Animation

Elemental (2023): Pixar’s First Mishap

Posted on by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

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

Spider-Man: Across the Spider-Verse (2023): The Citizen Kane of Comic Book Movies

Posted on by Jack Drees

“Spider-Man: Across the Spider-Verse” is directed by Joaquim Dos Santos (Avatar: The Last Airbender, Voltron: Legendary Defender), Kemp Powers (Soul, One Night in Miami…), and Justin K. Thompson (LittleBigPlanet, Cloudy with a Chance of Meatballs). This film stars Shameik Moore (Dope, Incredible Crew), Hailee Steinfeld (The Edge of Seventeen, Hawkeye), Brian Tyree Henry (Godzilla vs. Kong, Bullet Train), Luna Lauren Vélez (Dexter, New York Undercover), Jake Johnson (New Girl, Let’s Be Cops), Jason Schwartzmann (Rushmore, Scott Pilgrim vs. the World), Issa Rae (Little, Insecure), Karan Soni (Miracle Workers, Deadpool), Daniel Kaluuya (Nope, Get Out), and Oscar Isaac (Star Wars: The Force Awakens, Moon Knight). This film is the sequel to “Spider-Man: Into the Spider-Verse” and follows Miles Morales as he faces conflict through his personal life, while balancing his time as his superhero persona. Meanwhile, he is introduced to the Spider Society, a realm of Spider-people just like him, where he must realize his true purpose.

“Spider-Man: Into the Spider-Verse” has had an interesting history in the realm of comic book movies. The film did well with critics and fans alike. But it did not garner as much box office revenue as its live-action counterparts. It was not a complete loss, as it grossed $384.3 million against a budget of $90 million, but the individual films starring Tobey Maguire, Andrew Garfield, and Tom Holland, all ended up making more. To be fair though, animated comic book movies were an unfamiliar territory in the theatrical market, not everyone knew who Miles Morales was compared to Peter Parker, and the film was already competing other blockbuster titles at the time including “Mary Poppins Returns,” “Bumblebee,” and DC’s “Aquaman,” which turned out to be the comic giant’s biggest hit.

That said, it does not change the fact that many people continue to hail “Spider-Man: Into the Spider-Verse” as one of the greatest comic book films of all time. I personally consider it a slight runner-up in 2018’s slate to “Avengers: Infinity War,” but it was a solid animation whose strengths came from its quick pacing, likable characters, intriguing storyline, and maybe the most unique animation style of the decade. I loved it in theaters, watched it a couple times at home, and find it to be one of the more refreshing animated titles to come out in recent years. I was pleasantly surprised to find out Sony Pictures Animation knocked this film out of the park after the gosh awful “The Emoji Movie.” Between “The LEGO Movie” and “Spider-Verse,” Phil Lord and Christopher Miller are partially responsible for some of the most memorable animations of the 2010s.

Naturally, I got excited when a “Spider-Verse” sequel was announced, which with the release of a trailer in 2021, received the title “Spider-Man: Across the Spider-Verse – Part One.” Since then, it has removed the “Part One,” but the concept remains the same. I thought if we got more of what the original provided, we would be in for another great time at the movies, but little did I know what I would be in for.

To clarify, “Spider-Man: Across the Spider-Verse” delivers the same strengths as its predecessor, but it also brings forth tons of new elements. Between the added animation styles, the Spider Society, new characters, and the expansion of the multiverse’s lore, there is a lot to love about this sequel, and I mean it when I say that. Not only do I find “Across the Spider-Verse” to be a step up from its predecessor. Not only do I find it to be one of the best movies of the year. Not only do I find it to be one of the best animated movies of all time. Not only do I find it to be one of the best comic book movies of all time. I think this movie falls into my top 20 or 10 movies EVER.

When it comes to superheroes, Spider-Man has always been my personal favorite. Mainly because of how I would often find myself in the shoes of Peter Parker as he tries to balance everything in his life. Granted, I do not have the same responsibility of protecting a major metropolitan area, but that is what makes the character likable in addition to his down to earth qualities. “Spider-Man: Across the Spider-Verse,” like its predecessor, instead focuses on the problems and life of Miles Morales, who much like the recently mentioned Parker, has to neverendingly deal with the problems of being a teen while also saving New York. Whenever I see Miles, he reminds me of my own life as I grew up. There are moments where I hear him talk and it reminds me of how much I wanted to either be by myself or take a chance to spread my wings a little.

In addition, throughout the film, we get a greater dive into Miles’s relationship with his mom, Rio. While we still get the connection between Miles and his dad that has defined the first film in a way, Rio has more of a presence in this picture. She has more of an impact on where things go compared to before. What captivated me is not only the chemistry she and Miles have, but the dialogue that supplements these two in their scenes. I always got a sense that Rio wanted what is best for Miles even if there is a disconnect between the two. But even in the moments where Rio would end up losing her mind over something Miles did, I am still rooting for Miles because I always got the sense that he was just trying his best to balance everything he can. These are emotionally complex, rich characters who I am glad I got to see in this film and hope to see more of in the future.

This movie handles multiverse a tad differently than “Spider-Man: No Way Home,” which does so in a way that serves as a love letter to the character. This movie also serves as a love letter at times, and each time that is done, it works. That said, the more I thought about “Spider-Man: Across the Spider-Verse,” it can also be seen as a jab on formula, a jab on traditional storytelling. But at the same time it could also serve as a tribute to it. There is a certain aspect of the film that dives into Miles’s destiny, in addition to the destiny of other Spider-people. As this is addressed, I could not help but recognize how such familiar tropes worked and we may similarly see something that could eternally impact Miles no matter which path he follows. At the same time, Miles wants to avoid facing a certain destiny that may seem familiar to audiences and the many Spideys this film possesses. That adds to the unpredictability of this film. I could name quite a few moments in this film where I was taken aback by what was on screen. There are so many things going on in “Across the Spider-Verse,” much of which just so happens to be colossally epic.

Part of why I found “Spider-Man: Across the Spider-Verse” rather unpredictable as it went along is not only from how the film itself is laid out, but Miles’s overall connection with Miguel O’Hara. There is a scene in the trailers where Miguel presents a certain dilemma to Miles regarding the fate of other people. When Miles takes that conflict in a certain direction, the rest of the film delivers a flavor to it that I have not seen in a comic book-based story prior to this one.

That said, part of that flavor represents a tonal shift from one film to the next. If things go in a certain direction, the “Spider-Verse” trilogy may be this generation’s version of the original “Star Wars” trilogy. I am not saying they have completely similar stories, but from a technical perspective, both movies brought something innovative to the table. Both have a first film that follows that typical hero’s journey formula. The films are great for all ages. And sticking with the tonal shift, I would say that “Across the Spider-Verse” has the shocks, goosebumps, and occasional gloom of “The Empire Strikes Back.” There is a lot of fun to be had in “Across the Spider-Verse,” but once the film reaches the halfway mark, its sullenness dramatically increases. When this movie ended, I was excited to know what could happen in the eventual “Beyond the Spider-Verse,” but I also recognized that much like “Empire,” “Across the Spider-Verse” does not end on the highest note. This is not a bad thing because I am rooting for the heroes even more than I was before.

If you are a “Spider-Man” fan, you will adore this movie. If you are not as interested in other iterations of “Spider-Man,” I think you may still find something to love about how this movie handles its storytelling methods. This is far from your typical comic book movie. This is also far from some of your typical animated fare. Despite this movie earning a PG rating, it is honestly very adult at times. There is some mild language, mature themes, and most of the humor avoids gearing itself specifically for younger crowds. I honestly think like some Pixar films, there is a chance that if you are parent and end up taking your kids to see “Across the Spider-Verse,” you might end up liking it more than them. Maybe it will end up aging for some kids in the same way “Wall-E” aged for me. When I first saw the film at eight years old, I was enamored with the spectacle and adventure of it all. Then as I aged I began to appreciate the lessons it told and the “show don’t tell” method it employs. I think if some young children end up liking “Across the Spider-Verse” the first time they see it, they might carry it into adulthood and recognize how powerful that film is in a different way. It is more than just cool action and funny jokes. If I were eight years old I might witness those two things and think that is enough to satisfy my appetite. But as a 23-year-old, I feel “Across the Spider-Verse” is about being your own person, appreciating your family in addition to your friends, dealing with potential failure, and realizing that everyone is just trying their best to live to fight another day. If you want to see a paint by numbers animation that takes no risks and plays it safe, then by all means watch “The Super Mario Bros. Movie.” If you want to see an animation that takes risks, delivers something new, and expands an already exciting universe, or multiverse in this case, then “Spider-Man: Across the Spider-Verse” is the movie for you.

This film is as close to perfect as it can get. If it were not for one thing, the movie would be even better. My one problem with “Spider-Man: Across the Spider-Verse” is the sound mix. To be clear, the sound design in “Across the Spider-Verse” is great. It is a completely immersive movie in terms of audio. But at the beginning of the film and during one or two more increments, there are certain lines of dialogue I could not make out. If they turned down the music just a tad or increased Hailee Steinfeld’s audio as close as they can to avoid clipping, this problem may cease to exist. Maybe the movie will get the “Thor: Love and Thunder” treatment. Remember how that movie changed the CGI after its theatrical release? Perhaps this film could contain a slightly different sound mix before putting it out on digital and Blu-ray. Who knows? Although I say this is a slight dig because if I dilate my ears a little, I could make out what is being said, and even if I did not understand something, the visuals gave me enough context to know what is going on. Filmmaking is showing, not telling. And this film shows like few others do.

The first “Spider-Verse” is an achievement of the animation medium. This sequel takes that achievement the extra mile. That said, I am trying to be quite vague on how it does such things, because this movie is full of surprises, and I want you to go in as blind as I did to experience it to the fullest. If anyone reading this is experiencing what some may call “comic book movie fatigue,” I urge you to check out this film because it is likely to change your mind. If we keep getting movies like “Black Adam” or “Ant-Man and the Wasp: Quantumania” that are below the par of some of the better titles the genre has delivered over the years, then I could see where the fatigue is coming from. It is coming from mediocrity and blandness. “Spider-Man: Across the Spider-Verse” flips the entire genre on its head.

In the end, “Spider-Man: Across the Spider-Verse” has delivered something brilliant that I felt as if I have not seen before in this overstuffed genre. “Spider-Man: Across the Spider-Verse” is the “Citizen Kane” of comic book movies. In addition to being a fantastic watch that pushes its medium forward, I think this is going to be one of the most influential and talked about films of the genre for years, possibly decades to come. This is a film that not only takes what is great about the original and imports it here, but attempts to take that greatness to the next level. Sequels naturally have to go bigger than the original. Sometimes it works, sometimes it does not. The jump this franchise takes from one movie to the next is seismic. “Spider-Man: Across the Spider-Verse” makes the original feel humble. And unlike say the transition from “The Matrix” to “The Matrix Reloaded,” the shift does not feel gimmicky. It is backed up by a good story, great characters, incredible dialogue, and animation that honestly looks better than what this franchise provided four and a half years ago. I rooted for the heroes, but I also sympathized for those who would be considered antagonists. There is not a character that comes to mind who I thought was not properly constructed. I have thought about this film long after I saw it. I found my experience to be overwhelming in the best possible ways. I walked out of the auditorium not believing what I just saw. And in a time where comic book movies dominate, “Spider-Man” movies come at you quicker than a bullet, and when sequels pop up all over, this feels like one of the most original, fresh films I have not just seen recently, but in my entire life. I need time to marinate where I rank this film amongst my favorites of all time. Maybe if I see it again, it would help. And yes, I do want to see it again soon. Therefore, I think it is inevitable that “Spider-Man: Across the Spider-Verse” is a 10/10!

Also, what is it with multiverses lately? “Everything Everywhere All at Once,” which was set in different universes, was far and wide my favorite film of last year. Meanwhile, “Spider-Man: Across the Spider-Verse” also joins the ranks and has now become my top film of 2023. I hope people do not overuse the multiverse concept just because of these successful outings. If it is used in the future, I hope they try to implement what these movies did. Specifically, a developed story with likable characters. I hope people do not just do multiverse for the sake of being crazy. Story should come first, characters should come first, the craziness may as well be bonus points.

“Spider-Man: Across the Spider-Verse” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you want to see more reviews, I have some coming soon! Specifically for “Hypnotic,” “The Machine,” and “The Flash!” I ended up seeing a couple of these movies before “Spider-Verse,” but I could not contain myself. I had to talk about this movie before anything else. “Spider-Man: Across the Spider-Verse” is a movie that if you asked me what to watch this weekend, I might pick that one for at least a month. It’s that good. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Spider-Man: Across the Spider-Verse?” What did you think about it? Or, what is your favorite “Spider-Man” movie? Let me know down below! Scene Before is your click to the flicks!

Suzume (2022): Makoto Shinkai Goes Full Pixar with His Latest Anime

Posted on by Jack Drees

“Suzume,” otherwise known as “Suzume no Tojimari,” is directed by Makoto Shinkai (Your Name, Weathering with You) and stars Nanoka Hara, Hokuto Matsumura, Eri Fukatsu, Shota Sometani, Sairi Ito, Kotone Hanase, Kana Hanazawa, and Matsumoto Hakuō II. This film is about a teenage girl who finds out she must save Japan from various threats by locking a set of doors.

If there is one door that has opened for me in 2022, it is the one that unveils the vast world of anime. When the year started, I did my first anime review, “Belle,” which has now become one of my favorite films of all time regardless of the genre or medium. Since then I have watched other titles such as those from the Studio Ghibli collection, “Akira,” “In This Corner of the World,” and “Inu-Oh,” the last of which I have reviewed. I have not touched much in the television realm, such as the “Dragon Ball” franchise, but that is partially because I am usually more committed to film than television regardless of the genre. Anime has also introduced me to some notable filmmakers such as Hayao Miyazaki, Mamoru Hosoda, and the one of focus in this review, Makoto Shinkai.

In just a short amount of time, a couple of anime titles have risen to the top of my all time favorite films list. The recently mentioned “Belle” is an example, but when it comes to Makoto Shinkai, “Your Name” is another. The chemistry between the two main characters, which is unlike many other films in history, is executed with utter brilliance. It is beautifully animated, fantastically written, and ends on the perfect note. It shows the power of animation at its finest. It is easy to see why the film has become one of the most successful anime titles of all time, making $382 million worldwide. “Suzume” is having similar success. The film has raked in $221 million worldwide and has already passed his last film, “Weathering with You,” even this early into the official U.S. release.

But just because something is successful, does not always make it great. Look at “Jurassic World: Dominion” for example. Is “Suzume” for starters, worth the hype? And also, worth showering with tons of box office revenue?

To answer both of those questions, that is a paramount certainty.

After seeing “John Wick: Chapter 4” and now “Suzume,” I can declare spring 2023 is a great time to go the movies.

“Suzume” is just about everything I wanted and more. It is a beautifully animated triumph of a picture that does everything a movie is supposed to do. The last movie I reviewed, also an animation, specifically “The Super Mario Bros. Movie,” could arguably have placed itself in the same boat. But when I say that, I mean it did the bare minimum to “not suck.” If this were a classroom, “Suzume” is the one student that studies hard, earns extra credit, always raises their hand, and dresses exquisitely as a bonus.

Now that we are in 2023, good animation has basically become a requirement. Thankfully, “Suzume” has unbelievably superb animation. Much like Shinkai’s other films, “Suzume” has this gloss to it that I can only find in one of his features. The colors are out of this world and the palette is both lifelike and imaginative at the same time. This is a film that having seen it, I could never see working in live-action without a couple significant changes.

“Suzume” reminds me of some of the better Pixar movies, because Pixar has a tendency to make films, many of which are phenomenal, where it begs to ask what would happen if certain objects or concepts had emotions. Sure, giving emotions to or personifying things in animation is not unusual. But when it comes to Pixar, it stands out because of the way they go about it. They gave toys emotions. They gave cars emotions. They gave preexisting souls emotions. They gave robots emotions. They gave literal emotions emotions. And this idea has worked every time. I am amazed on how Pixar was able to make a movie centering around a couple of robots and give them more emotional attachment than many films putting PEOPLE in the spotlight that have come out during the past decade. Similarly, the power of “Suzume” was unveiled as soon as I found out how much I cared about a chair. Granted, the chair is also human, but still. The movie made me care about a chair and got me attached to a cat who happens to be a statue. Despite the chair being human, it begs the question… What if chairs had emotions? This movie is the result.

As for the characters, I liked all of them. Sota, who becomes the chair, served well as a prominent sidekick. Daijin, the cat, is utilized perfectly. His lack of dimension, which is usually a deterrent for many characters, actually serves as a benefit with how his lines are delivered. Every moment he was on screen stood out to me. Suzume’s aunt, Tamaki, is perfectly written and executed. I believed every line out of this woman.

As for Suzume herself, I thought she was a great centerpiece to the story. When it comes to her as a main protagonist, she definitely served her purpose. I have no real complaints about the character that had to do with her charm or screen presence. If anything, I loved her ability to stay motivated throughout the film’s progression. Overall, I thought she was a joy to watch. But if I have anything negative to say, it would be this. Despite Suzume’s backstory being fleshed out, my one complaint is that I do not know a ton about her interests or what she does. Yes, she goes to school and has friends, but there is not much about her that separates her in the grand scheme of things. When it comes to Suzume’s depth, we get perhaps somewhere above the bare minimum. Although the movie managed to make a compelling aspect within the story out of the notion that she lost her mom and is raised by her aunt. Therefore, given the film’s significant fleshing out of that aspect, I can forgive the slight lack of personality even though it is an issue the more I think about it.

Despite what I said about Suzume not being fleshed out, one thing I thought was finely detailed throughout the film was Sota and his job, if you will, of being a closer. This film is about closing doors to prevent disasters. Therefore, it should not come as a surprise that Sota calls himself a “closer.” It does not pay the bills, but the movie implies it is important. I like how they gave the occupation of sorts a backstory, it brought some intriguing depth to the table.

When I say I can forgive this movie for its flaws, I mean it. It is perfectly paced. The film clocks in just over 2 hours and not once was I bored. I was smiling the whole time. The first ten minutes of this movie are some of the best I have seen in animation. While this film may not be as good as “Your Name,” the titles rival each other from a technical perspective. The animation style is almost comes off as a lifelike video game. The sound design is hypnotizing. The score is outstanding. Kazuma Jinnouchi and RADWIMPS did such a banger job with all of the music. I can personally claim I have listened to some of it during the making of this review. This movie is such a technical behemoth that the minor story flaws honestly take a bit of a backseat. “Suzume” is a must see for Shinkai loyalists and newcomers alike.

In the end, Makoto Shinkai continues his hot streak. Between “Your Name,” “Weathering with You,” and now this banger of a film, “Suzume” is every bit as awe-inspiring and excellent as I hoped it would be. With this film now in the can, this affirms Shinkai’s status as one of my favorite directors working today. I cannot wait to see what he does next. “Suzume” is beautiful, original, and occasionally jaw-dropping. The characters are great. The animation is some of the best in recent memory alongside “Puss in Boots: The Last Wish.” If it is playing in theaters near you, see it on the biggest screen you can. I saw it in IMAX and it was worth it. I left “Suzume” feeling satisfied. That is how I would want to feel after every movie I end up seeing. Again, it is no “Your Name,” but it comes close. Therefore, I would have to give “Suzume” a 9/10.

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

Thanks for reading this review! This week I will be watching the brand new movie “Air,” starring Ben Affleck and Matt Damon. Also stay tuned for my review for “Super Mario Bros.,” the 1993 film, coming sometime soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Suzume?” What did you think about it? Or, did you watch any of Makoto Shinkai’s other films? If you have a favorite, list it! I already mentioned this film, “Your Name,” “Weathering with You,” but if I must throw something out, I also saw “The Place Promised in Our Early Days,” which I would recommend. Check it out. Scene Before is your click to the flicks!

The Super Mario Bros. Movie (2023): Illumination’s Shiny, Polished, Cliché-Riddled Take on the Mushroom Kingdom

Posted on by Jack Drees

“The Super Mario Bros. Movie” is directed by Aaron Horvath and Michael Jelenic, both of whom have worked on Cartoon Network’s “Teen Titans GO!”. This film stars Chris Pratt (The LEGO Movie, Guardians of the Galaxy), Anya Taylor-Joy (Emma., Last Night in Soho), Charlie Day (It’s Always Sunny in Philadelphia, Fist Fight), Jack Black (Kung Fu Panda, Jumanji: Welcome to the Jungle), Keegan-Michael Key (Let’s Be Cops, Keanu), Seth Rogen (Neighbors, Sausage Party), Fred Armisen (Saturday Night Live, Final Space), Sebastian Maniscalco (Green Book, The Irishman), Charles Martinet, and Kevin Michael Richardson (Like Family, Lilo & Stitch). In this adaptation inspired by the popular video game franchise, Brooklyn-based plumber Mario must save his brother, Luigi, from the wrath of Bowser, a fiendish Koopa who has his sights set on ruling the world.

Few things in my life have had more nostalgic attachment than “Mario.” It is one of the few standout things from my childhood that I have taken with me into my adulthood. I still enjoy playing the “Super Mario Bros.” games, “Mario Kart,” “Super Smash Bros.,” and many of the other “Mario” spinoff titles that have come to fruition. So it might surprise you to know that when I heard Illumination would be developing a movie based on the popular IP, I had reservations, despite being curious about the film. I was worried that a studio like Illumination would make the film overly immature and resort to fart jokes every other second. And having seen some of Illumination’s work myself before and after said announcement, my excitement for the film did not grow. These are the same guys who made “The Grinch,” they have also made another one of my least favorite animated films, “The Secret Life of Pets 2,” which follows up an average first film. The only films from this studio I ended up caring about, which still scream lowest common denominator, are the “Sing” movies.

At the same time though, I also think one of the biggest offenses to cinema is the 1993 flick “Super Mario Bros.,” starring Bob Hoskins and John Leguizamo as the main duo. Part of me also thought, if movies can be that bad, the IP can only go up. Having seen this new animated take on the “Super Mario Bros.” property, I would say it did. But even that is not saying a lot, because it is not Shakespeare. That said, if there is one thing that distinguishes this “Super Mario Bros.” outing compared to the 1993 predecessor, it is the film’s tendency to actually feel like it belongs in the same realm as the games.

The biggest compliment I can give “The Super Mario Bros. Movie” is that even though it makes room, rightfully so, for adaptation, it is extremely faithful to its source material. Granted, it has an advantage that a lot of other material does not, it has plenty to pick from. Nevertheless, I think if you are a fan of the video games, or have played them at least once in your life, this movie could bring back memories. This movie’s animation style, while still being a product of its own nature, is reminiscent of the games themselves. It is colorful, bright, and full of life. The characters themselves even have a distinguished sparkle and shine that many other properties do not possess. Even Bowser, who is this movie’s epitome of evil, has some gloss to him. Illumination has clearly taken all the money they and Universal have earned on selling Minions merch and thrown it straight to the wall.

Some might say that the style of “The Super Mario Bros. Movie” is too safe. If this refers to the design of the film, I do not see the problem. It looks beautiful and unlike the 1993 film, a great counterpart to the games. There are some far-fetched elements in this film, sure, but as an audience member I can suspend my disbelief to a certain point. There is one point two-thirds in, which looked cool, that kind of ruined said suspension, but the sequence itself was still kind of fun nevertheless.

Let’s talk about the elephant in the room, the voice acting. One of the most controversial aspects of this film for the past couple years were the voices of these characters. The burning question that has to be answered is this… How is Chris Pratt? To my surprise, he is fine. I am not going to say he stands out significantly, but he has developed a Mario that works for the universe at hand. Do I think they should have cast someone else? Maybe, but this could have been worse having seen the result. In my mind, I would prefer that maybe they found someone of Italian heritage to do the voice, but that is just me. But I think Pratt surprisingly fits as the Brooklyn plumber. Although Charlie Day is excellent as Luigi. I would say it is near perfect casting. It also makes sense because I have often imagined Charlie Day as a bit of a scrawny, timid type. While it is not the best movie, if you have ever seen “Fist Fight,” it is easy to see why Day could fit in as Luigi. I think when it comes to these two brothers, they have good chemistry, which is not only great because they are in the title, but much of the movie’s objective revolves around their bond.

I also like what they did with Peach in this film. I think Anya Taylor-Joy, who is an incredible actress, is a solid casting choice for the character. In real life, she has this aura to her, and I can say that having been to a Q&A where she was onstage. As for said aura, it is presented in this film from start to finish. Her voice is a perfect match for a highly respected princess. I like this film’s take on the character, also from a story perspective.

However the real standout of “The Super Mario Bros. Movie” in terms of voice casting is the one character I have been excited to witness ever since the first trailer, Jack Black as Bowser. Unlike Chris Pratt at times, who, again, does not do a bad job in this movie, it was difficult for me to see Jack Black through this rugged monster. Maybe part of it is because I am accustomed to seeing Jack Black in certain roles, to the point where it was difficult to picture him as a bad guy. While it may not be his best performance, after all “Jumanji” has proven how challenging it must have been for someone like Black to play someone who is technically a teenage girl, his work here stands out significantly. They say a movie is only as good as its villain, and while “The Super Mario Bros. Movie” is not a masterpiece, Bowser’s presence makes the film worth the price of admission. He is intimidating, ruthless, and funny. While he is evil, I almost wanted to root for him at times because Black makes the character as compelling as he can with his performance.

As mentioned, this film is not a masterpiece, and part of it is because of the writing. I will give credit to Illumination for possibly creating one of their more mature scripts in their library so far. There was less toilet humor than I thought there would be in a “Mario” movie made by Illumination. That said, while I have sometimes complained about some movies being too slow, this movie is special because it is actually too fast. Sure, it is simple to understand. Nothing major flew over my head. But when it comes to the film’s scenes, some of them went by too quickly. In a movie that is about a journey, much of that journey feels trimmed. I have complained about certain movies like “Wonder Woman 1984” or even movies I enjoyed such as “The Irishman” for being, or feeling, longer than they should be. “The Super Mario Bros. Movie” not only clocks in around 92 minutes, which is not the shortest runtime I have come across, but still. The movie also happens to gloss over moments that would make other events that happen in said movie feel more rewarding or satisfying. However, there are some humorous lines, the characters have finely tuned arcs, and for the most part, the voice actors execute these lines to the best of their ability.

If I have another critique, and this is something that is about as personal as it could get, it is the soundtrack. And I am not talking about Brian Tyler’s score. The score is quite good, there are some great songs, in addition to adaptations of prior material from the games. I am talking about the use of other songs like “Holding Out for Hero” or “Take On Me.” These are not bad songs, but not only are they overplayed in media, but when it comes to “Mario,” lyric-based songs like those are not the first things that come to mind. There is one song in the movie, specifically “No Sleep Till Brooklyn,” that fits in its scene, but that is it. I think the problem I have with the soundtrack is that the movie spends time in the Mushroom Kingdom, which establishes itself as this fantastical environment. It is somewhat disconnected from our reality. With that in mind, I have never once thought in my life, playing “Mario” titles, that I should play 1980s pop songs whilst hitting question blocks. I always say there is room for adaptation, but this did not work. I would prefer if for the whole time, the music would just be score-based. Maybe insert another original or something. I do not know, this is a personal preference. “The Super Mario Bros. Movie” is very much a fantasy title, and when it comes to fantasy, I wish less of our stuff were placed into it. Granted, the people of the Mushroom Kingdom do not know these songs, but I rest my case.

I would say this is a fine “Mario” movie that would give a large group of “Mario” fans what they want. As established, it is faithful to the source material, it looks like the games with some slight differences, the music choices for the most part are like the games, and the sound design does not spark any major differences. That said, whether it is going to win over someone who has never played the games is another story. Would this make people want to play the “Mario” games for the first time? Well, obviously if they like the movie, it is always a possibility. But I feel like if you are not tuned into the “Mario” universe through the games, the same might be true through this movie. But if you like the “Mario” games, I would recommend this movie. I am not endorsing the film as a must-see cinematic event, but if you can find a cheap matinee show or if you want to wait for streaming, be my guest. But even with this statement in mind, I give this recommendation with a certain looseness. There are better movies out right now. If you have played the “Mario” games and they are not your thing, it would be harder to recommend this title. Although if you have children, this could be a decent time at the movies with family. It is not going to significantly insult anyone’s intelligence, but it is definitely not going to help it either. It is a perfectly acceptable, but not great, “Mario” adaptation. Did I want more out of this movie? Sure, but on the bright side, it is brilliant compared to the 1993 disaster.

One last thing, before you leave the movie, there are two scenes during the credits. One in the middle and one at the very end. If post-credits material is your thing, then do not get up when the movie ends. Consider this your public service announcement.

In the end, “The Super Mario Bros. Movie” is a bit misleading. Because despite the title, it is not that super. If anything, it is super average. “The Super Mario Bros. Movie” does a lot of things in an okay manner. It is a little fun. It is a little humorous. But it is also a little paint by numbers. Is it cringe-inducing? No. But is it smile-inducing? Not necessarily. It is a middle of the road movie that takes one of the most popular IPs of all time and executes an ordinary script in its skin. Yes, many of the games are as simple as rescuing a princess from a monster. That said, these are not the games. I have fun playing various “Mario” titles because of how the gameplay is laid out. The main objective of the crew behind “The Super Mario Bros. Movie” is not to make the gameplay fun. In something like this, there is not, nor should there be gameplay. When you take the gameplay away, you have to enhance something else. I am not bringing my Switch Pro Controller into the theater to control these characters, I am watching the characters themselves. Therefore, I wish the characters, in addition to the story surrounding them, were enhanced. But both of those aspects feel thin. They could have gone deeper. Everything feels rushed. The most notable standouts of the movie are some of song choices, Jack Black as Bowser, and the animation. Everything else for the most part is a far cry. I am going to give “The Super Mario Bros. Movie” a 6/10.

“The Super Mario Bros. Movie” is now playing in theaters everywhere, including formats like 3D, IMAX, and Dolby Cinema. Tickets are available now.

Thanks for reading this review! Speaking of “Super Mario Bros.,” pretty soon I will be reviewing the 1993 “Super Mario Bros.” movie, which I have already watched. I will be writing my thoughts on it soon. I do not have an official date as to when the review will be dropping, but you can expect a review very soon.

Also, if you have been following Scene Before or have known me in real life, you would know that I have started watching particular anime titles in the past and have been trying to make the medium a part of my ongoing content. One of my next reviews, supposedly the very next, is going to be for “Suzume,” which hits U.S. theaters this weekend. I am very excited for this film, as it is directed by Makoto Shinkai, who has previously directed “Weathering with You,” in addition one to of my new favorite movies ever, “Your Name.” I am curious to see what he does here, and I hope the movie ends up being great. I will have my thoughts soon! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Super Mario Bros. Movie?” What did you think about it? Or, what is your favorite “Mario” game? For me, I would say “Super Mario Galaxy.” I love the levels, the music, the style, everything. Plus, it is scientifically proven that the inclusion of outer space makes everything better. Let me know your picks down below! And I will include spinoff titles! “Paper Mario” is fair game. “Mario Party,” “Mario Kart,” “Luigi’s Mansion,” you name it! Scene Before is your click to the flicks!

Puss in Boots: The Last Wish (2022): Animated Purr-fection

Posted on by Jack Drees

“Puss in Boots: The Last Wish” is directed by Joel Crawford and co-directed by Januel Mercado. This film stars Antonio Banderas (The Hitman’s Wife’s Bodyguard, Uncharted), Salma Hayek (Grown Ups, Eternals), Harvey Guillén (What We Do in the Shadows, The Magicians), Florence Pugh (Black Widow, Don’t Worry Darling), Olivia Colman (The Mitchells vs. the Machines, Empire of Light), Ray Winstone (Point Break, Beowulf), Samson Kayo (Our Flag Means Death, Famalam), John Mulaney (Spider-Man: Into the Spider-Verse, Chip ‘n Dale: Rescue Rangers), Wagner Moura (Brazil, Narcos), Da’Vine Joy Randolph (Selfie, People of Earth), and Anthony Mendez (Jane the Virgin, Foodtastic). In this sequel to the 2011 spinoff film “Puss in Boots,” the title character is down to his ninth and last life. Carrying his hopes to recover his past lives, Puss sets out on a journey to find a Wishing Star.

2011’s “Puss in Boots” is a surprisingly good movie. I think it is a bit rushed, but it has its pros. The characters are likable. The voice performances are solid. The music is catchy as well. I did not think it was as memorable as say “Shrek” and “Shrek 2,” the latter of which introduced Puss to the iconic DreamWorks franchise. Nevertheless, the movie was solid despite being a quick ride. “Puss in Boots: The Last Wish” is a follow-up part of me never thought we would get. The spinoff seemed like a one-off. But, someone, somewhere wanted to make this sequel. After all, in an age where “Star Wars” is still relevant, it is evident that nostalgia sells. The last major “Shrek”-related project to release in theaters was in fact the 2011 “Puss in Boots” movie. As to whether this would be a great sequel or a cheap nostalgia bomb was a mystery. The trailers looked good, but so did the trailers to “Avatar: The Way of Water,” which did not mean much when I saw the movie.

Ladies and gentlemen, if there is any indication that you should see this movie, here are some bold statements. First off, “Puss in Boots: The Last Wish” is better than the original. Not bold enough? Okay, let me take it a step further. Not only is it better than its 11-year-old predecessor, I would say it is superior to all of the “Shrek” installments. This includes the original, and my personal favorite, “Shrek 2.” Is this a case of recency bias? Possibly. It has been awhile since I have seen the “Shrek” films. But it does not change the fact that I was smiling the entire time this movie was playing. And when I was not smiling, I was either laughing or dropping my jaw.

The first ten minutes of this movie is some of the most bonkers, ridiculous, unhinged stuff I have witnessed on a screen this year. There is a moment where Puss is taking down a beast and goes towards it by catapulting himself into the air via a stringed instrument. How cool is that?! Meanwhile he has time to sing a song and brag about himself. This is not only a fitting introduction to this movie and the character, it is some of the most fun I had at the movies this year. I have not felt this giddy at the start of an animation since maybe “The LEGO Batman Movie.”

“Puss in Boots: The Last Wish” blends 2D and 3D animation elements to make a movie that is wonderfully stylized and perfectly realized. Few movies released in 2022 look as visually striking as this one. At times, this movie has the tone of previous material featuring the Puss character, including the “Shrek” installments, while also inserting a style that reminded me of “Scott Pilgrim vs. the World.” Select scenes felt like a graphic novel coming to life. To say I was struck with awe might be an understatement. And when I say awe, I am not just talking about big eyes. Although those do, coincidentally, make an appearance in the movie.

Puss in Boots is a role Antonio Banderas is practically born to play. His voice is absolutely perfect as the iconic feline and I was somewhat worried after all these years it might not be the same. Nope, he still has the goods! There is a certain hyperactivity Banderas commits to with the role that I think few actors would be able to encapsulate. There is a saying that actors are replaceable, and I would agree with this philosophy. However, I think if somebody else were to play the Puss in Boots role in the future, they have massive shoes, or boots in this case, to fill.

The film has multiple threats including Goldi and the Three Bears, Jack Horner, and a wolf bounty hunter. Having seen a couple “Spider-Man” films butcher themselves by poorly utilizing multiple threats at once, it might as well be easy to worry that this movie could lose control. Thankfully, it does not. Each antagonist has a purpose and place in the story. In addition to all of these antagonists opposing themselves to Puss and his crew, some want to use the Wishing Star to fulfill their own desires. This adds threats not only to Puss’s life, but his past lives as well. Without giving much away, one of these mentioned antagonists might be the creepiest DreamWorks animation villain ever put to screen. Both in terms of looks and motivation. If I were a young child watching this movie, I would quiver upon first sight of this fiend.

“Puss in Boots: The Last Wish” is a quickly paced, action-packed thrill ride of a film that while I will say is okay for children to watch, impressed me because of its tendency to go full throttle with certain action elements. This movie even has blood in it, which I do not often see in PG films. The action sequences in “Puss in Boots: The Last Wish” are my favorite DreamWorks action scenes since “Kung Fu Panda 3.” There is little shortage of color, wacky effects, and pizazz. Again, it was like watching a graphic novel come to life. It almost felt like a flashy video game. I would go see this movie a second time for the action alone. “Puss in Boots: The Last Wish” has action that reminds me of “Everything Everywhere All at Once,” which this movie nearly rivals in terms of flashiness. Another movie the action reminds me of is “Bullet Train,” which has a series of creative sequences and fights with impressive choreography. Simply put, “Puss in Boots: The Last Wish” contains my favorite action sequences from any movie released this year.

If I had any flaws with “Puss in Boots: The Last Wish,” they would be hard to come by. Although if I had to come up with one it would be that while the humor is solid for the most part, there are one or two jokes that fall flat, including one that was probably just inserted to get a laugh out of the younger audiences. This may be a personal thing, but for those who remember the 2011 “Puss in Boots,” there is an oohing cat that is constantly used as a gag during the film. I did not find it funny the first time, nor did I find it funny the third or fourth time. But for some reason the cat finds his way back to this sequel. Thankfully it was only in one scene, but still.

In the end, “Puss in Boots: The Last Wish” is a great spinoff, a stellar sequel, and a smile-inducing time at the movies. This movie was so good that I am surprised to say that I want a third installment. This movie is up there with “Turning Red” and “Marcel the Shell with Shoes On” as one of the best animations of 2022. Packed with ridiculously enthralling action sequences, unbelievably eye-popping animation, and a shockingly emotional ending, this film is perfect for all audiences. Take it from someone who is not much of a cat person. Or even a pet person in general. I loved “Puss in Boots: The Last Wish” and I am going to give it a 9/10.

“Puss in Boots: The Last Wish” releases in theaters everywhere Wednesday, December 21st. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have more coming soon! The 2022 reviews are likely coming to an end, but I do plan to see another movie this week. My next review is likely going to either be for “Babylon” or “The Whale.” I have not decided yet. That said, if you want to see more animated movie reviews, check out my thoughts on “Strange World,” “DC League of Super-Pets,” and “Luck!” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Puss in Boots: The Last Wish?” What did you think about it? Or, now that we have four “Shrek” movies and a couple of “Puss in Boots” spinoff titles, which movie in the “Shrek” universe would you say is the best one? Honestly, “Puss in Boots: The Last Wish” might take the cake. Let me know your picks down below! Scene Before is your click to the flicks!

Strange World (2022): No Awe, No Wonder, Just Boredom.

Posted on by Jack Drees

“Strange World” is directed by Don Hall and co-directed by Qui Nguyen. The film stars Jake Gyllenhaal (Nightcrawler, Spider-Man: Far from Home), Dennis Quaid (A Dog’s Purpose, The Express: The Ernie Davis Story), Jaboukie Young-White (The Daily Show with Trevor Noah, Only Murders in the Building), Gabrielle Union (America’s Got Talent, Think Like a Man), and Lucy Liu (Charlie’s Angels, Kung Fu Panda). This film follows the Clades, a family who must overcome each other’s differences in order to successfully navigate themselves in a space off the map.

Thus far, animation has not been perfect this year. The only real highlight in regard to 2022 animation for me would have to be “Turning Red,” which I watched back in March and enjoyed immensely. In fact, my favorite animation I watched that came out this year is one that technically came out last year, specifically “Belle,” as it released in Japan in July 2021. That movie was so nice that I had to post about it twice. Therefore, I was hoping that “Strange World” could join the ranks of “Turning Red,” or surpass it, and give the genre a boost. “The Bad Guys” was okay. “Lightyear” was fun but it is no “Toy Story.” “Luck” was not perfect. Let’s not even talk about “Paws of Fury: The Legend of Hank.” I wanted something that could potentially be a medium-defining movie. We had a couple of those last year with “The Mitchells vs. the Machines,” the recently mentioned “Belle,” and Disney’s own “Raya and the Last Dragon.” The good news for those movies, depending on how you slice it, is if they wanted to remain superior, then this is a good day for them. “Strange World” is a movie that should have dazzled me. Unfortunately, I was bored.

Now let me be clear, for the people who ask why I do not like this movie, please note that this has nothing to do with a certain character having feelings for another specific character. If you are looking for another review where the writer disses on the movie because it is “woke,” go someplace else, arrogant scumbags. Scene Before is not the place for that. That said, it is time to talk about why “Strange World” is one of the most underwhelming and snore-inducing animations of the decade.

However, before we get there, I do want to drop some positives. Because the movie does have its moments. The first act, while not flawless, introduces the characters at a quick pace and provides some fascinating setup for what is to come. There is a particular event towards the end of the movie that caught me off guard, but in a good way. The opening song, while short, is kind of a banger. Oddly enough, this does not go for that traditional Disney movie soundtrack extravaganza where every other scene becomes a musical all of a sudden. There is no equivalent to Let It Go in “Strange World.” If you are seeking a musical, look elsewhere. If you are instead seeking a mediocre adventure in unfamiliar territory, look no further.

When your movie is called “Strange World,” that should be code to make a world that looked kooky and fun. However, I had my arms crossed for a good portion of the runtime. “Strange World” had scenes that looked like an escape from reality, but it is not just a matter of how the movie looks, but how it feels. Despite being taken on an adventure to somewhere unfamiliar, I never felt immersed into this world. Part of the reason is because this movie feels like it spends more time building its vast environments as opposed to the characters who are surrounded by said environments. Sure, we get moments where we get to know the characters, but it sometimes comes off as the bare minimum. In addition, the characters themselves are annoying.

Now the characters, for the most part, are well voiced. Dennis Quaid and Lucy Liu are particular standouts as Jaeger Clade (top right) and Callisto Mal (top left) respectively. The voice performances serve their purpose and are in no way problematic. However, I was annoyed by a character that should have been a lovable sidekick, Splat.

I found out that nobody voices Splat (right), so the voice actors are safe in this instance. However, the sounds that Splat makes, while somewhat appropriate, are honestly more headache-inducing than trying to find a parking spot at the mall on Black Friday. I can say this is based on true events. Both as someone who just wanted cheap Blu-rays the other day, and as someone who wanted to have a good time watching “Strange World,” but failed miserably.

Like most animated fare, there is a lesson intertwined that the crew perhaps aspire to deliver towards the children watching the movie. As an adult, I took away a particular lesson that sounded halfway decent. But at the same time, the lesson made for an atrocious story. It is predictable, dull, and worst of all, the three main characters all made me roll my eyes. Whether it was cheap dialogue, selfish motives, or overembellishing what could easily be shown instead of told. There are scenes where the main characters argue, and it had dialogue that should have been compelling, it should have gotten me invested in the scene and where things could go from here. All it did was made me put my hand on my head, begging for the movie to move along.

I watched “Strange World” in a theater that had some people. It was nowhere near its total capacity, but there were some families and kids. Despite the various attempts at comedy in “Strange World,” no one uttered a sound. I could barely hear children chuckling. For all I knew, the children at this screening had a good time. But when your family movie fails to get the family to emote, that is a problem. Although when the movie was over, people did clap. So there is that.

Watching and/or reviewing a Disney movie sometimes has its complexities. Because Disney is not just movies. That is just a small aspect of how they entertain the masses. What goes into their movies often factors into their merchandising, their parks, and so on. While “Strange World” is not a good movie, it was the kind of movie that despite its failed attempts to immerse me, made me think there could be a chance that this would make for a decent theme park ride. I can imagine this universe as a motion simulator in Disney World because it is so otherworldly. Kind of like some of Disney’s other rides such as Star Tours or Pirates of the Caribbean, it feels like going somewhere else. It does not feel like Florida. It does not feel like California. You’re either in space or some vast environment far from home. Unfortunately, I am not reviewing a theme park ride. I am reviewing a story. And despite one or two okay scenes, there was not enough to make me root for the characters or care about what was going on. As a story, this is dull. This is forgettable. This is uninteresting. I wanted it to end. Thankfully the movie not that long, but despite time flying by, I was not having fun.

In the end, “Strange World” is a bit of a letdown. I did not think this movie looked like the next big thing, but it also looked fun. Disney movies, even ones that are lower tier, seem to have glimmers of fun on a consistent basis. When I fail to walk out of a Disney movie, or any movie for that matter, with a smile on my face, that is not a good sign. Let me just put it this way. I had more fun with another Disney film, “Black Panther: Wakanda Forever,” and that is despite the film saying goodbye to a major character (in addition to the actor who plays him) and having a few downer scenes. “Strange World” occasionally made me angry because it looked fun, but it did not feel fun. There is a difference between designing something pretty, and doing something with it that is interesting. This movie felt like a first date with the most attractive woman alive, only to find out she has zero personality whatsoever. “Strange World” is a waste of time and I am going to give it a 3/10.

“Strange World” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! If you liked this review, check out some of my other ones! If you want to see more animated movie reviews, check out the review I did for “The Bob’s Burgers Movie.” If you want to see more family movie reviews, check out my thoughts on the brand new Netflix film, “Slumberland.” I am planning on seeing a movie this weekend, I am not sure which one specifically, so as to whether “Violent Night” or “Spoiler Alert” is going to be my next review is a total mystery. You will have to find out for yourselves. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Strange World?” What did you think about it? Or, what is an animation that you saw recently that disappointed you? Let me know down below! Scene Before is your click to the flicks!

Luck (2022): Somewhat Charming, Although Not Enough to Be the Luckiest Charm

Posted on by Jack Drees

“Luck” is directed by Peggy Holmes, whose resume, which includes four other directorial credits, has mostly consisted of Disney content. This film stars Eva Noblezada (Yellow Rose, Law & Order: Special Victims Unit), Simon Pegg (Mission: Impossible – Fallout, Run Fatboy Run), Jane Fonda (Grace and Frankie, Klute), Whoopi Goldberg (The View, The Lion King), Flula Borg (Pitch Perfect 2, The Suicide Squad), Lil Rel Howrey (Uncle Drew, Free Guy), Colin O’Donoghue (Once Upon a Time, The Right Stuff), and John Ratzenberger (Cheers, Toy Story). This film follows a girl named Sam who suffers from one unlucky incident after the next. After one particular case of bad luck, she finds herself in a universe where good and bad luck collide to determine the fates of everyone on earth.

Many protagonists have a case for being down on their luck for one reason or another. But this is a case where the protagonist suffers from one incident after another after another after another in just a short amount of time. It’s the whole down on one’s luck thing, but it’s wildly consistent here. Some might say that luck is not cinematic. But after watching Domino in “Deadpool 2,” I think that’s a falsehood. So I was looking forward to whether the movie “Luck” could be the latest charm (haha) from Hollywood. As for the movie itself, was it worth the watch?

Not exactly. The good news is, as far as the studio is concerned, specifically Skydance Animation, this is their first film. Founded by David Ellison and led by former Pixar vet John Lasseter, “Luck” is the first film in the studio’s slate, and they do have more coming like “Spellbound,” which has a stacked voice cast ranging from Rachel Zegler (West Side Story), Nicole Kidman (The Northman), and even John Lithgow (Interstellar). Maybe their second outing will be better. But for now, let’s focus on the mediocre first outing. But hey, they can only go up!

Again, I like the concept of the movie. I love how one person could be this unlucky all the time and a story can be made out of it. In fact, as far as the protagonist goes, being unlucky is not all about the little things. This movie establishes that the main character, Sam, grew up as a foster kid. At the end of the day, she was never able to find her real family. But at some point, she found herself on her own. She started a new job, she started school, she started living in her own apartment. Sam had a plan and she was sticking by it. So I do admire that the film is not just saying that the main character is unlucky every other second and just going with it. Bad luck is literally intertwined as a core foundation of Sam’s backstory, her growing up.

Sam is voiced by the amazingly talented Eva Noblezada. For the loyal followers who remember the 3rd Annual Jackoff Awards, which honored 2020’s cinematic calendar, I bestowed Noblezada with the win for Best Actress for her brilliant performance in the music-centric film “Yellow Rose.” It makes sense that she would be in a movie like this, as her character does sing and she not only has a history of singing originals in “Yellow Rose,” but she was also in the Broadway play “Hadestown,” so she has range of being on and off-screen. I was excited to see what she could do in a voiceover role. I thought Noblezada had a cute presence and fit the character in every way. I also sort of related to her character. I mean, who wouldn’t? I am pretty sure everyone has had that one day in their life. That one day where anything that could go wrong, actually does.

I also like some of the supporting characters in the film. Simon Pegg plays Bob, a black cat who happens to be Sam’s sidekick for most of the film. I thought he brought some personality to the table. Jane Fonda was a great choice to play Dragon, a character that could literally sniff out bad luck. I thought she was larger than life and lively to say the least. As for the real world, there is one character named Hazel that is presented of highest importance. Not only is she well written from a story perspective, notably through her bond with the protagonist, but I think her respective actress, Adelynn Spoon delivered a cute performance that garnered my attention from early on. Overall, the voicework in this film is top notch. Also, unlike the recent “DC League of Superpets,” despite this movie having some big names, I was never distracted. I never felt like I was listening to someone such as Whoopi Goldberg, who happens to portray the character of Captain, play herself.

While I will reiterate that I am not a massive fan of the film and do not intend to watch it again, I think one of the main highlights is a scene from the first five or so minutes where Sam is going through her morning routine. She’s making breakfast, she’s showering, doing everything she needs to get ready to start her day. But this plays into the whole bad luck trend that has been large part of her life. This lends to some of the funniest visual comedy I have seen recently. I think animation often lends itself to some great humor. And this year is no different when it comes to films in that genre like “Turning Red.” While “Luck” may not be as enjoyable as that film, it is a film that like “Turning Red,” can guarantee a laugh out of me for something I see on screen.

As for the music in the film, I think the musical score by John Debney (The Orville, Iron Man 2) is quite impressive and fits the scope of the film. In fact the scope is quite large given the eventual enormity of the protagonist. I also want to talk about the use of the Madonna song Lucky Star. While it may intertwine with the luck theme this movie has going for it, I think its use comes off as nonsensical, and I kind of cringed when it happened. But that is because of how the song is used from a story and script perspective. I am sure that if the song were simply used as an end credits piece, I would have appreciated it more, but it was used as an out of nowhere device to move the story forward. It is almost lazy. Eva Noblezada sang the piece and she did an okay job, but I just feel like its insertion was either through writer’s block or as a joke to cater to adults who knew the song or children that need visuals to lighten the moment. This movie does not have enough lyric-based songs to sell a soundtrack, so I cannot say that is what the writers were going for.

I also feel incredibly conflicted by the ending. Sure, there are things that happen in the end that add up and feel in place. There is even one moment in the end that made me genuinely happy. But I also feel like how we got to a certain point almost felt forced. It is almost kind of cringeworthy. I get why what happened actually happened, but how we got there almost feels nonsensical. Maybe it drives home the lesson of the film for families and children, but even so, it just feels odd watching it. I almost did not buy what I was seeing on screen. This might sound weird, but this is just from my experience. Despite just about everything making sense, the final moments of the film nevertheless became slightly convoluted. I was not angry, I was not disappointed, I was just a little bewildered and questioning whether the protagonist would actually do what she did. I do not know. Maybe if I watch the film a second time I would feel different. But again, the movie is not worthy enough of a second watch, so that is probably going to remain a mystery.

In the end, “Luck” is rather unlucky. The protagonist is perfectly established, some of the supporting characters are fun, and I never found myself outright angry at this film unlike say the recent “Paws of Fury.” Although if you have children and are looking for an animated movie to watch together, there are better options out there. In fact, this movie is on Apple TV+. If you want a great animated movie to watch on the service, I highly recommend checking out “Wolfwalkers.” It is a 2D animated film about a girl who can suddenly transform into a wolf and ends up befriending someone just like her. It is wonderful, it has emotional beats, it is quite imaginative to say the least. This is not to say that “Luck” is not imaginative. I will be frank, I like the concept of having a universe that controls good and bad luck on our planet. I just wish it were done better. There are some good things about “Luck,” but when the ending came into play, I just found myself nearly indifferent about what I just watched. Maybe you will not feel the same, but I have no plans to watch “Luck” again. And that stinks, because I want to see more from Eva Noblezada, but I hope she does something better than this. I am going to give “Luck” a 5/10.

Also, before I move on, I want to address something I was curious about in regard to the movie ever since I saw the trailer. This is a screenshot I took on YouTube. As a Bay Stater, I need to ask everyone who made “Luck” a simple question. Is this movie secretly set in Boston? Look at license plate on the city bus and tell me that is not a Massachusetts license plate! I know it does not say Massachusetts, but look at the thing!

“Luck” is now streaming on Apple TV+. While it did release in theaters in August, there are showtimes listed online and the film will be coming back to several markets starting Thursday, September 22nd. If you want to see the film in theaters, get your tickets now.

Thanks for reading this review! I want to remind everyone once again that this October, I will be doing a Steven Spielberg Month in honor of his brand new film, “The Fabelmans.” In preparation, I will be reviewing “Close Encounters of the Third Kind,” “E.T. The Extra Terrestrial,” “The Post,” and “West Side Story,” so stay tuned for that! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Luck?” What did you think about it? Also, did you ever have a day where everything just went wrong no matter the case? Tell me about it! I would not mind hearing all about it! Scene Before is your click to the flicks!

Inu-Oh (2022): Get Ready To Rock on in This Solid Japanese Animation

Posted on by Jack Drees

“Inu-Oh” is directed by Masaaki Yuasa (Mind Game, The Night Is Short, Walk on Girl) and stars Ava-chan and Mirai Moriyama in a film where a cursed dancer and a musician team up and perform for eager audiences.

If the box office suggests anything, not many people saw “Inu-Oh,” as it has so far only raked in over $300,000. The film released on August 12th and is already out of theatres where I live. Meanwhile, “Spider-Man: No Way Home” is back to do for Sony a second time what “Morbius” could not. I saw “Inu-Oh” at a theater about an hour from home. Usually I only have to travel like, 15, 20 minutes to a local multiplex. So not only was I hoping I would like the movie, I was hoping it would be worth the extra driving time. Especially considering how I got my wisdom teeth out days prior, and this was my first theatrical experience since… Was it worth the drive? Perhaps.

When I think of animation, and this includes anime, I often think of color, I think of vibrancy, I think of heightened aspects that you cannot do in live-action. This is part of what makes 1994’s “The Lion King” a much more attractive feature in comparison to its 2019 live-actionish remake. Even in more adult fare like the current HBO Max series “Harley Quinn,” the frame is often filled with color. It is rare for me to look at an animated product and think, “Wow, that looks dreary. That looks depressing.” “Inu-Oh” is a rare exception, and this works in its favor. Because yes, the movie is about friendship. Yes, the movie is about two guys performing rock music. But in addition to that, there is an important part of the film that has to do with how the songs are to be performed. It kind of reminds me of how some interpret history, and how some prefer to rewrite it for their own benefit.

Although speaking of flashy, colorful, attractive animation, the climactic sequence of the film, while it still manages to have the ongoing dark and dreary color palette, there are moments of color that won me over. I thought the film looked great whether it had a soap opera vibe or a kid’s cartoon feel. There is a great moment with a dragon towards the end of the film that established this movie’s excellence with the latter.

I think on paper, the two main characters, Tomona and Inu-Oh, are a recipe for delightfulness. Through the years, there have been a number of stories of two people who have their differences, no matter how far apart, and somehow they form a bond. “Inu-Oh” is no exception to this rule and the chemistry between the characters is likable. It is in essence, this film’s heart and soul that holds everything together.

Now if you saw the trailers for this movie, you would know that it heavily revolves around music. It centers around two people who share a bond over rock and decide to perform together. Obviously, the music has to be good. And I would say that it was. In fact, part of why I went to see this movie in the first place is because I watched the main trailer for it in advance, and I really liked the song they attached throughout. Safe to say, that song, along with others, did not disappoint. I think even if the Academy Awards were to pay more attention to anime, I don’t know if any of the songs here will win Best Original Song at the Oscars next year, but they are perfectly jammable given the movie at hand. Maybe if I listen to the soundtrack on my own I would appreciate the music more. Because that’s part of what happened with, using another recent anime as an example, “Belle.” I really liked the movie, but then I started listening to the music both in English and Japanese and it won me over. Although at the same time, I had the desire to watch that film a second time (which in addition to the music, was due to a brilliant satire on the Internet). Knowing what I saw in “Inu-Oh” from a story perspective, it feels like a one and done.

I have not watched a ton of anime. I got into the medium this year and have recently gotten into more classics like “Akira,” which despite its popularity, I was not a fan of. In addition, I watched “My Neighbor Totoro.” It felt simple, sweet, but I felt like it was missing something. I also watched “Summer Wars” for the first time recently, which was epic in every way. I also checked out “Your Name,” which blew me away. If I had to give “Inu-Oh” a ranking, “Inu-Oh” falls somewhere in between all these movies. It’s not bad enough to make me hate it, but it is also not solid enough to get me to watch it again. But is well-animated, the characters feel fairly fleshed out, and the soundtrack is quite good. Overall, a fine movie.

Going back to the music in “Inu-Oh,” here are a couple of my specific thoughts about it. The songs overall have good lyrics, decent rhythm, and a couple of them truly sound epic. It is exactly what you could want out of a rock opera. If I had to give one minor problem with the film’s soundtrack, it would be that I wish we had just a tad more variety. I understand that if you are doing a concert, it is almost a priority to “play the hits” or “give the people what they want.” Of course, I understand. If I go to a KISS concert, I would definitely want to hear “Rock N’ Roll All Nite,” but in regards to this movie, I want to see some extra juice in regards to the musical talents of the main characters. I think one or two different songs, or one more song that does not have the exact same pattern as another would have benefited the movie slightly. The soundtrack in general is really good, but hearing the same song or some slight variation of the same song more than once as opposed to hearing what else the duo could have given was slightly disappointing. Another way to compare and contrast is to think of it like AC/DC. If you ask me, I think they are quite talented. I think they have fun, energizing music. But almost every other song from them feels like a copy of another. At least the duo seems to understand what the audience in the movie wants, if there is any positive to all of this.

In the end, “Inu-Oh” is a decent movie, but it is not my favorite animation of the year. It is the first of this year’s anime lineup I saw so I have no films of that medium that I could compare it to, but as far as other animation goes, I would rather watch “Turning Red” again, which coincidentally pays homage to content like “Sailor Moon,” speaking of anime. I think “it is “Inu-Oh” well-directed, the story is intriguing, and of course, the music does not disappoint. I am going to give “Inu-Oh” a 7/10.

“Inu-Oh” is unfortunately mostly done with its U.S. theatrical run. It is seemingly just finishing in Southern California, but there are still more showtimes in New York. But as for other areas, you’d probably have to press your luck at finding a showtime. The film is still playing in select markets, so if you want to check it out, get your tickets now.

Thanks for reading this review! I want to make an announcement in regard to a future event on this blog. This November, “The Fabelmans,” the latest Steven Spielberg movie, is set to hit theaters. In preparation, I am going to be doing a Steven Spielberg month during the span of October! I will be reviewing “Close Encounters of the Third Kind,” “E.T. the Extra Terrestrial,” “The Post,” and some of you may have forgotten that I did not review this film last year, “West Side Story!” I did watch the film in theaters twice, but I just never got around to talking about it! It was even one of the Best Picture nominees during the 4th Annual Jackoff Awards! EIther way, that is coming this October!

As of right now, I am still in California, so my movie-watching schedule is kind of out of the loop, but I will have at least one review to post for next week, so stay alert! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Inu-Oh?” What did you think about it? Or, what is your favorite rock band? Let me know down below! Scene Before is your click to the flicks!

DC League of Super-Pets (2022): This Movie’s Biggest Kryptonite? Predictability and Familiar Faces.

Posted on by Jack Drees

“DC League of Super-Pets” is directed by Jared Stern and Sam Levine, and stars Dwayne Johnson (Doom, Skyscraper), Kevin Hart (Ride Along, Night School), Kate McKinnon (Yesterday, Saturday Night Live), John Krasinski (A Quiet Place, The Office), Vanessa Bayer (Saturday Night Live, Office Christmas Party), Natasha Lyonne (Orange is the New Black, Big Mouth), Diego Luna (Rogue One: A Star Wars Story, Narcos: Mexico), Marc Maron (Maron, GLOW), Keanu Reeves (The Matrix, John Wick), Ben Schwartz (Parks and Recreation, Sonic the Hedgehog), and Thomas Middleditch (Godzilla: King of the Monsters, Silicon Valley). This film follows Krypto the Super-Dog, as he must figure out how to rescue his owner, Superman.

I love comic book movies. And I know I am not alone. If the box office for most of the films within this classification have shown anything, it is that films of this type are hotter than they have ever been. Marvel Studios is on fire right now with the release of “Shang-Chi and the Legend of the Ten Rings” in addition to the massively successful “Spider-Man: No Way Home,” both of which ended up in my top 10 best of last year. DC is also doing well for themselves. I enjoyed “The Batman” despite some pacing issues I had with the film, and I thought last year’s “The Suicide Squad” might just be the best movie to ever have the DC logo attached. And in the midst of all of these movies that I either looked forward to or saw and really enjoyed, I never thought “DC League of Super-Pets” would live up to the quality standards that we have seen in other comic book-based works. If anything, I thought it would probably be on the same level as “Morbius,” only slightly more comedic and family-friendly.

I will be real. I cannot remember the last time I asked for a movie about Superman’s dog, but here we are. Why did I see it? Because I have reviews to get done and AMC A-List is a dynamite investment. I love not paying for movies that I feel the need to see to stay in the loop. Although at the same time, if you have names as big as Kevin Hart or Keanu Reeves, that should bring something promising to the table. And this brings me to my first positive, which I will dive more into later, Keanu Reeves was the highlight of the film.

What did I think of “DC League of “Super-Pets?” It’s predictable, mediocre, and I do not think the comedy landed that much. I have heard some differing opinions, but if you ask me, even some of the more clever jokes in this movie did not garner much of a reaction out of me. Some of the comedy attempts either felt tired, forced, or obvious. There is a “Paw Patrol”-related joke that probably would have been funnier if I did not make a “Paw Patrol” comparison before the film came out. Speaking of “Paw Patrol,” one thing about that show is that it is specifically made for kids. That’s the vibes I got from “DC League of Super-Pets’s” marketing campaign. All kiddy, no maturity. Turns out there is some adult humor in this film, but even that did not land. I can only hear the censor bar so many times before the gag becomes tiresome. This is honestly unfortunate considering the film is written by Jared Stern and John Whittington, who previously wrote another animated DC flick, “The LEGO Batman Movie.” Regardless of its comic-based origins and spinoff placement, it is one of the funniest animation scripts done in recent years. That movie had five writers! I hope for the sake of Stern and Whittington that they came up with at least one of the clever jokes that script contained, because “DC League of Super-Pets” feels like a far cry to the 2017 “LEGO Batman” spinoff.

The story of “DC League of Super-Pets” does not reinvent the wheel. I never asked for this movie to begin with, and therefore I never asked it to reinvent the wheel, therefore I did not know what to expect. But the movie itself sort of reminded me of a longer episode of a Saturday morning cartoon, but not necessarily a great one. I also think the script of “DC League of Super-Pets” is probably going to land better with those who are dog or cat people. People who have pets and consider them part of their family. I live in a space where there are pets, but they are not necessarily my pets, so this script did not connect with me maybe in the way the writers hoped it would.

I want to talk about the biggest problem in this movie, and this is the problem that the movie has built up ever since its first teaser. Going back to the big names. Having big names like Dwayne Johnson in your movie always builds intrigue and promise. It’s like when a printer gets endorsed by Shaquille O’Neal, or Mark Cuban becomes a quasi-mascot of a new, innovative product, or when Howie Mandel fist bumps everything in your store for some reason. When this film’s first teaser released, the primary focus was on the stacked cast this movie managed to acquire from Dwayne Johnson to Kevin Hart to Kate McKinnon to John Krasinski and so on. I want to talk about those first two names. Dwayne Johnson is arguably the biggest movie star in the world, and Kevin Hart, in addition to being a relevant comedian, has worked with The Rock in the past on “Central Intelligence” and the “Jumanji” movies. This is their third property together, and I do not mind actors or crew joining forces more than once. Ryan Gosling and Emma Stone have worked together numerous times in “Crazy Stupid Love,” “Gangster Squad,” and “La La Land.” Their chemistry is undeniable.

I have no idea if this is coincidental or not, but the Gosling/Stone pairing is a match every time. The difference between Ryan Gosling and Emma Stone compared to Johnson and Hart is the ability of the former pair to show range. Ryan Gosling can be the sexy boy toy, he can sing, he can be stoic. Emma Stone can be a quirky young woman, she can be an aspiring actress, she can be someone from a couple centuries ago. The two are “actors,” not stars. Johnson and Hart, despite having personality, are not the greatest thespians, and it shows in “DC League of Super-Pets.” When I look at Krypto, I see The Rock. When I look at Ace, I see Kevin Hart. In my imagination, they are just playing versions of themselves in animated dog form. This is why part of me is often worried when I think about the upcoming “Super Mario Bros.” movie because like “DC League of Super-Pets,” I am just worried that Chris Pratt is going to do another version of Emmet from “The LEGO Movie” or something. Chris Pratt, like The Rock, while he is definitely a better actor, is not the greatest of the performers working today. Pratt’s voice is recognizable, and that is part of why it felt weird hearing said voice in Pixar’s “Onward.” I am not saying live-action movie stars should not voice animated characters. Some have as much talent as those who primarily do voice-acting. But these roles show Johnson and Hart’s lack of range as actors. Dwayne Johnson and Kevin Hart always do the same schtick or some variation of it in their movies. Sometimes it works, sometimes it does not. Not having a live-action environment hinders that and makes this film the weakest of their collaborations. And the fact that I am looking at these dogs’ faces and seeing nothing but Johnson and Hart makes their performances creepier than they should be.

I said I will get back to Keanu Reeves. A promise is a promise. Reeves is easily this film’s best part. Not just because of his voice, but the character he plays, that being Batman. Much like “The LEGO Batman Movie,” this interpretation of Batman or Bruce Wayne is on the more parodic side, and rightfully so. I said earlier that I was slightly concerned that Jared Stern and John Whittington possibly never came up with any solid jokes in “The LEGO Batman Movie.” Although after reminiscing on Batman in this film, part of me has second thoughts. I was not a huge fan of the film’s comedy, but the parts where I was almost rolling on the floor were the scenes where Batman shows up. His screen time in this film is minimal. Think of it as a funny Stan Lee cameo where he plays himself except it happens ten times. Despite this movie’s lighthearted tone, it also pokes fun at the darkness of the Caped Crusader. Everything from his lone wolf mentality to his lack of parents. It’s hilarious, and I might every once in a while look on YouTube for the scenes in this movie containing Batman just to get a laugh.

In the end, “DC League of Super-Pets” is, to my surprise, not the worst comic book movie of the year. Again, “Morbius” exists. You’re welcome, Warner Brothers! You are going to have to settle for the dishonorable mention. Some of the voice acting is hit or miss. When I watch an animated movie, part of me wants to forget that I am watching something that has The Rock in it. I think as far as voice performances go, Johnson’s performance in “Moana,” while not my favorite in history, is slightly better than the one he gives to Krypto. But I also do not know if I can blame it on his ability, because his voice is recognizable. When it comes to Kevin Hart playing a house pet, I’d rather listen to his performance as Snowball the terrier in “The Secret Life of Pets.” I often watch films for an escape. If I want an escape with The Rock and Kevin Hart, I would rather watch “Central Intelligence.” This is not a film that is going to stand the test of time. As far as DC goes, it is surprisingly better than “Wonder Woman 1984,” but unlike “DC League of Super-Pets,” I had higher expectations for that film. I am going to give “DC League of Super-Pets” a 5/10.

“DC League of Super-Pets” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for the film “Vengeance,” directed by B.J. Novak. Also be on the lookout for my review for “Bullet Train,” the new action flick starring Brad Pitt as he and assassins crowd up a speeding train in Japan. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “DC League of Super-Pets?” What did you think about it? Or, what is a movie with a stacked cast that disappointed you? For me, that big disappointment was 2017’s “The Circle,” starring Emma Watson, Tom Hanks, Patton Oswalt, John Boyega, among others. Let me know down below! Scene Before is your click to the flicks!

Marcel the Shell with Shoes On (2021): Even the Most Hyper-Masculine Will Buy the Adorableness This Movie Shells

Posted on by Jack Drees

“Marcel the Shell with Shoes On” is directed by Dean Fleischer Camp, and this is his feature-length debut. This film stars Jenny Slate (Parks and Recreation, Bob’s Burgers), Rosa Salazar (Parenthood, Alita: Battle Angel), Thomas Mann (Kong: Skull Island, Halloween Kills), Isabella Rossellini (Blue Velvet, Crime of the Century), Dean Fleischer Camp, and Lesley Stahl (60 Minutes). The film is based on a short and book series of the same name. In this feature-length take on a preestablished character, the story centers around Marcel, who spends his days with his grandmother, Connie. Throughout the film Marcel is interviewed as he unveils everything about being an anthropomorphic shell in a big house.

I have seen the trailer for “Marcel the Shell with Shoes On” during my couple ventures to see “Everything Everywhere All at Once.” After all, it only makes sense as both films are from A24. I know a bit about A24 as a distributor. They have marvelous originals like “Eighth Grade,” some wonderful adaptations like “Room,” and even when a film from them is bad, they still have my respect. Because I always get the sense that an A24 film is typically bad in a way that makes me think, “Maybe that was not for me.” This is especially true with a movie like “Midsommar.” I appreciated “Midsommar” from a visual standpoint, but felt genuinely annoyed whenever it attempted anything along the lines of horror.

“Marcel the Shell” is a complete drift from “Midsommar.” There were families at my screening for crying out loud. If I were given the option to pick out a movie without having seen it, kind of in the sense that I am doing a blind buy, and those were my options, I’d lean towards “Midsommar.” On the surface, it would seem like my kind of movie. I was sold on “Marcel the Shell” when seeing the trailer, but between Ari Aster’s name being attached in addition to the concept, “Midsommar” would have sold me harder.

Now that I have seen both movies, I can confirm that both tell oddball, offbeat stories. “Marcel the Shell” personally tells its story to a greater ability.

Between “Everything Everywhere All at Once” and “Marcel the Shell,” A24 is having a heck of a year, and I hope they continue to flourish.

“Marcel the Shell” has origins that go back some years ago. While Jenny Slate may also be known for her work on mainstream concepts like “Parks and Recreation,” she has dedicated her time, alongside other people, to creating “Marcel the Shell.” If her passion for the property has not been erased all these years later, Slate excels in revealing such a notion, because she gives it her all to deliver possibly the cutest voicework I have heard since maybe Young Dory in “Finding Dory.”

Although I cannot give Slate’s voice all the credit, because part of what makes “Marcel the Shell” so clever and palpable is how child-like the character is written. I do not mean immature. This movie has the maturity of a great Pixar story if you ask me. However, some of the lines in this film, not to mention the overall vibes, very much felt like watching a child grow up. I do not have kids, so this may not be the best analogy, but as someone who was a kid and as someone who knows parents, I imagine this is a good comparison.

One thing I remember from my childhood, either through growing up or seeing my sister grow up, is how often children mix up their words to say something that sounds similar to what they are trying to say. There is a great line in the film given by Marcel. He gives the famous quote, “You miss 100% of the shots you don’t take,” which traces back to the famous hockey player Wayne Gretzky. But after acing this quote, Marcel is taking all the time in the world to come up with a ton of similar sounding names, but none of them are Wayne Gretzky.

The closest he comes to being right is Whale Jetski. …This is the most adorable movie ever created.

Not only is Whale Jetski a cute-sounding name, but it goes to show how hilarious the movie is. This film is presented in a mockumentary style, which was never my thing. While a lot of my friends tend to enjoy “The Office,” and as much as I think some of the people behind the show are talented, the show’s mockumentary format never sat well with me. That is not the case with “Marcel the Shell,” as the mockumentary format not only lends to some unique concepts, neat editing tricks, and kneeslap-worthy jokes, but some occasional great fourth wall breaks, if you can call them that, from the character of Dean. His main purpose is to videograph the goings on of Marcel, which fits into the mockumentary aspect of the film. After all, it is revealed that he is filming a documentary, which Marcel and his shell community happen to be in on.

“Marcel the Shell with Shoes On” proves that the creative floodgates have a wider opening than some might think. In a world where we are inundated with sequels, reboots, comic book movies, or flashy action adventures, we still have a desire for telling and seeing stories like this. “Marcel the Shell” has the simplicity of a show like “Mister Rogers’ Neighborhood” and the creativity of a movie like “Toy Story.” I have truly never seen anything like “Marcel the Shell with Shoes On.” It is not the first story with the character, but it feels new to me.

For a movie that truly is small, much like its titular character, it packs such a raw punch when delivering emotion at times. I already talked about the humor, but I can guarantee you that this movie will make New England Patriots head coach Bill Belichick smile. Maybe he’ll shed a tear, who knows? I am not saying that everyone will walk out of this movie with a tear out of their eye, happy or sad. But I am saying that if you do not walk out of “Marcel the Shell with Shoes On” with a smile, I would argue that you hate all things awesome. Things like swimming pools, or French fries, or redwood trees, or space. How the hell can one hate SPACE?!

There is not much I find wrong with “Marcel the Shell.” I do think I became more invested in the shell community as opposed to the humans they expose through flashbacks, which is not a terrible thing, because the movie knows what it is about. Other than that, I think “Marcel the Shell” is one of the best films of the year, and if you miss it, then you are skipping possibly one of the most adorable films in cinematic history. I mean it.

In the end, “Marcel the Shell” lacks the grand scale many movies tend to have nowadays, but that is also what makes it a unique and entertaining production. This is a movie about a shell who spends his days with his grandma and happens to bond over things like “60 Minutes.” Yes, THAT “60 Minutes.” The one on CBS every Sunday. It sounds weird. And in ways, it is. But that is also why you should give it a chance. This is great for adults, this is great for kids, therefore it is great for everybody. I guarantee that you will grin at least once by the time those end credits show up. If you don’t, then color me shocked. I am going to give “Marcel the Shell with Shoes On” a 9/10.

“Marcel the Shell with Shoes On” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! I want to apologize for not getting this out earlier. I have been somewhat busy recently and I am happy to announce that I am likely going to be taking on more movie-related writing outside of Scene Before. Those of you who have been here since the start would know that Scene Before, AKA Flicknerd.com, is independently operated by me, Jack Drees. But if all aligns properly, I will be writing for a particular outlet that some of you might know. I am not going to say which one as I am not officially onboard, but if I have more information, I will share it with you.

That said, if you like this review, be on the lookout for more coming soon! This week I will be sharing my thoughts on “Nope,” the new Jordan Peele film where a brother-sister duo confront a strange event around their horse ranch. Also, stay tuned for my thoughts on “DC League of Super Pets,” the new animated superhero film that focuses on Superman’s dog, Krypto, and a set of other superpowered animals. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Marcel the Shell with Shoes On?” What did you think about it? Or, if you could make a documentary on something, what it be about, and why? Let me know down below! Scene Before is your click to the flicks!