Biography

On the Basis of Sex (2018): Felicity Jones Shines as RBG in This Surprisingly Decent Biopic

Posted on by Jack Drees

Hey everyone, Jack Drees here! It is time to continue Scene Before’s Election Days review series. Unusually, this review is being posted on a Monday! I intended this series to be updated weekly on Tuesdays, but to be frank, I have a commitment tomorrow. I am not sure if my schedule would allow me to finalize this post then, so I thought I would get it out today. Speaking of unusual, unlike the last two movies I reviewed, “The Campaign” and “W.“, this review regards a movie about someone whose seat is determined by elected officials, not necessarily by the people of the United States on Election Day. Today we are going to focus on the prominent Supreme Court Justice, Ruth Bader Ginsburg. Having joined the Court of Appeals in 1980 during the Jimmy Carter administration, not to mention appointed to the Supreme Court in 1993 during Bill Clinton’s time as the U.S. President, she has maintained a reputation as a trailblazer. This film focuses on a time in her life before all that happened. Is the movie worth watching? I will share my thoughts below and you can find out for yourself.

“On the Basis of Sex” is directed by Mimi Leder (Deep Impact, Pay it Forward) and stars Felicity Jones (Rogue One: A Star Wars Story, The Amazing Spider-Man 2), Armie Hammer (Cars 3, Nocturnal Animals), Justin Theroux (Mulholland Drive, The Girl on the Train), Sam Waterston (Law & Order, The Newsroom), and Kathy Bates (The Waterboy, Misery). This film is about Ruth Bader Ginsburg, who must overcome various obstacles to help herself, her family, all the while trying to establish a career in a competitive, everchanging climate.

Despite coming out more than half a decade ago, I missed “On the Basis of Sex” when it came to theaters. After all, there were so many films coming out at the time that I could only get to a certain number of them. I was mainly focused on what insiders were projecting to be the major awards contenders at the time and “On the Basis of Sex” did not seem to be one of them. I was intrigued by the premise, but I had a bit on my plate. My motivations even caused me to miss “Bumblebee,” a blockbuster I was curious about at the time. By the way, I do not have a review for it, but it is a good movie! I eventually ended up buying a used copy of “On The Basis of Sex” on Blu-ray for $3.99, so I thought it would be worth checking out some time. And worth checking out, it is.

I knew “On the Basis of Sex” would be good, but I did not expect it to stand out the way it does sometimes. I want to quickly address the pacing of this movie. I am not surprised when I watch say an action movie or a comedy movie and find myself immersed in those environments to the point where time moves at supersonic speed while watching those. There was a point where I checked how far the movie was into its runtime and to my surprise, we were almost halfway through and I thought to myself, “Wow! I guess I’m really enjoying this!” It reminds me of when I watched “The Post.” It is shocking and delightful to know how immersed you can get in a story from time to time that is almost non stop talking.

“On the Basis of Sex” starts off on a high note. Perhaps literally. Partially because the song choice in the beginning perfectly sets the tone for the movie. It is loud and grabs your attention, kind of like the fight for equal rights this film often tends to highlight. But not only does the movie start well from an audio perspective, but the opening sequence set at Harvard is finely edited and shot. The movie starts off with this gigantic sea of men, therefore illustrating how there is a lack of women in Ginsburg’s position. The men are also all wearing suits and jackets. Each jacket looks almost like the other. They’re grey, they’re black. It is a limited and somewhat uninviting color palette. Then you look at Ginsburg in her light blue outfit. I am sure if she were wearing similar colors to the men surrounding her we could identify Ginsburg just fine. But her outfit, most notably due to its vibrant color choice, easily grabs your attention. I thought the costuming is top notch here, as it is for the remainder of the film.

Felicity Jones plays Ruth Bader Ginsburg in this film. Jones does a decent job portraying a rather commanding figure. When I think of RBG, I think of someone who is motivated, someone who takes charge. This is not her most notable lead role in the last decade, but I must say between this and the much more popular “Rogue One: A Star Wars Story,” Jones does a decent job playing strong women while also gracefully showing the weaknesses of said characters. When I watched “Rogue One,” I thought Jones did a good job at highlighting Jyn Erso’s uncertainty on screen. I remember when she was leading people into battle and I could feel her timidness, even though she was not showing it. In the case of RBG, I could tell Jones was showing more confidence this time around. After all, the movie shows she is still learning new things, but she is mature and certain as to what she wants. As to how to get it, that is occasionally the obstacle. At times, the obstacle exists just because of how other people see her.

The film dives into the sexism that women deal with, even today. We see a man telling RBG to smile more, change her tone. There is a moment where we see Ginsburg and her daughter walking through the street and some construction workers are catcalling them. We see Ginsburg, reservedly tell her daughter Jane, played by Cailee Spaeney, to just keep walking. But the daughter is not having it, she yells at them, signaling their actions are not okay, and then hitches a cab. This leaves her mother surprised and impressed, showing the progression of how women are opening up as to how they prefer to be treated. It is a memorable scene and does a good job at highlighting how far women’s rights have come generation after generation, even if it is shown through something as small as this.

The film also shows Ginsburg, despite being a star student in law school, struggling to find work. And while the job market can prove to be competitive in a number of contexts, for Ginsburg, she struggled to find work because of her identity. Multiple law firms turned her down because they did not want to hire a woman. We find out Ginsburg ends up taking a position as a professor at Rutgers Law School, which initially tends to bewilder her husband, Martin Ginsburg. Through the tone of the dialogue and various visual cues as Ruth reveals such news to her husband, it is emphasized that maybe this is not the outcome both sides were expecting. Even so, the two recognize the small victory. It is a decent scene showing the bumpy road that it is life. Once several doors close, another one may open that you were least expecting.

Despite how much I enjoyed “On the Basis of Sex,” it is not without its flaws. “Hollywoodized” is a term I have used on Scene Before in the past, and it fits here too. At times, this movie’s dramatization is rather obvious and almost distracting. While the movie is based on true events, there are certain moments during the showcasing of said events that feel like they would only exist in the context of a dramatized film.

Although if there is one thing that pipes itself up throughout the movie that really kept me interested, it is Mychael Danna’s score. Having watched lots of films over the years, I have had my fair share of scores I liked, but there are a certain amount that I would revisit on my own time. “On the Basis of Sex,” to my surprise, seems as if it could end up being one of those scores. Maybe I will eventually play it while writing my reviews.

As far as biopics go, I am not going to pretend “On the Basis of Sex” reinvents the wheel. There are moments where we see Ginsburg’s life play out that were beyond fascinating to learn about but the structure of the film does have a been there done that feel at times. If you can handle some predictability, cliches, and overdramatization every once in a while, you might like this movie.

In the end, “On the Basis of Sex” surprised me. I mean, I was not surprised the movie played out the way it did in parts. There is definitely a noticeable formula that I thought was met. But Felicity Jones carries this film as the lead. Although that does not mean there are no other standouts in the cast. Some include Armie Hammer, Kathy Bates, and even Cailee Spaeney as Ginsburg’s daughter, Jane. What did surprise me was how fast time flew as the movie progressed. I cannot say I felt bored or uninterested, so I have to give credit to the movie for keeping me awake. I am going to give “On the Basis of Sex” a 7/10.

“On the Basis of Sex” is now available on DVD, Blu-ray, Digital, and VOD. As of this writing, the film is available on Netflix for all subscribers.

Thanks for reading this review! I have one more review coming up next week in the ongoing Election Days series and it is going to be for the Amazon Studios film, “Elvis & Nixon.” I have not seen this film before. I just watched the trailer. It seems to promise a lot of fun. I figured after a couple of heavier films, and yes, I include “W.” as an example even though it has comedic elements, I thought it would be fun to maybe end with something on the lighter side. Stay tuned for that review. As for newer releases, stay tuned for my thoughts on “The Apprentice,” “Anora,” “Here,” “Gladiator II,” “Red One,” and “A Real Pain.” 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 “On the Basis of Sex?” What did you think about it? Or, what is a movie you watched that you feel went by much faster than you were expecting it to? Let me know down below! Scene Before is your click to the flicks!

W. (2008): No Review Left Behind

Posted on by Jack Drees

Hey everyone, Jack Drees here! It is time for the second review in my Election Days series! Today we are going to be talking about “W.,” starring Josh Brolin. The film is about the life of the controversial leader George W. Bush. It features a stacked cast and is helmed by a filmmaker whose respectable track record includes other films having to do with U.S. politicians such as “JFK.” Does this 2008 film earn a Texas-sized thumbs up? Or does “W.” take the L? Here are my thoughts…

“W.” is directed by Oliver Stone (World Trade Center, JFK) and stars Josh Brolin (No Country for Old Men, American Gangster), Elizabeth Banks (Slither, Spider-Man), Ellen Burstyn (The Exorcist, The Last Picture Show), James Cromwell (Babe, The Artist), Richard Dreyfuss (Jaws, American Graffiti), Scott Glenn (Urban Cowboy, The Right Stuff), Toby Jones (Harry Potter and the Chamber of Secrets, The Mist), Stacy Keach (American Greed, Titus), Bruce McGill (Collateral, MacGyver), Thandiwe Newton (Mission: Impossible II, ER), and Jeffrey Wright (Angels in America, The Young Indiana Jones Chronicles). This film centers around the life of George W. Bush, the man who would become the 43rd President of the United States.

Like him or not, George W. Bush is an important U.S. President in my lifetime. Not because I agreed with his policies or because I liked him. Perhaps second to George Washington, maybe Abraham Lincoln, W. Bush is the earliest President I remember hearing about at some point in my life. Of course, with me being a child during the entirety of his two-term run, I did not immediately know the various aspects of his time in office that people talk about even today such as how he was President during the 9-11 attacks, No Child Left Behind, his response to Hurricane Katrina, his involvement in the Iraq War, and so on. The movie does not go deep into all of that, but it does not mean it is not a contained story. In fact, I would say I was surprised with how engaged I was with the film itself.

For the record, this is my second Oliver Stone film. I previously watched “Wall Street.” A film that I think does a really good job at capturing the hustle and bustle of the stock market and how much of a sport capitalism can be. So if you want me to compare this film to Stone’s other flicks involving U.S. Presidents, particularly “JFK” and “Nixon,” consider yourself disappointed. All I can say is that “W.” was better than I thought it would be. Though I really should not be surprised. It contains tons of great actors, moves at a brisk pace, and features several engaging characters.

The one thing I will say though about this movie, is that I wonder how people who do not know anything about George W. Bush, his family, or maybe live outside the U.S. would take this film. This movie came out in 2008. W. Bush was still in office at the time, making this is a topical picture during its release. I will let you be the judge as to whether 16 years is a long time, but that is how long it has been since this film has come out. There are people in high school right now who were born around the time Barack Obama first became President. I am not going to pretend I have the strongest opinions on W. Bush’s time in office because as I said before, he was President during my youth. During that time in my life, I was more concerned as to when would the next time I was going to Outback Steakhouse as opposed to the state of the economy. The film dives into the days leading up to Bush’s decision to invade Iraq and I am sure even a number of younger people who may end up watching the movie today would probably have an opinion on it. But such a topic is probably not going to have the same impact on those who vividly remember living through that time in history. At times, this feels like a 2008 film that was specifically made for a 2008 audience. I am not insulting those audiences, just to be clear. Those same audiences also got to witness timeless cinema like “Wall-E” and “Slumdog Millionaire.” But would “W.” hit the same way for today’s generation? Hard to say.

That said, the film is still quite universal in its story. It dives into W. Bush’s relationship with his father, which I thought was one of the best parts of this movie. Even though W. Bush comes from a family with a storied legacy, his relationship with his father is something I think a lot of people can relate to. Because we all have parents, and deep down, most of us want to do anything that will keep us from breaking their hearts. The two have a steady connection, but it is not perfect. Nor is it without rules.

My favorite deep dive in the film has to do with George W. Bush’s relationship with alcohol. We see how much drinking impacts his life in terms of the choices he makes, how it affects his relationships with other people, and his overall stability. The movie tends to present alcohol as an obstacle that keeps W. Bush from potential success. We notice as W. Bush ages and becomes more accomplished, mainly in politics, he gives it up. The movie shows how much drinking holds W. Bush back and how him giving it up seems to correlate with his achievements.

As for the performance of George W. Bush (right) himself, I have to say Josh Brolin did a good job in the role. Never once did I feel Brolin was trying to do an impression of the character. He kind of made the performance his own. He was bold in his presence and consistently commanding from scene to scene. Is it the greatest performance of a U.S. President in film history? No it is not. But to be fair, it is hard to compare with Daniel Day-Lewis as the lead of “Lincoln,” a film that came out four years later. In fact, during the same year “W.” was released, audiences were also treated to “Frost/Nixon,” and I would argue Frank Langella did an even better job as the titular leader in that film.

The supporting cast in this film also manages to put their best foot forward. Elizabeth Banks is a standout as Laura Bush. Richard Dreyfuss does a good job as Dick Cheney. And I thought James Cromwell as George H.W. Bush (right) was excellent casting. Across the board, I cannot name a single performance in “W.” I did not like.

But I have to give props not only to Josh Brolin for having the presence one would expect of a flawed but charming leader, but also to the writer of this film, Stanley Weiser, for bringing some decent material to the screen. Unfortunately, it is not all perfect. Despite the film never once feeling boring, it is a tad bewildering at times. The film comes off like I am in history class, and we are doing a unit on the Bush era of politics, whether that is W.’s time or his father’s, maybe with a brief cameo from Jeb here and there. But the unit does not have a clear path. It kind of jumps from place to place and it is not that organized. I guess in a way you can call “W.” a nicely laid out mess. Because I understand the film and what was presented to me. The final product did not melt my brain. I am just not sure if maybe the specific non-linear route the story took was as compelling as it was trying to be.

In the end, “W.” is not a movie I intend to watch again within the next year, but it is one I can definitely see myself revisiting at some point in my life. Again, I am a bit of a novice when it comes to Oliver Stone. “W.” just happens to be a third film in his trilogy revolving around U.S. Presidents. Given how I enjoyed “W.,” it makes me want to go back at check out “JFK” and “Nixon” should the chance ever come up. Is this movie for everyone? Probably not. It is about a controversial leader, so therefore I would not expect it to be for everyone. But it has the hallmarks of a good movie. Decent storytelling, good acting, solid production, and while it is a bit jumbled, I did appreciate Oliver Stone’s vision and what he brought to the table. I am going to give “W.” a 7/10.

“W.” is now available on DVD, Blu-ray, and on VOD. As of this writing, the film is available to stream on Peacock to all subscribers, and can be watched for free on Tubi, Philo, and the Roku Channel.

Thanks for reading this review! My next entry to the Election Days series is going to be for “On the Basis of Sex,” a film about Ruth Bader Ginsberg, the second woman to serve as an Associate Justice of the Supreme Court of the United States. 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 “W.?” What did you think about it? Or, do you have a favorite Oliver Stone film? Which of his U.S. President movies would you say is your favorite? Let me know down below! Scene Before is your click to the flicks!

Saturday Night (2024): Some of the Most Stressfully Exciting 90 Minutes in Cinematic History

Posted on by Jack Drees

“Saturday Night” is directed by Jason Reitman (Ghostbusters: Afterlife, Juno) and stars Gabriel LaBelle (Snack Shack, The Fabelmans), Rachel Sennott (Bottoms, Bodies Bodies Bodies), Cory Michael Smith (Call Jane, 1985), Ella Hunt (Dickinson, Cold Feet), Dylan O’Brien (Teen Wolf, The Maze Runner), Emily Fairn (Mary & George, The Responder), Matt Wood (Law & Order: Special Victims Unit, Difficult People), Lamorne Harris (Call Me Kat, New Girl), Kim Matula (LA to Vegas, The Bold and the Beautiful), Finn Wolfhard (It, Stranger Things), Nicolaus Braun (Zola, Succession), Cooper Hoffman (Licorice Pizza, Wildcat), Andrew Barth Feldman (No Hard Feelings, A Tourist’s Guide to Love), Kaia Gerber (Bottoms, American Horror Stories), Tommy Dewey (Casual, The Mindy Project), Willem Dafoe (Spider-Man, The Lighthouse), Matthew Rhys (A Beautiful Day in the Neighborhood, The Post), and JK Simmons (Spider-/Man, Whiplash). This film is a showcase of the chaotic 90 minutes leading up to the production of the first episode of “Saturday Night Live.”

People look at “Saturday Night Live” today with a mix of opinions. Of course, when a television series of its notability has been around for several decades, chances are that not everyone is going to have the same thoughts on it, and there may be moments some find to be better than others. I often find myself going back and watching the series’ gutbusting “Celebrity Jeopardy!” bits with Norm MacDonald as Burt Reynolds and Darrell Hammond as Sean Connery. Those sketches are comedy gold and I find myself quoting it on a regular basis. I have even used one of those bits as part of my Film Improvements segment during the 5th Jack Awards. But the movie “Saturday Night” dives into a time long before that when the show had its humble beginnings. The film has a star-studded cast including Gabriel LaBelle as Lorne Michaels, Cory Michael Smith as Chevy Chase, and Rachel Sennott as Rosie Shuster just to name a few people. Audiences of all kinds know the names of these characters today, but this movie is kind of an underdog story about a bunch of nobodies. One of the most positive things I can say about “Saturday Night” is that it easily gets me to root for its cast to do anything and everything they can just to make it on the air by 11:30. The film definitely has a Hollywoodized feel to it at times, but I think it works because some of the hyped up situations definitely add to the entertainment of everything on screen.

For those who do not know, since 2023 I have worked in live television, particularly local news. So while I might say the film “Broadcast News” is sometimes more specifically reflective of my work environment, even though that movie came out years before I was born, “Saturday Night” also does a great job at encapsulating the vibe of working in a live production. This film dives into the first episode of “Saturday Night Live,” but I must say as someone who has been working in local news for almost a couple years now, even when the formula may be familiar, there have been times that feel as if we are making a live broadcast for the first time. After all, there is so much that has to be done for several shows in a single streak of hours. Therefore, something down the line is bound to screw itself up. It is unavoidable. Sometimes it is my fault. Sometimes it is someone else’s bad. Sometimes it is a technical problem. But one thing I will note about my job is that we are lucky that we have a schedule that is set in stone. Sure, not everything goes right, but there is a lot that does. We have a history of shows behind us, and planned broadcasts for the hours ahead. We have a good team of people who all do their job as best as they can and offer excellent results. But our crew in “Saturday Night” learns that they are potentially going to be sidelined by a rerun for “The Tonight Show Starring Johnny Carson.” They might not even have a first broadcast.

There are so many things that this crew has to deal with in just a span of 90 minutes… Making sure the entire cast is ready to go. Convincing John Belushi to tolerate being in costume. Figuring out what to cut for time. Standing outside the building and trying to get people to join a live studio audience. Trying to sell the show to various affiliates. This entire film is a stress streak from start to finish. It is anxiety-inducing. The movie contains a moment or two that allow the audience audience to breathe. There are slower moments in the movie, but even in those scenes there is a sense of everlasting tension. There is a wonder if certain wrongs will be made right.

I mentioned this film has a star-studded cast, so chances are you are going to recognize at least one name on the list. But my favorite performance in the film is from Cory Michael Smith as Chevy Chase. From the moment I witnessed this son of a gun fall to the floor, get back up, and so casually utter the words, “Sorry, tripped over my penis,” I knew we were in for something special. Even though he has a legacy, I have heard about some of the controversy surrounding Chase, such as when he was on “Community.” Having heard about that almost makes this movie, and this particular performance, just a tad funnier. Although that makes me wonder how this movie will sit with certain people, because it reminds me of how hyper-obsessively knowing about certain comic book movie news stories over the years made me appreciate “Deadpool & Wolverine” in a way that I imagine some people would not. It makes me question how well the movie will age.

Also, Gabriel LaBelle as Lorne Michaels is a superb pick. This is a young, fresh actor who I would guess not everybody knows at this point, and I think some people will still not know a few months later, but I hope this review helps a soul or two get to know him, because he is talented. Michaels is the center of this rollercoaster of a film, and you can tell that in every single frame, he is nervous about whatever crazy derailment could come up. And those nerves rubbed off on me. This is a young guy with a lot of potential. But the thing about potential is that not everyone has seen it. Even though this is based on events that happened and I had an idea of how things in this movie would go, I was rooting for Michaels and crew to unleash said potential by the end of the film.

I also want to bring up the ending of the film. It is one of those endings that had me perplexed, yet satisfied. Because it comes out of nowhere, but it also closes on a note where anything after it is practically bonus content. The main story finishes by the time we get to said ending, but it comes at me like a bullet. It feels jarring. Given time to marinate though, I love what they did with the ending. I will not go into detail for those wanting to see the movie, but between the timing of the dialogue and the credits music, I am having a hard time imagining this movie capping things off better than it did. On the note of the music though, Jon Batiste, who actually has some recent variety TV experience as the bandleader on “The Late Show with Stephen Colbert” for seven years, does the score for “Saturday Night,” and it is perfect. At times it is subtle, but it is almost a character of its own in the film. Just thinking about parts of it gives me chills and nerves.

One good question to ask is whether this movie is a good watch for people who for whatever reason, have not seen an episode or sketch from “Saturday Night Live.” I think this film will definitely land harder for those who have seen some of the sketches, some of the episodes. That is for sure. But I think those who have not seen “Saturday Night Live” can still get plenty of laughs out of this film. Because if you have not picked it up already, this is not “Saturday Night Live” in movie form. It is not like “Jackass” or “Impractical Jokers,” two shows starring real people that end up taking their show’s format and converting it into a feature film. This is not this generation’s version of “Movie 43” so to speak… This is instead a buildup into how “Saturday Night Live” became what it is. This is, again, an underdog story, and I think a lot of people can appreciate those. And of course, there’s laughs, there’s tension, there’s a lot of big stars. Heck, JK Simmons makes an appearance in this movie, which I was not expecting at all. And I really was not expecting him to be cast in the kind of role in which he was picked to play. At one point he is just dancing like a moron, and he plays it up so well that I am laughing not because of the physical movements, but the guy doing said physical movements. I often pick apart animated movies nowadays for an overreliance on star power, but this is a movie that uses star power like few others I have seen recently, and I would say it does a great job with it. The cast is stacked and everyone plays their part to a T.

Maybe you know the names Kaia Gerber or Willem Dafoe or Dylan O’Brien. But what makes this movie is not the stars, it is the compelling narrative, ferocious pace, and laugh out loud funny comedy that honestly could match the feeling of a watching a spectacular “Saturday Night Live” episode at home on your couch or on your bed.

In the end, “Saturday Night” is an utter delight. I absolutely loved this movie. Granted, I am a bit biased because I work in live television so it kind of reminded me of the environment in which find myself on a regular basis. These are for two very different programs, but when putting two and two together, I found some commonalities. This was a movie that from scene one takes you on a ride, and I did not want it to end. That said, when it did end, I was satisfied and infatuated with what I saw. Does it sometimes feel hyperbolic in its execution? Perhaps. That’s probably my biggest critique, but the movie still works with that feeling intact sometimes. “Saturday Night” has the vibe, filmmaking style, and comedic flair of “The Disaster Artist,” but it uses those ideas and presents them in a movie with the pacing of “Speed” starring Keanu Reeves. I am going to give “Saturday Night” a 9/10.

For those sticking around, I wanted to end on this note because what I am about to say was intended as a part of the review, but it ultimately become a bit of a tangent. Nevertheless, I am proud of it. So I kept it here for you all to read.

This film is led by Gabriel LaBelle, who is still in the early days of his career, but he is proving himself to be a fine talent. But I am impressed by his luck, if you can call it that, in terms of his resume. Because a couple years ago he starred as the lead of “The Fabelmans,” which is an excellent movie by the way. For those who did not see the movie, it is directed by Steven Spielberg and is loosely based on his life. In that film’s case, LaBelle ends up playing a version if you will of Spielberg in his youth. Now, he has gone from playing one of the most iconic filmmakers of all time to playing perhaps one of the most impactful TV creators of all time. I would not imagine people today know Lorne Michaels like they know the name Steven Spielberg, but it does not change the fact that Lorne Michaels has become one of variety TV’s staples over the years. Whatever your definition of variety TV is, I will leave that up to you. However, to this day, “Saturday Night Live” is still doing weekly episodes. NBC’s “Late Night” format is still kicking with Seth Meyers at this point, who I would say is doing a very good job. I particularly think his “A Closer Look” segments are well timed and always end on a high note. It makes me wonder what is next for LaBelle. Is he going to take on notable game show hosts next and play young Alex Trebek? I think he’d do an okay job with that. They’re both Canadian! Just an idea! Heck, he could probably play Bob Eubanks! Peter Tomarkan! I could even see him as Pat Sajak! LaBelle has chops, I am just saying!

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

Thanks for reading this review! My next review is going to be for Francis Ford Coppola’s “Megalopolis,” his passion project which has now been in theaters for several weeks. Also coming soon, I will be sharing my thoughts on “Venom: The Last Dance.” 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 “Saturday Night?” What did you think about it? Or, what is your favorite “Saturday Night Live” sketch? Let me know down below! Scene Before is your click to the flicks!

Piece by Piece (2024): A “Happy” LEGO Lucky Time at the Movies

Posted on by Jack Drees

“Piece by Piece” is directed by Morgan Neville (20 Feet from Stardom, Won’t You be My Neighbor?) and stars Pharrell Williams in his own biographical documentary comedy entirely told though a LEGO animation style. The film centers around Williams’ life, how he grew up, how he created his music, and how he became the star people know him to be today.

I will be real… Modern music is not my forte. I have often distanced myself from the material in the past number of years that winds itself up in the “top 40.” I find that a decent amount of the biggest hits that come out nowadays are not my cup of tea. But one of the advertising points of “Piece by Piece” was the song “Happy,” which is performed by Pharrell Williams, the film’s lead. Turns out I never knew who did the song despite it playing everywhere in 2014. Yes, it was featured in “Despicable Me 2,” but those films are not the most intriguing to me. I never cared enough to watch the credits and see who did the song. But when they advertised this movie, my first thought was not, “Oh, Pharrell Williams!” Before that thought even popped in my head, I had another one and that was… “Oh great, I have to hear ‘Happy’ for the six-thousandth time…” I despised the song when it came out. Despite sounding peaceful and cheery, I found that aspect of the song to be overdone to the point of annoyance. It felt overly cartoony. But despite my lack of knowledge on the artist, I was curious to see how this film handled Pharrell Williams’ story. I knew almost nothing about Bob Marley, but I cannot say that turned me away from the movie centered around him that came out earlier this year, specifically “Bob Marley: One Love.” If anything, the overplaying of that film’s trailers when I went to the cinema almost did. And then the movie turned out to make that streak of trailers all the more irritating.

But I found out about “Piece by Piece” just as the film was coming out. I wanted to see this movie because I thought the idea was original and creative. Yes, we have seen theatrically animated “LEGO Movies” in the past, and those have been great. There is a decent amount of LEGO content done for home viewing, and the same can be said for stop motion LEGO videos. But this was something that I have never seen. A LEGO-style documentary… This is also likely the first notable “LEGO” movie of sorts that has been done since Warner Bros. gave Universal the rights to make new ones. If you want to get technical, in this case, Universal is distributing the film internationally, but in the United States, this is a Focus Features movie. For those not in the know, they’re both owned by Comcast.

I really should not say I am surprised I like this movie, but I am nevertheless surprised at how much I enjoyed it. I say that because this film comes from Morgan Neville, who also helmed the wonderful documentary “Won’t You be My Neighbor?“, centered around television’s Fred Rogers. This film is not as good as that one, but I can definitely say this is one of the most unique animated features I have ever come across. Although one thing “Piece by Piece” does better is that it fantastically lets us see the world through Pharrell Williams’ eyes. To be fair though, he was alive during the making of this project whereas Fred Rogers died more than a decade before “Won’t You be My Neighbor?” came out. But “Piece by Piece” clearly dives not only into the life of Pharrell Williams, but the mind of Pharrell Williams. This film may as well prompt an argument that almost whenever Williams dozes off, he imagines whatever comes into his head in a LEGO artstyle. Like a lot of great stories, this is about someone who sees themselves as “different” from the rest of his peers. If this were Tatooine, Williams would clearly be some variant of Luke Skywalker. This film effectively captures Williams’ one of a kind personality early on. The film is autobiographical, so there is some bias that comes with a story like this, perhaps even when it comes to admitting personal flaws. But one thing I can say about this film is that in many cases, it is a nice, easy watch. It can be a good pick for a family movie night, that is as long as everyone in the household is okay with the occasional expletive despite the film’s PG rating. That said, this is a creative, animated take on how a documentary can be done. It has recognizable music I think some children and adults would want to dance to. But as a story it is also compelling. You can tell that Pharrell Williams is passionate about his music, and how he got to his position. The documentary shows he does not forget his roots either, even if he mentions he felt out of place at times within said roots. When it comes to drama, this film does not come with a ton of it. But sometimes a lighthearted story is all you need, and this is exactly that. But for the most part, this film has something for everyone.

Kind of like the Warner Bros. LEGO features starring Chris Pratt for example, there is a colorful, glossy tone to the whole picture. The film may present itself with blocky physical limitations but manages to use those blocks in order to give a spectacle that you could only get out of a project like this one. One example is done with water. There are plenty of moments in the film where we see water. After all, this film is set partially on Virginia Beach, and we learn about Williams’ fascination with a concept that he just so happens to see every day.

Not once does the film feel gimmicky or overdone. I think doing this documentary in LEGO is not just a good idea, but having seen the final product I can confirm it is absolutely brilliant. The way they integrate the visuals with the music is very well done. I even like what they did with “Happy!” I thought that sequence was fun. Even the buildup to the song was clever, where they clearly reference “Despicable Me 2.” I am sure the head honchos at Universal were very happy to have an excuse to shove the minions in another one of their films because lord knows they do not have several thousand projects with them already… Again, despite the blocky limitations, LEGO is all about imagination. LEGO as a concept and brand has a history of allowing children, adults, families, whomever to build anything their heart desires for several years. Yes, they have many projects that are based on things that already exist, but there is no doubt a creative spark to the overall concept.

“Piece by Piece” is quite funny. The film has a really good pace to it in general and the humor that does come up got some laughs out of me. It is not as funny as the Warner Bros. “LEGO movies” which gave me some of my hardest laughs ever as a moviegoer, but it has its laughs. One of my favorite parts of the film involves an earlier moment in Pharrell Williams’ career when he gets his first paycheck. And it is not a small paycheck. It turned out to be $10,000! Not bad for an early payday. But of course, Pharrell Williams was a teenager, so he did what a lot of people who have not fully grasped the concept of financial responsibility would do and quickly blow through the entire paycheck. Also, Snoop Dogg is in the film as himself, as are most of this film’s cast, and I thought it was a step up from his previous animated outing this year, “The Garfield Movie.” Seeing him smile at one point was kind of fun too.

“Piece by Piece” is undoubtedly a unique film, and it makes me wonder if we are going to see more projects like this. Part of me is curious to see another documentary done like this but at the same time, I somewhat would not like this to become a continued trend because I enjoyed this film partially for it being one of a kind. This movie is evidently going to end up nowhere near as successful as some of the other movies we got this year. Heck, during its opening weekend, it was not even the most successful animated film at the cinema. Despite it being out a week earlier, “The Wild Robot” managed to make more money during “Piece by Piece’s” opening weekend. But if you are looking for something fun and light, “Piece by Piece” is a great pick. Is there drama? Sure. But nothing over the top. If you want to forget your troubles for an hour and a half, this is quite a good escape.

In the end, “Piece by Piece” is a great time. It is one of those movies that I will probably be thinking about at the end of the year. I do not think it is going to make my top 10, but right now it is probably in my top 20. If you love animated movies, this is a good time to go to the cinema. “Transformers: One” is a really fun adventure. “The Wild Robot” is one of the best films of the year.” “Look Back” is a captivating and moving story. For the most part, I am going to remember “Piece by Piece” more for its style as opposed to its substance. The very idea of doing this film in LEGO is clever enough, but to have it look as polished as it is, I can say that is even better. This is not to say “Piece by Piece” is a bad narrative. It is actually quite fascinating, but when it comes to style and substance, the style edges out the substance to a certain degree. This is one reason why I think “The Wild Robot” is a slightly better film because I will remember “The Wild Robot” for its characters and the stakes that build as their journeys play out. The animation sometimes has an unfinished look to it, but like “Piece by Piece,” it is also creative in its design. But I think if you are going to pick a film between these two to watch on a movie night with the family, neither one is a bad choice. I think these can make for a great animated double feature with the family. I would suggest starting with “The Wild Robot,” which is a bit heavier, a bit more emotional. And once that is over, keep the night going with “Piece by Piece,” which contains less drama and some dance-worthy music. Of the two movies, I would call it the palate cleanser. Whether you decide to watch “Piece by Piece” with the family, by yourself, or as part of a double feature somewhere, you are doing yourself a favor. I am going to give “Piece by Piece” a 7/10.

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

Thanks for reading this review! My next reviews are going to be for “Saturday Night” and “Megalopolis.” Stay tuned! 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 “Piece by Piece?” What did you think about it? Or, what is your favorite LEGO project? It can be a movie, a video game, a toyset, anything! What is your favorite LEGO creation? Let me know down below! Scene Before is your click to the flicks!

Reagan (2024): A Discombobulated and Dull Tale of an Actor-Turned-Politician

Posted on by Jack Drees

“Reagan” is directed by Sean McNamara (Soul Surfer, The King’s Daughter) and stars Dennis Quaid (Frequency, The Day After Tomorrow), Penelope Ann Miller (The Artist, Kindergarten Cop), Robert Davi (Showgirls, Profiler), Lesley Anne-Down (Sunset Beach, The Bold and the Beautiful), and Jon Voight (Midnight Cowboy, Mission: Impossible). This film is about the life of Ronald Reagan from his childhood to his acting work to his political career.

Of all the movies I could have seen this year, “Reagan” was not a movie I was genuinely anticipating. The marketing made it look unbearably generic. In a sense, it came off as if it was made for television. And the only reason why it got a theatrical release is because of the actors on screen like Dennis Quaid. But what do I know? I went to go see this film less than a month ago at my local cinema, on opening weekend. And while I do not recall the theater being full, it actually got quite a large audience. Granted, the auditorium was on the slightly smaller side. But it showed there may have been more interest in this film than I expected.

But as for the movie itself, it is, as I thought it would be, bad. It is not the worst movie of the year, but it is definitely one of the most discombobulated and convoluted.

In fact, would you like to know how convoluted this movie becomes by the very end? Well, you do not even have to watch the movie to find out. Just go to the Wikipedia page! If you are reading this page years down the road, I have no idea if anybody will make any dramatic changes to the page, but as of this writing, if you go to the “Plot” section, there is a warning that reads, “This section’s plot summary may be too long or excessively detailed.” Even Wikipedia says this movie is overstuffed! The most unreliable reliable source on the Internet agrees with me! And calling Wikipedia the most unreliable reliable source is not an error! It is not inaccurate! Much like Wikipedia, Scene Before is written by some random moron on the Internet, so you can trust me!

During my time in school, history was a mixed subject for me. There are times I would do well in history, but as I got into high school, that’s where things started to fall apart. But one thing I would remember about history is the textbooks. Remember how huge those things were? Granted, time is enormous. There is a lot to go over. I can gladly say that “Reagan” is slightly more entertaining than a by the numbers history textbook. Something that amazingly could not be accomplished with the ambitious Czech film “Medieval.” But despite the massive size of history textbooks, they cannot quite cover every minor detail of an event. Much like a history textbook, I learned something. Granted, I knew Reagan was an actor. But I did not know how much of an impact he had on the Screen Actors Guild. Knowing his background as that union’s president makes sense considering his future in politics. As someone who was not alive during Reagan’s time as president, I thought I would learn something from this movie. I did not think it would be that.

With that in mind, “Reagan” does remind me of a history textbook because it goes over a lot in such little time. And in the same way, you could also say “Reagan” reminds me of CliffsNotes, which if you are a teacher reading this, is something your students are probably using to pretend they read “King Lear.” It feels like we are flying faster than the speed of light from one important moment of Reagan’s life to the next to the point where the impact of whatever moment came before is less than it should be.

There is one particular moment in this movie, particularly during the 1976 RNC, where such a lack of impact is noticeable. Let’s just say it presents a moment involving Reagan’s political ambitions, where he cannot quite make it to the top, only to have a much more monumental moment be presented to us several minutes later. The pacing between these scenes is too fast and lessens the depth of the Reagan character. It does not give enough time to sympathize with him during his lowest low. The movie just says, bop-da-le-skiddly-bop, onto the next scene!

At times, this movie does not really know what it wants to be. I mentioned the marketing makes “Reagan” look generic. Having seen the film, I can confirm it is quite generic. But it is not all generic. If anything, the thing that sets this film apart, is probably its most bewildering element. On top of the mostly linear story that we get regarding the life of Ronald Reagan, we also get several scenes between two men in present day Moscow. Those two men are Russian agent Andrei Novikov and KGB agent Viktor Petrovich, both fictional characters by the way. The duo spend some time in the latter’s home discussing why the Soviet Union fell. Now I get it. The Soviet Union and Russia were a hot topic during Reagan’s life and his time as presidency. Despite that, I honestly do not see how the movie benefits from any of the scenes between these two. This movie is already over two hours long, and boy did I occasionally feel the runtime. Do we really need to see these two on screen? No we do not! In fact, one of those fictional Russian characters, Viktor Petrovich to be specific, is played by Jon Voight. Part of me is convinced those scenes were kept just so you could have Jon Voight’s name on the poster! As for the duo’s performances, while not quite as comedic as an “SNL” sketch, they lacked a certain authenticity. Although Voight’s accent in particular is not doing him any favors.

As for the lead performance, I will not deny that Dennis Quaid had a monumental task in front of him. He had to play a well-known world leader. He had to play said world leader during various portions of his life. But his performance to me was a bit of a mixed bag. At times, he embodied the nature of Ronald Reagan. At others, he overemphasized his accent and presence. And at others, he was somewhat unconvincing. Again, I recognize the challenge at hand, but it does not change the fact that watching this performance on screen resulted in Dennis Quaid trying a bunch of different things only to have them all combine into something average at best. If you want to see a more convincing lead performance by someone who plays the same character in multiple parts of their life, just go watch Zendaya in “Challengers.” I did not love the movie, but I will not deny Zendaya did a great job in her role. But most of the performances in “Reagan” range somewhere between overdone, unmemorable, or mediocre. There are no performances in this movie that I would imagine to be nominated for an Oscar. Maybe one or two will get nominated for a Razzie, but it is hard to know whether they are going to be nominated simply because the performances are bad or because it is funny to nominate performances in political movies. This is, after all, the same awards body that nominated several members of the Donald Trump administration for their “performances” in the 2018 documentary “Fahrenheit 11/9.” I try to avoid talking about my political views on Scene Before unless it is absolutely necessary, but if you must know my thoughts on “Reagan,” they are quite simple. Just say no.

In the end, “Reagan” is dull, bland, and all over the place. As fast as this movie moves, it oddly feels kind of slow. Occasionally, it gives you little time to take in one scene before quickly waltzing straight onto the next. The performances are nothing to write home about. You could literally take out all the scenes between the men in Moscow and dramatically improve the film’s substance. There are no positives in this film that stand out, but at the same time, I cannot say the film is incompetent. It is well shot, well lit, and the locations are okay. But the movie itself is kind of forgettable. It is almost kind of propaganda-like in its presentation. Some of the lines just feel oddly preachy and over the top at times. Maybe that was the intention. Maybe not. But again, if you want to know about my thoughts on “Reagan,” I wonder if my score of 5/10 will give you any hints.

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

Thanks for reading this review! My next review is going to be for “It Ends with Us,” the brand new film starring Blake Lively. Stay tuned! 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 “Reagan?” What did you think about it? Or, what is your favorite movie heavily involving a U.S. President? I’ll even count fictional ones. Shoutout to “Air Force One” for being totally awesome! Let me know down below! Scene Before is your click to the flicks!

Young Woman and the Sea (2024): Daisy Ridley Swimmingly Stands Out in the Latest Live-Action Effort from Walt Disney Pictures

Posted on by Jack Drees

“Young Woman and the Sea” is directed by Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales, Maleficent: Mistress of Evil) and stars Daisy Ridley (Star Wars: The Force Awakens, Chaos Walking), Tilda Cobham-Hervey (Hotel Mumbai, The Lost Flowers of Alice Hart), Stephen Graham (Pirates of the Caribbean: On Stranger Tides, Kim Bodnia (Killing Eve, The Witcher), Christopher Eccleston (Thor: The Dark World, True Detective), and Glenn Fleshler (Boardwalk Empire, Billions). This film is inspired by the book of the same name and is about the competitive swimmer Trudy Ederle, who makes a daring attempt to swim across the English Channel.

One of the benefits of being in a “Star Wars” movie is having such a massive franchise be part of your resume. But regarding the more recent films, particularly the prequel trilogy and the sequel trilogy, it feels interesting to note that a few of its leads are, unsurprisingly, mostly known for their “Star Wars” roles, but not really making rounds since. Sure, Hayden Christensen did “Jumper.” But who religiously and fondly remembers that movie? What else has he really done since “Revenge of the Sith” that has stood out? As for Daisy Ridley, who I adore as Rey in the “Star Wars” franchise, I hope she can find some enormous success outside of the “Star Wars” franchise that way she does not remain a one hit wonder of sorts. I liked her in “Chaos Walking,” but I recognize that movie is not perfect, even though I did have fun with it. That, and COVID-19 definitely affected its box office performance. Yes, I am aware Ridley did other things too. “Murder on the Orient Express,” the “Peter Rabbit” movies, “The Marsh King’s Daughter…” But I have not seen any of those.

While I cannot legitimately recommend any of those movies, I can say Daisy Ridley’s latest film, “Young Woman and the Sea” is definitely worth the watch. Not only is it a solid story, but one thing that favors the film is the timing of which it released. After all, it is summer. Therefore, it is basically swim season. The Olympics are around the corner. It is the perfect time to get in the water. Maybe you will not want to venture the same waters as this movie’s lead, but still.

But even if you do not want to venture those same waters, you may feel inspired to do other great things. I am a straight white male, so I cannot speak for everyone, but I have a feeling that a lot of people who check out this movie are going to feel empowered, they’re going to feel inspired. Everyone loves a good story of this nature, and it is perhaps a bonus if the lead is a woman like it is here.

While this movie is about Trudy Ederle, I thought it also did a good job with its supporting characters. I really enjoyed the scenes early on in the film where we see Trudy learning to swim and getting to know the others inside the building, in addition to one tradition they share. In addition to Trudy’s journey as she navigates the English Channel, I was simultaneously engaged with what was going on back at home. We see the family’s perspective, how nervous they are, and I think plenty of people can relate to those events playing out. It is natural for a parent to worry about their kid in a multitude of scenarios. Heck, my mom constantly worries about me getting to work on time. Granted I have to be there at 2 a.m…. But still. A good movie can make you care for its lead and their progression throughout the runtime, but that good movie could potentially be better, like this one, if you somehow also care about those who tend to express their worries about the lead.

One of the unsung standouts of “Young Woman and the Sea,” and I perhaps mean that literally, is the music. This film’s score is done by Amelia Warner, whose work I have not heard previously, but the orchestral power of this film leaves me curious as to what she has up her sleeve next. Each instance of the music adds to the tension, adventure, and sometimes joy of each scene. It is easily one of my favorite musical compilations this year. “IF” still remains my favorite score perhaps, but this trails only slightly behind.

Production value-wise, this film is as inviting as can be. The shots look beautiful. Every time I look at the water in this movie, it makes me want to go by the sea. It truly strikes a proper mood. It was also soothing to see the film’s various environments accompanied with a 1920s vibe. The film is chock-full of impeccably designed interiors. Probably some of my favorite I have seen this year. “Young Woman and the Sea” is quite a picturesque movie that is easy on the eyes. A lot of the frames that pass by as I am watching our hero navigate the English Channel are enchanting to gaze upon.

If I had any real critiques that come to mind regarding “Young Woman and the Sea” it would probably be that the film seems a little played up for what it is trying to be. Granted it is nowhere near as played up as the last movie I reviewed, “Summer Camp,” but it is sometimes over the top. The performances in the film are all over the place. It is not to say they are bad, but they seem to clash with each other tonally sometimes, as if they belong in a couple different movies. The actors all do a good job, even if their collective performances are not quite a perfect match. This film is a term I do not use often, but it feels appropriate to use here. If there were a word to describe this film at times, it would be “Hollywoodized.” This is a story that on paper, would make a good movie. A woman taking on a dangerous mission of swimming across a body of water makes for a great story, especially considering this one is true. But some of it is perhaps pushing the boundaries of reality. It sometimes feels familiar in terms of its story and its beats. This film is released under the Disney banner, and even though the two movies are not quite the same, “Young Woman and the Sea” reminded me of another Disney live-action effort, “The Finest Hours,” another story highlighting a dangerous time in the water. That film also felt played up and perhaps overly glamourous. I think “Young Woman and the Sea” is much more engaging, but both movies share similar flaws. They are presented as these glorious tales, and to some degree, they can be defined as such. But the movies tend to push the limits in terms of how glorious they actually are.

In the end, the real question is, should you watch this movie? Absolutely. Give “Young Woman and the Sea” a shot if you have the time. It is played up and sometimes cliche, but it is nevertheless charming and inspiring. I liked all the characters in this movie. The chemistry we see between Trudy and her sister, who is wonderfully played by Tilda Cobham-Hervey, is quite good. Performance-wise, despite being a bit on the hyper side, I admired Sian Clifford as Charlotte, Trudy’s swimming trainer. Every time she is on screen she has a commanding presence. If there is any performance I remembered the most from the movie, aside from Daisy Ridley’s, it is hers. “Young Woman and the Sea” is probably not going to be on my top 10 of the year, but it is a movie that I am glad I saw. It is an effective, inspirational story of determination, feminism, and going for the impossible. I am going to give “Young Woman and the Sea” 7 seas out of–

Wait, that doesn’t sound right… I’m going to give the movie a 7/10. There, that’s better.

“Young Woman and the Sea” is unfortunately not playing in many places right now, and as of writing this, the film is not currently available to watch at home. But if it is somehow playing near you by some miracle, check the movie out if you can.

Thanks for reading this review! My next review is going to be for “Inside Out 2,” one of the biggest films of the year so far. I cannot wait to finally talk about this one. Also coming soon, I will have reviews for “Furiosa: A Mad Max Saga,” “Thelma,” “Daddio,” “A Quiet Place: Day One,” and “Maxxxine.” 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 “Young Woman and the Sea?” What did you think about it? Or, do you enjoy swimming? Tell me where your favorite place to swim happens to be! Let me know down below! Scene Before is your click to the flicks!

Back to Black (2024): A Captivating Performance from Marisa Abela Carries This Musical Biopic from Start to Finish

Posted on by Jack Drees

“Back to Black” is directed by Sam Taylor-Johnson (A Million Little Pieces, Fifty Shades of Grey) and stars Marisa Abela (Industry, She is Love), Jack O’Connell (Unbroken, Money Monster), Eddie Marsen (Ray Donovan, Atomic Blonde), and Lesley Manville (Maleficent, Phantom Thread) in a musical biopic chronicling a large segment of the life of Amy Winehouse and her journey to creating one of the most successful albums of the 21st century.

While they may not be my goto genre, musical biopics are often a type of movie that manages to garner my attention when it comes out. Not only do they tell stories about famed artists people have come to know and love like Elton John in “Rocketman” or Freddie Mercury in “Bohemian Rhapsody,” but those movies often get a lot of attention around awards season. In addition to these actors getting attention during shows like the BAFTAs or the Oscars, if you have ever checked out the 1st or 5th Annual Jack Awards, you would know that some of the acting awards went to lead roles in biopics based on a musician’s real life. One of my favorite lead performances that comes to mind in all the movies I have seen is Jamie Foxx as Ray Charles in the 2004 movie “Ray.” While Foxx’s singing in the movie is limited, he did all of his piano playing. Not to mention, there is a certain physicality to his performance. Same goes for Rami Malek in “Bohemian Rhapsody.” Much like Foxx as Ray Charles, Malek did not do all of his own singing as Freddie Mercury. But looking back at some of the real Live Aid concert and the one they make for the movie, it is insane how close of a resemblance Malek is to Mercury himself in terms of physicality. If I have to be real, “Bohemian Rhapsody” was above average, but Malek’s performance carries the film.

Similarly, that is how I feel about “Back to Black.” Do I think the story is good? Yes. Do I like all the characters? I would say so. I think everyone in the movie has their moment. But what sells this movie for me from start to finish is Marisa Abela as Amy Winehouse.

One of the best compliments I can give an actor, is that I cannot imagine anybody else in their role. And when it comes to Marisa Abela as Amy Winehouse, that thought came across my mind a couple times. Maybe Jenna Ortega could play the role just because she has a certain look to her that personally sells me. But when this movie was shot, she was not even of legal drinking age in the U.S.. That said, I am fairly happy with what we got here. To be real though, it is not my favorite lead performance in a biopic. There is not as much of an oomph factor here to the performance that I have seen from say Austin Butler as Elvis Presley. Some of Abela’s performance feels played up and almost in the realm of fantasy, but there are also a fair share of grounded moments to balance out those exaggerated ones. The performance is not perfect, but there is a lot of good to it.

I also really liked the movie’s attempt to show the chemistry between Winehouse and her love interest, Blake Fielder-Civil, played finely by Jack O’Connell. If anything, I thought the scenes between these two were some of the best parts of the movie and I honestly wouldn’t mind seeing these actors on screen again in another project.

One of the things I will remember most about “Back to Black” is that from start to finish, there was always this consistent tone to the movie, and it seemed to match the tone that comes to mind when I think or talk about Amy Winehouse herself. I do not listen to her music. Frankly, I do not care for her music. Having seen this movie, I do not think I am going to go back and listen to her music. But as I watched the movie, even in its lighter moments, there was always this bittersweet nature to it. If you were to ask me to talk about Amy Winehouse, I will probably say what a lot of other people say and note that her life was taken too soon. We likely missed out on someone who could have built a humungous legacy. Similarly, as I watched this movie, there seems to be this lingering gloom. Granted, there are several moments where that feeling is minute, but it is still there. I must also add the movie’s greyish and bleak color grading, which is practically noticeable in almost every scene, may have an effect on said gloom as well.

When it comes to these musical biopics, I often seek these movies out with my mom. These are some of her gotos. This one is no exception. When she walks out of these films, she often talks about how much she liked hearing the artist’s music as shown in the final product. Knowing the title of this film, we get to hear a good portion of Winehouse’s discography. My favorite of the songs brought to life would be “Rehab.” Again, much of this movie is about not just Amy Winehouse’s rise as an artist, but it also dives into her personal life, and her struggles with drugs and alcohol. This song, not to mention its performance in particular, connects the movie’s ideas together beautifully. The scene in the film is beautifully timed, edited, and as highlighted already, portrayed by Marisa Abela herself.

If I have any real negatives with “Back to Black,” I would say there are parts of the film that are more memorable than others. I would not be able to tell you the name of every character that is in the movie, perhaps some minor details that are in the movie, or every song that is in the movie. Then again, I already mentioned I am not the biggest Amy Winehouse fan. The movie itself, while it is really good, does not have many moments where I am going to look back and label it iconic, or some similar degree that would indicate prestige. As a biopic, this is a decent look into Amy Winehouse’s life with a good amount of tonal consistency. And even though I will say the movie does have an everlasting glimmer of gloom throughout, the gloom never gets to a point where I feel truly heartbroken as a viewer. There are tragic, unfortunate things happening throughout this movie. Sadly, I don’t think I am feeling the melancholy this movie wants me to feel at times. It’s not like when I watched “Priscilla” and was unspeakably riveted by Cailee Spaeny as Priscilla Presley. Here’s an analogy my fellow “Django Unchained” fans would understand, “Back to Black” had my curiosity, but when it comes to keeping my eyes and ears glued, “Priscilla” had my attention, if that makes any sense. “Back to Black” is not going to end up in my top films of the year. If anything, it will wind up somewhere in the middle. But there are plenty of pros to this film that could potentially make a one time watch justified should you decide to check it out.

In the end, “Back to Black” is engaging, but there is not much to it that truly individualizes it. It feels wrong to call a movie like this ordinary, even though you can say it has some familiar beats from other titles of its kind. “Back to Black” has neat production value, good acting, and a fine pace to it that rarely had me disinterested. It’s good, but not great. Now if you are an Amy Winehouse fan, it is hard for me to say whether or not I recommend this film, partially because, again, I do not listen to her music. For the record, going back to Abela’s performance, she does all of her own singing. From a straight up commitment perspective, I admire Abela’s efforts here. As for whether her singing translates well for the average Amy Winehouse fan, that is for them to decide. I must also note that I was 11 when Winehouse died. I was not as in touch with trends, culture, and goings on at the time as I am now. But as a pure movie and story, it gets a thumbs up from me. Not a strong one, but a thumbs up nevertheless. I am going to give “Back to Black” a 6/10.

“Back to Black” is now playing in select theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for the new comedy “Summer Camp.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Young Woman and the Sea,” “Inside Out 2,” “Furiosa: A Mad Max Saga,” and “Thelma.” 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 “Back to Black?” What did you think about it? Or, who is someone whose life you feel was taken too soon that you would have like to have seen live longer? For me, Chadwick Boseman. Between his time in the MCU, an Oscar nomination, and his ability to put on killer performances, I would like to see what other projects he would have done had he not passed in August 2020. Let me know down below! Scene Before is your click to the flicks!

Bob Marley: One Love (2024): Every Little Thing Is Gonna be Boring

Posted on by Jack Drees

“Bob Marley: One Love” is directed by Reinaldo Marcus Green (We Own This City, King Richard) and stars Kingsley Ben-Adir (Secret Invasion, One Night in Miami…), Lashana Lynch (No Time to Die, Captain Marvel), and James Norton (Happy Valley, Flatliners). This film follows the titular reggae musician in his journey in music and to overcome his difficulties.

When I surf the Internet or have conversations in my social circles, one thing that sometimes comes up just so happens to movie trailers. Specifically, the idea of seeing the same trailer over and over again at the movie theater. I remember a colleague of mine saying that this happened to them for “Argylle.” And I can say that is one I remember seeing quite a bit as well. But if I had to name a trailer or marketing campaign that has done such a thing for me recently, it would be the one for “Bob Marley: One Love.” To be fair, they put the first trailer out months in advance, so it had the opportunity to be shown plenty of times. But almost every time I went to the movies, it flashed on the screen.

Based on the unlimited exposure “Bob Marley: One Love” has given me alone, I hoped it wouldn’t suck. Partially because, well, “Argylle” did. When you play a trailer enough times to equal a short movie, then I kind of hope by the time I see it, I don’t feel duped. That said, the movie did not look like the next big thing, but by no means did it look awful. There was potential between factors such as the story and Ben-Adir playing the lead role.

Unfortunately, when it comes to films about musicians or music in general, this failed to hit the right notes for me.

To be frank though, it made me question my intelligence. I understand a lot of movies. Sometimes I understand movies will mean certain things to certain people. Sometimes I get that art in general can be open-ended. “Bob Marley: One Love” seems for the most part, straightforward, but it reminded me of one of my weak spots. Languages.

I am not saying I refuse to learn or understand foreign languages, what I am saying is that whenever I am tasked with doing so, say for when I was in school, I found it to be incredibly difficult. But I am always thankful whenever movies have subtitles because they help me understand what is going on. “Bob Marley: One Love” is in English, but a lot of it is spoken through Jamaican accents, which I do not usually hear every day. There is nothing wrong with that. In fact, I appreciate the authenticity. I just wish, and this harkens back to my struggles, I could have been more engaged with it.

I am NOT asking people from this movie to sound like they’re from Ohio. I am just saying that if I were able to see the future, I probably would have asked for a different fate where I could have subtitles flashing on screen throughout the film. Simple as that. It is sad that an issue like this is detracting from my overall experience, but facts are facts.

Ever since “Parasite” director Bong Joon Ho won the Golden Globe for Best Motion Picture, International Feature during the 2020 edition of the ceremony, there is one quote I have often used in regards to watching certain movies.

“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” -Bong Joon Ho

That quote specifically applies to foreign flicks or films not mostly executed in my native language, which would be English. But a part of me thought Bong Joon Ho’s quote could be applied to “Bob Marley: One Love” as well. The movie is part of the Hollywood system and heavily marketed to North American audiences, but as I watched the film, I had trouble deciphering some of what’s being said. Now, maybe my hearing is deteriorating. Maybe I watched “Oppenheimer” one too many times and now I’m paying the price. But it is also possible that I just was trying my best to understand every word that was being said by certain characters, and for whatever reason, it just wasn’t coming through. There is nothing wrong with authentic accents or voices that link to a certain part of the world. That said, if I were to go back and watch “Bob Marley: One Love” a second time, which I am probably not going to, I’d want subtitles.

I am going to give props to “Bob Marley: One Love” for perhaps delivering an authentic, lifelike experience when it comes to several characters interacting with each other or talking with one another. But if we are simply going by first impressions, I felt a little lost watching this film. A bit disengaged perhaps. Because for all I know, I could latch onto a number of the conversation scenes during this movie, but I could not pick up on everything the characters are saying. I remember a few years ago when I saw the 2021 remake of “West Side Story” for the first time and they had a few scenes where they had characters speaking in Spanish, and there were no subtitles on screen. For the record, I dropped out of Spanish I in high school a couple weeks into the class, so I’m no expert on the language. But even I got a sense of the context of what was going on without subtitles. Now when I look at “Bob Marley: One Love” it feels weird knowing that I am going from comprehending a language I do not speak, to not getting a clue of what was going on in this movie in English. I know not every movie can be universal to everyone. But my lack of understanding of what was going on through the dialogue severely hindered my experience. It could have been a lot better.

Even with my complaints, I will not deny that Kingsley Ben-Adir was a good pick to play the titular role. I thought he had charisma, pizzazz, and he also looked the part. And it is almost hard to imagine other people filling in the shoes of this role. When it comes to the overall chemistry in the film, Ben-Adir does a good job with latching onto just about every other character in sight. I am not saying this performance is going to win an Oscar, but as far this movie goes, he does a good job. And honestly, while there are no abominable performances in the movie, there are no other real standouts either.

But if there is another standout, I would have to say the soundtrack is sometimes pretty good. Obviously, this is a music-based film so this should not be a huge surprise, but the moments where we end up hearing Marley’s music make the film a tad better.

Although I want to talk about the part of the movie that for me, really let me down. The ending. It is not heartbreaking per se. It is not offensive to other people. It is by no means a crime against humanity. But the best way I can describe this ending, primarily from a filmmaking and cinematic perspective, is “lazy.” Because I came into this movie with a certain expectation, and once we get to the end, once it feels like we are getting to that point, the movie stops and delivers such an expectation in a way that honestly feels slapped together. I do not know how to talk about this moment without saying the words “spoiler alert,” which come to think of it, would be a weird thing to say about a movie based on real people and true events. But as we got to the ending, my pupils lit up, and my dilation nearly became an eyeroll. The movie started, to some degree, getting better. Or so I thought. It put a massive dent on what I already thought was an underwhelming experience.

The potential is there for a good story regarding this material in particular. I think it is a story that could make a figure like Bob Marley attach to a great span of this world. It would get a lot of people to feel bad for him and root for him. But there are so many little things in the movie that left me unsatisfied. The acting is okay, but I just wish I could have been more attached to the characters. Pacing-wise, “Bob Marley: One Love” is an enigma. The movie is somehow too long to catch my absolute interest. Yet as soon there are crevices where something actually manages to catch my interest, it does not take long for the movie to become boring. This movie came out the same weekend as “Madame Web,” which I saw first. “Bob Marley: One Love” is not “Madame Web” bad, but it is still not good.

In the end, “Bob Marley: One Love” is off-key. I was bored. I was disengaged. I wanted to leave. Now, the film is by no means the worst I have ever seen, but there is nothing that stands out about it that makes me want to watch it a second time. As conventional as say, “Bohemian Rhapsody” may appear, I was more engaged with that film and how it handles its characters. I thought it was a story where I could latch on from start to finish. Additionally, as much as I liked Ben-Adir’s lead performance, it is a far cry from Rami Malek as Freddie Mercury. “Bob Marley: One Love” tries to take a compelling concept to the finish line. But in terms of execution, I felt it needed to pick up the pace just a bit. Maybe a second viewing with subtitles would make the experience better, but I was not riveted enough in my first viewing to warrant a second viewing. I am going to give “Bob Marley: One Love” a 4/10.

“Bob Marley: One Love” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for my most anticipated movie of 2024, “Dune Part Two.” Does it live up to the hype? You’ll have to wait and see. Also coming soon, I will have reviews for “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” and “Godzilla x Kong: The New Empire” 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 “Bob Marley: One Love?” What did you think about it? Or, who is an artist whose story would make for a good biopic? Let me know down below! Scene Before is your click to the flicks!

Maestro (2023): Bradley Cooper’s Sophomore Directorial Effort is a Step Down from A Star is Born, but Is Delivered with Undoubted Passion

Posted on by Jack Drees

“Maestro” is directed by Bradley Cooper (A Star is Born, Guardians of the Galaxy) who also stars in the film as Leonard Bernstein. Alongside Cooper is Carey Mulligan (She Said, Promising Young Woman) as his love interest, Felicia Montealegre. This film is about Leonard Bernstein’s journey through life as he spends it focusing on his greatest passions. Composing music and his relationship with his partner.

Actors who become directors is nothing new. In recent years we have seen it with James Franco, Jonah Hill, Olivia Wilde, Jordan Peele, and John Krasinski to name a few. The results have from these people have varied across the board, but another man on that list is Bradley Cooper. His previous outing was the 2018 remake “A Star is Born,” which became one of that year’s most celebrated titles that thrust a popular original song, “Shallow.” I thought the film was very good. Maybe a tad overrated as time went on, but I found it to be well done. And much like that film, Cooper’s directorial followup, “Maestro” also features him as the star. This film was not completely on my radar. Partially because Netflix is traditionally terrible at marketing their originals most of the time, but I at least knew about the film because the Internet has its way of feeding information to me. I was not completely sure what to think, but I was onboard with the concept. Bradley Cooper is currently 1 for 1 in the director’s chair, so I wanted to see if he could make it 2 for 2.

And he certainly scores here.

Overall, “Maestro” is a step down from “A Star is Born.” I don’t think I will be thinking about “Maestro” for as long or as heavily as I did after seeing “A Star is Born” back in 2018. I have not gone back to rewatch the film since, but I praised the film for its music, its acting, its screenplay, and display of what happens to creatives once they are given tools from big names. I still think the idea that people would make fun of Lady Gaga’s nose is unconvincing to the tenth degree, but the movie’s gotta movie.

If anything, Bradley Cooper almost directs this film better than he acts in it, and that is saying something because he is quite a good actor. There is a long orchestra scene more than halfway through that had me fully engaged. The entire film is set in the 20th century, but with that in mind, a lot of the film’s earlier scenes heavily immersed me. But I also think part of why he directs this film so well is because the acting in this movie is so good. One of the key aspects of directing is making sure your actors give the best performances possible. Given Cooper’s acting background, he uses that to his advantage as I felt several characters honestly could not be played by anyone else. Even if I was not a fan of some of the script choices or dialogue the characters had to utter, each character managed to make me escape from my chair into the screen. While this film is based on true events, it felt like a world that was different than my own.

Going back to Bradley Cooper’s acting, I think his acting here is also a slight step up from “A Star is Born,” because it is more chameleon-like here. Yes, factors like makeup, costuming, and others come into play here. But if I have one thing to say about this movie that makes his performance better here than “A Star is Born” it is that when I hear Bradley Cooper talk or look at his face, I see Cooper himself. In “A Star is Born,” he comes off as a movie star sometimes. It does not mean his performance sucked. Not one bit. It just means that felt like I was watching a variation of the actor as I also watched the character. Here, all I see is Bernstein. It is one of the best lead performances of the year and undoubtedly one of the finest of Cooper’s career.

The film is also one of the best edited pieces of the year, it starts kind of fast, but there are plenty of slower scenes to balance everything out. But as we get to the climax, there is a lot of breathing room that allowed the emotions of the scene to sink in. It allowed me to perhaps successfully feel the emotions this movie was going for.

The film is written by Bradley Cooper in addition to one of the finest screenwriters of this generation, Josh Singer (Spotlight, The Post). When it comes to the latter, this is one of his weaker scripts, but there is a lot to like about it. I think the first two acts have their off and on moments. Certain portions of the story worked better than others, but the third act made the film worth watching. The film is a slice of life piece to some degree and very much highlights both its beauty and misfortune. Once we find out a certain revelation about the character of Felicia, I was riveted. The way the scene plays out once the revelation kicks in is nothing short of emotional. I almost teared up. If I took one thing from this film, without going into spoilers, it is the idea that life is short so you should enjoy it however you can. Some of the happenings throughout the film cement that idea to a high degree.

The film is of course called “Maestro” meaning it is about Leonard Bernstein. But at its core, it is a love story. If anything, I think “Maestro” is quite a good love story. Bradley Cooper has a knack for romance between this film and “A Star is Born,” and part of that is because of the chemistry he maintains with his co-lead. This time around it is Carey Mulligan. Both actors and their characters have natural on-screen chemistry and this is shown in every era this film flies through. Speaking of the eras, the film manages to transition very naturally between each timeframe. Not once do I feel like we are spending too much or too little time in one place or another.

“Maestro” is unfortunately from Netflix. I say unfortunately because that means most theaters will not be playing it. I thankfully got to see it in a theater, and I have no regrets. This is a film that is worth seeing in theaters just to take in every little detail from the cinematography, the production design, and to hear the music perhaps the way it was intended. Again, going back to the orchestra scene more than halfway through the film, that was glorious to watch in a theater. It is the holiday season, meaning that there is a chance that you are with loved ones and may be looking for an excuse to get out of the house at some point. This is not a film for everybody, but if there is a theater near you playing this, take advantage of that opportunity and take your partner, take your spouse. take your parents, take your grown children. Have a night out on the town, get some food, and go see this movie. You might not regret it.

Or of course you could order takeout and watch Netflix in your pajamas, your call.

In the end, “Maestro” is a step down for Bradley Cooper’s directorial resume, but that is like comparing winning 200 bucks on a lottery ticket and then scratching another ticket moments later to win 150. Both clearly deliver a sense of satisfaction. One is just clearly greater than the other. That said even with “Maestro” being a lesser film than “A Star is Born,” I would not be against watching it a second time just to study it. The cinematography looks really good, it is well directed, and the editing is top notch. Technically, there is a lot to like about it. And as a love story, it is solid. Both leads are fantastic and make the movie worth watching. Overall, an easy thumbs up from yours truly. I am going to give “Maestro” a 7/10.

“Maestro” is now playing in theaters and is also available on Netflix to all subscribers.

Thanks for reading this review! My next review is going to be for “Wonka,” starring Timothee Chalamet as a younger interpretation of the iconic chocolatier. I just had a chance to watch the film earlier this month in IMAX, and I will have my thoughts on it soon. Also stay tuned for my reviews for “Migration” and “Aquaman and the Lost Kingdom.” 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 “Maestro?” What did you think about it? Or, which of Bradley Cooper’s directorial efforts do you like better? “A Star is Born?” Or “Maestro?” Let me know down below! Scene Before is your click to the flicks!

Ferrari (2023): Adam Driver Shines in a Flick That Cannot Quite Get Into Gear

Posted on by Jack Drees

“Ferrari” is directed by Michael Mann (The Last of the Mohicans, Heat) and stars Adam Driver (Star Wars: The Force Awakens, Marriage Story), Penélope Cruz (Pirates of the Caribbean: On Stranger Tides, Nine), Shailene Woodley (Divergent, Dumb Money), Sarah Gadon (Enemy, Dracula Untold), Gabriel Leone (Dom, Hidden Truths), Jack O’Connell (Skins, Godless), and Patrick Dempsey (Enchanted, Grey’s Anatomy). This film is a biopic about Enzo Ferrari’s mission to keep his auto company from failing as he puts it in a treacherous territory. A thousand mile race in Italy.

Sport movies have not always been my forte. Then again, sports in general have not always been my forte. But if you guys have been following me for a bit then you’d know that one of my favorite sport films I reviewed on this blog, not to mention one of my favorite sport films that come to mind, is James Mangold’s “Ford v Ferrari.” That film is an adrenaline-fueled race to the finish if there ever was one. And that is cemented by great performances, stunning soundwork, and a narrative that had me on the edge of my seat. It was easily one of the best films of that year and it ended up scoring a couple Jack Awards as well.

But with another awards season on the rise, it is time to recognize one of its fiercest contenders, “Ferrari.” I had little interest in “Ferrari” until I saw the trailer. This looked like a hard-hitting story that would fire on all cylinders and deliver on drama and tension. Adam Driver looked like he was going to dominate the lead role and I was there. That said, I did not know when I would end up seeing it because it comes out in December and there are so many things to which in the span of that time. Plus I have to get my best and worst movies of the year lists out the following month, I am doing work on the next Jack Awards, and it is heavily triggering my average at best multitasking skills. But I had the privilege of checking out a free early screening in Dolby in Boston recently, so I got to see the film long before it hits theaters.

Now, there is a certain thrill that comes with getting to see a movie this early. And the fact that the studio is letting people watch it this long before the release date says a lot about their faith in the project. Having seen “Ferrari,” I am sure it will hit a lot of people the right way. But it doesn’t mean that was the case for yours truly.

“Ferrari” is by no means an awful movie, but if we were to make a comparison, I would easily recommend “Ford v Ferrari” over this new Michael Mann effort. That said, I do not think Michael Mann would be completely insulted with this sentiment. After all, in addition to his efforts here, he is an executive producer on “Ford v Ferrari.” He gets to brag about having both movies on his resume.

My biggest problem with “Ferrari” is the characters. I did not outright hate anyone on this film’s roster, but much of the film involves a series of racers participating in the 1957 Mille Miglia. Ultimately, we end up spending a good amount of time with them, so it disappoints me to say that I failed to find myself attached to any one of them. I know this movie is not called “The Drivers of the Mille Miglia” but when the movie features them as prominently as it does, I hope to find myself endlessly attached to at least one driver. Much of the film is about Enzo Ferrari, and some of it lends itself to fascinating storytelling, whereas other moments tend to fall by the wayside.

That said, even with the character flaws in mind, I will not deny that the film puts the pedal to the metal and brings forth some of the best acting I have seen in a movie this year. Of course the film has recognizable stars like Shailene Woodley, Penelope Cruz, and Patrick Dempsey, all of whom are really good. But the film, to my lack of surprise, is as good as it is because Adam Driver gives it his all in the lead role. I could honestly see him getting an Oscar nomination this year for his efforts. Of Driver’s resume, this performance is one of his more chameleon-esque efforts. And a lot of it not only has to do with his mannerisms, his voice, his presence, part of it has to do with the attention to detail given to him on his costuming and makeup. Much like some of my other favorite actors, Driver has always oozed charisma on screen, even when he is in an inferior “Star Wars” movie. But of Driver’s roles, this is one of the first I remember seeing where he does not completely look like himself. I’ve seen him in a number of films. “Lincoln,” “The Man Who Killed Don Quixote,” “Marriage Story,” “The Last Duel.” He has often maintained a certain look to him that I tend to notice from one role to the next. Even in his better performances, I am reminded of how much I enjoy Driver’s presence once I see his recognizable face. In this film, I don’t necessarily see Driver. I see someone else.

When it comes to the film, Adam Driver is quite literally the driving force in more ways than one. He is really good in the lead role and he is surrounded by competent performances all around. But the story itself failed to garner any ongoing emotion and interest from me. There was a center of the movie per se, but not so much a core. Despite those words being similar, I think there is a difference here. The movie centers around Enzo Ferrari, but it does not give me a core reason to admire anyone on screen. Or at least not one that remained on my mind long after leaving my screening.

Much like “Ford v Ferrari,” the sound in “Ferrari” is quite good. Not as good if you ask me, but it appears to take a different approach. The way I interpreted the sound between its editing and mixing in “Ford v Ferrari” is something equivalent to a fantasy. The movie is based on true events, but when I heard that sound, it almost came off like a hyperactive reality. The sound, not to mention atmosphere, of “Ferrari” feels comparatively grounded. Of course the cars sound audible as anything, but they lack a certain oomph to them that “Ford v Ferrari” gave in its final product. That is not to say they sound bad, it is just different.

In the end, “Ferrari” is two different movies wrapped into one. But neither of them exactly surpass the distinction of average. If anything, “Ferrari” is a painfully average, not to mention disappointing time. Because while I did not do a deep dive into the film’s marketing campaign before going to see it, I can you tell you the trailers are on another level. The trailers are honestly much better than the movie. It’s kind of sad, really. Much “Killers of the Flower Moon,” I will not doubt “Ferrari” will get some attention this awards season. But much like “Killers of the Flower Moon,” “Ferrari” might not be my cup of tea. There are plenty of good things in it, but I honestly find the movie quite forgettable and ultimately lacking in any reason for me to watch it a second time. Maybe I could give it a second chance eventually because some positives stand out, but for now, I am going to give “Ferrari” a high 5/10.

“Ferrari” arrives in theaters everywhere December 25th. Tickets are available now.

Thanks for reading this review! I have plenty more reviews coming in the near future as the year comes to an end! I will be sharing my thoughts on “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” Stay tuned! 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 “Ferrari?” What did you think about it? Or, what is your favorite movie with Adam Driver in it? Let me know down below! Scene Before is your click to the flicks!