Apple TV+

The Lost Bus (2025): Matthew McConaughey Gets Into Gear in This Engaging Disaster Movie

Posted on by Jack Drees

“The Lost Bus” is directed by Paul Greengrass (News of the World, The Bourne Supremacy) and stars Matthew McConaughey (Interstellar, Sing), America Ferrera (Barbie, How to Train Your Dragon), Yul Vazquez (Midnight, Texas, Russian Doll), Ashlie Atkinson (The Gilded Age, Mr. Robot), and Kate Wharton (Matty Paz Is a Noob, The Bold and the Beautiful). Inspired by Lizzie Johnson’s book “Paradise: One Town’s Struggle to Survive an American Wildfire,” this film tells the true story of school bus driver Kevin McKay, whose normal day on the job suddenly turns into an all out mission of rescue and survival when he comes face to face with the deadliest fire in California history.

In my daily life, I use Windows computers and an Android phone. Nevertheless, I am not too much of a scaredy cat to admit that Apple has made its presence known in the film industry. It is not a perfect presence, but I will note that they have a few fine feathers in their cap between their Academy Award Best Picture winner “CODA” as well as this summer’s smash hit “F1: The Movie.” The studio has made top talent a priority, having released projects made by directors like Joseph Kosinski, Martin Scorsese, and Ridley Scott. The end results of these projects had varying degrees of success, but it does not change the fact that these are typically trustworthy names. Another name on that list is “The Bourne Supremacy” director Paul Greengrass.

While I do not hold Paul Greengrass amongst my favorite filmmakers of all time, I will not deny his ability to make a great movie. In fact, one film I remember fondly reviewing was the western “News of the World,” a road film featuring an unlikely duo. I thought the story was captivating and has arguably become more relevant with time.

Finding out about Paul Greengrass’ role behind the camera got me in the door. Love it or hate it, I will admit, his shakycam techniques work here. There are several kinetic shots around the second half that added to the tension and atmosphere of what is ultimately a well done disaster film. While Greengrass may be behind the camera, those in front of it kept me engaged too, most especially stars Matthew McConaughey and America Ferrera.

There are some films that have star power and fail to stand out for any reason other than that. “The Lost Bus” is not one of them, because the film is a scary, exciting ride. I watched this film on the first day of October, and despite “The Lost Bus” not being a horror movie, it honestly set the tone for the month. Few things are scarier than seeing children enter imminent doom, and this film is not short on such nightmare fuel. “The Lost Bus” is based on true events, and while there are parts that definitely feel blown up for the sake of theatricality, the film works so well because of how intense it ended up being. “The Lost Bus” is basically this year’s “Deepwater Horizon.” It is a film revolving around an everyday white dude with black hair and a distinctive flair, who must go beyond the call of duty to save himself and those around him, even as the worst case scenario of a disaster comes to fruition. I do not think the film is as good as “Deepwater Horizon.” “The Lost Bus,” in a sense, takes some time to get going. I would argue that maybe the second half of the film is better than the first. That said, once it gets to said second half, it goes full throttle and never stops.

Matthew McConaughey’s character, Kevin McCay, is beautifully fleshed out, as he should be. We know a lot about him, his family, and the personal problems of his life and career. We see him having trouble maintaining relationships with loved ones, as well as a sense of work-life balance. He comes off as a genuinely likable guy, but one who is noticeably flawed. I also liked getting to know some of McCay’s family members. They all seemed to have lifelike chemistry, which makes sense because some of McConaughey’s real life family, including his son Levi and his mother Kay, have major roles in the film.

The film industry is no stranger to nepotism. It is a concept that has its ups and downs, but if the project works, I do not tend to care as much. That said, I do not have as much of a problem with McConaughey’s son and mother being cast because they perfectly play their roles. While their screentime is not as long as say America Ferrera, who does a great job playing a school teacher trying to make it through the fire, I thought both Levi and Kay McConaughey did a great job. If they were cast in another film down the line, I would be interested in seeing them again.

Unfortunately, with this being an Apple movie, this did not get the most proper of theatrical releases. I was lucky to catch this film while it was playing at my local Showcase Cinema, and I am glad I did not miss out because this film is, to my surprise, super effective with its camerawork and incredibly immersive. I am not the biggest fan of shakycam, but as I hinted previously, it works for this story. I can see some people watching this movie and maybe not being a fan of the way it was shot, but for me, I thought the rapid camera movement put me in the middle of several scenes. It gave me the illusion that there was fire spreading around me rather than watching a group of people simply trying to survive a fire themselves. This film is shot by Pål Ulvik Rokseth, a name I did not know that well, but I was impressed to find out he also filmed a short and chilling IMAX spot that I occasionally caught inside their theaters. I am glad to see he is getting more work.

In certain ways, “The Long Bus” is kind of like “The Long Walk.” Both films present the most basic premise where our characters are in seemingly never-ending danger and they must survive to the end. Only in the case of “The Lost Bus,” this is more of a man vs. nature tale rather than one of man vs. man. Is this film as good as “The Long Walk?” Not really. But that is also a bit of an unfair comparison because I can think of very few films released this year that are. If you want to see a compelling narrative that shows people doing everything they can to protect themselves, protect others, all while dealing with something as dangerous as a wildfire, then “The Lost Bus” may be your jam. The fire itself may be the main event of the film, but the story is surprisingly not short on characterization. Said characterization is probably enhanced by the fact that this film is based on a true story..

In the end, “The Lost Bus” is an engaging tale of survival. Matthew McConaughey and America Ferrera make for an excellent duo. From a visual perspective, this movie spares no expensive between the excellent shaky camerawork and the eye-popping fire effects. There are some liberties taken with this story. One teacher attached to the original tale declined to be involved with this film. However, this tale was beautifully adapted. It is one of those stories that shows the best of humanity. It shows the good people are willing to do in the worst of times. This movie is two hours and nine minutes. Frankly, it feels quite a bit shorter than that. It flies by. Especially in the second half. If you have Apple TV and you have a couple hours to kill, this is a good time. I am going to give “The Lost Bus” a 7/10.

“The Lost Bus” is now playing in select theaters and is available on Apple TV for all subscribers.

Photo Courtesy Warner Bros. Pictures – © Warner Bros. Pictures

Thanks for reading this review! My next review is going to be for “One Battle After Another.” Stay tuned! Also coming soon, I will be sharing my thoughts on “If I Had Legs I’d Kick You,” “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” and “Shelby Oaks.” If you want to see this review and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Lost Bus?” What did you think about it? Or, what is a film you enjoyed recently that is based on a true story? Let me know down below! Scene Before is your click to the flicks!

F1: The Movie (2025): Joseph Kosinski Puts Viewers in the Driver’s Seat for One of the Year’s Most Immersive Blockbusters

Posted on by Jack Drees

“F1: The Movie” is directed by Joseph Kosinski (Top Gun: Maverick, Tron: Legacy) and stars Brad Pitt (Ad Astra, Babylon), Damson Idris (Outside the Wire, Snowfall), Kerry Condon (The Banshees of Inisherin, Better Call Saul), Javier Bardem (Being the Ricardos, Dune), and Tobias Menzies (Game of Thrones, Outlander). This film centers around racer Sonny Hayes, who returns to the track following a long absence to boost his former teammate’s underdog team, all while mentoring a younger driver.

Director Joseph Kosinski has a knack for turning films into experiences. Back in 2010, he directed “Tron: Legacy,” which is one of the prettiest looking neon-infused fever dreams in cinematic history. But like lots of other people, the first film of his that comes to mind when you say his name, perhaps somewhat due to recency bias, is “Top Gun: Maverick.”

I had a blast watching “Top Gun: Maverick.” Is it a perfect movie? No. In fact there are some genuine screenplay problems that have been on my mind ever since I first saw it. That said, when I saw Kosinski’s name attached to “F1: The Movie,” it made perfect sense. If Kosinski can deliver to audiences the same kind of thrilling, high-octane, exhilarating experience that he did with “Top Gun: Maverick,” then I would be quite happy.

I am proud to report that Kosinski’s jump from planes to automobiles is just as exciting, and frankly, has a better story. Though that last part is not saying much. More on that later.

This film is an experience. My pupils dilated beyond their sockets watching this movie in IMAX. Part of this is thanks to the brilliant execution delivered in each shot from cinematographer Claudio Miranda, who previously worked with director Kosinski on “Top Gun: Maverick.” For a great chunk of the film I felt like I was inside the car driving it myself. There are several clever camera angles that gives the viewer the illusion they are moving with the car, whether it is on the side, on top, or while looking at the windshield. Some of these techniques are familiar. But there are select moments where the movie offers a first-person perspective that had me imagining that I was literally the car itself. There is a moment towards the film’s conclusion that is so riveting, so heart-pumping, and so freaking cool to look at that I could not help but glue my eyes to the screen. And it is even better in IMAX because the movie was shot with the company’s digital cameras, which expanded the aspect ratio for the entire film on their screens.

Keep in mind, it is the 1.90:1 aspect ratio, not 1.43:1. In Layman’s terms, it will not cover the whole screen at taller IMAX locations.

Once I saw Hans Zimmer’s name on the opening credits, I knew we were in for something special with the score. And something special we got. Some of the movie’s tunes genuinely got me excited. There is a moment that reminded me of another one of Hans Zimmer’s efforts, particularly “Interstellar,” mainly because the music appeared to be going at 60 beats per minute during one of the races. It seemed to be aiming for that “ticking clock” effect that was present for much of “Interstellar’s” runtime. The percussion in this film’s score is some of the best I have heard since Ludwig Gorranson’s score for “Tenet.”

The soundtrack in this film is not bad either. The film has a fairly rock-heavy soundtrack. There is not a bad track on the lineup. Perhaps the most well-known song on the list is Queen’s ‘We Will Rock You.” There is a pretty good use of it early on in the movie.

The best way I can sum up  “F1: The Movie” is that on the surface, it is the quintessential “dad flick.” It is very much a movie that you can imagine being made for the “dad” crowd. It has fast cars, good looking men and women on screen, it has a good amount of rock music, and it is about someone who is trying to prove himself despite his older age.

I sincerely feel bad for anyone whose first experience of “F1: The Movie” is going to be through Apple TV+. After seeing this film, “Mission: Impossible – The Final Reckoning” has got some competition for the greatest technical achievement of the year. This movie cost anywhere between $200-300 million to make, and I honestly can see all the money on the screen. Yes, the film has a well known star in Brad Pitt. But my jaw was on the floor with this film’s look. The colors. The audio. The camera angles. Everything in this film feels dialed up to an 11.

“F1: The Movie” is quite the ride. So, how is the script? It is not bad. As far as Joseph Kosinski’s library goes, this is a step up from “Top Gun: Maverick” in some ways. Perhaps the biggest improvement is that it never mysteriously refers to the antagonist as “the enemy.” What enemy? Who exactly? Who even cares?

The movie can most certainly be enjoyed by F1 fans, but it is definitely written with general audiences in mind. There are broadcaster bites throughout the film, highlighting every little nook and cranny throughout the race. As someone who has never sat down and seen an F1 race on television, I think this is an okay technique to use. The announcer lines are well done and there are quite a few that sound like they would come from a genuine sports telecast, and they also did a good job at introducing me to the rules of F1 that I probably would not have known right off the bat.

The one big negative, to a certain degree anyway, is that the movie is full of clichés. A lot of parts of the script feel been there done that. Though as I have addressed time and time again, clichés are fine as long as they are done well. And they are done well here. In fact, this movie feels like a genuine cousin to “Top Gun: Maverick” not only in terms of its experience, but structure as well. The film involves a race car driver who is trying to prove himself despite being past his prime, and much of the film sees him teaming up with a younger individual who shares his profession and ambitions. The two are off and on with each other, but ultimately have to work together no matter the obstacle.

If anything, “F1: The Movie” reminded me of Pixar’s “Cars,” and not just because both involve racing. But I happened to watch “Cars” a week before catching “F1: The Movie” in theaters and many of the story beats and character traits presented throughout the film felt interchangeable. “F1: The Movie” is kind of like the original “Cars” if someone gave it a bit of a “Freaky Friday” treatment. In this case, the filmmakers took Doc Hudson and made him the main character and turned Lightning McQueen into the supporting character. Additionally, they gave the Doc Hudson wannabe a little bit of Lightning McQueen’s entitlement.

So, maybe the story is generic, but it does not change the fact that I had fun watching it play out. Sometimes a simple story is effective as long as all the elements that make it up are done right. You have an arrogant but likable main character. You have an ambitious supporting character. All the other characters serve the story perfectly. On top of that, you have one of the most cinematic experiences of the year. What’s not to like about that?

In the end, “F1: The Movie” is an exciting race to the finish. You do not have to be an F1 fan to enjoy this film. It is simply an engaging two and a half hours of cinema that gets into gear and never runs out of gas. The script does not reinvent the wheel, but if you like watching wheels turn really fast, it will leave you beyond satisfied. I left this film thinking that this was likely going to have a strong presence in regards to the technical awards at this year’s Oscars ceremony. If “F1: The Movie” is playing in a theater near you, please check it out. You will have a ball. Do not wait for streaming. I imagine some of you are probably looking for an excuse to use your Apple TV+ subscription, but I guarantee the film will not look or feel as epic as it would on the big screen. I am going to give “F1: The Movie” a 7/10.

“F1: The Movie” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for another highly anticipated summer blockbuster, “Superman.” At one point, this was my most anticipated film of the year. Admittedly, with more marketing coming out and other films making their presence known, some of the anticipation has dwindled a bit. That does not mean I was not excited, but I was interested enough to see if this film could truly be something special. I will share more of my thoughts during my upcoming review. Also coming soon, look forward to my thoughts on “Guns Up,” “The Fantastic Four: First Steps,” “The Bad Guys 2,” and “Smurfs.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “F1: The Movie?” What did you think about it? Or, do you ever watch actual F1 sporting events? What’s that like? Let me know down below! Scene Before is your click to the flicks!

The Instigators (2024): Wicked Average

Posted on by Jack Drees

“The Instigators” is directed by Doug Liman (The Bourne Identity, Jumper) and stars Matt Damon (The Martian, Good Will Hunting), Casey Affleck (Manchester by the Sea, Gone Baby Gone), Hong Chau (Kinds of Kindness, The Menu), Michael Stuhlbarg (Call Me by Your Name, The Shape of Water), Paul Walter Hauser (Cobra Kai, Inside Out 2) Ving Rhames (The Garfield Movie, Mission: Impossible), Alfred Molina (Raiders of the Lost Ark, Spider-Man 2), Toby Jones (Frost/Nixon, W), Jack Harlow (White Men Can’t Jump), and Ron Perlman (Hellboy, Pinocchio). This film is about two men who go on the run with a therapist after a heist does not go as planned.

As someone who has lived in Massachusetts all his life, it should not come as a surprise that I have a few Boston-based movies under my belt. Movies like “The Departed,” “Good Will Hunting,” “Spotlight,” “Ted,” “Patriots Day,” “Stronger…” Granted I still have not seen everything like “Mystic River,” “Black Mass,” “Gone Baby Gone…” Still waiting to get around to those. But as someone from this area, I feel it is my duty to check out a Boston-based film when possible, which is one reason why I saw “The Instigators” recently.

Sadly though, I cannot say I was that excited for this movie. The trailer failed to impress me, and I did not think this movie was going to do that well.

There are times where I almost forgot I had to review this movie, which is really weird when you consider my experience with it. This is a true story… When I saw this film on opening Thursday night, I am not making this up, my theater was decked to the brim with “The Instigators” posters. If this were my bedroom, you would think I have an unhealthy obsession with this movie. That should probably give you some indication as to how my experience went down.

For the record, I do not despise “The Instigators,” but I also cannot say it is worth your time either. This is one of those movies that barely kept me awake as it went. Does it have a good pace to it? Sure. Do I like the cast in the movie? Sure. Do I think the movie has some clever moments? Sure. But everything about the overall experience of the film just screams middle of the road. There is nothing outright amazing about “The Instigators,” especially when compared to other Boston titles like “The Departed.” If I was in a Boston mood and I wanted to truly pay attention to every single detail on screen, I would simply turn on “The Departed.” But as for “The Instigators,” the situation in which I most likely see myself watching this movie again in the future would probably be when I just need some background noise. Part of me wants to say that I could maybe catch the movie on cable and just leave it on, but I highly doubt that Apple is going to allow that to happen. I do not think they are in that kind of business.

Now as someone who resides on the North Shore of the Bay State, I do fit into some local stereotypes. I do enjoy Dunkin’, I buy a ticket to a ballgame at Fenway, I have used the term “Storrowed” every once in a while, and I have even had the privilege of seeing a couple Boston Marathons in person. When I was in college the Boston Marathon route went right by my campus, so I took advantage of my commuter parking pass and got to see the event play out a couple times. Heck, I went to see this movie IN THE ONLY THEATER TECHNICALLY IN BOSTON, not any of its suburbs, selling tickets for it! But I have to be real with you, as much as I try, to varying successes and failures, to maintain my local roots, I have to admit this movie does a good job linking itself to the Greater Boston culture. When I say this however, I should also say, the movie almost does… TOO GOOD of a job. Sometimes the outcome this movie provides when it comes to its Boston tributes, if you can call them that, is almost pornographic. Whether it means Alfred Molina randomly showing up with Dunkin’, getting Rob Gronkowski of all people to make a rather gratuitous cameo, or having Hong Chau’s character mention she’s from Lynn during a chase and having the other characters say “Lynn Lynn the City of sin” just because. Though I must admit, there is a scene in the movie where we see a protest outside of Boston City Hall and I almost burst out laughing as soon as I saw a sign that read “FIX THE MBTA!”.

It is almost as if the crew behind this movie decided to ingrain themselves so heavily in Boston culture to the point where they sort of built a decent atmosphere for the film, but did not have the brains on how to make the film as entertaining as can be. Because as I look back at this film, I find to be uneventful, unmemorable, and minimally engaging. I cannot say I hate any of the characters on screen, but I am not going to remember their names in six months.

That said, this film is led by Matt Damon and Casey Affleck, and the two, to my lack of surprise, have decent chemistry in their roles. They both do a good job as two guys from Quincy, and even though I admit their journeys in this film fall into some pits of predictability, I enjoyed seeing their motivations play out and their personalities come to life. But when you have these two leading a movie like this, I kind of expect something more from the script or the plot, or even the direction.

Heck, this movie is directed by Doug Liman, whose resume partially includes “The Bourne Identity” and “Edge of Tomorrow,” which like those movies or not, you would probably agree with me when I say they look pretty cinematic. This movie honestly looks like it was made for television between its lighting that appears as if the crew forgot to brighten the bulb a tad occasionally. Yet at other times, it has some unusual camera tricks that try to appear cinematic, but only manage to feel jarring the longer I gaze my eyes upon them.

If I had to pick a performance in the film that stood out to me the most, it would probably be Ron Perlman as Mayor Miccelli. At a glance, Perlman very much looks the part of a politician. He has this look to him that like some politicians, you question yourself in the back of your mind on whether or not to trust him. His presence in the film made for some good scenes, especially towards the end.

And you know what? This is a poetic transition. If I had anything else to say that is positive about the film, I must admit, I was not 100% thrilled with all that it had to offer, but there are several scenes where you can easily be entertained by these characters. The entire cast oozes charisma, even if they are playing characters whose names you will probably erase from your memory after leaving the theater. Is part of it because some of the actors in the cast are recognizable? Perhaps. Why do you think I am going about this review referring to the actors names but not acknowledging their respective characters? But like some of their previous work, those recognizable actors play their parts well here. However, for me, this film was missing something. If anything the film is almost too stereotypical and lacking in any oomph that will make audiences remember it for years to come.

In the end, “The Instigators” is a somewhat entertaining movie, but it is not one that had me engaged the entire time. As the heist goes down, I am interested in what is going on. But I cannot say there are any standout moments in this film that will cement it as one of my favorites of the year. Does everyone in the cast do a good job? Again, sure. But they are not Oscar-worthy. This movie is on Apple TV+, and I can frankly see why. I have to be real, their record has not been working for me. Other than “CODA,” which is amazing, I cannot say I have seen one movie from Apple yet, and I include “Killers of the Flower Moon” in this thought, that has totally floored me. If you were planning on watching “The Instigators,” I am here to tell you your time will not be completely wasted, but you can probably use that time to do other things that would be more exciting. I am going to give “The Instigators” a 5/10.

“The Instigators” is now playing in select theaters and is available on Apple TV+ for all subscribers.

Thanks for reading this review! If you want to see more reviews like this, I have more coming! Stay tuned for my thoughts on “Sing Sing,” “Borderlands,” “Skincare,” “My Old Ass,” “Reagan,” and “It Ends with Us.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Instigators?” What did you think about it? Or, since I clearly have no faith in their service, what is something you recommend on Apple TV+? Yes, I know they’ve got shows like “Ted Lasso,” “Severance,” “For All Mankind,” but I want to specifically ask if there are any movies from them that you enjoyed. Let me know down below! Scene Before is your click to the flicks!

Argylle (2024): I Lost One of My Nine Lives Watching Matthew Vaughn’s Latest Spy Flick

Posted on by Jack Drees

“Argylle” is directed by Matthew Vaughn and stars Henry Cavill (Man of Steel, Mission: Impossible – Fallout), Bryce Dallas Howard (Spider-Man 3, Jurassic World), Sam Rockwell (The Bad Guys, Three Billboards Outside Ebbing, Missouri), Bryan Cranston (Malcom in the Middle, Breaking Bad), Catherine O’Hara (Schitt’s Creek, Beetlejuice), Sofia Boutella (Atomic Blonde, The Mummy), Dua Lipa (Barbie), Ariana DeBose (West Side Story, Wish), with John Cena (Peacemaker, Blockers), and Samuel L. Jackson (Kingsman: The Secret Service, The Avengers). This film centers around a notable spy novelist named Elly Conway who finds out the events she happens to be writing in her next book are similar to those that are playing out in front of her.

I have not seen all of Matthew Vaughn’s work, but I am a fan of the “Kingsman” movies. Particularly “Kingsman: The Secret Service.” I have nothing against the second one. I had fun with “The Golden Circle” even though I think there are one or two moments I would rather have not sat through. Elton John alone was worth the price of admission for me. But I would rather honestly forget about Vaughn’s latest feature film, “The King’s Man,” a prequel to those two other movies. If you asked me what the heck happened in that last movie, I honestly would not be able to tell you. I was immensely bored with it and I cannot believe it even got made.

Nevertheless, I was looking forward to “Argylle.” Vaughn’s been on a bit of a downward trend lately, but I figured a fresh idea could give him a boost. You have new characters, a fresh story, but you also have some of Vaughn’s directorial trademarks making a comeback. “Kingsman: The Secret Service” definitely has a flashy, glitzy, in your face style, but it does not mean the movie lacks a good story to back it up. The good news about “Argylle” is that if you like Matthew Vaughn’s style, you will find it here. The bad news, the story ends up falling flat on its face.

I will be fair though. The story is not all bad. If anything, the first act of the film is easily my favorite part. It is the part where I had the most fun, emitted the most laughs, and not once was I ever taken out of it. I like how they handled Elly Conway’s mannerisms and point of view throughout between how she visualizes her stories, how she puts one thing and another together, and there is also a neat first-person perspective shot gimmick that comes into play. I like those techniques. There is also some good action. There is a fight on a train that is nothing short of a thrill ride. It also introduces us to my favorite character in the film, Aidan, played by Sam Rockwell. I have not seen everything Rockwell has done, but one of my favorite works of his is his performance in “The Way Way Back,” a coming of age comedy where he plays a waterpark employee. Having seen “Argylle,” his mannerisms here reminded me of how he executed his more comedic lines in “The Way Way Back.” He is very much a scene stealer and while it is in the trailer, the way he utters, “I love this book!”, got a genuine laugh out of me in the film.

Unfortunately, once the first act concludes, the whole movie enters this spiral of madness that almost gave yours truly a headache. I saw the film in IMAX, and while I love the IMAX experience, I must say that this one was on the verge of breaking me. It was almost too loud, too zany, and too rambunctious. I love when a story keeps you guessing, when it is full of twists and turns, but there is a sense of novelty that is lost once we find out where the movie is taking its characters. The movie is twisty. No doubt about it. A tagline for the film is “FROM THE TWISTED MIND OF MATTHEW VAUGHN.” But the movie throws so much at you all at once that is overwhelming. It is like sitting through ten AP classes at once and being forced to digest those subjects at the same time! I could only take so many notes! Yeah, there are elements to this charade that stick the landing, but there are plenty of others that leave a bit to be desired.

Also, if I have to be real, while the movie has great action in the beginning, I felt it became too much to handle by the end. Going back to “Kingsman,” one of the reasons why I find “The Secret Service” to be a better movie than “The Golden Circle” is because “The Secret Service” had action sequences that appeared to consistently exist in their own reality. They were ridiculous, but they were fun. “The Golden Circle” still has good action, but there are moments where the movie tends to jump the shark that lack a sense of heightened realism. It’s almost as if they broke some sort of rulebook. By the end of this film, “Argylle” felt more akin to “The Golden Circle” than “The Secret Service.” Yeah, there were a couple stylistic moments that pop, but there are others that are too flashy and do not emit much emotion.

There is a moment at the end of the film where it basically pulls a “Batman & Robin.” Unfortunately, as far as I can recall, there is not a single ice pun in the entire film. That’s not cool at all. But what I mean is, if you remember “Batman & Robin,” there is a moment that the titular characters conveniently emit ice skates from their boots to take down some baddies. There is a moment in “Argylle” that instantly triggered a memory of that, and how stupid that instance truly is. There is something involving skates in “Argylle” that is so played up, so over the top, so ridiculous, that it had me shrugging angrily in the middle of the theater! I was dumbfounded by this! How is this convincing?! You kind of have to see it yourself to fully embrace and grasp the feeling I got as soon as it came up. I wanted to roll my eyes.

Unfortunately, “Argylle” basically feels like an adolescent girl’s cringeworthy spy fantasy brought to life, but they gave the keys to Matthew Vaughn to tidy up the writing and make a $200 million movie out of it. It’s flashy, it’s shiny, and everything is all over the place. There’s cats! There’s good-looking men like Henry Cavill and John Cena! There is a kind-hearted, but somewhat shy woman in the center of it all! But unfortunately, those elements do not come together to make a neat package. The film kind of reminded me of Guy Ritchie’s “The Gentlemen,” which from a filmmaking perspective, looks nice, but I cannot say I appreciated the story.

At the risk of beating a dead horse, if you want a fun spy movie with Matthew Vaughn, watch “Kingsman: The Secret Service!” In fact, here is another thing that movie does better! Let’s talk about animal companions! Remember how in “Kingsman: The Secret Service” all the spies had to have a dog alongside them? The way they went about that story tactic was essential and delivered plenty of emotion to everyone’s journey in the film. “Argylle” makes it clear that our character is a cat lady, but when it comes to the cat itself, it was almost like watching a Disney animated film trying to utilize its most merchandisable character to the point where the film essentially becomes a commercial. For the record, I am not much of a cat person. So you could say I am biased in my assessment here. But I will also remind you that I am the furthest thing from a dog person! I am even allergic to dogs! Despite that, I can say that “Kingsman: The Secret Service” does a significantly better job at utilizing its animal companion than “Argylle” does in spades. If you want me to be real about “Argylle,” when it comes to fare prominently featuring cat characters, this is not as catastrophic as 2019’s “Cats.” But, this movie certainly had me angrily hissing by the time it was over.

In the end, “Argylle” is just plain bad. This movie has so much gloss and glamour to the point where they just put a bunch of people on sets and forgot to make a movie. I like the cast. Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Samuel L. Jackson. These are all big names. And I imagine much like some recent action fare on Netflix such the intolerable “Red Notice,” this could factor into why the film has a $200 million price tag. Honestly, for all I know, Apple is a great streaming service. I have never used it to watch a show. But I have heard titles like “Ted Lasso” and “For All Mankind” are worth seeking out. But their movies are for the most part, forgettable. The one exception was “CODA,” which despite some cliches, was one of the most emotionally powerful movies I have seen in the past couple years. It was perfect. But from “Killers of the Flower Moon” to “Napoleon” and now this hot mess, Apple needs to get their ducks in a row and unleash a good movie. If you know me in real life, you know that I use an Android phone. I use Windows computers. I stream most of my music through YouTube. To get me to buy or invest my time in an Apple electronic would be like getting Howie Mandel to shake my hand. It would be nearly impossible. I wonder if the same fate could be coming to Apple’s movies if they continue to be this sloppily executed and poorly contrived. I am going to give “Argylle” a 3/10.

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

Thanks for reading this review! My next review is going to be for “American Fiction!” I have seen so many titles in 2023, but this was not one of them. I had to wait until this year to watch it. But I will have my review up very soon! By the way, I will not give away my final score on the film, but let’s just say that it has already been nominated for a couple Jack Awards! Which leads me to say…

THE JACK AWARDS ARE NEXT SUNDAY, FEBRUARY 25th! If you have not already done so, cast your vote now for this year’s Best Picture! Hope you tune in! Be there or be square! 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 “Argylle?” What did you think about it? Or, what is your favorite Matthew Vaughn movie? Let me know down below! Scene Before is your click to the flicks!

Napoleon (2023): A Historical Epic with a Tall Runtime that Falls Short of any Level of Engagement

Posted on by Jack Drees

“Napoleon” is directed by Ridley Scott (The Last Duel, House of Gucci) and stars Joaquin Phoenix (Gladiator, Joker), Vanessa Kirby (Mission: Impossible – Fallout, The Crown), Tahar Rahim (A Prophet, The Mauritanian), and Rupert Everett (My Best Friend’s Wedding, An Ideal Husband). This film is about the rise and fall of French Emperor Napoleon Bonaparte, diving into many aspects that define the individual, in addition to his relationship with his wife, Josephine.

I was looking forward to “Napoleon” as I am a fan of Ridley Scott. The trailers undoubtedly looked epic and it delivered a similar vibe to another historical epic Scott mastered in his time of making it, “Gladiator.” And of course, with a prominent, talented thespian like Joaquin Phoenix at the forefront, I thought we could be in for something special. Unfortunately, when the reviews started coming out for this film, that is when I decided to lower my expectations, as it seemed to stray away from historical accuracy. But as someone who looks for entertainment in his movies, I can live with a little bending of history as long as you can make a good movie out of it so I tried not to get too concerned. Unfortunately, I walked out of “Napoleon” almost half asleep. And that is really weird to say because one of the positives I have about this movie is the immersive sound mix. It is an enormous aid during the battle scenes. As much as I love Ridley Scott, I think this film is quite a dud.

This film feels rushed, and yet, it somehow managed to bore me with a two and a half hour runtime. I can sit through a two and a half hour movie. Some of my favorite movies are longer than that. But this was painful. I think the one redeeming quality of this movie was watching the uncomfortable relationship between Napoleon and Josephine. But when I say that is a redeeming quality, I must also note that it is like watching a car crash at times. There are certain moments between these two that are intriguing, but there are others where the intrigue comes in, but in a such a haphazard manner that I would feel as if I am doing myself a disservice if I look away. Now to be fair, the chemistry between Joaquin Phoenix and Vanessa Kirby is admirable in regards to how their characters are written and performed.

As we age, there is a tendency that people define themselves over who they surround themselves with, their legacy, how things will be carried on after they’re gone. And when it comes to displaying Napoleon’s desire to keep things afloat and continue his legacy to the next generation, these traits are emitted with passion on Joaquin Phoenix’s part. My favorite parts of the movie, or at least the ones I cannot stop thinking about, all involve Napoleon’s burning desire to have a child. I think the way the movie handles this segment of the story is surprisingly decent, even if it does get a little over the top.

Speaking of over the top, that is one of my biggest negatives of the film. Phoenix and Kirby shine in their individual roles, but there are plenty of other individuals on screen, and their acting ability has me questioning whether I was actually watching something from a director as renowned as Scott. There are select lines from certain characters that feel like they came out of a high school TV production class. Sometimes those lines are delivered with passion, but they are delivered with a certain passion that would probably be best used in an animation or a comedy as opposed to a somewhat grounded drama. In fact, the movie sort of crosses a line at times into comedy that I have no idea if it was actually intended. There are select scenes that play out in a much funnier manner than I would have imagined them. It almost spirals into a “so bad it’s good” territory, which is a phrase I was not expecting to use when reviewing a Ridley Scott movie.

Even with my issues, I must admit, “Napoleon,” like many of Ridley Scott’s films, is easy on the eyes. Dariusz Wolski’s cinematography, like usual, is beautiful, even if some of the shots feel a tad rushed in the final edit. The locations are excellent, fit their scenes, and bring life to the production. The production design from one of Scott’s regulars, Arthur Max, is outstanding. The costumes have notable detail. The film is a crisp step back in time. But just because “Napoleon” nails its style, does not mean the same can be said for its substance.

I was bored immensely with the film’s pacing, its story. Everything. There are several moments where I kept asking myself if the movie was over. And the worst part is knowing that this is not a complete product. This is just a lackluster Cliffs Notes edition of a larger tale, because it has been revealed that this production will have a four hour extended version. I kind of get why you would not want to release a four hour movie in theaters, but I would sit through one if I had the time if it meant the pace and story would bring more appeal. Here, it kind of feels rushed and it lacking in engagement.

When it comes to my time studying history, I was off and on as a student. In my opinion, “Napoleon” feels like reading a history textbook. And I do not use that comparison lightly. Basically this whole movie is one giant chapter or unit that I have to go through, and I am passively taking it all in to the best of my ability due to of my lack of interest. I cannot tell you everything that happened in the movie, so if you were to hand me a quiz I would probably not do so hot. And much like reading a textbook, I failed to find any entertainment value in what was in front of me. If I wanted Ridley Scott to entertain me with a slice of history, I will just go back and watch “Gladiator.” I will go back and watch “The Last Duel.” “Napoleon” just doesn’t do it for me. And I think a big part of it is because of how much the movie dives into. It feels like we are hopping from one place in time to another lickety split. With a movie like “The Last Duel,” one of my new favorites from Ridley Scott, there is a central idea the characters have to deal with that remains consistent. In fact, we see it play out a few times in different ways, which makes for a compelling narrative. The film is digestible despite being drawn out. So much happens in “Napoleon” that I would almost argue you need a longer runtime to actually appreciate it. Maybe this would be a good miniseries, but I think the spectacle aspect that is best witnessed in a cinema is probably what could have kept it from going in that direction. And if you are asking, no, I do not have plans to check out the extended cut of this movie. I have better things to do with my time.

In the end, “Napoleon” is a massive disappointment. This movie takes one of the most talked about historical figures of all time and wastes him in a dull, uninteresting, downtrodden mess that nearly put me to sleep. It is much less a story than it is a series of events that failed to capture my interest. The only real shining spot of the film are the performances given by Phoenix and Kirby as Napoleon and Josephine respectively. In fact, part of me wanted to see more of the Josephine character, I feel like she at times offered a more compelling presence than Napoleon did. I have seen movies like “Bill & Ted’s Excellent Adventure” and “Night at the Museum: Battle of the Smithsonian” handle Napoleon Bonaparte from a much more comedic angle. Somehow I continue to think about those attempts at showcasing the character in a much more positive light than I do with this two and a half hour historical so-called “epic.” Yes, it’s technically glorious. You know what was also technically glorious? “Jupiter Ascending!” But you don’t see me raving about the characters of that movie every now and again. I am going to give “Napoleon” a 4/10.

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

Thanks for reading this review! If you want to see more of my Ridley Scott movie reviews, I just did a themed month called “Ridley Scottober” where I discuss four Ridley Scott films in depth. That said, feel free to check out my reviews for “Body of Lies,” “Gladiator,” “All the Money in the World,” and “Blade Runner.” My next review is going to be for “Godzilla Minus One,” and boy, I cannot wait to share this one with you all. But, I am going to have to wait. Because my next post is going to be an update on Blu-ray Movie Collection! Stay tuned! If you want to see this, and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Napoleon?” What did you think about it? Or, what is your favorite movie about a historical figure? Let me know down below! Scene Before is your click to the flicks!

Killers of the Flower Moon (2023): Three and a Half Hours of Kills, But Few Thrills

Posted on by Jack Drees

“Killers of the Flower Moon” is directed by Martin Scorsese (The Irishman, The Wolf of Wall Street) and stars Leonardo DiCaprio (Inception, Titanic), Robert De Niro (Meet the Parents, Joker), and Lily Gladstone (First Cow, Billions). When oil is discovered on Osage land, its people are murdered one by one. As this continues, the FBI steps in to unravel the mystery.

Martin Scorsese is undoubtedly one of the most notable names in Hollywood. He is one of the most influential directors of all time who still happens to have a respectable track record today. His older films continue to hold up and his newer titles do not seem to miss either. I have to say when it comes to his recent work, “The Wolf of Wall Street,” while I did not find it to be perfect, is one of the better movies I have seen to have come out in the past decade. In fact, to know that Scorsese is once again reuniting with Leonardo DiCaprio only serves as a boost of confidence. And of course, alongside them, is Robert De Niro, another acting legend who cannot do any wrong. Both Scorsese and De Niro were coming in hot with their recent work together, “The Irishman,” so to have a couple of Scorsese’s top players come back only helped build the prestige of what was to come. Now if I have to be frank, “The Irishman” to me was a movie of moments. There are a lot of decent parts of the film, but I feel like the parts I enjoyed more were less significant to the plot and more likely to be described as random sprinkles in the background. And to be honest, it was too long.

I can sit through a three plus hour movie. In fact, speaking of Leonardo DiCaprio, I very much enjoyed “Titanic.” The “Lord of the Rings” films are around the three hour mark and for the most part, they all serve their runtime beautifully. “Seven Samurai” is a wonderfully shot, exquisitely told revenge tale. “RRR,” which I reviewed months ago, is one of the most chaotically fantastic three hour escapes I’ve had in my entire life. If you want to go for something very recent, with a runtime that clocks at just around three hours, “Oppenheimer” is a compelling, haunting drama that I did not want to end. And if you are wondering why I had less of a problem with those movies than “The Irishman,” it’s not necessarily just that they were more entertaining. But everything in those movies felt essential, and they used those few hours in a way that had me engaged from scene one to the end credits. “The Irishman” honestly ends up feeling rather tiresome by the end, and maybe a little self-indulgent. I gave the movie a 7/10 when I reviewed it, but the more I think about the movie, I often think about how the runtime bogged my mind by the time it was concluding.

And that’s why I was worried when I found out that instead of “The Irishman’s” three hour and 29 minute runtime, “Killers of the Flower Moon” was only three minutes shorter at three hours and 26 minutes. If I have to be honest, this movie somehow feels longer than “The Irishman.” I cannot even believe I am saying that. For the record, I ended up seeing this movie in IMAX, and somehow I still felt overwhelmed with what was happening. When it comes to the look of the film, I will not deny that in many instances, it looks gorgeous. It honestly looks more pristine and captivating than a good number of films that came out this year. The cinematography is some of the best of the year. The locations are beautiful. The color palette, while definitely symbolic of the movie’s not so happy go lucky tone, is perfect for the story at hand. I will not deny it, “Killers of the Flower Moon” is a well made, well crafted, well acted, well directed piece of art. Or cinema, as some would prefer to call it. It’s just too long.

They size does not matter, it is what you do with it. And what they did with it, was kind of boring. By the second half of this movie, I kept asking myself when it was going to end, and that is never a good sign.

I must reiterate that “The Wolf of Wall Street” is a banger of a flick. From start to finish it is a wild trip with this one guy who by definition, should be beyond unlikable, and yet they utilize him in such a way that makes him one of the most charming protagonists in that year’s slate of films. Leonardo DiCaprio killed it in the lead role and while I did not always identify with the character, DiCaprio did such an excellent job at making a character like Jordan Belfort as palatable as possible. He is the kind of character that part of you wants to be, but then that sane part of your mind kicks in and rejects that thought. Jordan Belfort is a moron. No doubt about it. But he is a pretty likable one at that. DiCaprio manages to play, personality-wise, a similar character in this film. Specifically, Ernest Burkhart. He is clearly does not really have the best morals. I honestly find it hard to link alongside or root for this character sometimes. Overall, he is kind of self-centered. What kept me interested about Jordan Belfort is that in every scene, even in ones where he clearly came off as a posh prick, I found the character himself to be charming. My ability to admire Ernest on the other hand, was flying up and down like a see-saw.

Was I at least intrigued by this character’s arc and journey? Sure. In fact, one of the highlights of “Killers of Flower Moon” for me would have to be Ernest’s love connection with Lily Gladstone’s character. Everything involving this relationship, from early on all the way through the long runtime felt genuine. I really like these two together. In fact, it goes to show that Lily Gladstone not only gives a knockout performance as the character of Mollie Burkhart, but she may have been the bright spot in a film where everything around her feels comparatively brooding or a bit of a downer. She stands out as an angel in a dark alleyway.

The whole balance between Ernest’s connection to his uncle, in addition to the established motivation against the Osage people, in kahoots with his own relationship with Molly, serves as “Killers of the Flower Moon’s” biggest point of intrigue. It is, likely by design, supposed to induce discomfort. And if that is the case, the film certainly did its job. Because I am watching everything going down, and it is not really much of a mystery as to who is doing all the killing in the movie. There is the old saying that it is not about the destination, it is the journey. To be frank though, when it comes to this journey, I probably ventured off a few stops early.

When it comes to the movie’s cast, it is pretty stacked. Not only do we have Leonardo DiCaprio and Robert De Niro, the two big names carrying the film together. By the way, De Niro is quite good as William Hale, and delivers my favorite line of the film.

It may sound better with context, but those who must know, the line is “The front is the front, and the back is the back.”

But in addition to these names, the entire Osage ensemble happens to be really good in this film. I bought into all of them. We also have Jesse Plemons, who is given a meaty supporting role as an FBI agent with a lot to like. But I must admit, as much as I like Brendan Fraser and John Lithgow as actors, they almost feel out of place in this film. They feel distracting. Their appearances are not cameos, but they are almost executed in ways that feel cameo-like. They are not giving monumentally bad performances by any means, they do okay with the material given to them. But when you put them against say the recently mentioned Jesse Plemons, they feel more like stars than characters. That’s the best way I can sum it up.

Speaking of things that feel out of place, the ending of this film, when it finally happens, rubbed me the wrong way. I am sure it was well intentioned. If you asked me if Martin Scorsese and crew inserted everything into this film believing each increment would feel necessary, I would say yes. That said, the second to last scene in this film comes off as inconsistent and abrupt. When the movie finally ended, I was glad, because it was already long enough, but it does not change the fact that I waited over three hours for something that was lacking in satisfaction. When it comes to movies, I like weird. I like different. And I admire when filmmakers try stuff that are out of the ordinary. This is one of those times where it did not stick the landing.

If I had to name another positive, this film nails its atmosphere. Again, going back to its overall look, everything in the frame feels magnificently crafted. But there is also more to it than sight. Because the film is scored by Robbie Robertson (rest in peace) and he brings forth one of the most hypnotic and unique scores of the year. It is totally fitting for the movie at hand and almost comes off as a character of its own. While I may hesitate to watch “Killers of the Flower Moon” a second time, I could see myself going on YouTube and searching up the official soundtrack for the film to listen to in the background. It might be my favorite part of the entire film.

In the end, “Killers of the Flower Moon” is a magnificent effort that is not quite my cup of tea. There are things to like about it, but I do not know if I can say it was worth my time. I am honestly having trouble recommending this movie. If you asked me if I would watch it again in the next couple days, my answer would be no. Though I imagine a there are a surplus of people who would say yes. There is always that one movie every year that is likely going to not only get Oscar consideration, but also has a legit shot at a Best Picture nomination that I do not agree with. In 2020, it was “Mank.” In 2021, it was “Licorice Pizza.” In 2022, it was “Elvis.” In 2023, I think “Killers of the Flower Moon,” depending on how the rest of the year goes, will end up being that movie. Despite the marvelous camerawork, occasionally neat characterization, and atmospheric glory, it also reveals the painfully slow editing and pace that remains consistent throughout the movie. It is unfortunate because it is based on events that actually happened and it is an important story to tell. I just wish it were told in a way that made me more likely to run down the streets raving about it. It pains me to do this, but in a thumbs up, thumbs down world, this movie is a thumbs down. So, this score is going to reflect that. I am going to give “Killers of the Flower Moon” a 5/10.

“Killers of the Flower Moon” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Freelance,” the brand new movie starring John Cena as an ex-special forces operative. I will also have reviews coming soon for “The Persian Version,” “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and the one movie on this list I am certain Martin Scorsese is most excited about, “The Marvels.” 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 “Killers of the Flower Moon?” What did you think about it? And if you saw the movie, do you think the runtime is justified? 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!

CODA (2021): An Audibly Triumphant Story With Every Emotion Ever Conceived

Posted on by Jack Drees

“CODA” is directed by Sian Heder (Orange is the New Black, Little America) and stars Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin in a film about a young girl who is born into a deaf family. She is the only one in the family who has hearing, and finds herself struggling to balance school, her family fishing business, college admissions, and an interest in music.

Despite the notability of this film’s recent Best Picture win at the Academy Awards, not to mention seeing this film in the theater recently, the latter of which almost causes a case for an automatic film review every time, I nearly decided to not review this film at all. But that is until I saw it. And we’ll get to my thoughts in a sec, but I want to note that “CODA” was a film I have looked forward to ever since I first saw the advertising. The reviews looked insane, and it came off as a wonderfully intimate tale about someone who is special and I would not know personally. But for various reasons, I missed the film when it first came to theaters, and I never got around to watching it on Apple TV+. But due to the film’s recent success at the Academy Awards, Apple decided to release the film again with open captions. Given this film’s subject matter, that is a great idea. They released it in several theaters around me, so I decided instead of suffering through “Morbius” a second time, I would take my dad to go see something that won’t make you rip your hair out.

We agreed on “CODA.” Hopefully our choice would be wise.

But of course, there are several movies that exist that have a hype train, only to have said train lose a little steam once it comes out. This happened to me last year with “Soul,” which Peter Travers of ABC News called “the year’s peak achievement in animation,” Josh Wilding of ComicBookMovie.com referred to as “one of Pixar’s most beautiful, poignant films,” and Bob Chipman of Moviebob Central claimed was “among the year’s loveliest, most poignant and moving pieces of work animated or otherwise.” Those are ridiculously positive, star-shooting thoughts.

I mean, I LIKED “Soul,” but at the time it also became my least favorite Pixar movie, so there is that.

Now with “CODA,” we have another insanely praised movie revolving around music. Adam Graham of Detroit News says “CODA” is “a big hug of a movie.” Pete Hammond of Deadline Hollywood suggests “CODA is more than “a moving story of what it means to be in a family, but also one about becoming your own person and following a dream.” For the record, despite this film’s wider release in August, it originally played at Sundance, so I think this notion from Esther Zuckerman at Thrillist should not be ignored.

“‘CODA’ is the kind of movie that you can imagine getting a standing ovation at Sundance, if this were a year where people were allowed to gather in a stuffy Park City auditorium.”

It’s been over a year since this film’s Sundance premiere. It’s been only a little time since this film’s recent collecting of Academy Awards. Is this movie the greatest thing since sliced bread or the next “Soul?”

Neither. There’s sliced bread, there’s better than sliced bread, and then there’s sliced bread with mounds of butter!

If there is any reason that you should spend a few bucks for Apple TV+, “CODA” makes an absolutely compelling argument. My dad walked out of the auditorium saying that this was one of the best movies he has seen in years, and I could definitely see why. I have gathered that he is fairly easy to impress as a moviegoer, but when he REALLY likes a film, I have found it to be obvious. And it is not just him who is yelling out a car window to everyone on the streets to go see this movie, because I for one think that this is one of the best coming of age stories of our time. Does it have some familiar elements or clichés? Perhaps. But it doesn’t always matter if a movie has clichés as long as they are utilized well.

At the end of the day, this is a genius narrative about a girl whose normality makes her abnormal. I have taken a screenwriting class in my sophomore year of college, and one of the things I have taken from that class is that when I write a character who is “ordinary,” that I understand that there still should be specific qualities about such an ordinary character that stand out. When it comes to this film’s character of Ruby Rossi, perfectly played by Emilia Jones, this is exactly what my professor would want me to shoot for. She is in a deaf family, but she is the only one who has hearing. Brilliant. And it is not just a great concept, it has stellar execution. Because this film is completely relatable to someone like me, who was at an age range she previously experienced. Now, unlike Ruby, I knew what I wanted to do the moment I got out of high school, but the problem for me was taking that next step and actually moving on with my life, and I am sort of experiencing the same thing with my soon to be post-undergrad years. That by itself made me connect to Ruby, but when Ruby finds something she is passionate about, it is, almost perhaps understandably, the biggest shock and disappointment she can give to her parents who are having trouble hearing. That passion being music, which you have to HEAR to fully understand. Not only is she passionate about it, she wants to study it, which in addition, requires money… Oh boy.

I grew up in a family of two adults who had their own occupations and ran their own company at some point in their lives. Despite this, I consider myself lucky to have never felt the pressure to attach myself to a family business had I failed to express any interest. I have been given the opportunity to attach myself if I choose, but my main priority right now is film, it’s media, it’s communications, it’s entertainment. I felt for the protagonist because they have to choose between family and herself, and this is really the time of her life when she should be thinking about herself, what she wants to do, and the parents should allow her to do such a thing. They may not like the choice, and again, understandably so, but this is not their life, it is Ruby’s. But we also get a look at the lives the parents have, and there comes a point where Ruby leaving could mean that they have to rethink how they live their lives, and as this movie shows, conduct their own business. Not to mention, when you have to look at your current financial status, that also brings up a question as to what life you can provide for yourself and those you care about. On that note, the main family is perfectly cast. They have phenomenal chemistry. The deaf characters are actually played by deaf actors. Sian Heder brings us a wonderfully conceived screenplay and brings her artistry to the table while telling a story about an aspiring artist. Heder has not done a ton of notable work yet in her career, but I think “CODA” is going to put her on the map as a filmmaker around this time, like “Lady Bird” put Greta Gerwig on the map when she directed that film.

I know a lot of people, and I’m close with quite a few of them. None of them are deaf. So I cannot speak to the accuracy or authenticity of certain aspects of this film, but as for the entertainment value with everyone on screen, regardless of their ability to hear or speak in sign language, that was not short whatsoever. Although on that note, if I think if there were any way to improve “CODA,” there are honestly few things I can think of to begin with. But if I had to come up with something, there is one story element in the movie that admittedly becomes a bit predictable. My dad and I were watching, and we both knew, “Okay, this is where the movie’s going.” Usually I am not a fan of predictable storytelling, partially because when you watch a lot of media, the more repetitive it is, the more likely I am to tune out, but I also think when it comes to how “CODA” handles such a predictable moment, it achieves its goal of making you relate to or feel bad for the protagonist.

“CODA” has such a way of playing with your heartstrings that feels larger than life despite it being one of the most intimate stories I have ever seen, and part of it is because it relies on a lack of sound and written words to carry everything through. It really is film as it was meant to be. Visual storytelling. It does not tell, it only shows. There is a sequence at the end of this film that almost made me cry, and that is not only because the subject matter is incredibly compelling and ties everything together in a nice little bow, but as an editor, I was watching this and admired its ability to tell everything in a fast-paced, eye-popping montage that gave a sweet moment for every second on screen. Very few movies nowadays connect me in such an emotional way, and “CODA” is one of the lucky gems that just happened to knock on my door.

And don’t just take all the sappy comments I stated and put them in a box with this film set next to it, because this film has just about every emotion I could think of. I was figuratively biting my nails. I was jumping for joy. I was getting tears in my eyes. I was occasionally even laughing crazily. The film is surprisingly comedic, and there are a few moments where my dad and I were audibly laughing. One reason why I recommend going to see this in the theater if it is near you is because depending on your level of hearing, even when you hear nothing on the screen, you can still bask in the laughter of an audience, which is one of the most uniquely satisfying feelings I have gathered in my recent film experiences.

In the end, “CODA” is one of the best movies I have seen in recent memory. It won a couple of the big Best Picture awards, including the one that matters the most, the Academy Award for Best Picture, and obviously that warranted Apple to put the film out in as many theaters as it can the next weekend to get some money. I went to go see it the Tuesday after, but I have had my occasional ounce of disappointment here and there when it comes to certain projects. I did not see “Moonlight” until the weekend following its kinda sorta Best Picture win at the Oscars, and I was underwhelmed. Although the following year, “The Shape of Water” won Best Picture. It took me awhile to watch that film, and it turned out to be a stunning and enchanting film with a great cast of characters, so anything can happen. “CODA” truly felt like it was made with the goal to win Best Picture, and it absolutely deserved it. I can barely think of any real problems in this film. Maybe if you don’t like tearjerkers, this may not be my first recommendation for you, but that is a claim leaning along the lines of subjectivity. Plus, even if you don’t like crying during movies I still recommend it, because I left the film feeling whole. I felt happy. It reminded me of my journey as an artist, but also immersed me into a world with people and situations that I do not come across in everyday life. Once again, Ruby Rossi is an ordinary protagonist, but this movie excels by reminding the audience of the extraordinary life she finds herself living every day. And this extraordinary life, made an extraordinary movie. I am going to give “CODA” a 10/10! If I had the chance to redo my top 10 list for 2021, this would easily belong in the top 3 or 4. I would not call it my favorite movie of the year, that honor still goes to “The Suicide Squad,” but it certainly comes close.

“CODA” is now playing in theatres and is available to watch on Apple TV+.

Thanks for reading this review! My next review is going to be for “Sonic the Hedgehog 2!” I saw the film a couple weeks ago, and I have plenty to say about it. I liked the first film, so who knows how the sequel will pan out… Following that review, I will be sharing my thoughts on the new DreamWorks animated film, “The Bad Guys,” which is in theaters as of this weekend. Also, coming soon, I will have my review for “Everything Everywhere All at Once,” the all new A24 film starring Michelle Yeoh and directed by Daniels, the same minds who brought us “Swiss Army Man.” 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 “CODA?” What did you think about it? Or, what is your favorite film that has won Best Picture at the Academy Awards? Not just nominated, but they also have to be the winner. This film is definitely a contender, I’ll say that much. Let me know your pick down below! Scene Before is your click to the flicks!

Wolfwalkers (2020): My Thoughts on Apple TV+’s First Animation

Posted on by Jack Drees

“Wolfwalkers” is directed by Tomm Moore and Ross Stewart, who worked together on 2014’s “Song of the Sea” and stars Honor Kneafsey (Our Zoo, A Christmas Prince), Sean Bean (Lord of the Rings: The Fellowship of the Ring, The Martian), Simon McBurney (Mission: Impossible – Rogue Nation, The Theory of Everything), Tommy Tiernan (Derry Girls, The Tommy Tiernan Show), Jon Kenny (Song of the Sea, Angela’s Ashes), John Morton (Lily’s Bad Day, Storyland), and Maria Doyle Kennedy (Orphan Black, Jupiter Ascending). This film is about a young girl named Robyn Goodfellowe who journeys with her father to hunt down wolves in Ireland. However, things change when another young girl, Mebh Óg MacTíre who can transform into a wolf becomes friends with her.

I saw the trailer for “Wolfwalkers” in the theater when I was seeing Netflix’s “Over the Moon,” which by the way, you should check out if you have not already. I thought I would check out the film when it came out wherever it was playing. Although, I was also aware of its Apple TV+ release as well. “Wolfwalkers” was one of those movies that sort of came for a short time, stayed for short time, then suddenly disappeared. I wanted to see this in the theater, but due to time, money, and the fact that my AMC A-List subscription does not count towards Fathom Events screenings, I decided to skip the film. Only problem, I do not use any Apple products other than a 4th generation iPod Touch from time to time, and I don’t get Apple TV+ where I traditionally watch television. …Or so I thought. Thankfully, I recently found out that the service was released onto the PS4 last month, thus opening the door to me being able to see this movie. So, what did I think?

Out of all the animations that have come out this year, “Wolfwalkers” is by far the most unique. This has the least involvement from people associated with the United States of the animated flicks I’ve seen in 2020, and that sort of helped. At times it didn’t feel very… I don’t usually use this term, but “Hollywood.” This is not to say the film is bad. In fact, it is quite marvelous. Of the animations I have seen this year, “Wolfwalkers” may be my runner up. My #1 animation is the recently mentioned “Over the Moon,” by the way. However, in a world where animations are often glossy, uber-detailed 3D adventures, it is somewhat refreshing to see something that feels more rustic. This feels kind of like looking at a children’s book at times. It sort of has that homey feel. When I watched the film I sort of compared the animation style to “Where’s Waldo?” meets “Paper Mario.” I don’t know why, those are just the images that popped into my head. A lot of frames are magnificently crafted, and I can only imagine how difficult it may have been to storyboard some of them.

However, with all this gloss and hooplah on the tech, the drawings, and the overall look of the film, this sort of dives into a minor problem. While the story is incessantly marvelous and enchanting from start to finish, there are a couple moments, particularly towards the beginning that feel a tad slow and out of proper pace. This pacing issue most certainly improves with time, but it is nevertheless there. This is not to suggest that the film provides a terrible story. It absolutely does not. It is a fantastic story that maybe is not handled to perfection all the way through. Although some of the moments with the wolfwalkers and what they are capable of towards the beginning provides for some eye-catching exposition.

Character-wise, this movie has a couple great relationships. You have the constantly developing relationship between Robyn and Mebh, while at the same time we have a relationship between Robyn and her father, Bill, that starts out kind of strong, but gets rockier as we go. Robyn’s handling between these two relationships makes the movie worth watching, because we get a glimpse of her dealing with a world that seems quite fantastical but to her, it is a reality that she just happened to step upon. It’s almost like if Dorothy from “The Wizard of Oz” were able to visit Oz anytime she wants, but everyone in her normal life refuses to acknowledge such a fantastical world could exist. From this notion, the movie brings a witchcraft element into the mix, putting a heavy target on our protagonist’s back, and I liked the way such a storyline was handled.

If there is something that “Wolfwalkers” got right that does not have to do with tech, it would be the buildup of conflict. By the end of the film, everything felt like it was reaching a tipping point, and the climax did not lack a single ounce of excitement. There were one or two predictable points, but it did not irritate me.

Although if I had to come up with a single character problem it would be that there is a particular scene where the father and daughter are at home together, and Robyn tries to explain about the wolf realm. Each time, she is interrupted. I get that this is a cartoon, but when it comes to suspense of disbelief, that may have been a tad too much.

Little sidenote, when it comes to the music in “Wolfwalkers,” it is not my favorite of the year. There’s nothing terrible about it, it’s just not a standout candidate for Best Score. Nothing against Bruno Coulais, who composed the film’s music. By the way, Coulais also composed the score for the 2009 animation “Coraline,” which makes a lot of sense. While the scores, based on my memory, do not sound exactly the same, I often got “Coraline” vibes upon reflecting on “Wolfwalkers” given the link between worlds, one world being fantasy and one reality. Both films also have a young girl going on a journey, a massive transformation, and there are occasionally some dark moments in the film. Both literally and figuratively. However, if you do watch the movie, there is a really good rendition of the song “Running with the Wolves,” sung by Norwegian artist Aurora, who already made the song in 2014, but she redid it specifically for this film. As far as alternate songs for films go, it is very well done, but it has nothing on the redo of “Holding Out for a Hero” in “Shrek 2.”

In the end, “Wolfwalkers” is a solid animation debut for Apple TV+ as a distribution outlet. A lot of time and care went into each frame, the characters are fun and joyful, and the colors are rustic yet vibrant. …If that makes any sense. This is good film to watch if you are with younger children. I can guarantee you that their intelligence (and yours) will not be insulted. Keep in mind, this blog is being written by a citizen of the United States, and as a citizen of the United States, I do have to remind some of my viewers that there may be some jumbly moments in “Wolfwalkers” in terms of accents, but if you can get past that, this film may be a win for you, and possibly the family. I am going to give “Wolfwalkers” an 8/10.

“Wolfwalkers” is now available exclusively on Apple TV+ for all subscribers. The service is $4.99/month, but if you buy an Apple device in the future such as an iPhone, you may be able to use Apple TV+ for free through one year if you wish to have the service.

Thanks for reading this review! Sticking on the topic of animated films, I have plans to watch Pixar’s “Soul” which is set to stream exclusively on Disney+ at no extra cost to subscribers on December 25th. I will also be watching “Wonder Woman 1984.” I have tickets to see the film in IMAX on December 27th. So if I play my cards right, I should have my “Soul” review up first, then my review for “Wonder Woman 1984.” We are getting down to the wire in terms of how many films I have left to watch this year. But as we get down that wire, I just want to remind you that this January I will be revealing my picks for my Top 10 BEST Movies of 2020 and my Top 10 WORST Movies of 2020. Stay tuned everyone! Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! Also, check out my Facebook page! I want to know, did you see “Wolfwalkers?” What did you think about it? Or, what is your favorite movie with wolves in it? Let me know down below! Scene Before is your click to the flicks!