“I Love Boosters” is written and directed by Boots Riley (Sorry to Bother You, I’m a Virgo) and stars Keke Palmer (Nope, Password), Naomi Ackie (The End of the F***ing World, Star Wars: The Rise of Skywalker), Taylour Paige (Zola, Ma Rainey’s Black Bottom), Poppy Liu (The Afterparty, Sunnyside), Eiza González (Ambulance, Baby Driver), LaKeith Stanfield (Sorry to Bother You, Get Out), Will Poulter (Guardians of the Galaxy Vol. 3, The Maze Runner), Don Cheadle (Space Jam: A New Legacy, Iron Man 2) and Demi Moore (The Substance, Ghost). This film is about a group of shoplifters who go after a fashion maven and try to sell their clothes at a lower price.
“I Love Boosters” is not my first exposure to Boots Riley’s filmography. While I missed it in the theater, I ended up checking out his film “Sorry to Bother You” after buying it on Blu-ray. I was fairly impressed with it. I thought it had good performances, clever writing, and an excellent use of color and production design. While “I Love Boosters” was not the biggest release over Memorial Day weekend, I will not deny that I was constantly exposed to its marketing, particularly one of its posters. Other than that, I went in with no memory of watching any trailers or hearing the film’s general premise. I heard interesting things about the movie, and I was onboard. I am delighted to say that this film is a unique cinematic experience that I will think about for a long time.
This is not my favorite film of 2026, but there is truly no picture that I have seen this year that provides an experience like this one. “I Love Boosters” is one of those movies that could have easily clashed its tones to such an unbelievable degree. But this picture is smarter than that. It finds a way to present likable heroes of their own story, a compelling antagonist in Christie Smith (Moore) whose mere existence brings forth diabolical charisma, all the while showcasing some of the most rad production elements I recall seeing in a film recently.
Perhaps my favorite thing about “I Love Boosters” is that it is so vivid and colorful. Then again, given one of this film’s initial opponents at the box office, there could be some recency bias to take into account with this sentiment. This film came out the same weekend as “Star Wars: The Mandalorian and Grogu,” and not only do I think this is the better movie, but to my surprise, “The Mandalorian and Grogu” comes off as an occasional eyesore between its questionable color palette choices, dull presentation, and lack of flair. Within the first five minutes of “I Love Boosters,” I thought I was on drugs. This film’s emphasis on color is some of the finest I have ever seen. It has a look that belongs on a children’s TV program but perfectly blends itself into a mature story. Everything from the many eye-popping outfits that the characters don on screen… To the multitude of interiors that sometimes answer the question, “What if an M&M were a floor or a wall?”… Even seeing the different colors on the characters’ hair make me think that in another universe that this movie would be selling action figures like hotcakes.
Speaking of things that you have to see to believe, this film’s editing is jaw-dropping. This film moves fast, and boy am I not even close to becoming furious. If anything, the editing makes for a blessing and a curse. It keeps the movie from being boring, but the film is also so quick that it makes me wonder if I missed something important. Ah well, I plan to watch this a second time regardless.
Another favorite thing about this film is something I cannot see… The music. The Tune-Yards composed an original score for this film, and boy does it score. They previously scored another Boots Riley title, “Sorry to Bother You,” so it is clear he likes their approach, and I can see why, because much like some of John Williams’ memorable tracks, the score is almost its own character. The year is still young, but I could see this being my favorite score of 2026 by the end of it. I listened to this film’s theme several times since my screening. When I look at the screen and I see characters played by Keke Palmer, Naomi Ackie, and Taylour Paige, lingering in the background is a supporting role that can best be described as a sick beat.
While not exactly as good, I find “I Love Boosters” to be this year’s “Everything Everywhere All at Once.” It is a film that runs at one of the most breakneck paces imaginable. It is all killer, no filler. There is a perfect blend of comedy and drama. In fact, speaking of that, it is tough to really put this film in a box and give it a specific genre. It is not that the film does not know what it wants to be. It is that it wants to be something so unique, so fresh, something that even as a jaded moviegoer, I cannot recall ever seeing in my life. At the same time though, that probably makes this film slightly harder to recommend to certain people. I feel like Marty McFly in “Back to the Future,” part of me is ready to say to a collective audience that they might “not be ready for that yet.”
But if I were to recommend “I Love Boosters” to somebody, it would probably have to be someone who likes stories about people rising up against the bigger man. Perhaps someone who does not really feel the need to take everything so seriously. There is quite a bit of absurdity in this film. Yet in the context of its universe, characters, and vibes, all of the absurdity is seamless and makes the movie an animal of its own. As for myself, I cannot wait to watch this movie again. Not just because I had a blast watching it, but as I suggested before, this film flies by. I have a feeling I missed something cool the first time around. There are probably one or two memorable lines or moments that flew over my head that are probably going to land better the second, third, maybe fourth time I watch this.
In the end, it is almost impossible to describe “I Love Boosters” without using terms like wild or zany or nonstop. This is an experience. Sadly, with this film opening up against “Star Wars,” it kind of hurt its box office potential from the start. Then again, if somebody pitched this movie to me and I happened to be an executive, I think it would be a hard sell no matter what. It is debatable as to whether the characters are actually “heroes.” Then again, it is possibly true that everyone sees themselves as the hero of their own story. The concept of this film is so unique that it is difficult, at least to me, to compare this film to many others. But the fact is that this film is worth watching at least once. It has a fantastic cast lead by the always charismatic Keke Palmer. Its look is going to make for a fantastic demo down the line if I end up buying a new television or projector. And boy, is that theme song still stuck in my head. I am going to give “I Love Boosters” a 7/10.
“I Love Boosters” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! This is a bit of a short-notice announcement, but on SATURDAY, JUNE 20TH, I will be dropping the next episode of Movie Requests! This one is going to feature “The Wall” and “Talking Dead” host Chris Hardwick. You can hear his suggestion by clicking the video above! What do you think it is? If you want to find out what film he asked me to review, as well as my thoughts on it, you can watch the review right here on Flicknerd.com, or you can subscribe to my YouTube channel!
My next review is going to be for “Backrooms.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Masters of the Universe,” “Another World,” “The Breadwinner,” “Disclosure Day,” and “Toy Story 5!” 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 “I Love Boosters?” What did you think about it? Or, what is one of the wildest films you recall watching recently? Let me know down below! Scene Before is your click to the flicks!
“Star Wars: The Mandalorian and Grogu” is directed by Jon Favreau (Iron Man, The Jungle Book) and stars Pedro Pascal (The Fantastic Four: First Steps, The Last of Us), Jeremy Allen White (The Bear, The Iron Claw), Brendan Wayne (Ahsoka, Agents of S.H.I.E.L.D.), Lateef Crowder (Mile 22, Tekken), Jonny Coyne (The Toxic Avenger, The Blacklist), Martin Scorsese (Goodfellas, The Wolf of Wall Street), and Sigourney Weaver (Ghostbusters, Avatar). In this film, the title characters go on a mission to recover Jabba the Hutt’s son, Rotta the Hutt, in exchange for information.
To me, “Star Wars” is life. As someone who has been reviewing movies on this site for the past decade, I always try my darndest to separate myself from my predisposed biases. When it comes to the “Star Wars” franchise, I think I did a decent job at that for the most part. The one exception that comes to mind is “The Last Jedi.” I gave that movie a 9/10, but upon rewatching it, I found myself highly questioning my original grade. I found the characters more annoying, certain scenes less interesting, and I was reminded of pacing issues I brushed aside the first time around. There are neat things about the movie, but is it a good movie? Not really.
Since my surprisingly positive review of “The Rise of Skywalker,” and yes, I stand by my original 6/10 grade, “Star Wars” has not had a major motion picture come out. They mainly focused on TV, not all of which I watched, but I enjoyed parts of it. Thankfully, “The Mandalorian” is one of those things I enjoyed. “The Mandalorian” season 1 brought something new to the franchise while maintaining the fun of the property. Season 2 kept up the pace, at least for me. Season 3 is definitely the weak point, but it still had its moments. When I first heard a “Mandalorian” movie was going to happen, my first thought was, “Okay. I don’t hate it.” Frankly, a “Mandalorian” movie is probably the safest film idea that Disney and Lucasfilm could have done. Many hardcore and casual viewers know and enjoy the show. It was a huge sell for Disney+ back when the first season came out. And speaking of selling, Grogu merch continues to sell like hotcakes.
Even with a season 3 that is clearly inferior from the others, I was still onboard to see more adventures with the titular characters.
Having now come out of the first “Star Wars” movie in almost six and a half years, I felt that I wanted more out of my experience.
This is a film that checks some boxes. It has action. It has adventure. It has the same feel as the TV show, but one could almost argue that this project feels more TV-like than movie-like. It is weird to say that, because when “The Mandalorian” came out, it felt more film-esque than it did a TV program in some ways. It had a scope aspect ratio. Heck, sometimes the aspect ratio would change to emphasize the feel of certain scenes. The CGI, while not as crisp as some of the movies, was very good. The worlds were oftentimes immersive, even with the Volume’s imperfections.
Now that this is turning into a movie, maybe we’d see the next step in technology to make it look as crisp as say “Rogue One.” In some ways, it is an incredibly immersive film. But sadly, not everyone is going to be able to experience it in the best way possible. My first viewing of this movie was at the AMC Lincoln Square IMAX in New York City. This is one of the largest screens in the entire world. They showed this movie through IMAX’s dual-laser 4K projection system, which is only in a handful of theaters. But everywhere I look, this is the big sell for the movie. Well, maybe aside from being in the “Star Wars” franchise… But I am seeing slogans like “Filmed for IMAX” and “Forged for IMAX” everywhere I go. Trailers, posters, standees, you name it. Do not get me wrong, I am a sucker for IMAX, so I was sold. Should you see this movie in IMAX? If it is still in an IMAX near you, yes. This movie has sequences that are shot for the IMAX format, including the rarely used 1.43:1 aspect ratio. But it is not going to erase the film’s imperfections. Some of the color grading looks abhorrent. There is this one sequence ingrained in my memory perhaps meant to emphasize how green one particular environment is, and it honestly looks like “The Matrix” had a baby with guacamole. It was kind of off-putting. There is no particular scene that wowed me in terms of its looks.
If anything, this movie reminds me a bit of “Star Wars: The Clone Wars.” Specifically, the 2008 movie. Funny enough, without giving much away, there is a callback to that movie that made me chuckle. Much like 2008’s “The Clone Wars,” “The Mandalorian and Grogu” has its moments that are not as cinematic as maybe they should be. This is partially evident in the story. The story does not quite have an identity. What is this movie actually about? Sure, it is about the titular characters, the Mandalorian and Grogu, but what are they doing exactly? What is their purpose? The movie suggests that the team must deal with a hutt, but it sometimes feels unfocused.
I have heard from others that this movie comes off as if it were an extended “Mandalorian” episode or multiple “Mandalorian” episodes combined into a two hour movie, and I see where they are coming from. I don’t mind the first comment, because if it were an extended episode, it would likely maintain focus and stick to one main idea. But it doesn’t. The film ends up feeling like a couple different episodes. These either resemble “Mandalorian” episodes that ended up getting rejected, or episodes that perhaps could have made for a small season or a half-season.
Pacing-wise, this film may be the worst I have experienced during a “Star Wars” installment. Again, with this coming off as several episodes in one piece, there are times where the film felt like it did not know when it wanted to end. I am not saying that I hated what happened in this movie. I was quite entertained through a good portion of it. But all of it probably would have been better if it were divided into bits and pieces. This movie, even though it does not span that much time, feels too heavy. I cannot recall a single moment during this film where I wanted to slap myself in the face or punch the screen or force choke myself to death. At the same time, I also cannot recall many instances where I wanted to jump for joy or cheer or go, “This is the way!” There are scenes where I kind of felt nothing, and that is shocking for a franchise whose original movies gave me a range of emotions from excitement to chills… Whose prequel movies sometimes made me cringe, but at other times made me drop my jaw at some of the lightsaber battles… Whose sequel movies had me locked into whatever the characters were going through such as Rey’s personal struggle of figuring out who she is, as well as Kylo Ren trying to live up to his grandfather, while also sometimes showing his humanity by destroying objects with his lightsaber whenever something goes wrong. This movie does not have any moment that made me go, “I’m going to remember that for as long as I live.” Instead, it is filled to the brim with moments that I passively glanced upon.
I think if you are a huge fan of “The Mandalorian” on TV, you might enjoy this movie. But even as I say that, I question my comment. While I am a fan of the show, I have to admit this movie did not quite do it for me. Is it horrible? No. It has some redeeming qualities, and one of those redeeming qualities is Ludwig Göransson’s score. …Sort of.
Of course, Goransson’s iconic theme music from the show is here and gets some extra pizazz on occasion. That said, I was not a fan of some of his new themes. There was one theme in particular that sounded like Hans Zimmer’s Electro theme from “The Amazing Spider-Man 2” became blood brothers with Atticus Ross and Trent Reznor’s headache-inducing “Challengers” score. Yes. I cannot stand the “Challengers” score. All film is subjective, and in the spirit of subjectivity, I believe that all the cinephiles that raved about that techno nightmare are entitled to their wrong opinions.
There is a particular piece of techno-style music in this film as well, which was not as headache-inducing as the “Challengers” score, but it felt very out of place with the environment. I questioned why it was even playing to begin with. That said, I did stay for the credits and I heard the theme play one more time. I would not say I warmed up to the piece, but it did sound better the second time around. Maybe it works in the right context, but for whatever reason, it does not work here. It was one of the few times I remember watching anything “Star Wars” and thinking the music doesn’t work. Sure, there are times where the music is forgettable, but even in those cases, they still match their scenes and movies overall. This is a massive and unfortunate exception to that idea.
If you are a newbie to the “Star Wars” franchise, I doubt “The Mandalorian and Grogu” is going to be the best entry point for you. Not necessarily because it piggybacks off of a streaming series. I don’t think you have to watch the “Mandalorian” show to understand every single thing that is going on in this film. However, this is not only one of the weaker films, at least in my opinion, but it also comes with very little substance. We do not really see Mando develop much as a character. He does not go through much noticeable change. He feels about as flat as this movie’s color palette. Now Grogu on the other hand is the most interesting of the titular characters. Since he can barely speak, it allows for more show than tell with his character. I found his challenges much more compelling, and as much as I do not want to judge a book by its cover, his challenges fit the “Mandalorian and Grogu” name. It shows how the two work as a team. At times this movie reminded me of those group projects in school, where one person ends up doing all the work. Grogu is that individual sometimes. There is one particular point in the story about two-thirds of the way through the movie that shows what Grogu is capable of.
Although this movie is rather predictable. Do not go in expecting the next “I am your father.” I have no problem with predictability if the story beats are handled decently. But they are not. They feel way too been there done that, not to mention done better. Say what you want about “The Last Jedi,” which I will remind you, is a film I did not like, but at least the film took risks. It came from the singular mind of Rian Johnson. I did not agree with all of his choices, but it felt like his movie for the most part. “The Mandalorian” feels more committee-esque, and I hate to say that because this film is done by a fabulous director. Jon Favreau has proven he can make great movies. “Iron Man,” “Chef,” “Elf,” and while I am not a huge fan of the Disney live-action remakes, I will defend “The Jungle Book.” That film is a technical marvel. I even liked the one “Mandalorian” episode he helmed. So, what happened here?
Admittedly, when it comes to certain technical choices, I think Favreau does a good job. If anything, it felt kind of video-game esque in the sense that we were closely watching characters behind their back in the third person perspective, or getting their view from a first-person perspective. There is a scene where Grogu is blazing through a city and the camera shows the world from his eyes. It was really cool to see it on a big IMAX screen in 1.43:1.
The action scenes are also well done. The opening 10 or 15 minutes are easily the best part of the film because while Mando does not develop much throughout the movie, the movie sets him up as this name that should be feared. Kind of like John Wick. It shows that through and through as he is taking down baddies left and right. While the Mandalorian never takes down a Stormtrooper with a pencil, this movie convinces me he could.
After those opening 10 to 15 minutes, we are introduced to Sigourney Weaver’s character, Ward, who does not really have much to do in the story other than to give Din orders and remind Grogu not to overeat. It is an easy paycheck for her. I do not hate the character, but I wish Weaver, who has built a legendary career in film, had more to do. Weaver’s basically the queen of sci-fi at this point between “Ghostbusters,” “Alien,” “Avatar,” “Galaxy Quest,” and “WALL-E…” Now that she is in “Star Wars,” I wish she had a character that were more memorable than the one we got. Aside from the recently mentioned “WALL-E,” as well as another Pixar feature, “Finding Dory,” the latter of which features Weaver voicing herself, this is probably the easiest money that the actress has made in her entire career.
Speaking of easy money, Martin Scorsese has a voiceover role in this movie as a shopkeep named Hugo. Was the name inspired by Scorsese’s own movie? You decide.
It is honestly hilarious to me that Martin Scorsese is in this movie. Not because I was under the impression that he would never work on a “Star Wars” movie. Weeks before checking out this film I watched an episode of “Light and Magic” on Disney+ and it reminded me of Scorsese’s friendship with George Lucas, but this film nevertheless reminds me of what I would imagine Scorsese thinks of Marvel movies.
“Star Wars: The Mandalorian and Grogu,” and keep in mind, I say this as a fan of the franchise, plays less like a movie and more like a crappy theme park ride. And if anything, the film is using the over the top IMAX plugs in the marketing almost as a way to compensate for its lack of quality in terms of the story. I did say it was cool to see this film in true digital IMAX, but I honestly think that is one of the only reasons this movie should be seen at all, regardless of watching it in a theater and at home. The IMAX enhanced ratio, as incredible as it looks, ultimately feels like a gimmick. I hate saying that, because much like the “Star Wars” franchise, I am also an IMAX fan. I have seen filmmakers like Ryan Coogler, Christopher Nolan, and Jordan Peele play with the coveted aspect ratio and utilize it well in their own productions. This is not Jon Favreau’s first time making something in 1.43:1. 2019’s “The Lion KIng” remake also had 1.43:1 scenes. But I cannot judge those scenes as I missed the film in theaters. The aspect ratio in a way makes up for every other technical aspect that does not work like the lighting, the color grading, as well as the sometimes flat framing.
Look… I am a “Star Wars” fan, so I will plead guilty to watching movies I did not enjoy as much as the others more than once. I have done this with some of the prequels, I have done this with “The Last Jedi.” And like those lesser titles, “The Mandalorian” has redeeming qualities in it. The only “Star Wars” film I have not seen multiple times to this day is “Solo.” If you ever read my review of it, you would know I gave it a 6/10, a barely positive score. At the time I thought it was the most middle of the road “Star Wars” movie ever. I think “Mandalorian and Grogu” gives it a run for its money. I bought tickets to a second screening for reasons beyond simply seeing the movie again, but if I were to buy tickets for this movie one time, and I did not have those tickets, it would be somewhat difficult for me to come up with a valid reason to spend money on this once more.
This is a movie that barely develops its core characters. I think it does a somewhat decent job on Grogu’s arc, but less so on Mando’s. Rotta the Hutt was fascinating at times as he tried to separate himself from his father, Jabba. But there are not many other characters who stood out. Say what you will about that one “Mandalorian” episode with Lizzo and Jack Black, at least it was weird. This movie does not really have a distinct feeling to it, other than blandness. Say what you want about the prequels. At least they had color! Say what you want about “The Rise of Skywalker,” at least it has me quoting “They fly now,” every once in a blue moon.
The more I think about “The Mandalorian and Grogu” the more I am going to think about it the same way others may think about “Star Wars: The Holiday Special.” This is a clear money grab that could best be described as content. It is not clear who this is for. Is this for grown adults who like watching bounty hunters double tap people like they’re pawns in a game of chess? Is it for young children or infants who like watching Grogu get into shenanigans? Is it for fans of the show who just want to see more episodes? As I ask all these questions, I continue to think to myself that maybe this movie is not for me, even if there, admittedly, doses of entertainment.
In the end, “The Mandalorian and Grogu” is by no means the best or worst “Star Wars” movie. It winds up somewhere in the middle. I have seen this movie twice now, and it is admittedly better the second time. The pacing problems still exist, but it did go by a little faster. Probably because I had a clearer concept of what to expect going in. If you enjoy “The Mandalorian” on Disney+, this will likely come off as a comforting return to a long lost home. But is it as good as the first, or even the second season? I don’t think so. I would rather watch all of those episodes again before putting on this movie.
Of all the “Star Wars” films I have seen, I think this one may have the least personality. The action, while good, is not as memorable as some of the other “Star Wars” titles. There are bits of humor, but the comedy does not land quite as well as other installments. The dialogue is not that memorable or quotable. Who knows how this project will age from here? That said, I am having trouble coming up with a reference I would use in a conversation with friends down the line. The movie bridges off of a show that already has three seasons, maintains a look and feel that is somewhat reminiscent of said show, and to my surprise, it sometimes looks cheaper than some of the show’s episodes. I did not hate this movie. It is entertaining, but not to the highest degree. I am going to give “Star Wars: The Mandalorian and Grogu” a 5/10.
“Star Wars: The Mandalorian and Grogu” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! Before we go any further, I would like to remind everyone that Scene Before’s original web series, Movie Requests, is going to feature five additional guests, on top of the 10 that have already been announced! I am not announcing their names at this time. But if you want a hint as to who these guests are, check out the poster above! While you are at it, please be sure to check out the latest episode of the series featuring “Clerks” star Brian O’Halloran. If you want to see more episodes as soon as they drop, you can watch them here on Flicknerd.com, but the fastest way to be notified about the episodes is to subscribe to my YouTube channel and hit the notification bell!
My next review is going to be for “I Love Boosters!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Backrooms,” “Masters of the Universe,” “Another World,” and “The Breadwinner.” 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 “Star Wars: The Mandalorian and Grogu?” What did you think about it? Or, have you seen “The Mandalorian” TV show? What are your thoughts on it? Let me know down below! Scene Before is your click to the flicks!
“Mortal Kombat II” is directed by Simon McQuoid, who also directed the 2021 “Mortal Kombat” movie. This film stars Karl Urban (The Boys, Dredd), Adeline Rudolph (Chilling Adventures of Sabrina, Riverdale), Jessica McNamee (Packed to the Rafters, Home and Away), Josh Lawson (Superstore, House of Lies), Ludi Lin (Power Rangers, Aquaman), Mehcad Brooks (Law & Order, Supergirl), Tati Gabrielle (The 100, Chilling Adventures of Sabrina), Lewis Tan (Deadpool 2, Into the Badlands), Damon Herriman (Once Upon a Time in Hollywood, Mr Inbetween), Chin Han (Ghost in the Shell, American Born Chinese), Tadanobu Asano (Thor, Shōgun), Joe Taslim (Warrior, The Raid), and Hiroyuki Sanada (Shōgun, Bullet Train). This film is the sequel to 2021’s “Mortal Kombat” and this time around, actor Johnny Cage joins the battle as he and other fighters take on the tyrannical Shao Khan.
I have played some of the “Mortal Kombat” games, and I am a fan of those games. I will sometimes hop on a cabinet in the arcade, or maybe put in a game I have at home. I am a casual player, but I am a player nonetheless. The games are a ton of fun. As for the movies, that’s where things become more complicated.
The 1995 “Mortal Kombat” is far from the greatest movie ever made, but there was a period of time where it was considered the gold standard of video game to film adaptations. Not that that is saying much. The film did have its problems and occasionally felt like a product of its time. Though I did have fun watching it, admittedly.
Then in 1997, the universe was introduced to the disgrace on a bloody stick known as “Mortal Kombat: Annihilation.” It is a movie whose subtitle quite literally described what happened to my brain cells while watching it. I have no plans to do a worst movies of all time list, but I think “Mortal Kombat: Annihilation” is a contender for the bottom of the barrel.
Then comes 2021, when another “Mortal Kombat” hits the big screen (and HBO Max), and I thought it was quite good. It is not perfect, but I thought even with some creative liberties, it did a decent job at capturing the spirit of the games. Plus, unlike the previous “Mortal Kombat” movies, this one was a lot bloodier and gorier. So, while not a home run, I was down for another “Mortal Kombat” should one be in the pipeline.
Now, “Mortal Kombat II” has made its presence known, and while it is not quite a flawless victory, the film may be my favorite so far based on the “Mortal Kombat” property. That is, of the theatrically released ones. There are others that have not been to theaters that I have yet to see.
“Mortal Kombat II,” like the previous installment, terrifically captures the vibe of the games. The locations are big, colorful, and while they may not always be realistic, they are nevertheless palatable. If you have never played a “Mortal Kombat” game, or heck, missed out on the last “Mortal Kombat” movie, you may not know that this film should require some suspension of disbelief.
The film, like many sequels, aims higher and goes bigger than its predecessor, with more violence, a longer runtime, and new characters. The standout of the newbies on the roster, by a clear mile, is Johnny Cage (Karl Urban).
Johnny Cage brings the camp to “Mortal Kombat II.” In most cases, when I use “camp” and “movie” in the same sentence, my mind will think of the combination as a negative, but “Mortal Kombat II” is an unusual exception where I find it to be a positive. The campiness of “Mortal Kombat II” works like a charm, and that is mostly due to Karl Urban’s commitment to making the character of Johnny Cage come off as the coolest has-been movie star of all time.
In Earthrealm, we see our protagonists watch a vision that reveals their “chosen one” to defeat evil. That being Johnny Cage. The movie perfectly sets the tone for what’s to come by showing Cage in perhaps the most 90s-esque action schlock of a movie imaginable. AI could not create this magic. Of course, that time is over, and like some other actors who are not doing as much film work, Cage is making money through conventions. The moment we see the first encounter between Cage and the heroes of Earthrealm, he tries to show as much respect as possible, thinking that they are cosplayers, hoping they would screw off. I thought the first scenes featuring Cage were clever and did a good job at revealing how much Cage has evolved from his prime.
While “Mortal Kombat II” is far from Shakespeare, some lines in the film are poetic in their own way. My favorite moment in “Mortal Kombat II” features Johnny Cage fighting against Baraka, the leader of the Tarkatans. The fight itself is massively entertaining. That is if you can even call it a fight. There is a repeated moment in the choreography that is honestly begging to find its way into today’s meme culture. I saw this film alongside my dad, and there have been instances following its conclusion where we jokingly repeated said moves.
What follows after is Baraka’s purely cinematic line, “That is the greatest fighting I have ever f***ing seen!” Collectively, that may have been the biggest laugh amongst my opening Thursday audience. Truth be told, I read this line back as I write this paragraph, and I am trying my hardest not to roll on the floor.
“Mortal Kombat II” is not perfect. I had the privilege of seeing this film in IMAX, which for this film, is fantastic, as some scenes feature an expanded aspect ratio. But while this critique may not matter for every screening, I think the IMAX scenes could have been handled better, because the way that some of these scenes were edited felt inconsistent or jumpy. It reminded me of “Transformers: The Last Knight,” where the aspect ratio changes every second. It is nowhere near as bad, but it is still jumpy. The CGI at times is utterly amazing and a complete feast for the eyes. I was gobsmacked with the worlds the VFX artists were able to create. But that does not mean that they do not look CGI-ish. Again, the movie looks real when it chooses to. Sometimes the heightened reality works. At other times, it could be better.
The story of the film is very simple, but what complicates it is how often this movie jumps from place to place and has to handle a variety of characters. It is hard to say that the characterization of this movie is the strongest. It is kind of like the last “Mario” movie, though I admittedly had more fun with this video game adaptation compared to that one.
Even with its imperfections, “Mortal Kombat II” is a total blast. Shao Khan is a menacing threat. Johnny Cage has personality for days. I liked seeing more of the characters from the last movie like Raiden, Kano, and Liu Kang. Not that I dislike the original, but I think this sequel is an improvement. I walked out of this movie thinking that I cannot wait to watch it a second time. This is a fantastic movie to watch with friends. If you can handle some blood and gore, you are in for a treat.
In the end, “Mortal Kombat II” is a komplete explosion of epicness! This is a visual effects-heavy, balls out killer time that is by no means going to win any major awards. But if you are a sucker for a big, dumb action movie that sometimes pays tribute to the video games of the same name, this movie might be up your alley. Karl Urban is excellent as Johnny Cage and oozes charisma from start to finish. The action is super fun. This movie maintains a modern look to it, but it also has this occasional throwback feel that ties everything together. I cannot wait to watch this movie again, and I have no shame in saying that. I am going to give “Mortal Kombat II” a 7/10.
“Mortal Kombat II” is now playing in theaters. Tickets are available now.
Thanks for reading this review! This Sunday on Flicknerd.com and YouTube, stay tuned for the next episode of Movie Requests! This episode is going to feature a suggestion from Brian O’Halloran, who you may know from the “Clerks” trilogy! I just watched his suggested movie last night. I cannot wait to share what it is and talk about it with you. If you want to watch the review as fast as possible, do yourself and I a favor by subscribing to my YouTube channel!
My next review is going to be for “The Sheep Detectives!” Stay tuned! Also coming soon, I will be sharing my thoughts on “In the Grey,” “Star Wars: The Mandalorian and Grogu,” “I Love Boosters,” and “Backrooms.” 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 “Mortal Kombat II?” What did you think about it? Or, what is your favorite “Mortal Kombat” film that has been released thus far? Let me know down below! Scene Before is your click to the flicks!
“Animal Farm” is directed by Andy Serkis (The Lord of the Rings: The Fellowship of the Ring, Star Wars: The Force Awakens). He also stars in the film as a rooster named Randolph and has an uncredited role as Farmer Jones. Joining him in the cast is Seth Rogen (Sausage Party, Knocked Up), Gaten Matarazzo (Stranger Things, Honor Society), Steve Buscemi (Miracle Workers, Fargo), Glenn Close (The Wife, 101 Dalmatians), Laverne Cox (Doubt, Orange is the New Black), Kieran Culkin (A Real Pain, Scott Pilgrim vs. the World), Woody Harrelson (The Edge of Seventeen, The Glass Castle), Jim Parsons (The Big Bang Theory, Hidden Figures), Kathleen Turner (Romancing the Stone, The Virgin Suicides), and Iman Vellani (The Marvels, Ms. Marvel). This film is based on George Orwell’s book of the same name and is about a group of animals whose farm-based revolution results in a pig-led dictatorship.
There are a few major texts I was assigned to read in my English class during my freshman year of high school. One of those includes Homer’s “The Odyssey,” which is being adapted into a film coming out this summer. Another one happens to be George Orwell’s “Animal Farm,” which is now an animated film directed by Andy Serkis. What’s next? Is “Of Mice and Men” getting another film adaptation?
Regardless, “Animal Farm,” through its book and interesting to say the least adaptations, left an impression on me. When the book was a major studying point in school, the class often focused on Orwell’s material linking to the U.S.S.R.. The book presents a fascinating allegory on the dangers of leaders becoming power hungry and bending the rules to their benefit.
The idea of someone like Andy Serkis taking on “Animal Farm” left me intrigued. He has shown his talents in the VFX and directing spaces, and I thought “Animal Farm” would be a fine fit for his skill set.
Then I saw the trailer…
While I thought the trailer overall made the film look cheap, it did end with one note that left me interested, which is that it was recommended for ages 11 and up. While the MPA gave this film a PG rating, which can be seen as okay for many younger audiences, the marketers essentially sent a message saying this might not be for the youngest crowds. Having read “Animal Farm,” that makes sense.
Frankly, after seeing this movie, I have no idea who exactly this is for. It is definitely not for “Animal Farm” purists, as there are some major changes made to the material. For instance, Old Major is not in the movie. There are some characters who are not in the book. No, unlike the 1999 adaptation, the main character is not a dog this time around.
Despite the movie being recommended for ages 11 and up as the trailer suggests, the film has plenty of jokes that feel like they were designed for the under five crowd. I do not know what George Orwell would think of this movie, seeing as he is no longer with us. But I think he and I would agree that toilet humor and “Animal Farm” do not mix. Maybe the conversation would be different if the trailer said the movie was recommended for “all ages,” However, that’s not the case. I would let it slide if this movie resorted to one fart joke, but I remember counting at least five or six instances of jokes related to bodily functions. It would also be forgiven if those jokes made me laugh. But they failed to do so.
This is not to say that I do not think younger viewers should not be exposed to a story like “Animal Farm.” I think it is an important tale, and the more that we experience corruption in power the more it is going to matter. In the case of “Animal Farm” 2026, this is a more modern telling of the tale compared to its mid-20th century source material, as it focuses on capitalism as the big bad. Despite happily living in the U.S. all my life, I think this idea has potential to work. One of the core antagonists of the film is a boss lady who essentially owns all the land in her sight, but she is not satisfied, as she wants to add Animal Farm to her collection.
In this film, Napoleon is played by Seth Rogen. …Okay? What is it with Seth Rogen’s voiceover roles lately? I always thought he was a weird choice for Donkey Kong, but this is another level. And much like Donkey Kong, Seth Rogen often sounds like he is playing himself when sounding off every other line. In fact, one could argue the performance is kind of meta, as there is a scene where Napoleon does the infamous Seth Rogen laugh, and he follows that up with “please do not make fun of my laugh.” Is it just me, or is Seth Rogen’s laugh one of the most recognizable laughs of all time? If I had to make a top 5 list in that regard, Rogen would be up there with Jimmy Carr, SpongeBob SquarePants, Peter Griffin, and J. Jonah Jameson during that one scene from “Spider-Man 2” where Peter asks him if he can get paid in advance.
That said, there is something there with Seth Rogen’s material. As immature as the writing often sounds, there is one scene between his character and a gender-swapped Snowball (Laverne Cox) where the latter is explaining her plan concerning the farm that stood out to me. Every other second, Napoleon, who is not afraid to showcase his opposition to the plan, is constantly mocking Snowball, sometimes calling her boring while they are in front of a large crowd. Again, the material itself comes off as borderline cringeworthy, but the more I think about it, the more it reminds me of the current state of politics in the U.S.. I try to keep my mouth shut in regards to that topic on here, but Napoleon is essentially Donald Trump. He is loud and quite limited in his vocabulary. He calls others names to their faces. And as we have seen in the 2016 and 2024 elections, his biggest rivals tend to be, whether you agree with their policies or not, well-meaning women.
Although there is one woman that Napoleon tends to get along with, and that is the recently mentioned “boss lady,” Frieda Pilkington (Glenn Close). A billionaire who essentially wants everything and will stop at nothing to get it. She owns a giant company that I would perhaps sum up as this universe’s equivalent to Amazon, as it seems to have their fingertips in just about every industry. Her character is by no means broken, but her one-dimensionality definitely stands out.
In fact, this movie is chock-full of big stars. From Jim Parsons to Kieran Culkin to Steve Buscemi. One rising star who I am glad to see in this film is Iman Vellani, who I adore as Ms. Marvel in the MCU. Her roles, and yes, she has more than one, does not give her as much to work with compared to Marvel, but I am glad to see she is getting more work.
Another standout in this film is Woody Harrelson as Boxer. While the film does have its many differences from the source material, the way Boxer was written and executed feels similar to how I would have imagined reading the book as a teenager. Harrelson is a good pick for the role. It is hard to say that “Animal Farm” is one of the most heartfelt films ever made, but I would not deny that Boxer is perhaps the emotional core of the story, even if he is a supporting character.
While this is based on a famous text, “Animal Farm” is not the best when it comes to screenwriting. By the way, it is written by Nicholas Stoller, whose “Muppets” films I did enjoy, but I will also acknowledge his resume also contains duds like “Sex Tape,” “Dora and the Lost City of Gold,” and “Zoolander 2.” Despite Stoller’s best efforts, the jokes do not work. I do not mind “Animal Farm” having jokes, as long as they stick the landing. They did not. Some of the jokes play a part in the film’s clashing tones. At times this film tries to be ridiculous and go for a laugh, and at others it tries to pull the heartstrings or make you shed a tear. Pixar has proven that their films can both be funny and emotional. “Animal Farm,” which is a collaboration between Aniventure and The Imaginarium, tends to fall flat in both categories. The end of the film feels kind of like a Marvel movie, almost as if the climax is aiming too high.
I have nothing against people making changes to source material. I think “Willy Wonka and the Chocolate Factory” is one of the greatest movies of all time, even if it made some significant alterations from Roald Dahl’s classic tale. This adaptation of “Animal Farm,” like the others that have been brought to the screen, has its differences from the book. Although I went back to watch the other two adaptations and those tended to maintain the tone and spirit that the book was going for. Neither one was particularly groundbreaking or IMDb top 250-worthy, but they did their job in more ways than one. This movie does not feel like “Animal Farm” in the most accurate sense. That would be fine if I liked the movie, but between the bad comedy, several characters lacking dimension, weird editing choices, and some scenes feeling rushed, “Animal Farm” reminded me that not all movies are equal. Some are just plain bad.
In the end, “Animal Farm” is not as bad as I hear other people claim it to be, but to call it good is definitely a stretch. There are parts of the movie that exceeded my expectations, and I am probably being generous with that statement. While I definitely found Rogen’s interpretation of Napoleon to be rather annoying, I do think the way he was written worked in terms of matching the current political climate. He is not the smartest, nor the most calculated leader. But if you ask certain people today what they think about the current U.S. President, they would probably say the same thing. The animation was passable, but not exactly revolutionary. The soundtrack of this film is also kind of weird. Including a rap version of “Old McDonald Had a Farm” is most certainly a choice. The book is definitely more serious than this movie, and I thought when this film tried to be funny, it did not always work. Although there was one gag involving E=mc² that did make me chuckle. This is probably not going to be my least favorite movie of the year as there are glimmers of positivity to be found, but I hope to see a superior version of this tale brought to the big screen one day. I am going to give “Animal Farm” a 4/10.
“Animal Farm” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! I am happy to announce that the next guest in my ongoing web series, Movie Requests is none other than Brian O’Halloran! You may know him from several of Kevin Smith’s films, including the “Clerks” trilogy! By the way, he is not the first guy from said trilogy I featured in the series, as a couple months ago I took a request from Jason Mewes, AKA Jay of the Jay and Silent Bob duo. As for Brian’s request, that review will be available on Sunday June 7th! You can check it out here on Flicknerd.com, but if you want the fastest method of watching the review, do yourself and I favor by subscribing to my YouTube channel!
My next review is going to be for “Mortal Kombat II!” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Sheep Detectives,” “In the Grey, “Star Wars: The Mandalorian and Grogu,” “I Love Boosters,” and “Backrooms.” If you want to see these review 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 “Animal Farm?” What did you think about it? Or, did you read the “Animal Farm” book? What are your thoughts on it? Let me know down below! Scene Before is your click to the flicks!
“Exit 8” is directed by Genki Kawamura (A Hundred Flowers, Duality) and stars Kazunari Ninomiya (Letters from Iwo Jima, Assassination Classroom), Yamato Kochi (Vivant, Brothers in Arms), Naru Asanuma (A Calm Sea and Beautiful Days with You, The Night After the Divorce), Kotone Hanase (Suzume, The Parades), and Nana Komatsu (Silence, The World of Kanako). This film follows a man who finds himself trapped in a subway station and must complete a puzzling mission in order to escape.
Turns out “The Super Mario Galaxy Movie” is not the only film coming out in April that is based on a video game, because “Exit 8” just so happens to originate from the same medium. The two games, and by extension, films, are quite different. “Mario” is much more family-friendly and adventurous, while “Exit 8” takes a more intimate and scarier route. The differences also happen to extend to my relationship with the games. While I have played many of “Mario’s” titles from different eras, I have not once sat down and played “The Exit 8.” To be fair though, the game is a somewhat recent indie title and way less popular than “Mario.”
Although my ability to enjoy a film should not be factored by how popular or recognizable the concept happens to be. As a wise woman from an ESurance commercial once said, “That’s not how it works. That’s not how any of this works.” Speaking of not working, I wish that were not the case for this movie, because it is one of the biggest bores I have seen all year.
I am not going to deny that “Exit 8” has potential. In fact, once I heard the concept, it gave me a weird sense of nostalgia. I am at the point now that I drive to work, partially due to the public transit in Boston not running overnight. But when I was in college, I took public transit everywhere, including the subway. As someone who has taken the subway so frequently, I appreciate the filmmakers’ intentions to make the concept scary. Because when I was taking it in Boston, it sometimes was. You are riding a germ-infested car with a bunch of strangers that sometimes squeaks like there is no tomorrow. Shoutout to the Green Line for reminding me of why I hate having sensitive ears, especially when it stops at Boylston and Government Center.
This movie, to my lack of surprise, dives into some common annoyances of riding the subway. The crowds… The occasional lack of cell service… The noise… The film starts in a clever way by showing the world through the protagonist’s eyes and ears. We see him riding the subway, and when he has his headphones off, he hears a baby crying, he does nothing about it. Though someone else, who is fed up with the noise, is telling the mother how annoyed he is. Of course, there is nothing the baby can do about it, and the mother, who has way more tact than she should, apologizes to the irritated rider.
The movie sometimes succeeds when it comes to atmosphere. The subway, despite extending quite far, does feel kind of otherworldly between the loud trains, strange halls, and depending on the case, large crowds. This movie occasionally goes beyond the everyday eeriness of the subway by implementing unusual characters, chilling sound effects, and some occasionally spooky effects. There is one moment involving eyes on posters that I will remember for some time.
That said, this movie becomes dull very easily. In a way, I almost felt as trapped as this film’s own protagonist. The film does a good job at showing how much the protagonist learns in a specific period of time, but it does not change the fact that the film feels as repetitive as can be. I think this could have been paced a lot better as a short film rather than a feature. There is a decent movie in here somewhere between the suspense and immersion factors, but very rarely did I find the story intriguing or the scares all that horrifying. When I watch a horror movie and I am not scared, that is a problem.
In fact, after watching this movie, I was searching its Wikipedia page, and I found out that the director, Genki Kawamura, ended up cutting a scene that he deemed too scary to show. I really want to see that scene now. At best, this movie is mildly eerie, but I cannot name a single moment during the runtime that had me pacing a just a little. I hate saying this, especially as someone who has taken the subway on a regular basis, so I have come across my share of interesting characters and sights. Although the more I think about it, I wonder if that is part of why I am not so scared by this movie. I have taken the subway so regularly back in the day, and I still take it sometimes today, to the point where what could have once been strange is now familiar or expected.
Granted, while this film does ground itself when it comes to showcasing the horrors of the subway, it also tries to blend in some more fantastical elements as well. I am not saying those could not have worked, but I do wish they were improved.
Also, I have no idea how many other people are going to complain about this, but the dialogue in this film irked me. I could only hear The Lost Man (Ninomaya) repeat the same things over and over so many times. I get that repeating his words is perhaps his way of understanding his surroundings, but as a viewer, it only makes every scene featuring said character feel almost the same as the last. If there is any variety to be found, it feels scarce. I found myself surprisingly frustrated with this character’s progression as he tries to escape.
“Exit 8” is kind of like “Groundhog Day” or “Edge of Tomorrow” as we constantly see the Lost Man doing the same things over and over and trying to complete a major task in the process. Maybe the movie was trying its best to suck me into the atmosphere of the subway, but if anything I found myself more annoyed that I had to go through various parts of the movie in real time. Or in this movie’s case, as real as time can be in its specific context. On the other hand, “Edge of Tomorrow” will sometimes trim out the fat while not removing anything essential from the story. If I found “Exit 8’s” short list of characters more intriguing, this would be moot. But I did not, so here I am, complaining like a madman. I wish I cared more about the Lost Man’s personal dilemma regarding his love interest. I wish I cared more about the Boy. I wish I cared more about everyone in this movie. Unfortunately, however, I cared so little to the point where I cannot see myself watching this movie ever again.
In the end, I am surprised to say this… If I were to recommend a video game-based movie to watch in theaters right now, I would shockingly pick “The Super Mario Galaxy Movie.” Yes, I have complaints with the movie, but I feel like it did a slightly better job at accomplishing its goals, even with a lack of story. “Exit 8” has a story, but I cannot say it is the best story. Despite being a horror flick, I found nothing about it that scary. I did find it atmospheric. It did remind me of times when I would walk through long subway tunnels or find myself in a sea of people on the Orange Line riding through Boston. The acting is not bad either. I have no problem with the cast, but I wish they were given superior material to work with. I am probably in the minority when it comes to my opinion. Both critics and audiences seem to be raving about the film over on Rotten Tomatoes. This film is not a complete trainwreck, but if I were ever presented with the opportunity to watch “Exit 8” a second time, I could see myself going to the next stop. I am going to give “Exit 8” a 4/10.
“Exit 8” is now playing in theaters. Tickets are available now.
Thanks for reading this review! Special reminder that my next episode of Movie Requests drops Monday, May 4th! That is Star Wars Day! Therefore, it is only fitting that Katee Sackhoff, known for her work as Bo-Katan Kryze, will end up being the guest of the next episode! You can catch the episode here on Flicknerd.com, or you can subscribe to my YouTube channel to see it as soon as possible!
And if you want to check out my last episode of Movie Requests featuring “Avatar” actor Joel David Moore, you can click the link above and watch it for yourself. If you enjoy the video, leave a like! It helps me out!
My next review is going to be for “Normal.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Lorne” and “Michael,” which sounds like a gigantic missed opportunity to form the next “Barbenheimer.” LORNE MICHAEL! Come on, guys! 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 “Exit 8?” What did you think about it? Or, what is your favorite movie involving trains? If it is not “Spider-Man 2,” we need to talk. Let me know down below! Scene Before is your click to the flicks!
“The Super Mario Galaxy Movie” is directed by Aaron Horvath and Michael Jelenic, and co-directed by Pierre Leduc, all of whom helmed 2023’s “The Super Mario Bros. Movie.” This film stars Chris Pratt (Guardians of the Galaxy, The LEGO Movie), Anya Taylor-Joy (Emma., The Northman), Charlie Day (It’s Always Sunny in Philadelphia, Fist Fight), Jack Black (Kung Fu Panda, A Minecraft Movie), Keegan-Michael Key (Toy Story 4, Key and Peele), Benny Safdie (Happy Gilmore 2, Uncut Gems), Donald Glover (Atlanta, Solo: A Star Wars Story), and Brie Larson (Captain Marvel, The Glass Castle). This film follows Mario as he ventures through space, facing new challenges and enemies along the way.
“The Super Mario Bros. Movie” is the very definition of “acceptable.” By no means am I ever going to watch the movie again, unless I one day have kids and we end up watching it together or something. This is a movie that, if I were to have children, I would not be mad at them for watching, but it is far from the greatest family film ever made. My biggest problem with “The Super Mario Brothers Movie” is that just about everything about it screams “cliche.” There is nothing in it that I felt like I have not seen in other movies over the years.
The banality of “The Super Mario Bros. Movie” frankly soured my expectations for what would be known as “The Super Mario Galaxy Movie.” I hate to say this, as I love the “Mario” games. I grew up playing them as a child and I continue to enjoy them to this day. Of all the “Mario” games I played, the original “Super Mario Galaxy” just so happens to be my favorite due to its unique style, immersive gameplay, epic orchestral score, and clever worlds. I was definitely curious to see how Illumination would adapt my favorite game in the franchise, but I also tempered my expectations. The marketing was nowhere near perfect, but had its moments.
Now that the movie is here, I can very much say it reminded me of the last one.
In some ways, this can be seen as a positive because it means that the movie is on brand. If you liked “The Super Mario Bros. Movie,” then there is probably a decent chance you will enjoy “The Super Mario Galaxy Movie.” Only thing, I barely enjoyed “The Super Mario Bros. Movie,” so it should not be a surprise that I happen to find my experience watching its sequel to be just as middle of the road.
The movie is not all bad. The biggest boast it carries happens to be the visuals. While I am not the biggest fan of Illumination, I cannot say their attention to detail when it comes to animation has ever let me down. Even if the content within said details happens to be incredibly brain-numbing. The film is colorful, polished, and for the most part, faithful to Nintendo’s games. If I were to watch this film with the sound off, it would be an “A.”
That said, I watched this film in IMAX, so the audio was not only on, but quite loud. That is another aspect that “The Super Mario Galaxy Movie” often nails through faithful sound effects and score that do a great job at bringing some of the game’s greatest hits to cinema. Brian Tyler, much like the last film, does an excellent job composing the music.
But unlike a galaxy, the positives of “The Super Mario Galaxy Movie” can only reach so far. This film has a problem some other video game-based films run into. The characters and story feel rather thin. I was not exactly fond of how the previous movie decided to have its characters follow the most basic story structure imaginable, but at least it had a story. To say that “The Super Mario Galaxy Movie” does not have a story would be a lie. But to suggest it has a coherent story is also a stretch.
The movie is paced like a TikTok video. The film is designed to give as much information as possible in as little time imaginable. Do not get me wrong. I like a good, fast-paced flick. And like a lot of fast-paced flicks, the film packs in a couple decent action sequences. The first encounter between the Mario brothers and Bowser Jr. is quite entertaining, well choreographed, and has a rather cool use of slow motion. Though sometimes the film goes so fast that it is not always easy to digest the information that is in front of you.
At times, the movie is so focused on shoving as much as it can into its 98 minute runtime to the point where not all of it feels like it matters or comes off as substantial. “The Super Mario Galaxy Movie” has some good ideas. But those good ideas did not receive the best execution.
Watching “The Super Mario Galaxy Movie” is the equivalent of putting on Twitch and watching someone speedrun a “Mario” game. The only difference is that this cinematic experience does not come with a fun on-camera personality who feels like your pal from afar. The film is too fast and it almost made me furious.
Speaking of personalities, Chris Pratt is, unfortunately, back as the voice of Mario (right). I am still not accustomed to his voice. I honestly bought into his performance a bit more in his first go. Chris Pratt has proven to be a halfway decent voiceover artist through his performance in “The LEGO Movie.” Sadly, “The Super Mario Galaxy Movie” does not live up to that. A lot of his lines feel flat and lifeless, especially compared to most of the other cast members. His presence feels nowhere near as animated as anyone else in the film. Charlie Day is often expressive and hyperactive as Luigi (left). Jack Black is over the top and loud as Bowser. Benny Safdie has such a psychopathic presence as Bowser Jr.. Brie Larson is incredibly inviting as Rosalina. Chris Pratt at times sounds like he is in a different movie than his castmates.
I have no idea how many of you are going to consider this a spoiler, but if you have missed out on the posters for this movie, then you might want to log off this post, as there is a potential detail afoot that could be described as a spoiler. You have been warned.
Not good enough? Okay. Here is a countdown.
3…
2…
1…
Going once…
Going twice…
Going thrice…
If you are still reading this and have not seen the movie…
You are wasting your time…
You have been warned…
You have been double warned…
Fox McCloud is in this movie.
Glen Powell voices the main character of the “Star Fox” franchise, and he does a pretty good job. I thought the idea of including him in a film where Mario goes to space makes sense. But he felt very minimal in the movie’s overall impact. Sure, he had a place in the story, but barely. He comes off more as an excuse to cater to a certain branch of gamers rather than to be of service to the story. In fact, I will not drop spoilers, but Fox is not the only non-Mario Nintendo character we see in this film. Does this mean we are getting a “Super Smash Bros.” movie anytime soon? Frankly, based on what they do with one or two of these characters, I am thinking the chances of getting that movie is highly unlikely. As a fan of those games, I am a bit disappointed. But as someone who thinks these past two “Mario” movies have been average, I think this might be for the best that way I do not end up underwhelmed with what a “Smash” movie could be.
Not to sound like a politician, but despite the movie’s faults, I felt at times it had “concepts of a plan.” In terms of characterization, the movie does not do the best job at developing the cast. If anything, I think of all the characters, Peach ends up going through the most change through her relationship with Mario and what we see through her backstory and how it plays into rest of the film. Also, I do like seeing Bowser reconnect with his son after some time apart. The two may be bad, but watching their relationship is quite good. Their connection also inspires my favorite conversation in the movie, which features the line, “Nothing’s more dangerous than a friend. When your armor’s down, they’ll stab you in the back.”
Some of you might defend “The Super Mario Galaxy Movie” for not having the best story, possibly because not all the video games have much of a story. That is technically true. As much as I love “Mario Kart World,” I cannot say I am playing the game for the plot. I am playing the game to take down opponents with banana peels. The inspiration behind this movie, “Super Mario Galaxy,” may not have the deepest plot, but it introduces an interesting character in Rosalina while delivering mind-blowing gameplay. And that is the key word. GAMEplay. Keep in mind, this picture is called “The Super Mario Galaxy MOVIE.” The “Mario” games fall within a play-based medium. Even if the story is minimal, the game can still be fun as long as the gameplay works. When you are making a movie, the story becomes more important. But when you have a team that is more concerned about finding an excuse to randomly show off Toad in a penguin suit or build a security system with a presentation modeled after the art style of the “Super Mario Bros.” NES game, it gives me the impression that story is not a top priority. If anything it comes off as a commercial for the games. I am not saying a movie cannot also be a good commercial. Go watch “The LEGO Movie.” Sure, it is based on LEGO blocks, but the movie uses that concept and, no pun intended, builds a good story around it.
Also, if this movie were a commercial for the “Mario Galaxy” games specifically, it almost feels like false advertising, as we do not often see Mario in space. Not long after those stories begin, Mario ends up in space and stays there for the entire story. Sure, we see Mario venturing off into space at a certain point of the movie, but a surprising amount of Mario’s journey is spent closer to home, around the Mushroom Kingdom. I hate to be the guy who judges a book by its cover, but I would be fine if the crew called this film “The Super Mario Bros. Movie 2,” even if it is a bit of a mouthful. It probably would have lessened my complaint even by the tiniest amount.
But there is one positive note worth mentioning. This movie, like its predecessor, is more enjoyable than “Super Mario Brothers” from 1993. Yet if I were to go into the woods and film a Mario action figure jumping on mushrooms for a couple hours, that would also be more tolerable to watch than 1993’s “Super Mario Brothers.”
In the end, it is weird to say, but somehow prefer “The Super Mario Bros. Movie” over “The Super Mario Galaxy Movie.” I mean, it is almost guaranteed that putting something in space sounds cool, but even so, this sequel feels like more of the same. More references. More cookie cutter backstories and characterization. More TikTok-like scenes. The movie looks pretty and if I were in charge of a Best Buy, chances are I would consider using “The Super Mario Galaxy Movie” as a demo on a big screen TV because some of the scenes are simply that easy on the eyes. But I can guarantee you I have no plans to watch this movie again. The “Mario” games have replay value. The amount of times I turned on “Mario Kart World” in the past year has to be somewhere in the double digits at minimum. I cannot say I am going to have the same attachment to “The Super Mario Galaxy Movie” down the road. There are elements that work. Bowser Jr. is kind of fun. Donald Glover was a fine pick to play Yoshi. And the music is quite good, regardless of whether or not it is based on something that I have heard before. Each tune plays its part well. That said, it is not enough to make this movie worth my time past the initial viewing. I am going to give “The Super Mario Galaxy Movie” a 5/10.
“The Super Mario Galaxy Movie” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you have not done so already, please check out the latest episode of Scene Before’s original video series, Movie Requests. This latest episode features “Avatar” actor Joel David Moore, who requested I should watch “Force Majeure.” My thoughts can be summed up in the video above! And if you would like to see more episodes, do me and yourself a favor by subscribing to my YouTube channel!
My next review is going to be for “The Drama!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Exit 8,” “Normal,” “Lorne,” and “Michael.” 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 Super Mario Galaxy Movie?” What did you think about it? Or, what do you believe is the superior film? “The Super Mario Bros. Movie” or “The Super Mario Galaxy Movie?” Let me know down below! Scene Before is your click to the flicks!
“Project Hail Mary” is directed by Phil Lord and Christopher Miller (Cloudy with a Chance of Meatballs, The LEGO Movie) and stars Ryan Gosling (La La Land, Blade Runner 2049), Sandra Hüller (Anatomy of a Fall, Zone of Interest), James Ortiz (Cryptid, The Woodsman), and Lionel Boyce (Loiter Squad, The Bear). This film is based on a novel by Andy Weir, who also wrote the book “The Martian,” which has since been adapted into a hit movie starring Matt Damon. “Project Hail Mary” follows a middle school teacher-turned-astronaut by the name of Ryland Grace who is put on a mission to stop a mysterious substance from destroying the earth’s sun.
I am not that much of a reader. Although there have been rare occasions where a movie would come out and I would read the book sometime before seeing it. I did this years ago for “The Martian,” by Andy Weir, which has become one of my favorite reads. The movie, while not as good as the book, is utterly amazing. Much like the book, I found the movie to be extremely funny and endlessly engaging. As someone who found myself to be a fan of Andy Weir’s writing style, I thought I would give the “Project Hail Mary” book a shot. I barely finished it before I saw the movie, but I really liked the book. It maintains the humor that Weir mastered in “The Martian,” while delivering something more complicated and adventurous. I think “The Martian” is the superior read, but both books are winners.
The hype train was real going into “Project Hail Mary.” Not just because it was based on a well received book… Not only because I happen to concur with those who say the book is great… Not just because I am a sci-fi junkie… Not just because it stars Ryan Gosling… Not just because it is directed by Phil Lord and Christopher Miller… But the trailers and the footage leading up to the movie, for the most part, looked incredible. The effects were pure eye candy. The sets looked great. The camerawork looked awe-inspiring. The film was even shot in true IMAX… Granted, it is technically digital. But still.
Maybe I am overexaggerating my excitement a bit. If there is any movie this year I would have been looking forward to more than any other, it would be “The Odyssey,” but “Project Hail Mary” was up there based on everything that I have seen, heard, and read prior to checking it out, including the overwhelmingly positive reviews.
Ladies and gentlemen, believe the hype. Actually… No. The hype might actually be too small.
“Project Hail Mary” is the best movie I have watched in years.
It has not been since “Godzilla Minus One” that I walked out of a movie buzzing so excessively.
As previously mentioned, I have read the book. I thoroughly enjoyed the book. I thought the way Weir told the story was unique. I think I prefer the movie. If you told me that Steven Spielberg directed this film, I would believe you. I said this some time ago with “Arco,” but I meant that more as a statement on the film’s style rather than its quality. This not only reminds me of some of Spielberg’s past movies, but it is just as watchable as some of his greatest hits. My dad, who for the record did not read the book, saw the movie with me. He had a great time. He said the movie reminded him of “Close Encounters of the Third Kind.” To me, “Project Hail Mary” feels like “E.T.” for a new generation. Only this time around, not as much of the story is set on earth.
Honestly, there are a number of filmmakers whose work I could compare this to, and I mean that as a positive. This film reminds me of some of my favorite projects said filmmakers have done. In addition to this film delivering Spielberg vibes, it comes off as what would happen if a Christopher Nolan epic had a baby with a James Gunn adventure. It has the scope and ambition of one of Nolan’s blockbusters and the humor and fun of Gunn.
This movie is a pure bundle of joy. I should not be surprised, as this movie is done by Phil Lord and Christopher Miller, who have produced some of my favorite films of the past decade like “The Mitchells vs. the Machines” and the “Spider-Verse” movies.
They have also done “The LEGO Movie,” which is so much better than it should be. If I ever have a conservations with people discussing my personal favorite films of all time, I am proud to say “The LEGO Movie” and “Project Hail Mary” will both likely be part of said conversations.
No, seriously, who is Ryan Gosling’s agent? Because his resume, especially over the past ten years, is filled with banger after banger after banger, with this film being the latest example. “La La Land” is extravagant and otherworldly. “Blade Runner 2049” was amazing despite not doing so hot at the box office. “First Man” was moving. “Barbie” was not just a good movie, but Gosling practically stole the show. When I think of the best actors working today without an Oscar, Gosling is somewhere close to the best of the best. After seeing “Project Hail Mary,” I am convinced that not only is Gosling capable of being nominated, but also of winning an Oscar next year. Granted, it is only spring. The Oscars are practically a year from now. But I have a feeling that Gosling’s performance can sit well with people through the coming months as he is given lots to do and handles all of it with excellence.
It also helps that he plays such a likable character. There is a line in this film where Ryan Gosling’s character, Ryland Grace, says he puts the “not” in astronaut. As corny as that may sound, that line solidifies his entire journey. I do not want to spoil everything that happens in this movie, but the narrative constantly unfolds bits and pieces of the character as it goes along through its clever non-linear format. Much of the film is set in space, but there are portions that take place on earth, and those portions are surprisingly engaging. Grace is a middle school teacher, which only adds to his likability. Remember “Interstellar?” Arguably the biggest drive Cooper has in that film that allows him to try to save earth are his children. Grace does not have any kids, but his middle school class, while temporary, almost comes off as a set of children he never had.
In a multitude of other possible movies, Grace would be the star of the show. But one character constantly steals the spotlight, and that is Rocky. Much of the film features these two in close quarters as they learn about each other, their worlds, their backstories on how they found each other, to the point where they end up working together not only to save earth, but Rocky’s own planet.
Remember the Grogu craze when “The Mandalorian” came out? It felt like for months that Grogu fever, and by extension, merchandise, was everywhere. Heck, I own a pair of Grogu socks that are worn out, but I cannot get rid of them. They’re comfortable, and I like the design. There is a fine line that a film rides with a “merchandisable” character, which I would say Rocky just so happens to be. For me, to get me to buy a character’s merchandise, I would prefer to realize I like said character before wasting my money. Thankfully for this film, Rocky is a riot. Having read the book, I had no clue how they were going to portray him in the movie, but I was actually surprised with how much I loved his first moments on screen. He is adorable, but also rather smart. Rocky is a winning combination. James Ortiz does an excellent job on the voice. Given how Rocky is an alien, the communication styles vary significantly between him and Grace, but I enjoyed getting to see how the movie showcases both characters as they learn how to communicate back and forth.
Rocky also has the best line in the movie, and without giving any context to the situation, all I will say is that it involves a guy named Mark. You will know it when you hear it.
I said before that this film reminded me a lot of “E.T. the Extra-Terrestrial” and I could sum up the basic reasons… Both films heavily feature bonds between a human and an alien. Both have inspiring musical scores. Both have characters who want to do what they can to get home. But the real reason why I find this to be “E.T.” for the next generation is that the film is an incredibly emotional experience. I did not cry during “Project Hail Mary,” but I would not be surprised to be sitting during this film again and seeing other people wiping tears off their faces. This film has everything that reminds me of why I love the movies. Well-realized characters with their own quirks… A great story that enlightens the soul… Stunning visuals and audio that excite on every level.
Some could argue that I am rather predisposed to liking “Project Hail Mary.” Not only did I read the book and like it, but if you know me well, you would know that sci-fi is my preferred genre. It does not mean every science fiction tale is great. I have seen a few “Star Wars” movies I would rather forget. In fact, having read the book, I recognize that not everything from the source material is going to find its way into the film. It is too long, and I think the general audiences can only take so much technical and scientific jargon. Are there things from the book that I am disappointed are not in the movie? Yes. There is a pinch of backstory involving Stratt towards the book’s end that moved me. But these are two separate things. I am not going to let the dismissal of that material affect my verdict of the film, because as a general movie, regardless of what it was based on, this was one of the most unbelievable experiences I have ever had.
“Project Hail Mary” presents a universal problem, as a mysterious creature is causing the sun to die. On the surface, one would think this film is about saving the world. And in a way, it is. But as soon as Rocky is brought into the picture, the film basically gets to the point where both he and Grace think bigger. The journey these two go on together as friends is truly something. I could honestly watch a weekly sitcom starring these two. But the film, as fun and joyous as it is, is simultaneously sad. You have this protagonist who minute by minute is trying to remember every little thing about himself. He finds out he is alone. He is tasked with mankind’s most important mission, and his only escape appears to be Rocky. And you might think he has people back on earth to save. Sure, he has the people he knows from his school. But he has no lover, no pets. Nobody. All he has is himself, the children he will likely only see for portions of his life, and Rocky. But the film manages to balance the sadness with more optimistic moments, hilarious lines, and a satisfying ending. This is the kind of movie that I can see a lot of people going to multiple times, bringing new people with each go. Heck, I am already thinking about who I would bring for a second viewing. If you are still reading this and have not seen this movie, please stop what you are doing and go check it out. Do not pirate the film. Go to a theater. See it on a big screen. Do it as soon as you possibly can.
In the end, I cannot stop thinking about “Project Hail Mary.” I read the book before checking out this movie, but I have to say I enjoyed the movie more than I did the book. There are certain scenes in this film that honestly play out ten times better as visuals rather than text. I have a pretty active imagination, but even I have to say some of these scenes were better than how I interpreted them. Ryan Gosling gives the performance of a lifetime. James Ortiz is fantastically cast as the voice of Rocky. Sandra Hüller does a great job as Stratt. Overall, the cast brings their A-game. The musical score is riveting. The cinematography is easy on the eyes. Phil Lord and Christopher Miller deliver a spectacle for the ages. Everything in the story from the beginning to end had me hooked. It is a longer film at two hours and thirty-six minutes, but it is never boring! Please go see this movie. It will make you laugh. It may even make you cry. Amazon does not have a long history as a film distribution company, but this is easily my favorite film they have put out thus far. If you are reading this review around its publication, do not wait for Prime, if there is a prime time to go see “Project Hail Mary,” it is now. I am going to give “Project Hail Mary” a 10/10.
“Project Hail Mary” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! I want to remind everyone that in honor of Scene Before’s 10th anniversary, I started a new series called Movie Requests and if you would like, you can now check out my latest episode, where “Jay and Silent Bob Strike Back” star Jason Mewes requests I talk about “House Party.” And if you want to see future episodes, please consider subscribing to my YouTube channel that way you can see them as soon as they drop!
My next review is going to be for “Ready or Not 2: Here I Come!” Also, coming soon, I will be sharing my thoughts on “They Will Kill You,” “You’re Dating a Narcissist!,” “The Super Mario Galaxy Movie,” and “The Drama.” 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 “Project Hail Mary?” What did you think about it? Or, did you read the “Project Hail Mary” book? What did you think about that? Let me know down below! Scene Before is your click to the flicks!
“Hoppers” is directed by Daniel Chong (We Bare Bears, We Baby Bears) and stars Piper Curda (A.N.T. Farm, Teen Beach 2), Bobby Moynihan (Saturday Night Live, The Secret Life of Pets), Jon Hamm (Mad Men, Keeping Up with the Joneses), Kathy Najimy (King of the Hill, WALL-E), and Dave Franco (Together, The Disaster Artist). This film is about a young girl named Mabel who uses a new technology to allow her consciousness to hop into a robotic beaver. Despite discouragement from those working on the tech, Mabel uses her newfound beaverhood as an opportunity to save a glade from being replaced by a freeway.
You ever hear the saying “Just another Tuesday?” Well, that phrase applies to Pixar. Specifically, when it comes to describing their ability to pump out one solid movie after another. Not every one is perfect, but the studio has unleashed a ton of hits over the years, including a couple all-timers like “The Incredibles” or “Inside Out.”
Watching a new Pixar movie always feels like an event, because while they are not the only group dedicated to making animations, I always see Pixar as the gold standard. It has come to the point where I find inferior Pixar projects to be better than most movies. Do I think “Elio” is a masterpiece? No. But did I enjoy it and take something from it? Absolutely. Even with “Elemental” turning out to be lackluster, I continue to find myself onboard Pixar’s train for whatever they have in store.
As much as I look forward to seeing what Pixar brings to the table with franchise extensions including “Toy Story 5” and “Incredibles 3,” I am often more engaged when I find out about one of their original projects, including “Hoppers.” That said, while the movie did look fun and hilarious based on what I saw in the marketing, I will admit that the movie did turn me off slightly even while watching the trailers, as they admit how much their concept sounds like “Avatar.” Although in fairness, if you break down “Avatar,” it has ripped off quite a few other films like “Pocahontas” and “Dances with Wolves.”
Despite the film’s self-admitted ripping off of sorts, there is plenty in it to enjoy. In fact, I think it is just about as enjoyable as the first “Avatar.” Much like how I think “Avatar” is not James Cameron’s best work, I would have to say the same is true for “Hoppers.” Nevertheless, both movies are worth watching. These two stories just so happen to play around with similar ideas beyond just having someone take on the form of another living thing. They both highlight how humanity tends to mistreat other creatures, intentionally or not. “Hoppers” also taps into the idea that humans often fail to realize that they are not the center of the universe. As humans we are taught to appreciate nature, but in the past couple hundred years we have become so reliant on convenience and industrialization to the point that we forget to care for other animals.
I saw this film with a couple friends, and one of those friends said this film is Pixar’s closest cousin to “Indiana Jones and the Temple of Doom.” I would partially agree with them as, like that film when put next to others in its franchise, is not exactly the best one. But also, like “Temple of Doom,” there are some surprisingly dark moments. There is a particular death that comes in this film. Wow. Characters die in a movie. What a spoiler. But without specifying, there is one death involving a clap that caught me by total surprise. You will know it when you see it. If you saw the trailer, you would know that a good chunk of the movie is dedicated to other creatures trying to “squish” humans for everything they have done. That said, the trailers make this film look totally lighthearted. It was a bit darker than I anticipated. There are some segments involving the animals’ aspirations that lead to some eerie visuals or concepts. I do not want to spoil much, but the end of the movie has some “facial expressions” if you will, that I cannot stop thinking about.
Speaking of things I cannot stop thinking about, I like the film’s protagonist, Mabel. She comes off as smart, though a bit rebellious. Yet she is not necessarily pushy. The movie does a great job at creating someone whose passion for nature is as strong as her desire to preserve it. While this film is not as emotionally charging, there are some sentimental moments between Mabel and her Grandma Tanaka that felt reminiscent of watching earlier moments of “Up.” Much like that Pixar classic, “Hoppers” works so well because not only is Mabel doing what she’s doing for herself, she is thinking of the people in her life each step of the way. She is an individual who clearly wants something to go her way, but oftentimes cares enough about others during her journey to see said thing play out.
Story-wise, this film reminds me of a lot of other movies, including some of Pixar’s own like “Up,” “Ratatoullie,” or “A Bug’s Life.” This film is not exactly the same as all of these, but it borrows a lot of elements from their stories like large insect casts, the “humans are dangerous” cliche, or the general appreciation of nature. “Hoppers” is far from Pixar’s best film. To me, it is mid-tier Pixar, which is still better than a lot of movies. I would probably put it in the same boat as “Onward” or “Inside Out 2.” Yet “Hoppers” borrows a lot of traits from some of Pixar’s most memorable stories and creates a fun remix out of them.
In some ways, I think you would be forgiven if “Hoppers” also reminded you of a recent DreamWorks film, specifically “The Wild Robot.” For one thing, both films, on a technicality, primarily feature “robots” as their main characters. These “robots” if you will, are their respective universe’s fish out of water. Both Roz and Mabel have to adapt to the ways of the wild. They take on completely different adventures and carry completely different motivations, but on the surface, both films would seem like distinct cousins if watched back to back. This is especially true when you consider both films suggest that humans the reason why the world is changing for the worse.
Overall, “Hoppers” is a hoot. It is quite funny, wonderfully ridiculous, and like a lot of other Pixar fare, beautifully animated. The studio has only gotten better at making their films look as crisp as can be through the years and “Hoppers” is just the latest example.
In the end, I recommend “Hoppers.” This is not going to end up being my favorite film of the year, but it is one that I think is fun for all ages. It does get a bit dark, but it is not the first film of its kind to do so. The mostly star-studded voice cast brings their A-game. The story is a lot of fun, but also important. For the younger viewers, the film offers positive lessons about environmental preservation and not messing with nature. The film is fast-paced, never boring, and an overall good time. I am going to give “Hoppers” a 7/10.
“Hoppers” is now playing in theaters. Tickets are available now.
Thanks for reading this review! If you like this review, I have more coming including for “Project Hail Mary,” “Ready or Not 2: Here I Come,” “They Will Kill You,” “You’re Dating a Narcissist!,” and “The Super Mario Galaxy Movie.”
Also, if you have not done so already, please check out my latest episode of Movie Requests featuring special guest Jason Mewes, who asked me to review “House Party.” If you enjoy the episode, leave a like on YouTube, and subscribe to my channel so you can stay tuned for more episodes as they drop!
If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Hoppers?” What did you think about it? Or, if you could experience life as another living creature? What would it be and why? For me, I would pick a mayfly. Their lives are short, but they sound interesting, as they only tend to live one or two days as soon as they become adults. Let me know which creature you’d want to be down below! Scene Before is your click to the flicks!
“GOAT” is directed by Tyree Dillihay (Bob’s Burgers, Good Times) and Adam Rosette (Harvey Girls Forever!, The Mr. Peabody and Sherman Show) and stars Caleb McLaughlin (Stranger Things, The Book of Clarence), Gabrielle Union (Think Like a Man, Bring it On), Aaron Pierre (Mufasa: The Lion King, Krypton), Nicola Coughlin (Derry Girls, Bridgerton), David Harbour (Stranger Things, Black Widow), Nick Kroll (Big Mouth, Sausage Party), Jenifer Lewis (Think Like a Man, Black-ish), Patton Oswalt (King of Queens, Young Adult), Jelly Roll, Jennifer Hudson (The Jennifer Hudson Show, Dreamgirls), Sherry Cola (Joy Ride, Shortcomings), Eduardo Franco (Stranger Things, Booksmith), Andrew Santino (The Disaster Artist, Mixology), Bobby Lee (Inside Job, Kickin’ It Old School), and Stephen Curry (Holey Moley, Mr. Throwback). This film is about a goat named Will Harris who gets the unique opportunity to follow his dreams and play roarball with much bigger, stronger, and faster animals.
When I think of the gold standard of animation, my mind tends to dart towards Pixar. As for Sony Pictures Animation’s place in this medium, I am kind of iffy about them. As much as the “Spider-Verse” movies are masterpieces, they also come from the studio that is responsible for “The Emoji Movie,” one of the most unforgivable abominations made by man. The quality is not the most consistent from one project to the next.
I was not exactly sure what to expect with “GOAT.” I had some idea, but not quite a full picture. The film certainly looked like it took some inspiration from “Spider-Verse’s” fast-paced animation style while also finding a way to bring its own personality to the table. That said, from what I saw through the marketing, this film looked cliche in more ways than one. Having seen the movie, I can definitely say it is cliche. Depending on how many movies you have seen, some of this film’s structure is going to feel quite familiar to you. A protagonist wants to be the best at something despite what the odds suggest and what other people have to say. I have said on this blog that cliches are fine as long as a project can effectively utilize them. Having made that point, I wish “GOAT” was a better movie.
This is not to say the movie is the worst I have ever seen. In fact, when it comes to establishing characters like the scrawny Will Harris (McLaughlin) and his much stronger mentor figure Jett Fillmore (Union). The movie takes time to give them a splendid dynamic that plays out perfectly on and off the court. Their connection unleashes some cliches, but they are, again, cliches that are handled decently. You have the young, eager student willing to learn from a wiser figure who is supposedly becoming more washed-up with each passing minute. It is a traditional storytelling method, but it works.
“GOAT” is very much a product of the 2020s. In some ways, it does a good job at shining a light on people’s weaknesses and problems that define the decade. There is one gag in the film involving a character who is way too attached to their phone. I could see a joke like this playing well with parents in the audience. That said, at my screening, the person next to me, who happened to be an adult, was on their phone numerous times. I wonder how they took this lesson.
By the way, if this has not been made clear already, please put your phone away at the movies. That said, I understand not everyone carries a watch nowadays, so I have no problem if you want to check the time as long as you do not go any further to wreck my time. Turn the brightness down. Peek in your pocket. Don’t flash it heavily for everyone to see! You got it? Good. Let’s move on.
While the movie positively defines the 2020s in some ways, it also manages to define it in less stellar ways. One of my biggest problems with this film is the pacing. Granted, the movie is all killer, no filler. It dives into each and every point without skipping a beat. But for a movie that is about basketball, part of me wishes I could have seen more of it. Thankfully, unlike another so-called sports movie that goes by the name of “Him,” which I reviewed last year, “GOAT” actually dedicates a lot of time to its focal sport. That said, part of me wishes we could have spent a little extra time on the games. I am not saying that we need to see all 48 minutes of the film’s players running up and down the court, but by the time the film gets to the big game at the end, it feels much smaller in scale than it should be. It feels rushed. It feels like it wants to end before it starts. The film literally breezes through its first couple of quarters of the climactic game in about as much time as it would take me to swipe through a few YouTube shorts. There are some occasionally thrilling moments in these games, but they would probably be more exciting if the movie drew things out. “GOAT” tells a lot in a 100 minutes. I just wish I had the chance to digest the material a little more.
One reason why I tend to favor stories told by studios like Pixar is that unlike Sony, their films feel a lot less commercialized. Sure, “Toy Story” uses a lot of real life toys, “Cars” uses real life vehicles, and “Wall-E” has ties to “Hello, Dolly” and Apple. Yet those projects feel like stories rather than extended advertisements. Even in some of Sony’s better animated productions, I always notice they find a way to sneak in a commercial for one of their products. When it comes to product placement, “GOAT” is utterly shameless. The movie spends quite a bit of time showing off the PS5, creates its own 2K sports games based on roarball, makes the card game Uno a core concept of the plot, and even spends quite a bit of time featuring Doordash.
Just because this movie feels commercialized, does not mean it lacks creativity. Instead of basketball, the movie features the sport of roarball. Like basketball, it features players going up and down a court trying to put a ball through a hoop. The two sports have their differences. We do not see humans playing roarball and rather tons of different animals taking up the sport. The universe within “GOAT” seems to have a similar layout to “Zootopia” as there are no humans.
But above all, I find the roarball courts to be more interesting than anything else the sport has to offer. If you ever go to an NBA game, you would notice that each arena has its own individual quirks and home teams, but each court follows a similar structure to the next. The courts that we see through this film’s professional league sort of play like a video game. There are moments where characters have to make their way through rising surfaces, ice, fire, and so on. Honestly, if Nintendo wants to make a “Mario Basketball” game sometime soon, I think this movie would be a solid piece of inspiration.
In the end, “GOAT” is not the greatest flick. It has glimmers of goodness. Although those glimmers are rather thin. The voice cast is pretty talented and bring a lot to the table. Despite clearly being similar to basketball, the concept of roarball has sparks of creativity. While there are a couple decent moments, most of the scenes in this film feel so rushed to the point where I cannot fully appreciate the characters within them. Also, the product placement feels kind of over the top, especially considering this film is animated. As someone who is in his 20s, I sometimes think about what would happen if I had kids and I took them this movie. I think they would have a fun time with it, and for all I know it could age somewhat decently for them, but I do not know if it is going to age like a fine wine. Time will tell. As for this 26 year old loser, I think “GOAT” is a one and done for me. I am going to give “GOAT a 5/10.
“GOAT” is now playing in theaters everywhere. Tickets are available now!
Thanks for reading this review! My next review is going to be for “EPiC: Elvis Presley in Concert!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Send Help” and “The Bride!”. Also, this is my first film review I have published since Scene Before officially turned 10 years old. I want to thank everyone who has wasted their time reading my above average material over the past ten years.
If you want to see a video-based film review I have done, check out the first episode of Movie Requests, where I discuss Lars von Trier’s film “The Idiots,” as requested by actress Bryce Dallas Howard. It is available now on my YouTube channel, and you should absolutely positively subscribe!
If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “GOAT?” What did you think about it? Or, what an animated sports film you enjoy? Sticking with the topic of basketball, you should totally check out my review for “The First Slam Dunk.” It is a great movie, give it a watch. Scene Before is your click to the flicks!
Before we begin this review of “Arco,” I would just like to remind everyone that “Movie Requests” begins this Saturday, February 28th! “Movie Requests” is my upcoming film review series where I ask prominent people to request films for me to talk about, and I give my thoughts on their suggestion. A new promo is out now for the first episode, featuring Bryce Dallas Howard! You can watch it by clicking the video below!
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“Arco” is directed by Ugo Bienvenu and Gilles Cazaux and stars Swann Arlaud (By the Grace of God, Anatomy of a Fall), Alma Jodorowsky (Blue is the Warmest Colour, Kids in Love), Margot Ringard Oldra (Fortune de France, Along Came Love), Oscar Tresanini (La rebelle, les aventures de la jeune George Sand, Mini-Court), Vincent Macaigne (Diary of a Fleeting Affair, Cicadas), Louis Garrel (Little Women, A Faithful Man), William Lebghil (Soda, Some Like it Veiled), and Oxmo Puccino (In Your Dreams, Athena). This film is set in the future and follows a young girl who sees a boy fall from the sky, only to find out this boy has the ability to travel through time. The two do what they can to help each other, while trying to get the boy back to his own time.
Just an FYI before we get on with the rest of this review. This is a French movie. Nevertheless, I watched the movie in English. I bring this up because when I review movies, I always attempt to watch them in their original language to get the most authentic experience possible. Even so, I watched the film in English as the film did not appear to be playing anywhere near me in French. Just know that I will not have any concrete thoughts on the film’s original cast. That said, the cast of the English version of the film did a good job. I do not really have any complaints. If you watch the film in English, and chances are you will if you live in the U.S. like me, I think you will have a solid experience.
“Arco” is one of those films where I went in nearly as blind as possible. I knew about the film a couple months before its release. Having followed Natalie Portman on Instagram, I was made aware that she was in the English version. I have also been made aware about the film receiving noticeably positive reviews. Having seen the film myself, those positive reviews were justified. This is not my favorite animated film of 2025. But it is a finely crafted remix on a familiar time travel concept.
Some people believe that they do not make movies like they used to. While everyone’s definition of this phrase may vary, “Arco” feels like an answer to that philosophy for those looking for something like they got in the 1980s. “Arco” is essentially “Back to the Future” for a new generation. Not only because the plot heavily involves time travel and someone’s intentions to get back to their specific time following a mishap. But the film also captures a specific kind of wonder that movies like “Back to the Future” can easily evoke. During my earliest viewings of “Back to the Future,” which has now become one of my all time favorite films, I was always marveled by everything that went into the climax of that film between the actors’ line delivery, the sound mix, the lightning effects, and Alan Silvestri’s iconic score. If I watched “Arco” as a child, perhaps even as a teenager, it could have inspired me to pursue filmmaking or animation. It is a film that comes with a concept that not only sounds clever, but plays really well on screen. Even the method of time travel feels like a sibling of “Back to the Future.” If you have seen “Back to the Future,” you may recall Doc saying he turned a Delorean into a time machine to “do it with some style.” Much like that 1985 classic, there is a sense of style brought to the time travel in “Arco,” where we see characters utilize such a fantastical concept through rainbows. I cannot come up with many cooler ways to travel through time more magical than that.
This film is the feature-length debut from Ugo Bienvenu, and I think anyone’s efforts should be commended should they direct a feature film for the first time. Although Bienvenu’s in particular had me perplexed, because throughout the film, I was under the impression I was watching the work of a longtime veteran. The 2D animation style feels very Studio Ghibli-like with some of the film’s occasionally vivid landscapes, strong colors, and cozy locations. If you told me that this film were being directed by Hayao Miyazaki, chances are I could believe you. If this film were live-action, based on all the 1980s movies talk from before, you could have convinced me Steven Spielberg put something like this together. That said, if you want to get technical, Steven Spielberg has done an animated film before, specifically “The Adventures of Tin-Tin,” but these films do not quite feel the same. I enjoyed that movie, but still.
As a story, “Arco” is incredibly tight. Clocking in just short of an hour and a half, “Arco” delivers a simple concept met with brilliant execution. I stared at the screen in awe of the vision that was on display. Unlike some time travel stories, which are set close to the time the story comes out, this film takes place, as of this review’s publication date, entirely in the future. This allows us not only to play around with the idea of people traveling through time, but simultaneously tap into the continued evolution of technology and the earth’s climate. In the case of addressing climate change, I found “Arco” to come off as less obvious in its messaging than “The Wild Robot” and “Flow” did when those two films came out in 2024. Maybe that is just a me thing. I would not be surprised to find out that some viewers feel different when it comes to that matter. That said, the film not only does a good job at entertaining, but also serves as a reminder to take care of the planet.
Much like “Back to the Future,” “Arco” is a film that I can see playing really well with families. In fact, I think some parents may be more comfortable showing “Arco” to their children considering it has significantly less foul language. The film may be animated, which some adults may find to be a turnoff, but “Arco” often feels more Pixar or Studio Ghibli-like rather than something out of the more obnoxious Illumination. The movie is bright and colorful. Heck, any movie heavily involving rainbows should be. But there is a perfect balance that makes the film feel grounded yet imaginative. The film is likely going to entertain younger viewers while also delivering important messages. “Arco” seems to indicate that no matter what time you live in, everyone has their own problems. Nobody’s perfect.
That said, having seen a lot of movies, it is tough to argue that “Arco” is, by definition, original. If anything, the film reminds me a lot of “Colossal,” which puts a completely unique spin on the classic monster movie. In fact, that movie was even described by its own director to be “the cheapest ‘Godzilla’ movie ever.” Despite maintaining a noticeable degree of freshness, “Arco” does a good job at reminding me of some of the great movies I watched in the past that appeal to multiple age groups like “E.T.” or “Spirited Away.” It makes me want to go back and revisit those movies. Yet at the same time, I can see “Arco” having some replay value sometime in the future. It is hard to say that “Arco” is my favorite animated film of 2025, but it is one that gives me great joy the more I think about it.
In the end, “Arco” is a swell time travel flick that brings some originality to the table while also delivering vibes that are familiar from some of the most beloved films of all time. I keep comparing “Arco” to “Back to the Future,” partially because both movies involve time travel, but because they both handle such a concept in a somewhat similar fashion. Not just in terms of structure, but also quality. Is “Arco” as good as “Back to the Future?” Honestly, no. “Arco’s” technical aspects could arguably age better, but as a story, “Back to the Future” is superior. That said, if you are looking for something that delivers on entertainment and commentary, “Arco” is a solid pick. I am going to give “Arco” a 7/10.
“Arco” is now playing in select theaters, and as of this publication, is available to preorder on VOD.
Thanks for reading this review! My next review is going to be for “Solo Mio.” Stay tuned! Also, coming soon, look forward to my thoughts on “GOAT” and “EPIC: Elvis Presley in Concert.” 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! And one last reminder, please subscribe to my YouTube channel to catch my latest videos, including the upcoming series “Movie Requests,” which begins this Saturday, February 28th! I want to know, did you see “Arco?” What did you think about it? Or, what is your favorite animated film of 2025? For me, I would have to go with “Scarlet.” I thought it a was clever, fantastical concept done with excellence! Let me know down below! Scene Before is your click to the flicks!
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