Adventure

Spider-Man: Brand New Day (2026): Tom Holland’s Webhead Enters a Fresher, More Mature Era

Posted on by Jack Drees

© 2026 Sony Pictures Entertainment Inc.

“Spider-Man: Brand New Day” is directed by Destin Daniel Cretton (Wonder Man, Shang-Chi and the Legend of the Ten Rings) and stars Tom Holland (Cherry, Onward), Zendaya (Dune, Challengers), Sadie Sink (Stranger Things, The Glass Castle), Jacob Batalon (Novocaine, Reginald the Vampire), Jon Bernthal (The Accountant, The Wolf of Wall Street), Florence Pugh (Dune: Part Two, Don’t Worry Darling), Tramell Tillman (Mission: Impossible – The Final Reckoning, Severance), Marisa Tomei (The King of Staten Island, My Cousin Vinny), and Mark Ruffalo (Spotlight, Dark Waters). This film is the fourth standalone Tom Holland “Spider-Man” installment and follows a forgotten Peter Parker as he lives life without his former friends and loved ones. He also has to deal with physical changes and a telepathic threat.

The Tom Holland “Spider-Man” movies remind me a bit of the Tom Cruise “Mission: Impossible” movies, particularly the run from “Mission: Impossible II” to “Fallout,” because each film, for me anyway, entertained me more than the preceding one. The run from “Spider-Man: Homecoming” to “No Way Home” played out in a similar manner.

As much as I enjoyed “Homecoming,” I found parts of it underwhelming, and I had some gripes with certain portions of the story. Then came “Far from Home,” which not only did I think was better than “Homecoming,” but the best comic book movie of that year. Keep in mind, this is 2019… A year that includes “Joker” and “Avengers: Endgame.” I liked both movies. I prefer “Far from Home.” Flash forward to 2021, when “No Way Home” hit theaters. This was a movie that I was both looking forward to as a fan of the property, but found myself incredibly nervous about, as I was worried it was focused more on quantity than quality. While the film may not have been the best-looking or directed of the “Spider-Man” movies, I still find it to be one of the most entertaining, exciting, and engaging films of the decade. I rewatched the film recently and thought it maintained a perfect pace. It even made me tear up at one point.

With “Spider-Man” being Sony’s most notable property, it should not be a surprise that “Brand New Day,” also starring Tom Holland, would be happening. After all, “No Way Home” ends in a way that effectively closes out the Jon Watts-directed trilogy, while setting a rather clean slate for someone new to add a touch of their own. Enter Destin Daniel Cretton, whose credibility at Marvel is fairly high at this point given how he directed “Shang-Chi and the Legend of the Ten Rings” and was involved in the production of “Wonder Man” on Disney+.

Going back to what I said about “No Way Home” not being the best-looking “Spider-Man” movie… When I say that, I do not necessarily mean that it looks downright terrible, but there are a couple effects or minor points that I thought could have been cleaned up. To reference another “Spider-Man” movie, those specific parts failed to “maintain the illusion.” Nevertheless, if I said that “Brand New Day” was a bad-looking movie, I would be lying to you.

Courtesy of Sony Pictures – © Sony Pictures

Of the Tom Holland “Spider-Man” installments, this is definitely the best looking of the four, just from a general color perspective. Not only is the film graded in a way that often pops, much like an epic comic book frame, but a lot of the costumes and character designs make for eye candy as well. From Spider-Man’s new, simple suit to the outfits worn by the Hand. In fact, when those characters are in the same space, they face off in an incredible looking-action sequence with immaculate framing. By the way, said camerawork just so happens to be pulled off by Bill Pope, who in addition to collaborating with Destin Daniel Cretton in “Shang-Chi,” was also the cinematographer for “Spider-Man 2” and “Spider-Man 3” directed by Sam Raimi.

That Hand faceoff is just one of the many action scenes that stand out, including a chase sequence early on where we first see Spidey with the Punisher. Not only is it a good-looking scene, but it is just the first moment where we get a sense of Tom Holland’s brilliant chemistry with Jon Bernthal.

Courtesy of Sony Pictures – © Sony Pictures

Another incredible-looking aspect of the film is the swinging. As far as the “Spider-Man” movies go, I cannot name any that had outright awful swinging scenes, but there are some that stand out more than others. Even though I was not a fan of the film as a story, I did find the swinging scenes in “The Amazing Spider-Man 2” to be creatively done, immersive, and downright sick. “Brand New Day” has my favorite swinging scenes in a “Spider-Man” film since “The Amazing Spider-Man 2.” These scenes are absolutely fluid and awe-inspiring. I truly felt at times that I was leaping through Manhattan.

Not to digress, but I do not know how this is not amazing… This is the second movie released in the span of two weeks that has Tom Holland, Jon Bernthal, and Zendaya in it. I should note, for those who wanted more from these three as opposed to “The Odyssey,” good news, “Brand New Day” has you covered. Holland should be no surprise as he is playing the lead. Bernthal takes up a good amount of screentime and is maybe the funniest of all the characters in the cast. Well, except for one… I will leave that as a surprise. And if you like the sound of Zendaya’s voice, you will be hearing a lot more of it in this movie than “The Odyssey.”

I am not surprised that Peter Parker’s former friends, M.J. (Zendaya) and Ned (Jacob Batalon) are in this movie for as long as they are. For one thing, the two are genuinely likable and bring some soul into these flicks. I am surprised to say this as these are two characters who, quite frankly, I did not immediately latch onto while watching “Homecoming,” but I thought they improved vastly as more movies came out. Early on in the film, we see Peter watching his friends from the sidelines, or more accurately, via the Internet, as they attend M.I.T.. For those who missed “No Way Home,” M.I.T. was the top college Peter, M.J., and Ned were trying to get into, but all of them were rejected from the school, given the public’s shift on how they viewed Spider-Man following Mysterio’s death, before which he revealed the webhead’s identity. M.J. and Ned now forget Peter courtesy of Doctor Strange’s spell towards the end of “No Way Home,” but the two start off the story creating a time to remember at M.I.T., Peter is not tagging along. In fact, he seems to be skipping college altogether. It does make sense, as he is living on his own in New York and needs to pay rent to a landlord who I can only assume has eyes like a rodent.

Instead, Peter seems to start off this movie fighting one bad guy after the next. The information given in an early action montage is being fed at such a breakneck pace and serves as a solid start to the webhead’s journey. It establishes him as the hero New York loves, which for him, must be a nice change of pace after being chased by haters left and right in the last film. Maybe that is a bit of an exaggeration, as Doctor Strange’s spell may have helped Peter get out of one problem, but ultimately created another. He has to start his life from scratch. While onlookers through New York may shower Spider-Man with love, Peter is dealing with the fact that he has nothing left to lose. No one knows who he is at this point. His most prominent mentors, particularly Tony Stark and Aunt May, are both dead. All Peter can do is take life one day at a time. It has gotten to the point where Peter himself has almost forgotten who he is. Throughout the film, Holland’s Spider-Man reminds me a little of Robert Pattinson’s Batman. While Bruce Wayne was never erased from existence, I got the sense that there was more “Bat” than “man” out of the character, the Spider-Man in this film feels more Spider than Man. Both figuratively and literally.

If you are tired of “Spider-Man” getting sidelined by other Marvel characters in his own movies, then “Brand New Day” may be the closest the series has come to avoid doing such a thing. Note that I said this is “the closest” example and not that this film has outright kept such a thing from happening. After all, Bruce Banner plays a prominent role in this film, and the Punisher has a fair amount of screentime, but of the MCU “Spider-Man” titles, this may be the purest “Spider-Man” story yet. It feels, in certain ways, more traditional. Spider-Man has no shortage of tech around him, but the suit he wears throughout this latest installment is a lot simpler than the ones he had previously. We see moments of Peter trying to live up to the expectations of important people he lost in life. The stakes in this film are by no means small, but by the end of the film, it was Peter’s mission to “save New York” as opposed to the entire world, or the multiverse. Although the film does in some ways continue to acknowledge the multiverse, as well as the Spider-Men he met in “No Way Home.” It should not be too surprising as the MCU is still in its Multiverse Saga.

The vibe of “Spider-Man: Brand New Day” reminded me quite a bit of “Thunderbolts*” by the film’s conclusion. Much like how “Thunderbolts*” centers around its characters’ handling of their mental health, “Spider-Man: Brand New Day” features Peter Parker constantly trying to deal with the fact that his life has changed. Even as the years go by, it still hurts. The mental struggles are not just exclusive to the heroes, as the film’s antagonist also has struggles their own that we see through flashbacks.

While “Spider-Man: No Way Home” remains my favorite of the Tom Holland “Spider-Man” movies, “Brand New Day” comes with a perk that “No Way Home” lacks. I think one can find enjoyment in “No Way Home” even if it is their first “Spider-Man” or Marvel film, but I think the experience watching that movie would be ten times better if you watched “Far from Home” or some of the other “Spider-Man” stories. As an entry point, “No Way Home” is not the best option. Despite “Brand New Day” being the fourth film in this saga, it is a good place to start if you are a “Spider-Man” newbie. That is despite having familiar characters like Hulk and Punisher. Yes, it piggybacks off of “No Way Home’s” ending. But the film does a good job at bringing viewers up to speed on what Peter is up to, what happened in his life, and so on.  The only factors that would perhaps keep it from being the best entry point are Ned and M.J.. I appreciated the movie as someone who has grown fond of those characters in the original trilogy, as well as their connection to Peter. Even if you are not familiar with Ned and M.J., it is still fun to watch them. Their chemistry with each other, as well as Peter, is terrific.

The film is on the longer side, clocking in at 145 minutes. The pace does get a tad tiresome towards the end. At that point, things felt a bit slower than I would have anticipated. The movie is quite fast at the beginning, but almost the opposite towards the conclusion. For the most part, the pace works, but it is not perfect.

Speaking of credits, there is a post-credits scene in the film, which I will not reveal, but of the scenes that can be found in the end credits of MCU movies, I found this to be one of the weaker ones. Sure, it does play off of something that was previously highlighted in the movie, but it kind of feels lazy. For one thing, unlike most post-credits scenes in Marvel films, which are done physically and in-camera, this one, which only lasts 10 to 15 seconds max, is done on a virtual screen. Heck, even that stupid post-credit scene in “Ant-Man and the Wasp” where the ant plays the drums had more soul put into it! Sure, this new scene offers a tease of sorts, and I would probably would have been underwhelmed to have sat through the credits and not witnessed a scene at all, but the one we got sort of feels like a waste of time.

Keep in mind though, we are just talking about credits here. The post-credits scene did not ruin the movie. The movie is still awesome. It does a spectacular job handling Peter’s character, introduces a fairly compelling villain, has some great-looking and fun action sequences, and offers some really good performances from the entire cast. The pace of the film is not always perfect, it almost doesn’t know when it wants to end, and the story does get to a point where it is nearly overstuffed. Yet as I address these criticisms, the positives heavily outweigh the negatives when it comes to my thoughts on “Spider-Man: Brand New Day.”

In the end, “Spider-Man: Brand New Day” is some of the most fun one can have at the movies this summer. Tom Holland continues to prove that he is an incredible Spider-Man and offers another fine portrayal of the iconic hero. The film is at its best when its main character has to navigate various relationships. It is fascinating to see someone who feels he is alone trying to maintain some semblance of a social life when the opportunity comes up. I was glued to the screen whenever Peter had a chance to reunite with Ned and MJ. These three played off each other well in the previous films, so it is no surprise that they continue to do so in this one. The Punisher and Hulk are fine additions to the narrative, even if, again, some threads nearly make the whole story feel almost overstuffed. I have no idea what is in store for a Tom Holland “Spider-Man 5,” but if one is coming, and it probably is based on how much money this movie has earned so far, I would not mind seeing Destin Daniel Cretton come back to direct. As much as I praise Jon Watts for helming a solid original trilogy, I think Cretton a better eye for visuals. Of all the Holland “Spider-Man” films, “Brand New Day” is by far the easiest on the eyes. This movie has made more than a couple billion dollars worldwide, so chances are you have probably seen it by now, but if you have not seen “Spider-Man: Brand New Day,” consider this a recommendation. I am going to give “Spider-Man: Brand New Day” an 8/10.

“Spider-Man: Brand New Day” is now playing in theaters everywhere. Tickets are available now!

Thanks for reading this review! THIS SUNDAY, AUGUST 23RD, get excited! Because the newest episode of Movie Requests will be available to watch on Flicknerd.com and YouTube! This episode features the incredibly talented comedian Amy Sedaris, who suggested I should watch two of her favorite movies. You may know Sedaris from shows like “Strangers with Candy” and “At Home with Amy Sedaris,” as well as films including “Jennifer’s Body” and “Puss in Boots.” You can watch a promo of the episode above, where Sedaris gives her suggestions. What do you think they are? If you would like to watch the episode, you can do so here, but if you want the fastest way to see it, then by all means subscribe to my YouTube channel!

My next review is going to be for “I Want Your Sex.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Invite,” “Cookie Queens,” and “Tony!” 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 “Spider-Man: Brand New Day?” I mean, look at the box office… Of course you did. What did you think about it? Or, what is your favorite of the Tom Holland “Spider-Man” movies? Let me know down below! Scene Before is your click to the flicks!

Supergirl (2026): A Colorless, Boring Super Snooze

Posted on by Jack Drees

“Supergirl” is directed by Craig Gillespie (Dumb Money, Cruella) and stars Milly Alcock (Upright, House of the Dragon), Matthias Schoenaerts (The Danish Girl, Red Sparrow), Eve Ridley (3 Body Problem, Emerald), David Krumholtz (The Santa Clause, Harold & Kumar Go to White Castle), Emily Beecham (Daphne, 1899), David Corenswet (Pearl, Twisters), and Jason Momoa (Aquaman, A Minecraft Movie). This film is about Kara Zor-El, also known as Supergirl, as she races to hunt down an adversary who harmed her dog, Krypto.

The DC Universe started with a big bang last year with the incredibly enjoyable “Superman.” It brought a particular flair to comic book movies that gave me a solid first impression of what its cinematic universe could be. It was helmed by James Gunn, who alongside Peter Safran, is forging the timeline in which this movie belongs. Now a year later, we get “Supergirl,” directed by Craig Gillespie. While I have not seen all of his filmography, he can crank out a decent picture. “I, Tonya,” while not the best sports movie I have seen, was stunning to look at and brought an excellent performance out of Margot Robbie. More recently, he did “Dumb Money,” which is not only based on an unbelievable true story, but it is also very funny. I recommend checking both movies out.

Craig Gillespie has proven that he can be a visionary director. I thought his work on “I, Tonya” came off as something that only he could helm. Sadly, “Supergirl” feels like it was made by a committee. For all I know, “Supergirl” was Gillespie’s vision. He could have had final say on just about everything. I highly doubt it, as this is a cinematic universe, and certain checkboxes need to be marked off so future stories can happen and the timeline is not ruined. That said, if Gillespie made most of the choices as this film’s director… I will praise him in certain regards.

The action scenes, while not the best I have ever seen, are sometimes fun to look at. I also saw the film in IMAX, which features an exclusive, taller aspect ratio in select scenes. I thought the occasional enhancements added to some sequences. They did a better job at enhancing the experience than “Mortal Kombat II,” which was a fun movie, but the aspect ratio switches in that project’s case were oftentimes distracting. I thought he also got some good performances out of the cast, most especially Jason Momoa. Although to be fair, I could clearly tell Momoa was just happy to be in the movie regardless of the script or director, simply because he finally got to portray Lobo, a role some would argue he was practically born to play.

But who am I kidding? I nearly fell asleep watching this movie.

If anything, “Supergirl” feels like it is directed by someone doing a lackluster James Gunn impression. I like James Gunn, for the record. In fact, he even produced this movie. I think Gunn has some bangers on his resume including “Guardians of the Galaxy,” “Slither,” and even “Superman,” which kicked this universe off. But “Superman” had elements of a project that James Gunn would normally write or direct, but those elements are not entirely effective in this case. I would want to give points in regards to keeping the cinematic universe consistent, but at the same time, not really, because I thought “Superman” was fun whereas “Supergirl” was melatonin in the form of a comic book movie. “Superman” had quite a few laughs, some good music, and a great villain in Lex Luthor. “Supergirl” on the other hand was not that funny, had some odd song choices, and had a fairly forgettable antagonist.

When I hear the terms “summer movie” or “summer blockbuster,” I think of big, loud, fun, adventurous escapes where you can munch popcorn and have a good time. This is not the only kind of movie that should come out during the summer, but that is often the stereotype that comes to mind. I expect to go into movies featuring superheroes, robots, dinosaurs, fast cars, or even robotic dinosaurs that are able to turn into fast cars, you name it, expecting to have fun. Sitting through “Supergirl” gave me the sense I was sitting in a cosmic DMV. The film felt soulless and tiresome. I hate to say that especially because this film follows an incredibly joyous and exciting “Superman” film from the year before.

I knew exactly how my experience with “Supergirl” would wind up from the opening scene. One of the first things shown on screen in this tinkle-riddled terror of a film is Krypto the Superdog pissing on a newspaper. I will not judge. When you gotta go you gotta go. But you took this adorable, albeit sometimes vicious sidekick that Superman had in his movie last year, and he does one of the most unattractive things any creature can do. Also, this is not the only reference to things coming out of particular holes during the movie. As these references continued through the dialogue and visuals, I was almost convinced someone was trying too hard to cater to the under 5s.

In fact, much of the movie revolves around Krypto. Well, sort of. Krypto does not exactly do much in this film. Krypto the Superdog is not doing a ton of “super” things. Part of it is due to what ends up being Supergirl’s inciting incident. Krypto gets shot with an arrow, leaving Supergirl with three days to keep him from dying. On paper, this should work. People want to see a dog’s owner kick butt whenever their pet gets put in peril. This could have been the “John Wick” of comic book movies! Maybe we will get to see Kara kill a guy with a pencil. For whatever reason, the movie does not give enough time to fully engage me into Kara and Krypto’s connection. I may sound like a moron, because I thought “Superman” did a good job at handling Krypto. He was cute, but not cuddly. This movie fails to give the dog a role this time around that matches the decency of the one he had in his previous go. When it comes to Krypto’s presence in “Supergirl,” he is nothing more than a pawn.

For those who have not been on the Internet that long, chances are you will run into, get this, sexist men who think women belong in the kitchen. Imagine that! If you clicked on this blog to see if there was a man running it with that viewpoint, you have come to the wrong place. I am not a woman, so my opinion here may not be as valid, but I think women deserve a better movie with its particular lead. This is not to say that Kara is a weak character. Judging by her powers and some of her actions in the film, she is quite strong. However, I wish the film gave her more of a personality. Yes, we see she loves to party. Yes, we see she loves her dog. But I never found myself attached to the character. Milly Alcock is not given the best material to work with, which may play into why a good portion of her line delivery feels flat in every other scene.

Part of my lack of enthusiasm towards Kara may be part of the film’s intentions. There is a line in this film given by Kara that sums up the differences between her and her super-cousin, Clark. She says that Clark sees the good in everyone, whereas she sees the truth. First off, did she steal Wonder Woman’s lasso? Give that back! It belongs to her! Second, I reflect on last year’s “Superman” with the sense that not only did I have fun watching it, but Clark maintained a sense of fun despite the many obstacles standing in his way. There is almost no fun to be had in “Supergirl.”

The film tries to be comedic, but I rarely even chuckled. In fact, while my auditorium was not quite sold out, there were a decent number of people there of various ages. I do not think a single person uttered a sound during the entire movie.

To top things off, Superman does appear in select sequences of the film, all of which are arguably the most fun parts of the entire runtime. “Supergirl” to DC sort of plays like “The Book of Boba Fett” does to the “Star Wars” universe. Not only does the film come off as cheap and fail to meet a certain standard, but I found the best part of it was when another character perhaps equal in terms of prominence got some of the spotlight. In this case, Superman is The Mandalorian, who shows up partway through the project and reminds the audience that it is time to have some fun. Supergirl, the “Boba Fett” in this example, is the character who, to my most unpleasant surprise, makes me want to fall asleep whenever she is on screen. Do I despise this character? No. I just was not that engaged with her, partially because I was not convinced she was wholly engaged in her own journey.

Going back to the time when I initially watched this film’s first trailer, I had a bad feeling about how this experience would go, but I was hoping to be wrong. Much like one particularly political intro to a 2016 episode of “The Simpsons,” I must say, “being right sucks.” There is a line from that trailer that made me nearly facepalm. Specifically, when Supergirl has a bunch of guns pointed at her, and she says to everyone holding said guns, “This is not going to end well – for you guys.” She sounds like a stand-up comedian dealing with a heckler, but she is turning her gears way too hard as she hopes to come up with a clever comeback, all the while she has nothing in the tank so she gives a response that makes said comedian go, “better than nothing.”

In fact, speaking of firsts, this script just so happens to be a first. The screenplay is written by Ana Nogueira, who has previous writing credits in theatrical productions and a short film, but “Supergirl” is her first feature-length script. You have to get your start somewhere, but I am not convinced that doing a second film in a cinematic universe featuring well-known comic book characters is the best way to get your feet wet. However, I do think it is smart to have a woman write the screenplay. I think a female perspective would enhance a project like this one. That said, I wish the screenplay had more to write home about and did not make me want to snooze. There is not a single character in the lineup that I found compelling, even if their respective performers are showing signs of effort.

If there is one thing I think DC has done better than Marvel, it is prioritizing female leads in their own films. We saw it in the DCEU with “Wonder Woman,” and with the current DCU, it only took two movies to make such a reality happen. Granted, we also live in a market that over time has likely become more noticeably open for female-led superhero movies. Plus, as general concepts, Supergirl and Wonder Woman have greater longevity than say Captain Marvel or Black Widow. I highly doubt that “Supergirl” is the second film simply because a woman is the lead. Though if this universe began in 2008 like the MCU did, chances are the world might not have been ready for a female-led superhero film following the failures of Marvel’s “Elektra” and DC’s “Catwoman,” at least from a financial point of view.

This is the second film in the DCU, so the timeline is still young. It is not easy to know where things will go from here. There’s “Clayface,” which sounds promising. Another “Superman” project is on the way. Also, just because this one project was a dud does not mean I am not looking forward to those other two. Sure, maybe my overall optimism about this timeline is lower than it was previously, but I am still onboard. In fact, for all I know, this universe could still turn out better than the previous one. We still have not gotten a deep dive into characters like Batman and Wonder Woman. Those characters are arguably more important to the overall state of DC than Supergirl. If those characters are featured in projects that are not up to a certain standard, then maybe an instant reboot may be necessary. The same can be said if future projects, regardless of the character, happen to showcase the same level of mediocrity that “Supergirl” did.

Also, going back to what I said about this film’s soundtrack, this film has one of the weirdest song placements I remember hearing in any movie ever. Towards the film’s end, there is a big action scene, the picture morphs into slo-mo, and in the background, Jimmy Eat World’s song “The Middle” starts playing. This is a great song. I love this song. I used to work at a Staples location, and this song would play constantly during my shifts. It was one of the highlights of my time there. Too bad they ended up playing a soft, quiet, cover version of it. For all I know, maybe there was a reason why they could not use the original song, but this cover version was not a good fit. Speaking of things that are not good fits, this movie was not exactly a good fit for my schedule. There is a list of more worthwhile things I could have done with my time. Watching this movie kept me from doing those things. Time is too valuable to waste on bad movies. I do not recommend watching this one.

In fact, to my surprise, I think I had a better experience watching the 1984 “Supergirl” movie starring Helen Slater. Sure, it looks dated at times, the villain is a bit over the top, the special effects are laughable, and some of the dialogue is plain awful. But there was a sense of wonder to be had with that film. The score is brilliant, the cinematography is sometimes beautiful, and even if her journey sometimes made for a questionable watch, I liked seeing Supergirl develop as a character. Is the movie flawed? Unquestionably. But it didn’t make me want to fall asleep unlike this 2026 counterpart.

In the end, “Supergirl” is a disappointment. Not only because this is simply a bad movie by itself, but because this sets a bad vibe for the DCU as a whole. Again, this is only the second film, so maybe this will wind up being the one bad movie in the entire run. Perhaps “Clayface” or the next “Superman” installment will change everything. But is this movie as super as its title suggests? Not really. This film lacks color, personality, and fun. I go to a big budget comic book movie with flashy heroes expecting to at the very least have fun. When these kinds of films lack fun, then what is the point of watching it? This wound up being one of the biggest bores of the year, sadly. I am glad to see Jason Momoa finally got to play Lobo, and maybe he will get to play the character again. Although I wish said character had a better start. Milly Alcock tries as the lead, but she is not given decent material to work with. If you want to watch a great DC film, just go watch “Superman.” If you want to watch a solid Craig Gillespie film, go back and watch “Dumb Money.” Avoid “Supergirl” if you can. I am going to give “Supergirl” a 2/10.

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

Thanks for reading this review! As a reminder, in addition to putting out film reviews like this one, I am also doing a special series in honor of Scene Before’s 10th anniversary called Movie Requests, which features me reviewing movies requested by your favorite stars. Be sure to check out my latest episode featuring Sandi Harding, who suggested I should review “The Goonies!”

I am also happy to announce that the next guest who will be featured in the series is “Lord of the Rings” actor Elijah Wood! I had a chance to talk to Wood in May during a convention in Philadelphia. With his permission, I was able to get his film suggestion. Hopefully, his suggestion is good enough that way he and I can have quite the fellowship! If you want to see the episode of me reviewing Wood’s film of choice, it is going to be out Sunday August 2nd! I will share the review here, but if you want to see the episode as fast as possible, please subscribe to my YouTube channel!

My next review is going to be for “Jackass: Best and Last!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Obsession,” “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” “The Odyssey,” and “Her Private Hell.” 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 “Supergirl?” What did you think about it? Or, have you seen the 1984 “Supergirl” movie? How does it compare to this new one? Let me know down below! Scene Before is your click to the flicks!

Another World (2025): A Stunning Animation with One of the Year’s Most Action-Packed Climaxes

Posted on by Jack Drees

“Another World” is directed by Tommy Kai Chung Ng (Shi Wai, Tale of Rebellious Stone) and stars Suet-Ying Chung (The Lyricist Wannabe, Time), Hiu-Tung Choi (Say I Do to Me, Left on Read), Louis Cheung (Keeper of Darkness, Narrow Road), Kay Tse (Band Four, Legal Affair), Will Or (A Foggy Tale, Drifting), and Thaimay in a film about the journey between a spirit guide and a young girl whose anger threatens to turn her into a monster.

“Another World” was barely on my radar prior to seeing it. I did not see any major trailers or posters, but I came across some ads for it on social media, and found out it was playing at a local theater in Boston. There were barely any showtimes available, which served as a challenge for actually being able to see it, but it also became an incentive. Maybe this film could be one of those hidden gems. Plus, GKIDS has a decent track record when it comes to their slate of international animated flicks they choose to distribute for the US audience.

“Another World” seems to ask the same question that a lot of other great pieces of cinema tend to ask, “What does it mean to be human?” When it comes to its analysis of the human condition, there is something there. Much of the film is centered around the relationship of Yuri and Gudo, the latter of whom is a soulkeeper constantly learning about Yuri’s human traits. He finds out about the concepts of being tired, hungry, what it means to long. Having these two polar opposites work together made for a fascinating relationship that ties everything together.

The film itself feels somewhat jarring when it starts. It is not exactly clear who or what this movie is about. In fact it is so jarring at a certain point that I nearly tuned out. Thankfully, the film does become a bit clearer by the second half. That said, it is kind of heady. Not “Tenet”-heady, but heady nonetheless. The climax of the film, while definitely entertaining and watchable, does feel somewhat convoluted. It is not convoluted enough to the point where it falls like a house of cards, but if you are going to watch this movie, go in making sure you are ready to use your head once or twice.

Granted, this is an animated film, so it is not like suspending disbelief is an impossibility. Sticking with the climax, this is arguably when the film is at its best. This is a 2D animated film, which nowadays is always a treat to see in a world where it feels like every major release is 3D animated, even if there is some kind of hybrid style implemented into the project. But there is a particular action sequence in the final ten minutes that has so many flashy cuts that I was under the illusion that I was flipping through pages of a comic book or playing a fantasy video game. In fact, the pace at the end feels like a reward for sitting through everything that comes before. It is not that this film is boring, but rather an occasional slow burn. It takes its time. The climax offers maximum exhilaration and a unique sense of immersion. The final twenty or so minutes of the movie are debatably worthy of a tech demo between the crisp sound mixing, stunning framing, and immaculate cuts that made my eyes nearly fly out of their sockets.

If you read my reviews for “I Love Boosters” and “The Mandalorian and Grogu,” you would know that I look at both films on opposite sides of the color spectrum. The former is as bright and lively as can be, while the latter is about as gray as an office with endless cubicles. I bring those two movies up as “Another World” feels like what happen if those two projects came together and had a lovechild. I thought the use of color in “Another World” was perfect and effectively differentiated the afterlife from the real world. The afterlife often has, no pun intended, a lot more life put into it. Whenever this movie takes place in the real world, the color palette is sometimes a bit darker. A bit less pleasing to the eye. While the latter may sound like a negative, it matches some of the more unfortunate events that happen through the story in said environment. It also seems to play into the general idea that life itself, as beautiful as it can be, is a struggle. This is not to say that all struggles are eliminated in this film’s afterlife, but when it comes to the afterlife scenes, the color palette feels like they belong in a Nintendo game. Yet for whatever reason, it finds itself intertwined with a story that refuses to hold back on its serious nature. Overall, the film looks fantastic and shows off some gorgeous animation.

Was this film worth the semi-short drive to Boston? Perhaps. Is it going to be my favorite animated film of the year? Probably not. “Hoppers” was pretty, and I apologize for the pun, dam good, so that is going to be hard to top. Is this film a must see? I would not say that is the case when there is so much else out right now. Granted, if you reading this review the day it is published, good luck finding a showtime for this film. I highly doubt you’ll find it in a theater near you. It took me a month to finally get this review out. Better late than never. When it comes to that age old question, “What does it mean to be human?”, I would argue this film effectively taps into that idea, but there are so many other movies that handle this topic better, and by extension, offer a superior viewing experience. This is not a bad movie, but I have no idea how much exactly I am going to remember from it by the end of the year. Maybe that would make for an interesting second viewing down the line, and frankly, while I am in no rush to watch this film a second time, I would not say I am against the idea.

In the end, “Another World” is a beautiful film. It is not a picture that I would instantly tell you to rush out and see, but I would recommend it to people looking for some grit in their animations. In North America, much of the animated material that is popular around here is aimed towards families and children. Tell the kids to skip this film. It is not officially rated by the MPA, but I would probably put it somewhere around the PG-13 mark given the violence. That said, should you watch “Another World,” look forward to same top-notch voice acting, stunning scenes, and an intriguing story despite some occasional convolution. I am going to give “Another World” a 7/10.

Based on recent Internet searches, “Another World” is neither playing in theaters or available to watch at home as of this review.

Thanks for reading this review! Before we go any further, I would like to apologize as it took me some time to get this review out. Life has been busy, but fun. I cannot complain. I have also been watching a lot of movies recently to the point where I have had little time to talk about them. That, and I am also hard at work on updating Scene Before’s original series Movie Requests, whose next guest is… Sandi Harding!

If you do not know the name Sandi Harding, you may nevertheless be familiar with her business. Harding owns the last Blockbuster Video still standing, located in Bend, Oregon. What movie do you think she recommended? Find out TUESDAY JULY 14TH on Flicknerd.com and YouTube! If you have not done so already, subscribe to my channel, that way you are able to watch the new episode as fast as possible! Also, if you are not busy, check out my last episode featuring Chris Hardwick, who suggested I should watch the 1985 comedy “Real Genius!”

My next review is going to be for “The Breadwinner.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Disclosure Day,” “Toy Story 5,” “Supergirl,” “Jackass: Best and Last,” “Obsession,” and “Maddie’s Secret.” 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 “Another World?” What did you think about it? Or, what is your favorite animation released so far this year? Let me know down below! Scene Before is your click to the flicks!

Masters of the Universe (2026): Travis Knight Strikes Magic with His Latest Movie Based on Toys

Posted on by Jack Drees

“Masters of the Universe” is directed by Travis Knight (Kubo and the Two Strings, Bumblebee) and stars Nicholas Galitzine (The Sheep Detectives, Purple Hearts), Camila Mendes (Do Revenge, Riverdale), Alison Brie (The Disaster Artist, Together), James Purefoy (The Following, Pennyworth), Morena Baccarin (Greenland, Deadpool), Jóhannes Haukur Jóhannesson (Vikings: Valhalla, The Innocents), Kristen Wiig (Bridesmaids, Sausage Party), Jared Leto (Blade Runner 2049, Suicide Squad), and Idris Elba (Sonic the Hedgehog 2, Pacific Rim). This film is based on the Mattel franchise of the same name and follows Adam who is sent from his home planet of Eternia to Earth at a young age. When he grows up, he is tasked with returning a magical sword back to his home planet, which he must save from the evil Skeletor.

I am a “Masters of the Universe” novice. Partially because I would have no clue where to start. Well, sort of, as I started my relationship with the franchise weeks ago when I checked out Amazon MGM Studios’ “Masters of the Universe” in theaters. Yes, I knew certain characters from the franchise, and sometimes I would talk in Skeletor’s cartoony voice because I thought it sounded cool. But I was born in 1999. I was not watching He-Man when I was a child, I was watching “SpongeBob.”

Despite my lack of knowledge of “Masters of the Universe,” I was mildly impressed with some of the film’s marketing. Note that I said mildly. It looked a little more serious than I imagined the property to be, but I was open to seeing what the crew cooked up behind the scenes. I am glad to say I thought the crew delivered something delicious.

This film feels like a Saturday morning cartoon brought to the big screen. Or, perhaps a more meta version of a Saturday morning cartoon. There are one or two nods to how absurd some of the concepts of the property happen to be. The film is basically this year’s “Thor: Ragnarok.” I do not know if this is going to have the lasting appeal that “Thor: Ragnarok” would for some people, but nevertheless.

Interesting enough, “Masters of the Universe” tends to take a lot of notes from the Marvel playbook. It presents the origin story of Adam, who we later come to know as He-Man. In fact, much like Thor, a particular incident brings him down to earth. Though whereas Thor was brought down as a consequence for his foolishness, Adam was brought down so he could be safe. If anything, his arrival, and therefore extended time, on earth is similar to that of the title character of the “Sonic the Hedgehog” movies.

Nicholas Galitzine continues his hot streak of enjoyable films this year between this and another Amazon MGM project, “The Sheep Detectives.” Galitzine plays Adam, who despite being on earth for several years, has not fully embraced the planet. His connection to his planet’s lore is not exactly helping him in his work life, dating life, social life. It makes him look like a bit of a dork. He spends time looking for a sword, which also does not help. Galitzine serves as a convincing lead and brings a dose of fun to the final product.

Given how little “Masters of the Universe” has grossed so far against its $170-200 million budget, this movie continues the Jared Leto curse. I said this before, I will say it again. Jared Leto is a great actor, and I will stand by that notion until the day I die. Sure, he did not play my favorite Joker, but he commits 110% with just about every role he is given, even as the lead in “Morbius,” a movie so bad that Spider-Man could not swing in time to save it. If you had no idea that Jared Leto was in this film, then there is a chance that you could end up watching it from start to finish failing to realize Leto is in front of you by the end of it. Leto plays Skeletor, and as a result, we never end up seeing his face. Leto is given some of the film’s finest material. There is a moment early on where he is delivering a vicious monologue, and once he raises his fist, he just stands there in awkward silence trying to emphasize that he is done, which prompts Evil-Lyn (Alison Brie) to softly affirm her understanding. I laughed quite a bit.

Speaking of Evil-Lyn, I thought Alison Brie was well cast as the character. This film is essentially a Saturday morning cartoon brought to life, and if you have ever seen Brie in real life, you might notice how large her pupils are. I mean that as a compliment. She is adorable. That said, the large pupils really work in Brie’s favor for this role, as she is not given a ton of lines to work with, but her character does spend a lot of time churning up wacky facial expressions. I thought Brie could have been given a tad more to do, but from a non-verbal perspective, I thought she did a great job with the character.

Daniel Pemberton composed the score for the film, which delights me to no end as he is quickly becoming one of my favorite composers between the “Spider-Verse” films and more recently, “Project Hail Mary.” Nearly every track feels larger than life. The real highlight of the music though is Brian May. Yes, the one from Queen, who dropped in some satisfying guitar solos.

This film is directed by Travis Knight, and overall, I thought he did a decent job at presenting a fun story with a balanced pace, despite a longer runtime. The film is 2 hours and 20 minutes long, but never once does it feel long. It is never boring.

This film is not doing so hot financially. About a month into its release, it has yet to make its budget back. Not a lot of people are checking it out in the theatre. But when it comes to those who did check it out, a majority of the reactions seem to be positive. Granted, overall, they seem to lean into mixed territory, but more people seem to like this movie compared to those who do not. This should not be surprising as Travis Knight seems to have a knack for bringing toy staples to the big screen. In 2018, Knight directed the “Transformers” spinoff “Bumblebee.” I personally think “Masters of the Universe” is a bit of a step down from “Bumblebee.” I think there is a little more humanity and wonder in “Bumblebee.” “Masters of the Universe” most certainly has those two elements, but not quite to the same degree. Even so, Knight does a great job at bringing Eternia to life and bringing things down to Earth precisely when he means to.

Also, if you check this movie out, be sure to stay for the credits. There’s bonus material as soon as the credits roll, in the middle, and at the end. You’re welcome.

In the end, “Masters of the Universe” is not the best movie I have seen this year. But if you are looking for something that could put a smile on your face that delivers on humor and action, this movie gets the job done. One note of caution for families… Even though is based on toys, part of me questions exactly how family-friendly this movie is. Granted, it is PG-13. So, not every child is likely going to be able to watch it right away. That rating is not unusual as the Michael Bay “Transformers” movies were also based on toys for example. Those were all PG-13. I watched those movies as a kid and turned out fine. But there is a running gag about “fisting” that makes me wonder if someone of a younger age could end up watching this movie and say something in public that maybe they should not be saying. Just something to keep in mind. Granted, I laughed myself silly whenever that gag played out. Does this movie make me want to explore more of the “Masters of the Universe” lore? I am not entirely sure. Perhaps if a sequel comes out, I will be there. I had fun with this movie. But if I am bored one day, I definitely have a greater chance of diving down a rabbit hole than I did before. The movie has a solid cast with some big names, a talented director, and despite feeling a bit paint by numbers at times, I found myself quite entertained. I am going to give “Masters of the Universe” a 7/10.

“Masters of the Universe” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! As a reminder, be sure to check out my latest episode of Movie Requests, featuring comedian and television host Chris Hardwick! He requested I should watch “Real Genius,” starring Val Kilmer. To hear my thoughts on the movie, click the video above and check it out! Also, if you want to see new episodes in the fastest way possible, do yourself and I a favor by subscribing to my YouTube channel!

My next review is going to be for “Another World.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Breadwinner,” “Disclosure Day,” “Toy Story 5,” “Supergirl,” and “Jackass: Best and Last.” 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 “Masters of the Universe?” What did you think about it? Or, since we are on the topics of Travis Knight and movies based on toys, has anyone here seen “Bumblebee?” What are your thoughts on it? And if you have not seen it, please leave this post and go watch it. You will thank me once it is over. Scene Before is your click to the flicks!

I Love Boosters (2026): Boots Riley Delivers a Bright, Colorful, Mind-Freak of a Flick

Posted on by Jack Drees

“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.

© 2026 – Neon

“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.

Courtesy of NEON – © Courtesy of NEON

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 (2026): The Most Gimmicky Star Wars Movie Yet

Posted on by Jack Drees

“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.

Photo by Lucasfilm Ltd™/LUCASFILM – © 2025 Lucasfilm Ltd™. All Rights Reserved.

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.

Photo by Lucasfilm Ltd™/LUCASFILM – © 2025 Lucasfilm Ltd™. All Rights Reserved.

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.

Photo by Lucasfilm Ltd™/LUCASFILM – © 2025 Lucasfilm Ltd™. All Rights Reserved.

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.

Photo by Lucasfilm Ltd™/LUCASFILM – © 2025 Lucasfilm Ltd™. All Rights Reserved.

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.

Photo by Lucasfilm Ltd™/LUCASFILM – © 2025 Lucasfilm Ltd™. All Rights Reserved.

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 (2026): The Best Mortal Kombat Movie Yet

Posted on by Jack Drees

“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 (2025): Four Legs Good, This Movie Bad.

Posted on by Jack Drees

“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 (2025): A Subway Snooze

Posted on by Jack Drees

© Neon

“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 (2026): A Collection of Nintendo References That Barely Resemble a Story

Posted on by Jack Drees

“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!