lighting, but they do not take much away from what is an excellent time at the movies. I am ecstatic to know that premium and IMAX screens are selling out for this film, even about a month after its release. If there is one movie you should see on the big screen this year, it is “The Odyssey.” I was talking to cousins recently and they said they might wait for streaming to watch “The Odyssey” as it is not their type of movie. I get that completely, but I think if you wait for streaming to watch “The Odyssey,” you are going to be doing yourself a massive disservice. If everything I just said has not yet convinced you to buy a ticket for “The Odyssey,” then maybe my score will, because I am going to give the film a 9/10.

As far as I am concerned, this film’s legacy is not going to fizzle anytime soon. I studied “The Odyssey” in high school, and if that continues to be a part of students’ required material, I am going to be so jealous. Nolan’s film is rated R, so we shall see if students, particularly those in certain years of high school or below, will be able to watch it in class, but if they are given permission, they are going to be introduced to one of the finest masterpieces of cinema ever created with a crowd of their peers. Frankly, if I were in an English class, and I got to watch “The Odyssey” as a required assignment, I would probably kiss my teacher on the mouth. Please go see this movie. You will thank me later.

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

Thanks for reading this review! If you have not done so already, check out my latest episode of Movie Requests featuring Elijah Wood, Frodo from “Lord of the Rings” himself! In the video, he requested I should watch “Festen,” or “The Celebration” as it is known in English. To find out what I thought of the movie, click the video above! If you enjoy the video, please leave a like and subscribe to my YouTube channel!

Also, I will let everyone know that my next guest in the series is going to be Amy Sedaris! You may know Sedaris from films like “Elf,” “Is This Thing On,” “Jennifer’s Body,” and “Puss in Boots.” You can also find her on television shows like “Strangers with Candy,” “The Mandalorian,” “At Home with Amy Sedaris,” and “Unbreakable Kimmy Schmidt.” She has quite the prolific resume! Work has already started on her episode, I will have more details soon, but look forward to it. It is gonna be a good one.

My next review is going to be for “Her Private Hell!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Haunted Heist,” “Spider-Man: Brand New Day,” “I Want Your Sex,” “The Invite,” and “Cookie Queens.” 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 Odyssey?” What did you think about it? Or, what is the greatest movie theater experience you ever had? And I am not just talking about the quality of the movie… What is a cinema experience that checked every box for you? The film looked great, sounded fantastic, and truly felt like a once in a lifetime event? Let me know down below! Scene Before is your click to the flicks!

Disclosure Day (2026): Spielberg’s Latest and Most Complex UFO Story

Posted on by Jack Drees

“Disclosure Day” is directed by Steven Spielberg (Close Encounters of the Third King, The Fabelmans) and stars Emily Blunt (Edge of Tomorrow, The Fall Guy), Josh O’Connor (Challengers, Emma.), Colin Firth (Love, Actually, Kingsman: The Secret Service), Eve Hewson (Bad Sisters, The Knick), and Colman Domingo (Sing Sing, Wicked: For Good). This film is about a meterologist and a cybersecurity expert who find themselves in the center of a movement to unveil government secrets about alien life.

© Universal Studios. All Rights Reserved.

Sort of in the way that there are no two words in sports that seem to match the excitement of “Game 7,” there are no two words in cinema that seem to match the excitement of Steven Spielberg. Or… At least that seems to have been the case until recently. Prior to “Disclosure Day,” Spielberg’s two directorial outings post-COVID were “West Side Story” and “The Fabelmans.” Both films are astounding in their own way, but neither was a financial success. Sure, both came out at a time where moviegoers were staying home more and perhaps more selective with what they chose to see. But if the sales for Christopher Nolan’s “The Odyssey” say anything, we still live in a world where a director’s name can be a huge selling point for a film. Spielberg is one of the best in the industry, so of course I bought a ticket for “Disclosure Day” as soon as I could.

When I see a ton of actors I recognize in one movie, it often gets me excited to see how they play off each other. I always get the impression that these people know what they are doing and do it well. At the same time, it is a little distracting, because having seen this cast’s faces, I already have an idea of what to expect from them. Thankfully, everyone in this film is brilliant. From Josh O’Conner, who does a great job allowing the audience to feel the wonder of the story. To Colman Domingo, whose character’s direct mannerisms do a fantastic job balancing the film’s overall tone. To Emily Blunt, who… What can I say? Emily Blunt has never been better. And there is a chance she will never be better than she is in this film.

© Universal Studios. All Rights Reserved.

We are only halfway through 2026, but I hereby declare that the race for Best Actress is already over. If we get a performance that somehow surpasses the incredible talents and range on display from Emily Blunt, then this is likely going to be one of the greatest years for cinema ever. Blunt is tasked with so much throughout the film, some of which I downright refuse to spoil. I remember watching the trailer, and seeing that moment where she was speaking gibberish during a weather forecast. It is super engaging in the full context of the film. I was also shocked at how well the gibberish came across. When I heard it in the marketing, part of me thought, “Well, that’s probably gonna end up sounding like nails on a chalkboard.” I was delighted to be colossally wrong.

Speaking of surprises, John Williams has still got it. I really shouldn’t be surprised. It’s John Williams. He’s done some of the best film scores. But there was a magic to this one in particular. The dude is 94, which in my mind meant a couple things. Between his previous experience and his old age, he’s already done so much great work to the point where it makes me wonder if he’s possible to deliver something as memorable as he did back in the day. I was wondering if he was just going to phone it in. But at the same time, with age comes knowledge. And knowledge is power. Trust me when I say this score is mighty powerful.

© Universal Studios. All Rights Reserved.

Prior to seeing “Disclosure Day,” I heard from some people who had already seen it comparing it to Christopher Nolan’s “Tenet.” For the record, I have liked every film Christopher Nolan has helmed. “Tenet” included. It is not his easiest film to understand, even after several viewings, but it is an experience unto its own. There are few movies that gave me something akin to it. I can see why the two films share some similarities. Both feature clever sci-fi concepts, contain brilliant musical scores, and run at a rather quick pace. In fact, one thing I thought both movies did very well is that they set the tone and got straight to the action from the first minute. The movies may be long, but they do not waste time. Much like “Tenet,” I would also like to watch “Disclosure Day” a second, perhaps a third time. And unlike “Tenet,” one of those reasons is not because the sound mixing was sometimes terrible. The sound in this movie is actually quite great. In fact, technically, this film is one of the best overall cinematic experiences of the year. The color palette had this old school pop to it. The editing was impeccable. There is not one shot in the movie that I thought looked questionable.

Although like “Tenet,” “Disclosure Day” can sometimes feel clunky. “Tenet” is clunky in its complicated, confusing approach to its story and progression. “Disclosure Day” on the other hand feels a little more straightforward and easier to digest. Yet as the film enters its climax, it does sometimes feel riddled with conveniences. The climax is exciting and it did have me, at times, on the edge of my seat, but nevertheless. Am I rooting for the protagonists? Sure. Yet at the same time, there seems to be a lot of dumb luck that throws things off for me. Much like Edgar Wright’s “The Running Man,” the climax of “Disclosure Day” is most definitely the weak point. This film’s climax is much better. Despite its flaws and recently mentioned conveniences, it is undoubtedly entertaining and fits the flow and spirit of the story.

If I had to rank the Steven Spielberg-directed UFO films, I think I would put “Close Encounters” on the bottom. It is a good movie, but I like certain parts of it more than others. At the top, is “E.T.,” which has solid characters and an emotionally powerful ending. “Disclosure Day” is somewhere in between. It is good, but not fantastic. That said, I am curious to know if the ranking could change after multiple viewings. That said, figuring out my next viewing for this film is going to be tough. I have so many movies to watch, and so little time.

© Universal Studios. All Rights Reserved.

In the end, “Disclosure Day” is a thrilling, albeit confusing ride. Even with its flaws, I do think this movie is worth watching at least once. And depending on how that initial viewing goes, maybe it is worth watching again. Not necessarily because it could end up being your favorite movie on the first go. I say this because this comes off as a movie that I imagine getting better as I digest it and unpack it. Maybe the same could be true for you. Although if there is any reason to watch this movie at all, it is Emily Blunt, who gives a career-defining performance as Margaret Fairchild. Trust me, look forward to seeing some of the best acting of your life. I am going to give “Disclosure Day” a 7/10.

“Disclosure Day” is now playing in theaters. Tickets are available now!

Thanks for reading this review! In case you missed it, be sure to check out my latest episode of Movie Requests, featuring Sandi Harding, the owner of the last Blockbuster Video that is still open! She requested I should watch “The Goonies!” What did I think of it? Watch the video and find out! Be sure to like the video and subscribe to my YouTube channel if you want to see new episodes of Movie Requests as soon as possible!

My next review is going to be for “Toy Story 5!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Supergirl,” “Jackass: Best and Last,” “Obsession,” “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” and “The Odyssey!” 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 “Disclosure Day?” What did you think about? Or, what is your favorite Steven Spielberg UFO film? Or even, your favorite film of his in general? Let me know down below! Scene Before is your click to the flicks!

They Will Kill You (2026): Cult Craziness Ensues in This Stylish Action Flick

Posted on by Jack Drees

“They Will Kill You” is directed by Kirill Sokolov (Why Don’t You Just Die!, No Looking Back) and stars Zazie Beatz (Deadpool 2, Joker), Myha’la (Swiped, Leave the World Behind), Paterson Joseph (Wonka, Timeless), Tom Felton (Harry Potter and the Sorcerer’s Stone, Fackham Hall), Heather Graham (The Hangover, Boogie Nights), and Patricia Arquette (Boyhood, Severance). This film follows a woman named Asia, a recent hire at a high-rise in New York City, as she uncovers its ties to a Satanic cult and does what she can to survive against those who make up the place.

Part of me wonders what the heck Warner Brothers was thinking with the release of “They Will Kill You.” Not the fact that they put it out at all, but rather that they put it out when they did. As someone who loves the first “Ready or Not” movie to death, I figured it would be inevitable that “They Will Kill You” would end up reminding me of that absolute piece of cinema. But seriously, what prompted Warner Brothers to release this movie the week after “Ready or Not 2: Here I Come?” While these movies are not exactly the same, they have similar plots and vibes… Both films feature a woman who is forced to take on a mob of people who are trying to kill her. Oh, and that mob is connected to a cult.

Questionable release date aside, I was interested in “They Will KIll You.” Of course, with a title like that, how could I not be? The concept intrigued me, and the movie looked like an overall gory fun time. To me, that is exactly what this movie was. Is this film going to win any awards? Probably not. Though I would not start a debate if you thought this film should be recognized for its production design.

What makes this film great is more than just its style. And I say that realizing its style is quite pleasing. What makes everything work is the connection between Asia (Beatz) and Maria Reaves (Myha’la). The film starts with the younger versions of the two as they try to run from their abusive father. Asia shoots him and gets arrested, while Maria remains in his custody. The film then flashes forward a decade to where Asia becomes a housekeeper at a New York City high-rise. As she takes on the job, she learns more about the building’s history, as well as what could happen to her if she is not careful.

The progression of the story unveils the sisters’ backgrounds and capabilities. Asia is more than able to defend herself, and as the film’s action sequences reveal, she can look cool while doing it. Turns out Maria also made it into the high-rise. When Asia runs into her, we learn not only how she got there in the first place, but how she managed to stay for as long as she did. The backstory as to how Maria ended up surviving for so long makes for some meaty material. It added depth to her character, the high-rise itself, as well as the others inside it.

This is not the first time I have watched Zazie Beatz on screen. I enjoyed watching her supporting roles in “Deadpool 2” as well as “Joker.” That said, this is the first time I have seen her as a leading lady, and she carries this movie. After seeing her take on the leading role of “They Will Kill You,” I would not mind seeing another movie where Beatz plays the main character. She has proven herself to be a fine action star and carries a commanding presence.

When I talk about the things I enjoy in a movie, I will often go for the big guns and talk about performances, direction, writing, and so on. But at other times, there are films where “the little things” tend to stand out, and “They Will Kill You” is no exception. I will save the context for your viewing experience, but there is an important point of the story involving an eye. I thought what exactly they did with it was clever. The film also showcases what people in the high-rise like to do. We find out that there is an entire floor where groups of people could be in the same place having sex at the same time. For the record, the people living in this building are immortal, so they have to find things, or perhaps more accurately, people, to do, otherwise they might become bored.

This film cost $20 million to make, but each frame almost looks like a trillion bucks between the color palette, the action, and the sets. This film is directed by Kirill Sokolov. I had not seen any of his work prior to this movie. Having seen “They Will Kill You,” I was convinced that its style is what would happen if a Matthew Vaughn movie and a Guillermo del Toro movie had a baby. The movie is a perfect mix between fast-paced, boisterous action with a pinch of color to balance things out.

Not to digress from this movie, but having looked at Sokolov’s IMDb page, it mentions that one of his previous works, “Why Don’t You Just Die!,” is inspired by one of his favorite filmmakers, Quentin Tarantino. Filmmaking has been around for some time, so it is not surprising to know that newer filmmakers are copying older filmmakers that inspired them. This film reminds me of “Reservoir Dogs” or “Pulp Fiction” to a degree. These all have sick action scenes and are not afraid to show some blood and gore. It has been nearly seven years since a Quentin Tarantino-directed movie has hit theaters. If you are looking for a filmmaker that has a pinch of Tarantino’s DNA, then Sokolov seems to get the job done. Time will tell if Sokolov will have the career or name recognition of Tarantino, but if he keeps making good films like this one, that could end up being the case. Sokolov has a twisted mind, and his screenwriting efforts alongside Alex Litvak, who also has a story credit for the “Masters of the Universe” movie releasing later this year, prove to make for a solid hour and a half.

The film’s cast may be small, but its action sequences prove to feel giant. I am not in an immediate rush to watch “They Will Kill You” again. In fact, of the two big movies coming out within the span of a week that involve women surviving against cults, I would prefer to go back and watch “Ready or Not 2: Here I Come” a second time. Maybe it is because I have an attachment to the 2019 original, so there could be some bias. Nevertheless, I recommend “They Will Kill You.” Give it a watch sometime.

In the end, “They Will Kill You” is killer fun. The film is fast-paced, never boring, and is packed with brilliant setpieces. When I watched the trailer for this movie, I was intrigued by how the action sequences presented themselves. Having seen the movie, they lived up to the trailer. I was not surprised. However, what did surprise me was the film’s ability to get me engaged towards the two sisters’ connection. The movie has a good hook featuring the duo and successfully builds upon that. Go check this flick out. I am going to give “They Will Kill You” a 7/10.

“They Will Kill You” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you want to see another review, I am dropping a new episode of Scene Before’s brand new series “Movie Requests” Sunday, April 19th. It is going to feature “Avatar” actor Joel David Moore. I look forward to talking about his suggestion. If you want to see this review as soon as it drops, consider subscribing to my YouTube channel!

© Cool Girl Productions

My next review is going to be for “You’re Dating a Narcissist!” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Super Mario Galaxy Movie,” “The Drama,” and “Exit 8.” 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 “They Will Kill You?” What did you think about it? Or, in the spirit of Tarantino, what is your favorite Quentin Tarantino movie? Let me know down below! Scene Before is your click to the flicks!

All You Need Is Kill (2025): Groundhog Day – Anime Style!

Posted on by Jack Drees

“All You Need is Kill” is directed by Ken’ichirô Akimoto and co-directed by Yukinori Nakamura, making this their first official directing credits. This film stars Natsuki Nanae (Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train, Goodbye, Don Glees!), Ai Makami (Kokuho, Chastity High), Mô Chûgakusei, and Kana Hanazawa (Suzume, The Night is Short, Walk on Girl). This film is based on a light novel of the same name, which also inspired the 2014 live-action film “Edge of Tomorrow.” The film follows a young woman who has relive the same day over and over while dealing with an alien invasion. She crosses paths with a young man, and together, they fight to break the cycle.

I saw the trailer for “All You Need Is Kill” last month and was genuinely shocked I had not heard this movie was going to be coming out. Granted, I should not be too shocked, given how I have not read the light novel or the manga series. That said, I did recall the name “All You Need Is Kill” as soon as it popped up, and that is because I am a fan of “Edge of Tomorrow.” For those who do not know, “Edge of Tomorrow” is a film starring Tom Cruise as an American public relations officer who is forced into battle against aliens by his superiors. He quickly comes to realize that each time he dies, he reverts back to a specific point in his life that he has to relive over and over.

When I first saw “Edge of Tomorrow,” I thought of it as “Groundhog Day” with a sci-fi twist. While that is technically accurate, the film was actually inspired by “All You Need Is Kill,” which was written by a Japanese author and made with a Japanese mindset, so “Edge of Tomorrow” is in a sense, the Americanized version of “All You Need is Kill.”

…Although, now that I think about it… “Groundhog Day” did release before all of these… So, there is that.

As a fan of “Edge of Tomorrow,” I was looking forward to seeing what could be done with a movie that would likely end up feeling closer to the source material that inspired it. Now that I have seen “All You Need is Kill,” I have to say the film is quite solid. It is definitely worth watching if you are looking for a dazzling spectacle in addition to an admirable character piece.

While the characters in “All You Need Is Kill” are identical to those in the light novel, one difference that should be noted is that the roles in the story’s center are reversed. Instead of centering around Keiji, who this time around serves as a supporting character, the film’s protagonist is Rita. I have no problems with this change, mainly because I found both characters to be well written and each one seems to the serve the other in a way that benefits the story overall.

Both of these main characters have excellent chemistry and are not only fun to watch as a team, but it is nice to see how each character allows the other to realize what they are missing. One thing I noticed throughout the movie is Rita’s tendency to become overly emotional and cry on certain occasions. I have no idea how such a thing would play out for certain viewers, but I thought it was a great way to balance Rita out from Keiji, who tends to be a bit more reserved with his presence. By the end of the movie, this allows for some really good dialogue between the two.

I also really like seeing Rita learn how exactly her time loop works. Throughout the movie, we see Rita wake up in the same time and place, and do almost the exact same things each time, but she learns something during each go. She remembers what other characters say, whether they are directed specifically towards her or simply uttered in the background. Each time she dies, she tries a different move to avoid perishing, only to realize that she sometimes ends up doing so moments later in another way.

While the film is not a comedy, the constant cycle of death does allow for a funny moment or two. Every time Rita dies, she is reverted back to her bedroom where she is woken up by the sound of her alarm clock. When this happens, another character in the background yells from the other room, telling Rita her alarm is sounding off. At one point, Rita becomes so familiar with the same old song and dance that she tells the other character to shut up before they could finish reminding her about the alarm. Moments like that, and a couple others, did get a chuckle out of me.

The other standout to me in this film is the animation, which is almost ironic the more I think about it. Because this is a film where characters die on repeat, and yet, it is absolutely gorgeous and picturesque. The alien creatures in this film are presented in a vibrant color palette. They are incredibly easy on the eyes, almost to the point where it works in their favor. If I were in battle against them, I would be so distracted by their glitz to the point where I would die instantly. If you ever watch certain movies, you would notice that the villains would present themselves in a darker costume or a more “negative” color. Look at the “Star Wars” villains over the years like Darth Vader or Kylo Ren. This is not the case with “All You Need Is Kill.” While the aliens may look pretty, there is more to them than meets the eye.

This film is not even an hour and a half. Yet by no means is it rushed. I think the runtime is almost perfect given the story that has been told. I have no complaints about the pacing at all. In fact, it might be one of the best things about this film. It is, no pun intended, all killer, no filler. We come to realize the main character dies hundreds of times. The film does not show each death, but it makes time for ones that are arguably more important to the story and allow the final product to have a more compelling impact. The film gets to the point with each and every scene. Not every scene is presented in a TikTok-pace, but there are no moments that overly draw themselves out. This movie hits the Goldilocks zone in terms of engagement.

In the end, “All You Need Is Kill” is a fun movie. Rita and Keiji are an admirable duo and their journey throughout the film makes for quite the story. The animation is well done and emits a weird sense of peace in what is ultimately a dark world. The musical score in this film is also really good. I have no idea if I will listen to it down the line, but I dug it while watching the movie. Also, the soundwork is amazing. Every time the aliens make noise, it is not only easy on the ears, but also rather ominous. Technically, the film is a beast. I am going to give “All You Need Is Kill” a 7/10.

Again, I did not read the light novel, nor have I read the manga. The best comparison I have to this film is “Edge of Tomorrow.” In preparation for “All You Need Is Kill,” I rewatched “Edge of Tomorrow,” and I think both stories are equally engaging. The styles, while different, each serve their movie’s vibe perfectly. I think “Edge of Tomorrow” is an immersive ride that puts you in the middle of a futuristic war. Its darker color palette tends to serve its tone well. I also like William Cage as a character. That said, I also think “All You Need Is Kill” stands out for its more unique technical presentation and I find it to be the superior character piece. I am not saying one film trumps the other. If anything, both are great for their own reasons. I think certain things stand out in one film more than the other, but if it were a Friday night and I were to pick between either movie to watch, it would be like going to Ben & Jerry’s for ice cream and having to choose between Ameri’Cone Dream or chocolate chip cookie dough. Both choices, in the end, are winners, for their own reasons.

“All You Need Is Kill” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “Song Sung Blue,” “Mercy,” and “Send Help.” Stay tuned!

Also, if you missed it, be sure to check out the teaser trailer for Celebrity Movie Requests, the all new series where I review movies requested by your favorite stars, coming to Scene Before, and my YouTube channel! And while you are here, please watch the trailer, give it a like, and subscribe to my YouTube channel, hit the notification bell, that way you are up to date on the latest info Celebrity Movie Requests has to offer! If you want to see all of 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 “All You Need Is Kill?” What did you think about it? Have you read any of the prior source material? Is it good? And lastly, if you have seen “Edge of Tomorrow,” tell me your thoughts on that movie! Let me know down below! Scene Before is your click to the flicks!

The Smashing Machine (2025): Dwayne Johnson Stars in a Quirky Bore

Posted on by Jack Drees

“The Smashing Machine” is directed by Benny Safdie (Uncut Gems, Good Time) and stars Dwayne Johnson (Jumanji: Welcome to the Jungle, Central Intelligence), Emily Blunt (Edge of Tomorrow, The Girl on the Train), Ryan Bader, Bas Rutten (Paul Blart: Mall Cop, Kevin Can Wait), and Oleksandr Usyk. This film is about mixed martial arts fighter Mark Kerr and his life in and outside of the ring.

“The Smashing Machine” is maybe my most anticipated film starring Dwayne Johnson in a long time. I like The Rock, but he is not a thespian. He is beyond charismatic, but I never imagined him potentially holding an Academy Award in his hand. That is until this movie happened. If you are familiar with this film’s director, Benny Safdie, then this may remind you of one of his previous films.

Remember “Uncut Gems?” That film starred Adam Sandler, a talented comedian. However, when it comes to his film roles, he lacks range. The reception of his then recent films like “Pixels” or the “Grown Ups” franchise did not help things either. Having Johnson lead this film results in what one could describe as a departure from his typical fare where he simply plays himself.

This movie has a likable actor leading it, and a solid filmmaker directing it. So my question after seeing it is, “Why did I not enjoy this more?”

Admittedly, I am not much of a sports guy. And I do not know squat about MMA. Maybe that has something to do with it. But I am capable of enjoying other movies about combat sports like “Fighting with My Family,” which interesting enough, literally features The Rock playing himself… Or “Cinderella Man,” an engaging underdog story set during the Great Depression. So, what was missing with this flick? If I were to compare this film with those other two, the first thing that comes to mind is that the lead in this film is not exactly someone I cared for. Both “Fighting with My Family” and “Cinderella Man” have admirable lead characters that I could root for. Even if those films had some cliches, they felt like experiences.

Courtesy of A24 – © A24

Rather than experiencing “The Smashing Machine,” I felt like I was observing it. To my lack of surprise, Dwayne Johnson is excellent as Mark Kerr. It has to be his greatest performance to date and I can see him being nominated for an Oscar this season. But as I watched this character, very rarely was ever able to attach myself to him. The screenplay has the makings of a masterpiece on paper, but the execution sometimes feels flat. The film is based on true events and the story itself is intriguing as a concept, but it does not stick the landing.

That said, Johnson is not the only standout performance in this film. I came for “The Rock,” but you are like me, chances are you will stay for Emily Blunt, who has fantastic chemistry with her on-screen partner. This should not come as too much of a surprise because the two have previously starred alongside each other in Disney’s “Jungle Cruise,” so they probably have a feel for each other’s rhythm. Thankfully, unlike “Jungle Cruise,” “The Smashing Machine” dives more into each star’s chops in conversational, sometimes heavily physical scenes, rather than having them play a small part in a special effects-heavy adventure.

Going to back “Uncut Gems,” if you really enjoyed the style in which that movie was presented, “The Smashing Machine” is not exactly presented in the same manner, but the two projects feel very similar. I say this because both films are not always the most comfortable to watch. When I watched “Uncut Gems” I found the film to be fun and hilarious despite its constant chaos and ridiculous pace. However, fun is not a word I would use to describe “The Smashing Machine.” Sure, like usual, The Rock has charisma, but the story is often serious. Mark Kerr spends quite a bit of time making those around him uncomfortable, and it thereby made me uncomfortable. Both films’ protagonists also have their clear vices, whether its Howard Ratner’s gambling, or Mark Kerr’s substance abuse.

The scores also feel like cousins. I cannot confirm that is a good thing, because this film’s musical score felt very out of place. Personally, I would have preferred something a bit more rock and roll or on the traditional orchestra side. Some of the tunes sound like they belong in a nightclub from another dimension. Overall, it would be inaccurate to call the music in “The Smashing Machine” incompetent, but it feels like it belongs in something much more psychedellic. Maybe it would work if someone were to make a more low budget version of “2001: A Space Odyssey” and shot it in 16mm instead of 65mm.

Speaking of which, much of this film was shot on 16mm film. I cannot say much of “The Smashing Machine” is ingrained in my memory, but I will remember this film because of its vibe. Even during scenes where things are supposed to feel big, the camera often helps bring things down to earth. Never once does this film feel overly explosive. Sometimes it works and lets the film shine in its core character moments. But things do not always work in the rest of the movie.

“The Smashing Machine” barely had an IMAX release, which kind of shocks me. Sure, “One Battle After Another” and “Tron: Ares” came out at similar times, and both are notable films. “One Battle After Another” has prestige and is shot in VistaVision, and “Tron: Ares” is a big budget Disney flick. But “The Smashing Machine” literally contains a scene shot in IMAX, and I know that from behind the scenes info, as well as watching the movie itself. As the film enters its final scene, the aspect ratio changes, even in regular theaters. Traditionally, when an IMAX-shot film changes to its namesake ratio, I find it to be incredibly riveting. But not this time.

Much of the film was shot in 1.85:1, which is close to the traditional 16:9 widescreen seen on most modern programming. To see the film cover my theater screen in this ratio for a majority of the runtime and then suddenly jump to 1.43:1 was completely jarring. Maybe if I watched this film in a proper IMAX I would have felt different, because those screens are designed for scenes like the one at the end of the film. But the transition in my traditional AMC screen made this scene feel less satisfying, and to add another dose of disappointment, less immersive. It is a small thing to point out, and from a character arc perspective, I feel like the film’s technical specs played a part in describing Mark Kerr’s mood at the time. From that point of view, I get why the film was shot and presented the way it was, but it does not change the fact that the on-screen result of all this feels poorly executed.

In the end, “The Smashing Machine” is one of the biggest disappointments of the year for me. I am probably not going to remember much about this movie in the coming months. And that is kind of sad, because this film could have represented something else for me. It could have simply represented a shift in Dwayne Johnson’s career. In the realm of cinema, Johnson is well known as the big, buff, blockbuster guy. Should he stick to that? Judging by how much money this movie made, he might end up doing that. Although, if he wins an Oscar, that could change. “The Smashing Machine” is by no means an incomprehensible mess. But this movie was not for me. Benny Safdie is by no means on my hate list. I cannot wait to see what he can bring to the table as Bowser Jr. in “The Super Mario Galaxy Movie.” That said, this is not his best work. I am going to give “The Smashing Machine” a 4/10.

“The Smashing Machine” is now available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for a movie I have been looking to talking about for the past four years, “Shelby Oaks,” directed by first time feature director Chris Stuckmann. If that name sounds familiar, then chances are you have seen him through his film reviews on YouTube. Stuckmann played a part in inspiring me to write on this blog, so I look forward to finally talking about this film. Also coming soon, I will be sharing my thoughts on Guillermo del Toro’s “Frankenstein,” “Good Fortune,” and “The Running Man.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Smashing Machine?” What did you think about it? Or, in the spirit of the Safdie brothers, are you looking forward to Josh Safdie’s “Marty Supreme?” The film looks as kinetic as can be and I am here for it. Let me know your thoughts down below! Scene Before is your click to the flicks!

The Accountant 2 (2025): Ben Affleck and Jon Bernthal Shine in Two Hours of Punches and Booms

Posted on by Jack Drees

“The Accountant 2” is directed by Gavin O’Connor, who also directed this film’s 2016 predecessor. This film stars Ben Affleck (Justice League, The Way Back), Jon Bernthal (The Walking Dead, The Punisher), Cynthia Addai-Robinson (Spartacus, Arrow), Daniella Pineda (Jurassic World: Fallen Kingdom, The Originals), and J.K. Simmons (Spider-Man, Whiplash). This film once again follows Christian Wolff who teams up with his brother, Braxton, to find mysterious assassins.

Before going to see “The Accountant 2” I made an effort to rewatch the original. If you remember my amateurish review you would know that I connected to the film at the time. This was mostly due to how the protagonist was written and executed. Ben Affleck plays an individual who has high functioning autism. I have grown up having many of the traits and quirks that we see from various stages of this character’s life such as his lack of urge to socialize with others. I also thought the film does a good job at providing a humanized portrayal of autism as opposed to a more stereotypical, robotic interpretation.

Is “The Accountant 2” as good as the first one? No, it is not. But is it still worth watching? Perhaps. My biggest problem with this film is that it feels less story-driven and a little more action driven. It’s like the writers listened to Elvis Presley’s “A Little Less Conversation” and suddenly thought, “We’ve cracked the code!”

Now I have no problem with good action. And to be honest, this movie has some good action. However, the action scenes sometimes lack the oomph of those in the original. Part of it is because the story here is rather convoluted. I am not going to pretend the story in the original riveted me all the way through. The movie relied way too much on flashbacks towards the end to the point of utter boredom. But this sequel at times feels overstuffed.

While the film may be slightly above average, one great thing about it is the chemistry between Christian (Affleck) and Braxton (Bernthal). The film spends lots of time putting these two in the same place, and every scene between them is worth the price of admission. There is a fantastic scene where Bernthal says he wants a dog and Affleck says everything possible to confirm that he is a cat person. The delivery between these two is on point each and every time.

Going back to how I relate to the characters in this franchise, I almost see Christian and Braxton as a personal representation of a conflict that has been circling in my mind nonstop throughout my young adult life. While these two bond as brothers, they have their differences. One key difference between these two is their individual wants in life. We see Braxton as a lone wolf, which I have always been throughout most of my life. If he puts his mind to something, he does it. He works on his own terms. But then we find out a little bit about Christian, who would like to have a partner he can check in on every once in a while. In this way, Christian, is a little more than meets the eye. You would not expect someone of his mannerisms to be interested in a relationship, but I buy his desire. As I watched this film I thought these character differences represented my personal yin and yang. Do I love being alone? Quite a bit, actually. But do I want someone to check in on? A part of me thinks about it every day.

Speaking of conflicts, I have a conflicting opinion regarding Christian Wolff in this film. Starting with the positives, I genuinely think Ben Affleck put a lot of effort into his performance and he is a standout as the character. Although some of the choices that were made in regard to the character threw me off. I get that Wolff has autism, but he comes off as a robot in this film, especially in comparison to the original. If anything, Wolff is sometimes a lackluster stereotype for people on the spectrum. For some reason, some of his line delivery and choice of words lack authenticity. I would not say that this film paints autism in the worst light, but sometimes his performance, particularly through his onslaught of stoicism, is overly emphasized. Sure, in the original, Wolff may be a bit robotic, but he also has a heart as well as feelings. In this sequel, he sounds more like the T-800. Sure, Affleck is not entirely robotic. When paired with Bernthal in this film, the two seem like genuine brothers. But if I were to judge Affleck by himself, he is sometimes soulless. Again, this is not an incompetent performance. I just think a little more depth and pizzazz could have been added to it.

“The Accountant 2” is not a movie I can see myself renting or buying to watch on my own schedule. To me, it is a cable movie. It is a movie that I would watch on a Sunday at home and eventually rely on for background noise. Now whether this movie will ever end up on cable is another story. The film is from Amazon after all and I doubt they want anybody leaving Prime or whatever the heck MGM+ is. Seriously, who uses MGM+? Anyone? If you have not seen the original “Accountant,” I much recommend that film over this one. It moves at a better pace, is less convoluted, and honestly does a much better job at characterization than the sequel. I enjoyed getting to know Christian Wolff not only through his profession but as someone who is on the spectrum. I thought the flashbacks during that film, most of them anyway, were used to its benefit. Like this sequel, the original has some decent action, but I cared more about what happened during those action scenes based on what I was learning about Christian as a character at the time. The sequel’s action is not bad, but it suffers from inferior character progression as well as storytelling. If it were not for the perfect chemistry between Affleck and Bernthal, I do not think I would be lending as much praise to this film.

In the end, “The Accountant 2” has its ups and downs. There are other recent films I would recommend watching before this one, especially in the action genre. Although if you are simply looking for good action, you will find it here. But this film is not a full meal. It satisfies in some ways and leaves a little to be desired in others. Do not get me wrong, Ben Affleck does not do a bad job in this film, and neither does Jon Bernthal. But I would not rush to see this film right away. I am going to give “The Accountant 2” a 6/10.

“The Accountant 2” is now playing in theaters and is available to stream on Prime Video.

Thanks for reading this review! My next reviews are going to be for “Bring Her Back,” “Friendship,” “Ballerina,” “The Phoenician Scheme,” and “The Life of Chuck.” 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 Accountant 2?” What did you think about it? Or, which of the two “Accountant” films do you like better? Let me know down below! Scene Before is your click to the flicks!

Sinners (2025): Michael B. Jordan Pulls Double Duty in This Solid Vampire Flick

Posted on by Jack Drees

“Sinners” is directed by Ryan Coogler (Creed, Black Panther) and stars Michael B. Jordan (Creed, Black Panther), Hailee Steinfeld (Spider-Man: Into the Spider-Verse, Hawkeye), Miles Caton, Jack O’Connell (Back to Black, Skins), Wunmi Mosaku (Moses Jones, Vera), Jayme Lawson (How to Blow Up a Pipeline, The Batman), Omar Miller (Ballers, CSI: Miami), and Delroy Lindo (Da 5 Bloods, The Good Fight). This film is about two criminal twin brothers who start over in their hometown, only to discover that a greater evil is about to welcome them back.

Courtesy of Warner Bros. – © Warner Bros.

I have been eager to see “Sinners” since the first trailer dropped last year. It did not explain a ton, but like a lot of good first trailers, it gave “enough” to sell me. And that is putting things lightly. Because I thought it was very well put together. The film had a lot to like behind the scenes. Michael B. Jordan playing two roles… Other great cast members like Hailee Steinfeld in the supporting roles… Ryan Coogler in the director’s chair… Things were lining up perfectly. And to later find out that the film was shot on IMAX cameras, I could not be more in if I tried. The hype I had for this film was through the roof. So was it worth the excitement? To a certain degree, yes.

This might shock some of you, “Sinners” is not necessarily my favorite film of the year so far. If I had to be honest, I think it had some minor pacing issues and I cannot say I walked out of the theater remembering every single character’s name. I was engaged with the film, but I have seen better this year when it comes to the story. It is hard to say the film is overrated though. I can totally see why other people would consider it to be a masterpiece. I do want to watch the film again at some point, and I genuinely think it would benefit from a second viewing.

That said, I think when it comes to pure experiences, there are few that compare to “Sinners.” For the record, I saw this film in IMAX 70mm, meaning I was able to experience “Sinners” in the most definitive way possible, with the finest detail and clearest sound, so there were definitely some enhancements. Regardless of however you see “Sinners,” do so on the biggest screen you can.

This film is shot entirely on 65mm film, some of it in IMAX. Every frame of this film looks immaculate. Several shots might as well be a painting. This movie also makes history, as it is also the first film shot in IMAX by a woman. Autumn Durald Arkapaw is behind the camera for this project and there is so much to love about how she handled the end product. Many of the exterior shots in particular are going to linger in my mind throughout the year.

Much like another one of Ryan Coogler’s films, “Black Panther,” “Sinners” is a great time. Also like “Black Panther,” this is a film perhaps best suited for Ryan Coogler’s voice. This is a film that I, a straight white male, would probably sully if I were to write or direct it myself. There is a sense of pride in each scene, each shot, each line, and that is because of Coogler’s touch. He clearly knows what he is doing. If you remember “Black Panther,” one of my favorite moments from that film is this one action scene in a casino where the camera navigates between levels to get a solid view of different things that are going down. I thought it was a flawless one take scene, but without going into detail, there is a one take scene during this film that might surpass that moment if you ask me when it comes to execution.

Not too surprisingly, I am quite impressed with the film’s cast. Of course, you have a talented actor in Michael B. Jordan who plays not just one, but two roles. He does a good job here. Both of his characters have charisma. Despite some differences, the two twins genuinely feel like the same person at times. That might have been the point because watching these two reminded me of my own interactions with twins in real life. Mainly because as much as I have built a bond with some of them, I will admit, despite them wearing different outfits and letting off slightly different mannerisms, it is occasionally hard to tell which one is which unless you are digging for certain features.

From mainstay talent to young talent, this film is also the acting debut of Miles Caton. After seeing this film, I am convinced that Caton is going to have a great career. Now he is at the helm of a terrific director, so part of his on-screen talent may be owed to Ryan Coogler. Even so, seeing what I have seen of him in this movie, it shocks me that this is his first role. If anything I would figure he would have a few under his belt. Maybe they were never documented on his IMDb page, I do not know.

While I cannot see it winning an Academy Award, the standout performance for me in this film is Hailee Steinfeld as Mary. I think of all the characters in this movie, she is the one written in the sense that allows for the most range. If you have seen the trailer, you can probably get a sense of where this character is going, where the narrative takes her. But when it gets to “that” point, it is satisfying. I have seen Hailee Steinfeld in other projects, but this is arguably the most fun she has been on screen. It is not my favorite role of Steinfeld’s, but if I were to determine which role of hers appears to be the most fun, I think it comes down to “Sinners” and “The Edge of Seventeen.”

“Sinners” is a vampire movie, and it is a good vampire movie at that. But it kind of gives you a little bit more than just vampires. It takes on concepts such as brotherly connections, music, and then it goes ahead and plops in vampires as a bonus. And when it gets to the vampires, it is a treat. The film has its scary moments. It has its fun moments. The action during the vampire-centered scenes is very well done. This is a film that if you are to see it, try do so on the big screen. The music in the film is also attention-grabbing from the foot-tappable soundtrack to Ludwig Göransson’s admirable score.

If I had anything else to say, and I hate to say this, but I will be real, I am going to remember this film more for its second half than its first. For me, this film took a bit to get going, and I do mean a bit. But when it gets into gear, it goes at lightspeed. That said, the entire film is worth watching. Check it out.

In the end, “Sinners” is a thumbs up. It is another solid outing from director Ryan Coogler. If the Oscars were tomorrow, I could totally see “Sinners” getting some awards attention, especially in the technical categories like film editing and cinematography. But again, I do want to emphasize that this film is one that starts off okay but gets better as it goes. I do not want to confuse anybody. I never said this film was bad, but the second half is much more inviting to me than the first. I might be alone in this statement. I have talked to friends who say that this film is peak cinema. If anything, I think it is a fine movie. I would watch it again. And I will say this again, maybe it would benefit from a second watch. I am going to give “Sinners” a 7/10.

“Sinners” is now playing in theaters. Tickets are available now.

Marvel Studios/MARVEL STUDIOS – © 2025 MARVEL. All Rights Reserved.

Thanks for reading this review! My next review is going to be for Marvel’s latest project, “Thunderbolts*!” Stay tuned! Also coming soon, look forward to my thoughts on “Rust,” “The Ruse,” “Mission: Impossible – The Final Reckoning,” and “The Accountant 2.” If you want to see my thoughts on these films 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 “Sinners?” What did you think about it? Or, what is your favorite film directed by Ryan Coogler? Let me know down below! Scene Before is your click to the flicks!

Kraven the Hunter (2024): Sony… PLEASE. STOP.

Posted on by Jack Drees

“Kraven the Hunter” is directed by J.C. Chandor (A Most Violent Year, Margin Call) and stars Aaron Taylor-Johnson (Godzilla, Avengers: Age of Ultron), Ariana DeBose (West Side Story, Wish), Fred Hechinger (The White Lotus, Gladiator II), Alessandro Nivola (Amsterdam, Jurassic Park III), Christopher Abbott (Girls, The Sinner), and Russell Crowe (Thor: Love and Thunder, Gladiator). This film is about Sergei Kravinoff, AKA Kraven the Hunter, and explores his complex relationship with his father in addition to how he uses his hunting skills to find targets and seek revenge.

© Sony Pictures Entertainment

Have you guys ever heard the saying “Fool me once, shame on you. Fool me twice, shame on me,”? That phrase could almost apply to my experience with the Sony Spider-Man Universe. Note the use of the word almost. I say this because I basically go to see Sony’s Spider-Man villain standalone films out of obligation. Very rarely do I look forward to these movies. I think the closest I got to actually looking forward to one of these movies was “Morbius,” which ended up being my worst film of 2022. Although now that I think about it, I was intrigued by at least one trailer for “Venom: Let There be Carnage” before it came out. At least there is that.

For those playing catchup, let me give you the rundown so far on my thoughts on all the movies in the Sony Spider-Man universe… First “Venom” movie… Terrible! A lot of people seem to think it is okay. I think it is one of the most bland, boring, and horribly polished comic book movies ever made. Second “Venom” movie… Actually, pretty good. I thought the action was fun, it ups the one good thing about the original movie, specifically the humor. And it contains maybe the greatest PG-13 f-bomb in cinematic history. “Morbius…” A big fat joke! Other than Jared Leto’s performance and parts of the first act, there is nothing redeeming about this film. Oh yeah, let’s not forget that the marketing lied to its audience and the film may be responsible for the most tacked on and abysmal end credits scenes of all time. “Madame Web…” somehow WORSE than “Morbius!” Not even big name actors can save this abomination! Also, for some reason, this schlock saw the light of day despite being written by the same team who wrote “Morbius.” Bad dialogue, okay at best action, horrible camerawork, and another case of deceptive marketing. Genuinely one of the worst films I have ever seen, and if you think I am saying this for dramatic effect, I have some magic beans to sell you. And lastly, “Venom: The Last Dance…” Safe to say, I was immensely bored. Other than the chemistry between Eddie and the titular character on top of one admirable motivation between them, I thought this threequel was a waste of time. Add on a whole Area 51 subplot that nearly put me to sleep, then you have a recipe for, surprisingly, the second best Sony Spider-Man Universe movie. How sad.

Thus far, the Sony Spider-Man Universe, or whatever you want to call it at this point, is one for five. People say the recently finished DCEU sucks compared to the MCU? Oh, boy oh boy, this universe WISHES it were the DCEU! That universe has cinematic bangers like “Wonder Woman” and “The Suicide Squad!” The DCEU even spawned the incredible TV series “Peacemaker!” While definitely inconsistent, when that cinematic universe fired on all cylinders, it was on the right track. But “Kraven the Hunter” had something attached to it that the other movies did not… An R rating! Yeah! That “Morbius” nonsense? That is for babies! Now it is daddy’s turn! If “Deadpool” can get away with an R, so can “Kraven!”

Having seen the movie, it may be able to get away with an R, but it certainly is not getting away from my infinite rage. This is yet another epic fail for Sony’s Spider-Man Universe. Though am I really surprised?

Sony, how many times do we have to do this same old song and dance before it becomes stale? I think this is a great question.

…If I were an imbecile!

This whole Sony Spider-Man Barrel of Monkeys was already stale from the first of these wannabe “Spider-Man” flicks. I ask this question specifically to you guys. Genuinely! What on earth are you doing?! What is it going to take for this saga of nonsense to end?! I understand that the rights to “Spider-Man” are your most valuable asset, but if you keep making movies like these, then this whole property is going to be a joke. Tom Holland is not going to be playing the character forever. The “Spider-Verse” series can only go on for so long. You can only do so many crossovers involving the three live-action Spider-Men before they stop acting. The solution is not to continue making cheap, boring anti-hero movies featuring villains as the main character. Movies like “Kraven the Hunter” justify cases where movies like “Batgirl” get scrapped by the studio for a tax write-off.

Honestly, if someone popped me the question as to which movie I would want to watch more, and I had to pick between the first “Venom” and “Kraven the Hunter,” I might go with “Venom!” At least in “Venom,” you had some occasional funny lines and some decent chemistry between the two main characters. Aaron Taylor-Johnson is clearly giving the lead role his all here. But he does not have a great script to back him up. While Aaron Taylor-Johnson is playing the lead role, he is not even the most high profile actor on the roster. The film also features Russell Crowe, and I think it is safe to say that I was not entertained by his completely one-dimensional so-called character. Crowe plays Kraven’s father, and not only is he unworthy of even a Dollar Tree card on Father’s Day, but he has incredibly repetitive, cliche dialogue. The movie clearly establishes him as far from the finest father figure. That seems to be the point at times. But I cared so little about the story and characters of this film to the point where Crowe’s character comes off as a joke.

Then you have Ariana DeBose, who is one of the most dynamic, lively, energetic talents working today. The woman in the past couple years deservedly won an Academy Award for “West Side Story.” She was also pretty good in other films following that, even if they did not get the best reviews. Unpopular opinion, I really liked “Wish…” I said what I said. DeBose, to my shock and amazement, plays one of the most forgettable core characters of a comic book film I have ever seen. If you were to ask me what the purpose of this character was in a few years from now, I will probably refer to her as the boring tarot card lady or something, because while her presence serves the story, it does so in maybe the dullest way possible. Shoutout to Sony for making two movies in the same year that somehow made me give me even less of a crap about tarot cards than I already do. Anybody remember the film “Tarot” from earlier this year? No? If you are loyal to this blog you will hear about it again soon on the top 10 worst movies of 2024 list once I get finished with that. You know, kind of like this atrocity some like to call a comic book movie.

Going back to what I said about “Madame Web” and how a big name cast could not save the film from being bad. I think “Kraven the Hunter” somehow takes that inferiority to another level. Because yes, Dakota Johnson and Sydney Sweeney have been in big projects. Some good, some bad. That is the classic life of an actor, but they are both lucky enough to achieve their level of fame. Sweeney has been nominated for a couple Primetime Emmys so congrats to her. That said, “Kraven the Hunter” is much more excruciating to think about because while “Madame Web’s” Sweeney has gotten some awards attention, “Kraven” has multiple actors who have actually have prestigious awards on their mantle.

© Sony Pictures Entertainment

Again, you have Russell Crowe who has an extended career, an Academy Award, a BAFTA Award, and two Golden Globes. Circling back to Ariana DeBose, it was like watching Uma Thurman as Poison Ivy in “Batman & Robin,” but worse. Because while Thurman was nominated for an Academy Award for her role in “Pulp Fiction,” a couple years before that flopbuster came out, DeBose actually WON her Academy Award. I do not think DeBose’s performance is Razzie-worthy. There is nothing extreme about it that makes it stand out as one of the worst performances of all time. The best word I can use to describe it would be “tiring.” I guess that is one reason to watch this movie again. If I am really tired and want to catch some z’s, “Kraven the Hunter” might make for solid background noise.

I will be fair to Crowe, however. As infuriating as his character is to watch, I must admit he makes the most of a crappy script with his chops. Crowe does his best with the material to the point where I almost cannot imagine anyone else in his role. So… Yay?…

Courtesy of Sony Pictures – © 2024 CTMG, Inc. All Rights Reserved.

Another actor I enjoyed watching in this hot mess? Aaron Taylor-Johnson. No, it is not because of his abs. He legit does an okay job as the lead. Again, his character is not written well. But I buy him in the role. He is not perfect, but he definitely has an inkling of charisma. I just wish such charisma were saved for something that would not be a waste of my time and money. That is another consistency with these Sony movies. As much as I do not like “Venom,” I still think Tom Hardy is well cast as the lead role. Same goes for Jared Leto in “Morbius.”

For those of you who saw the first eight minutes of the movie when it dropped online, you would know it starts off with, admittedly, a halfway decent action sequence. That adjective might as well be used to describe a good amount of the action in this film. The action does not reinvent the wheel. There are a couple cuts that I thought were a little too quick, but for the most part, the action is one of the better parts of the movie. “Kraven the Hunter” sometimes finds its footing in some places, but when it comes to structure, that is definitely not one of those places. Sure, the movie starts off with a decent action scene that could likely hook viewers into the story. But then we get to the part of the film that dives into Kraven’s origins. The timing of this transition feels abrupt and out of place. Given the length of these moments and how long it deviates from what we already saw in Kraven’s adulthood, I would have preferred for the final cut of the film to start with Kraven’s origins. It would allow me to more easily know and understand the characters that way if we were to get to an action sequence like the one we see at the beginning, I would probably care a little more about the people in the scene and possibly the sequence itself.

I will give props to Sony for not hiring Mark Sazama and Burk Sharpless to write this film. Although to be fair, they were probably already busy figuring out how to beat the odds and make a worse screenplay for “Madame Web” than they did for “Morbius.” Spoiler alert, they did. Instead, this film has three writers. You have Richard Wenk, known for writing the “Equalizer” movies starring Denzel Washington. I have not watched those films, but I have heard good things. His resume contains some other notable work, but oddly enough, I cannot give my opinion on any of his titles because I never watched any of them. As for the other two writers, you have Art Marcum and Matt Holloway. These are two of the four writers responsible for one of the better Marvel Cinematic Universe films, “Iron Man.” Although the rest of their resume is not particularly great. There is “Men in Black: International,” which I actually liked. But there are also a lot of people who would challenge my unpopular opinion. They just did “Uncharted,” which has a couple cool action scenes, but the screenplay has nothing that stands out about it. The film itself is rather unmemorable. Then we travel back in time to my least favorite movie of theirs, “Transformers: The Last Knight.” My biggest problem with the film is with the headache-inducing use of IMAX technology that honestly leaves no one but Michael Bay to blame. But if I had another notable problem, it is that the film’s script repeats the problems of the previous movies, but somehow delivers maybe the least engaging journey the franchise has given yet. Going back even further to a movie I did not see, these two even did “Punisher: War Zone,” which was not only poorly reviewed, but with more than $10 million total, it made less money at the box office than any other movie based on Marvel Comics. Part of me is convinced that Sony could be having a streak of bad luck, but then I look at the resumes of the people they hire and I think either their options are limited, they are choosing the wrong people, or they have better options out there and do not want to spend more money on them. I have no clue.

Courtesy of Sony Pictures – © 2024 CTMG, Inc. All Rights Reserved.

In all seriousness though, this trio of writers managed to join forces to create one of the most snore-inducing films of the year. I do not think there is any way to sugarcoat this. It is also full of Academy Award-level lines like “I’m a hunter.” In addition to Russell Crowe repeatedly telling his boys, and therefore the audience, that their mother died and she was weak. As I watched this movie and came to realize the director and cast handled their material, I honestly thought “Kraven the Hunter” has a feel that is kind of similar to “The Room.” I say kind of because unlike “The Room,” the chances of me ever watching “Kraven the Hunter” again are pretty slim. But this is a movie that I can honestly watch, acknowledge how bad it is, and sometimes burst out laughing for the wrong reasons. If you want a more genre-related example, I will go back to the recently mentioned “Batman & Robin.” It definitely makes me laugh, but the humor sometimes feels accidental.

You know the Island of Misfit Toys from “Rudolph the Red-Nosed Reindeer?” If there were ever a place I could associate with this universe, that would be it. I assume most inhabitants, or in this case, filmmakers, actors, producers, crew, etc., that make it up are kind, but compared to the toys Santa delivers to kids on Christmas, which in this case would be Disney’s MCU and Warner Brothers’ DCEU, Sony’s got its own little private island full of outcasts. I have not gone back to watch a single Sony Spider-Man Enigmaverse movie since seeing them in the theater, other than “Venom: Let There be Carnage” when it was airing one time on cable. It is like that scene from “Toy Story 2” where Andy picks up Woody and says he does not want to play with him anymore, except in this case, the toy is fresh out of the box and has barely been used.

This is why I ask Sony not to sell the rights to “Spider-Man…” I really want to see them pump out that third “Spider-Verse” movie. Instead I would like Sony to stop with these standalone villain spinoffs. These are not movies, these are corporate products designed by people trying to fill a release slot and keep the rights just a while longer. “Kraven the Hunter” is the latest example of this. If you are looking for Spider-Man connections in this film, all you are getting are secondary characters who appear in various Spider-Man properties who are poorly executed, and one scene where a ton of spiders are on screen. It is not even a good scene! Spider-Man is not in this movie. Peter Parker is not in this movie. Although the Rhino is in this movie. This time around is better than how the character was presented in “The Amazing Spider-Man 2,” but that does not really say much.

Speaking of which, let’s talk about the CGI… This movie is chock-full of distractingly noticeable visuals. Going back to Rhino, that is one example. You can definitely tell he has fake skin, but I would not even consider that the worst CGI in this film. This film has multiple scenes containing animals, including a lion I thought looked somewhat artificial, but at most I would consider to be tolerable. The animals that stood out to me the most in terms of how offputting they looked are the buffalo. And there are a lot of them in this movie. There is this scene where this buffalo is holding steady in front of Kraven. They are in the middle of a field. When that buffalo is staying still, all that allows me to do is take in as much detail as possible to realize that the creature looks like something out of a video game. When Kraven is looking at this buffalo, he comes off like he is staring at a picture instead of something live.

Sony, please. Just stop! I have had it up to here at this point! This year is the 100th anniversary of Columbia Pictures. When it comes to celebrating it, this, “Venom: The Last Dance,” and “Madame Web” were clearly not the best ways to do it on the Marvel front. I am thankful they brought all the old “Spider-Man” movies back to theaters. I went back to watch “Spider-Man 2” and “Spider-Man 3” in the theater this year. If for whatever reason Sony decides to do some anniversary screening for “Kraven the Hunter,” I am going to give it a hard pass.

© Sony Pictures Entertainment

In the end, “Kraven the Hunter” sucks. Plain and simple. It is a poorly structured, badly edited, laughably acted, shoddily directed misfire that I would not recommend to anyone. I will honestly watch “Venom: The Last Dance” three more times before turning this movie on again. Yes, there are positives. The action is okay. Aaron Taylor-Johnson is a good choice to play Kraven. And even though Russell Crowe plays an unlikable character, he at least acts like he is giving two squirts of urine about his role. “Kraven the Hunter” is not a movie. It is a series of scenes spliced together by a corporation to continue preserving franchise rights. If this is the last movie we see in the Sony Spider-Man Insert Clever Name Here, good riddance. I am going to give “Kraven the Hunter” a 2/10.

“Kraven the Hunter” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “Lord of the Rings: The War of the Rohirrim,” “Sonic the Hedgehog 3,” and “Flow.” 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 “Kraven the Hunter?” What did you think about it? Or, what are your 2024 comic book movies ranked? What a terrible question that must be… That is like ranking your children, and you are choosing your favorite child based on which one you find the least irritating. I will admit, I did not even see “The Crow” this year. I think I dodged a bullet with that one. That said, there were plenty of awful comic book films this year to make up for whatever that one would end up being. If you have a ranking, list your top movies down below! Scene Before is your click to the flicks!

A Quiet Place: Day One (2024): The Most Thrilling Quiet Place Film Yet

Posted on by Jack Drees

“A Quiet Place: Day One” is written and directed by Michael Sarnoski (Pig, The Testimony) and stars Lupita Nyong’o (Star Wars: The Force Awakens, 12 Years a Slave), Joseph Quinn (Stranger Things, Dickensian), Alex Wolff (Jumanji: Welcome to the Jungle, Hereditary), and Djimon Hounsou (Guardians of the Galaxy, Gladiator). This film is a prequel set in the “Quiet Place” universe and it is set during the first day a bunch of supersonic-hearing creatures known as the Death Angels touch down on earth. With the stakes getting higher as she goes, it is up to to a young woman named Sam to navigate around New York City and do all she can to survive this unfamiliar situation.

I love New York City. Honestly, if you were to ask me what my favorite place in the world happens to be, chances are that New York City could take the cake. It is rich in history, has a solid transit system, there are plenty of things to do, and there’s lots of great food everywhere you look from many different walks of life.

By the way, if you and I are in New York City, do not even dare suggest we go eat at the Times Square Olive Garden. I’ve got Olive Garden at home, and as an Italian, there are so many other places I’d rather spend my time and money. Now with my brief snobbery out of the way, let’s talk about how this links to “A Quiet Place: Day One.” This movie just so happens to be set in New York City. And I think for a story like this, it is the perfect location. Because as much as I love New York City, one common complaint I found from venturing certain parts of the city, especially around midtown, is the noise. There’s lots of people, lots of honking, lots of background chatter. If you are looking for quiet parts of NYC, they definitely exist. I’ve been in a couple. But if you go in the busier or more active parts of the city, do not expect an oasis of serenity. Now with these creatures coming down to earth, this presents New York’s absolute epitome of a threat because it is near impossible to be quiet there.

That said, in the back of my mind, I was a tad hesitant when they were making a “Quiet Place” prequel. For starters, “A Quiet Place Part II” was a step down from the original for me, so I was somewhat worried that this could suffer from also being a lesser product. But on top of that, John Krasinski is not directing this time around. Not only has Krasinski proven to be a great actor-turned-director in recent years, but this franchise is practically his baby. He has done a ton of work in front of the camera, and even more behind the camera. Yet at the same time, the more I think about it, maybe this is exactly what this property needed. A fresh idea from a fresh face. Sure, Krasinski is still involved, given how he has a story by credit. But this film is also written and directed by Michael Sarnoski, who previously helmed “Pig” starring Nicolas Cage. Honestly, maybe this whole shakeup behind the screens and shift in the timeline was worth it, because I have to say this is my favorite “Quiet Place” movie yet. It brings something new to the franchise we have not seen yet, but it does so without steering too far away from what makes the other movies enjoyable.

Now, I will admit, the first “Quiet Place” has a feel to it that can best be described as groundbreaking. It is a very simple story with concepts that feel familiar, but the execution comes off like nothing I have ever seen. Not only was it a movie that was able to immerse me in a world of complete silence, but as an audience member, the film prompted me to remain silent myself. Not that I fail to do that during my moviegoing adventures, but as someone who gets a popcorn and soda whenever I go to the movies, I could not help but slowly dissolve said popcorn with my tongue or take small sips of said soda when the opportunities presented themselves. This is a feeling that returned with “A Quiet Place Part II,” and I could say the same happened here at times. But of the three movies released in this franchise so far, I think this is the one that probably emitted such a feeling the least. For one thing, it takes some time to get into the nitty gritty. This film is fantastically paced, but nevertheless, it takes some time for the action to go down. Also, this is a prequel film set when this whole universe’s primary inciting incident first occurs. So, we see that people are not even close to adapting to the environment we see in the other films.

The “Quiet Place” franchise is a case in point as to the whole show don’t tell philosophy of filmmaking, and “A Quiet Place: Day One” continues that trend. Not only did just about every line of the minimally spoken script come off as essential to the story, but this film’s cast all do a good job at delivering said lines. Lupita Nyong’o is one of the finest actresses working today, and this is yet another win on her resume. She puts on quite a marvelous performance as the character of Sam. But like a lot of good movies with great performances, the script certainly does her favors. Nyong’o’s character is well written. We find out she has late-stage cancer, has a therapy cat, and the movie does a good job at getting you to feel sympathy for her. You really want to see her succeed, even if part of her end goal involves simply getting to eat pizza in the city, particularly at Patsy’s, a joint in Harlem.

In several franchises, there is often a tendency, for better or worse, to make the films that follow the previous ones bigger in scale. There’s often the saying, bigger is better, which if you have read my review for “The Matrix Reloaded,” that is not entirely true. Of the three “Quiet Place” movies, “A Quiet Place: Day One” certainly feels the biggest of them all. In fact, if you look at the numbers, they just go onto support my case. “A Quiet Place: Day One” cost $67 million to make. That is $6 million more than “A Quiet Place Part II.” Of course, this prequel has a decent number of actors in its cast compared to the original, which cost $17 million. After all, people gotta eat.

Each of these movies are all tied together by one key motivation for the characters, and that is to survive against the Death Angels. That has not changed in this film, and honestly, what makes this adventure so riveting is knowing that our heroes, or even innocent civilians, have to adapt to their new environment. In the other “Quiet Place” movies, our characters are caught somewhere in the middle of their respective life-altering event. Seeing such an event play out from the very beginning only makes me wonder if these characters, who for the most part, we do not see in the other movies, make it from point A to B. They do not have the experience necessary to deal with these creatures, so it makes the journey perhaps a little more intense. I love the chemistry we see between Sam and Eric. They make for a good duo. There was one key scene in the middle of the film between these two that is going to stick with me for a long time. It is a simple moment of bonding, but it is done so well.

While I still consider the first film to be the scariest of the franchise, partially because of its novelty, I would have to say “A Quiet Place: Day One” is probably the best character piece of this series. It fleshes out its human characters perfectly, and gives you plenty of background for them, especially for the lead. For these reasons in particular, I can see myself watching this film a second and third time down the road. This is one of my favorite films of the year, and for all I know, it could end up being my favorite horror title of the year if things go in a certain direction.

In the end, “A Quiet Place: Day One” is scary, exciting, and a win for the franchise that I frankly was not expecting. I did not know if this movie was going to be any good going into it. The trailers were not bad, but they did not fully win me over either. The feel of this film was a lot different than I was expecting it to be going in, but little did I know that such a different feel is something that would pay off magnificently. The biggest compliment I can give “A Quiet Place: Day One” is that after the film, it made me want pizza.

And yes, I did get pizza afterwards. I drove quite a distance from my theater to the restaurant, but it was worth it, because it was delicious. I am going to give “A Quiet Place: Day One” an 8/10.

“A Quiet Place: Day One” is now playing in theaters and is also available to rent or buy on VOD.

Thanks for reading this review! If you want to see more reviews like this, believe me when I tell you I have more coming. I will soon be sharing my thoughts on “MaXXXine,” “Twisters,” “Deadpool & Wolverine,” “Kinds of Kindness,” “The Instigators,” and “Sing Sing.” 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 “A Quiet Place: Day One?” What did you think about it? Or, what is your favorite of the “Quiet Place” movies? Let me know down below! Scene Before is your click to the flicks!

The Fall Guy (2024): David Leitch’s Love Letter to Stuntwork

Posted on by Jack Drees

“The Fall Guy” is directed by David Leitch (Bullet Train, Deadpool 2) and stars Ryan Gosling (Barbie, La La Land), Emily Blunt (Oppenheimer, Edge of Tomorrow), Aaron Taylor-Johnson (Godzilla, Bullet Train), Hannah Waddingham (Ted Lasso, Sex Education), Teresa Palmer (The Choice, Point Break), Stephanie Hsu (Everything Everywhere All at Once, Joy Ride), and Winston Duke (Us, Black Panther). This film is inspired by a 1980s TV series of the same name and centers around a Hollywood stuntman named Colt Seavers who is tasked with finding the missing star of a film directed by his ex.

July 21st, 2023 to me will forever be known as one of the biggest days in the history of moviegoing. You have two high profile films opening on the same day, “Barbie” and “Oppenheimer,” both of which have high anticipation and dedicated audiences. Both films ended up making tons of money overtime with “Barbie” becoming the biggest film of the year and “Oppenheimer” earning more at the box office than any other biographical film in history. Now, less than a year later, a couple of the stars from those competing movies join forces for “The Fall Guy,” a project I was curious about for some time. You have “Barbie’s” Ryan Gosling, who I’d argue gave the best supporting performance of the past year. And you have “Oppenheimer’s” Emily Blunt, who also stood out in her role.

This leads to my first positive of the film. Gosling and Blunt’s characters, Colt and Jody, are a match made in Heaven. And I am not necessarily talking about their attachment to each other, or much they like each other, or how good they look together.

Although to be real, they do look pretty freaking good together…

In fact, the movie makes it clear that these two are not always on the best terms. But what I mean is that these two, even in moments where they clearly are not supposed to align with each other, have undeniable chemistry. Honestly, it is some of the best chemistry I have seen in a big budget movie in a while. I am not going to pretend that either one of these actors are giving performances equal to their “Barbenheimer” outings, but when it comes to “The Fall Guy,” these two deliver stellar portrayals of their respective characters, and when they are on screen together, it is simply put, magical.

There are a lot of stories out there in the realm of movies where the people behind the projects are expressing their passion for the craft. Steven Spielberg’s “The Fabelmans” does a good job at tributing filmmakers trying to get into the industry. Damien Chazelle’s “La La Land” is a salute to the dreams of stars, including hopeful actors. I even thought Kevin Smith’s “Clerks III” was a great encapsulation of what it is like to make a passion project. What it is like to be an auteur. What it is like to take on such a monumental effort of a film without realizing what it is you’re getting into. Similarly, “The Fall Guy” is clearly a love letter to stuntwork. The movie itself is about a stuntman, has tons of stunts in it, and it is directed by someone who has a history of overseeing stunts in film. David Leitch has helmed some of the biggest action movies in recent years like “Deadpool 2” and “Fast & Furious Presents: Hobbs & Shaw.” Before that, he was responsible for stunts in “The Matrix Reloaded,” “Underworld: Evolution,” “300,” “Tron: Legacy,” and “Jupiter Ascending.” On paper, if anybody was qualified to direct “The Fall Guy,” it would be David Leitch. In execution, the results are fantastic.

“The Fall Guy” is packed with one thrilling action sequence after another. Whether it is a simple moment where you have characters on foot, a high speed chase through the city, or a so-called fight in an apartment, everything in this movie had me glued to the screen. Even the moments where we just watch Colt Seavers doing his job is engaging as heck. One of the best scenes of the movie is where we see his character repeatedly set on fire. Not only does it showcase the dangers of his job, but again, this movie is a love letter to stunts, and it also showcases what the people making our movies go through for our entertainment. This movie showcases that in a way that is informative while also doubling as a standout scene.

One thing I always noticed in David Leitch’s movies is that at some point, there will be at least one big A-List celebrity cameo. In “Hobbs & Shaw,” the movie seamlessly finds a way to have Kevin Hart and Ryan Reynolds pop up for a scene. During my initial watch of “Bullet Train,” I found myself delightfully shocked to see the latter of those two actors appear in that film for a hot second. Without giving much away, the last moments of “The Fall Guy” has a cameo from a celebrity that I am sure many of you reading this would probably know. As far as cameos go, it is probably one of my favorites in recent years. I burst into pure laughter when this person showed up. Regarding who that person is, I will just let you find out for yourself.

“The Fall Guy” is one of those movies that is clearly going after a wide audience. If it sticks the landing, that is of course, a big fat win. And thankfully, it does. Perhaps the biggest compliment I can give “The Fall Guy” is that the movie presented itself in such a way to the point where my mom ended up going to the theater to check it out. Turns out, she had a great time. She is not an action movie person. But I must say that if you do not like action movies and are hesitating on checking this film out, I would hold those hesitations at the door and give the movie a shot anyway. Because this film is more than just action. It also does well in the humor department. I found myself laughing quite a bit. I also would say the film works well as a romance story. It does not feel overly cheesy, and as mentioned, I like the two leads enough to the point where I would not mind seeing them together in a relationship. With “The Fall Guy” going after a multitude of demographics, perhaps even the “Swiftie” crowd at one point, it is arguable that there is some noticeable potential for disappointment because of how many things the movie tries to shove in a single package. But somehow, everything flows naturally.

“The Fall Guy” is probably not going to win any Oscars. Not only because there is no such thing as a Best Stunts category. By the way, I was not surprised that the movie found a way to note this fact in the script. But on top of that, I would imagine “The Fall Guy” is not the kind of movie the Academy would hail as one of the year’s best. It could pick up a technical nomination or two. But I doubt it is going to get much more than that. But this is the kind of movie that I think is best watched with a group of people. The film is now available to stream at home, so you could gather some friends and watch it at your place. But if you want my recommendation, if “The Fall Guy” is playing in a theater near you, go see it there. The action is worth seeing on the big screen. The sound is incredible. And it is undoubtedly an immersive experience. Nothing beats watching Ryan Gosling speed through the city in a car with a dog who only understands commands in French. And it is even better on the big screen.

In the end, “The Fall Guy” is a rare flick that has something for everyone, and also one where those somethings exceed the bare minimum. “The Fall Guy” is a movie that I would honestly recommend to just about anyone looking for something to watch because if you are not an action junkie, I think this is nevertheless a fairly accessible title. It’s got comedy. It’s got romance. It’s got drama. It’s got all you can want in a movie. As far as mainstream titles go, this should have done a lot better at the box office than it did. Ryan Gosling and Emily Blunt are excellent in the film. As for other standouts in the cast, I really enjoyed Hannah Waddingham as Gail, a producer on Jody’s film. If you do watch “The Fall Guy,” please stick around for the credits. There are some cool behind the scenes moments you might not want to miss. I am going to give “The Fall Guy” an 8/10.

“The Fall Guy” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! Coming soon, I will have reviews for “Tarot,” “IF,” “The Garfield Movie,” “I Saw the TV Glow,” “Back to Black,” and “Summer Camp.” 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 Fall Guy?” What did you think about it? Or, if you could take one star from “Barbie” and one star from “Oppenheimer” and put them in a movie together? Which ones would you want and what would the movie be about? For me, I’d love to see Simu Liu and Florence Pugh do a movie together where they play love interests. I think they’d have good chemistry. Let me know your selections down below! Scene Before is your click to the flicks!