Bob Odenkirk

Nobody 2 (2025): Hitman: Far from Home

Posted on by Jack Drees

“Nobody 2” is directed by Timo Tjahjanto (The Night Comes for Us, Killers) and stars Bob Odenkirk (Breaking Bad, Incredibles 2), Connie Nielsen (Wonder Woman, Gladiator), John Ortiz (Kong: Skull Island, American Fiction), Colin Hanks (The Great Buck Howard, Jumanji: Welcome to the Jungle), RZA (The Man with the Iron Fists, American Gangster), Colin Salmon (EastEnders, Krypton), Christopher Lloyd (Back to the Future, The Tender Bar), and Sharon Stone (Casino, Basic Instinct). This sequel once again centers around suburban dad Hutch Mansell, who is pulled back into his violent past while trying to have a nice family vacation.

Part of me is surprised “Nobody” ended up getting a sequel. If that film came out before COVID-19, we might be having a different conversation, but unfortunately, it came out in March 2021, when some people were still hesitant to go back to the movies. Despite the film likely missing some box office potential, there is no denying that those who ended up seeing it had a good time, including me. I would have totally been down for a second installment, but with the film flying over some people’s radars, part of me wondered if it was reasonable to even get one in the first place. Nevertheless, we did get one, and when I first saw the trailer, I was given the impression that we would be getting more of what worked in the original film.

“Nobody 2” maintains a lot of what was good about the 2021 original, but it is not perfect.

What does work? To no surprise at all, Bob Odenkirk once again kills it as Hutch. A lot of people, including myself, would say “Nobody” shares some similarities to “John Wick.” One similarity happens to be that the protagonist is not only fighting for himself, but for those he loves. While John Wick spent several movies fighting for a dead dog, we see Hutch in this second outing continue to fight for his family. Remember in the first film when Hutch finds out his daughter’s kitty cat bracelet was taken, and he starts to lose his mind? There is a moment in this film that reminds me of that scene. Granted, this scene presents Hutch losing his mind over something perhaps more important than a bracelet, but it goes to show how easily Hutch will lose it if someone messes with his family.

Speaking of family, the rest of the main cast of characters from the last film come back too. I buy into Bob Odenkirk and Connie Nielen as the main couple. They have good chemistry with each other and blend perfectly with their children. The family members all play a significant role in the film to a certain degree. After all, the film sees the group going on vacation together.

I was also very pleased to see Christopher Lloyd come back as David. Not just because he is Christopher Lloyd, but to me, he was the surprise standout from the last movie. In this film, he has a lot less to do, but every scene with him is a riot. I like the way the film handled him, he was directed in such a way where he practically turned into a big ball of energy, but part of me does wish he played a bigger role in the story.

Lendina, the “big bad” in this film, is played by Sharon Stone. To me, this character is an enigma, because she feels like she is in a much different movie than everyone else. Part of me wants to compliment Stone in one regard because she is undoubtedly evil and not afraid to show it. But she is also cartoonishly evil sometimes. There are moments where I thought she reminded me of a “Fast & Furious” villain. In fact, at first I thought I was watching Charlize Theron on screen. But Stone sometimes nears the point where I am convinced she was supposed to be in a “Power Rangers” project and somehow magically ended up on the set of “Nobody 2.” I do not expect Shakespearean performances out of a movie like this, but it would have been nice to get something a step above what the movie delivered. That said, I am also not going to call Stone’s performance incompetent. If anything, I would call it uneven. Though it would not shock me if Stone gets nominated for a Razzie at the end of the year.

This may sound weird considering my previous complaints, but part of me wishes Stone had more screentime. The movie takes a long time to introduce the character. Despite being a pivotal part of the story, her appearance in the film feels kind of out of the blue. It would be one thing if the movie were longer, but the runtime is 89 minutes. It does not give me a lot of time to get invested in the character. By the time we get to the end of the movie and our protagonist must face off against her, the rivalry did not feel as exciting as it could have been.

I am also a little conflicted on how the final fight concludes. The end of the final fight makes a lick of sense considering the film’s overall themes and tendencies to focus on a group supporting each other when they need it most. It also makes sense because we see Hutch is not perfect when it comes to fighting. But truthfully, the fight spent too much time showcasing what the villain is capable of rather than showing what Hutch, the star of the film, can do going up against said villain.

Despite my complaints, I will acknowledge that this film does generally satisfy when it comes to action. There is not one sequence that was improperly shot or lazily done. The filmmakers spared no expense. If you are simply looking for some solid action sequences, “Nobody 2” has them. This is not my favorite action film of the year. It also does not have my favorite action scenes of the year. But that does not mean the film is bad. If anything, it implies that this has been a pretty good year for action, and “Nobody 2” is the latest project to prove that point, even if it is a step below some other recent movies.

In the end, “Nobody 2” is not a bad movie, but it is definitely inferior to the original. It has action that is about as solid as its predecessor, but the story and characterization is sometimes lacking. The past few months have delivered some terrific action movies, particularly “Mission: Impossible – The Final Reckoning,” and “Ballerina.” If you are looking for an action flick to watch in the near future and you want my recommendation, I would probably suggest those two films before this one. I am going to give “Nobody 2” a 6/10.

“Nobody 2” is now available to rent or buy on VOD.

Courtesy of Focus Features – © Focus Features

Thanks for reading this review! My next review is going to be for “Honey Don’t!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Eden,” “Splitsville,” and “The Long Walk.” 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 “Nobody 2?” What did you think about it? Or, which of the two “Nobody” installments do you prefer? Let me know down below! Scene Before is your click to the flicks!

The Post (2017): Streep and Hanks Spread the News and Define History in This Spielberg Flick

Posted on by Jack Drees

Hey everyone, Jack Drees here! It is time for the third installment of this ongoing Steven Spielberg Month, where I will be reviewing four of the many movies Spielberg has created over the span of his career. Spielberg has created films with action like “Raiders of the Ark” and “Minority Report,” but today, we are doing a reverse Elvis Presley. A little less action, a little more conversation. That is because we are tackling one of Spielberg’s most recent outings, “The Post.” Nominated for two Oscars, this film was met with acclaim. Let us hope that the Movie Reviewing Moron will have something to say to add to this film’s endless stream of positivity. Here we go.

“The Post” is directed by Steven Spielberg (Lincoln, The BFG) and stars Meryl Streep (The Giver, The Iron Lady), Tom Hanks (Toy Story, Cast Away), Sarah Paulson (Studio 60 on Sunset Strip, Game Change), Bob Odenkirk (Breaking Bad, Nebraska), Tracy Letts (Lady Bird, Wiener-Dog), Bradley Whitford (The West Wing, The Handmaid’s Tale), Bruce Greenwood (Star Trek, Young Justice), and Matthew Rhys (Brothers & Sisters, The Americans). This film is about the first woman newspaper publisher and her editor as they uncover a history changing revelation that had been hidden for four presidencies.

I started Scene Before in 2016. Therefore, I have reviewed a lot of movies since then. Despite seeing previews, I have never gotten around to reviewing, or even watching, “The Post.” The film had a lot of potential from one of the most acclaimed actors and one of the most acclaimed actresses coming together to lead the picture. In addition, Steven Spielberg is behind the camera. Despite the potential, I skipped this film. I was excited to finally give it a watch at home since I had a used copy of the 4K Blu-ray on standby. Physical media forever.

Safe to say, the film is quite good. Streep and Hanks, unsurprisingly, make for a marvelous on-screen pair as Katharine Graham and Ben Bradlee respectively. Cast members who are not quite at the level of top billing like Jesse Plemons and Will Denton also have moments to shine as well. Steven Spielberg delivers another win for his career on top of his many others. The screenplay, which was written by Liz Hannah and Josh Singer is undoubtedly compelling. I should not be surprised that the screenplay is as solid as it is, as Singer has previous experience in writing excellent journalism-centered storytelling. In addition to “The Post,” Singer also wrote “Spotlight,” for which he won two Academy Awards, specifically Best Original Screenplay and Best Picture. Having seen that film, I am not terribly shocked. I am also not terribly shocked that not long after those wins, Singer would once again utilize his creativity to effectively craft “The Post.”

Despite being a serious movie, it flies by. Honestly, despite being a couple hours, it felt like an hour and a half at times. It is that good. Pacing-wise, this is one of the better movies I have seen recently. Kind of like “The Post,” “Spotlight” came out as another one of these awards season darlings. I think both movies are equal in terms of entertainment value, a term I use lightly given both of these movies’ subject matters. Although as for which one I like better, I think it depends on where you look. “The Post” feels a bit more theatrical than “Spotlight.” Therefore, when it comes to technicality, that is one aspect where this movie dazzles. The costumes are rugged and transportive enough to make me feel like I am traveling back in time. A lot of the locations look extravagant and beautiful. To add to the antique touch, this movie was entirely shot on film, whereas “Spotlight” used the digital Arri Alexa XT.

Steven Spielberg is no stranger to starting off his movies with a compelling hook.

No pun intended.

In “Jaws,” you have the intro with the infamous music that continues to build whenever the shark is present. After that, you have that scene on the beach where the shark bites a girl in the water. Total intrigue. In “Jurassic Park,” the opening scene between the humans and the dinosaur shows off the menacing vibe these creatures can deliver. In “The Post,” we start off with soldiers fighting in Vietnam. I was not alive during the Vietnam War. In regards to history, I was still a baby when 9-11 happened. Although based on what I have learned in school, I know enough about the Vietnam War to recognize how significant and unfortunate it is from a U.S. perspective. I thought starting off here provided for an effective reminder of not only what the Vietnam War put a militaristic group through, but also what it did to the people of the country they were tasked with defending and honoring.

Now, this is not an action movie, it is not a war movie. War and politics are two defining traits within the story, but if you are looking for a war film in 2017, “Dunkirk” is probably your friend. That said, this one glimpse of action during the Vietnam War set the stage for what was to come. It took something so big to make something much smaller in scale appear more attractive.

This film dazzles from a technical perspective. Again, the costumes and locations look stunning. Speaking of stunning, the intricacies that go into how this movie was made are mind-boggling. The camerawork in this film occasionally felt so immersive that it highlighted some of the best direction of the year. The movie has a few long takes that felt perfectly planned and put me right in the room. There was a scene where I felt as if I was walking around the office of The Washington Post. It is like if Google Maps Street View theatrically transformed itself. Janusz Kaminski, a longtime collaborator with Steven Spielberg, worked on the cinematography for this film. While it was not nominated for an Academy Award, I think it is some of the finest of 2017 alongside Roger Deakins’s work in “Blade Runner 2049” and Hoyte van Hoytema’s craft in “Dunkirk.”

I often try to avoid politics on Scene Before. However, this is one of those cases where it must come into play. I say so because one of the notable aspects of “The Post” was its time of release. This film came out around the tail end of 2017, when Donald Trump was President of the United States. “The Post” almost comes as a tell as to whether history could repeat itself, because this movie reveals a lack of trust or full connection between the news and the government. At the same time, Donald Trump would consistently sideline or mock various news outlets and pick his favorites. This is an action he would continue to do even by the time he left office. If I saw this movie years ago, I would probably leave the theater thinking it is a relevant title and connect it to the importance of the 1st Amendment. This film has an ending that profiles such a thing beautifully.

Speaking of U.S. Presidents, Richard Nixon makes an appearance in this movie. There is a scene towards the end of the movie where we see a suited Nixon. We never see his face, it is almost like looking at The Banker from “Deal or No Deal” at times. Since this movie is based on true events, one touch that I thought was nice was the use of Nixon’s actual voice . The addition of Nixon’s real voice illustrated a specific scene’s point and perhaps delivered an emotional attachment that I would not have felt otherwise. Curzon Dobell is barely in the movie as Richard Nixon, but for the short time he is in it, he makes the performance a standout.

The story feels kind of Hollywoodized and some of the supporting characters do not stand out as much as others, but the film overall is worth a watch. The only other critique I can come up with is that this is one of John Williams’s lesser scores. The man is a genius, and his music during the movie works. But when it comes to his library, this is a score I am not going to remember as much as others.

In the end, “The Post” is a stellar look at how the United States changed journalism, and in turn, how journalism changed the United States. There is no surprise that a film like this could work. Coincidental or not, the timing of this story could not have been better. You have Meryl Streep, Tom Hanks, and Steven Spielberg working together. On paper, this sounds like an absolute win. In execution, it is an absolute win. In other news, water is wet. While “Spotlight” may be a slightly better journalism-centered story, “The Post” is another example of how well journalism can be used as the centerpiece of a cinematic experience when given the right tools and context. If Josh Singer wants to do another movie about journalism I am there on day one. I think he is one of the best screenwriters working today. His work on the film with then newbie Liz Hannah, who would go on to co-write the funny political comedy, “Long Shot,” is superb. I am going to give “The Post” an 8/10.

Speaking of history, one thing I love about Steven Spielberg is his ability to successfully manage a couple feature-length directorial efforts in such short time. In 1993 he released both “Jurassic Park” and “Schindler’s List” within months of each other. Before making “The Post,” Spielberg directed one of my favorite films from him, “Ready Player One,” and he ended up shooting “The Post” while “Ready Player One” was in post-production. “Ready Player One” ended up coming out after “The Post,” but it goes to show that Spielberg is committed to his craft. When one door closes, another one opens. Sometimes he opens the other door back up after a while. There is a reason why I am doing a Steven Spielberg Month, and this is one of them. He is one of the best minds in the film industry today.

“The Post” is now available to rent or buy on VOD and is also available on DVD, Blu-ray, and 4K Blu-ray.

Thanks for reading this review! My next and final installment to Steven Spielberg Month is coming next Friday, October 28th, and it will be a review for Spielberg’s latest movie to have a wide release, “West Side Story!” I have seen the film twice and will watch it once more for review purposes. I am excited to finally talk about this movie given how I did see it in December 2021, but due to time constraints, I never got around to reviewing it. If you want to see my other reviews through Steven Spielberg Month, check out my thoughts on “Close Encounters of the Third Kind” and “E.T. the Extra-Terrestrial.” If you want to see this and more from Scene Before, follow the blog with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Post?” What did you think about it? Or, did you see “Spotlight?” Tell me your thoughts on that movie! Do you like “The Post” or “Spotlight” more? Let me know down below! Scene Before is your click to the flicks!

Nobody (2021): Bob Odenkirk Seeks Revenge Over a Kitty Cat Bracelet, and It’s Worth the Watch

Posted on by Jack Drees

“Nobody” is directed by Ilya Naishuller, who also directed one of the first films I reviewed on Scene Before, “Hardcore Henry,” and stars Bob Odenkirk (Breaking Bad, Nebraska), Connie Nielsen (Wonder Woman, The Following), Aleksei Serebryakov (Leviathan, McMafia), RZA (The Dead Don’t Die, Mr. Right), Michael Ironside (Superman: The Animated Series, Turbo Kid), Colin Salmon (Tomorrow Never Dies, Krypton), and Christopher Lloyd (Back to the Future, Clue). This is a revenge flick centered around a guy named Hutch Mansell, who seemingly lives a normal life. He has his job that he goes to every day, he has his routine, he his wife and kids at home. He’s in some ways, a typical suburban dad. Note: I said some ways, because hidden behind this persona is a past where he was an auditor, or an assassin who kills people that are impossible to arrest. But he left his action-packed past so he can have the family he has now. But just because he has a family, does not mean life is completely quiet, as the house suffers through an overnight break-in. Hutch lets the invading party go off with select items, to where he’s questioned by his son and others in his life. However, not long after, Hutch goes on a revenge quest, where he somewhat harkens back to his days as an assassin.

There is something about revenge movies that are pleasing. Minus a couple things that are intertwined here and there, these movies are mostly simple, action-filled experiences that bring on the fun. One of my favorite movies of the past year is a revenge film, albeit much different regarding plot and story, specifically “Promising Young Woman.” But I saw the trailer, both green band and red band, for “Nobody” a number of times, and all I wanted out of this film was some cool fights, funny one-liners, and fast-paced scenes. And that is exactly what I got, and maybe a little more.

– New York, NY – 10/8/16 – Derek Kolstad (Screenwriter) at John Wick: Chapter 2 Lionsgate’s New York Comic Con Panel -Pictured: Derek Kolstad (Screenwriter) -Photo by: Marion Curtis/StarPix

This film comes from writer and producer Derek Kolstad, who also wrote one of the most iconic action movies of the 2010s, “John Wick.” Now I like “John Wick,” I’ll even admit that the sequels honestly are an improvement over the original to an extent, they know how to have more fun and just go nuts. “Nobody” perhaps to a lack of surprise, takes some of the beats that “John Wick” manages to have in its movie. But “Nobody” gets away with it for some new things it introduces and the fact that it puts the idea of making an entertaining action thriller first. Despite the similarities, “Nobody” never feels like it is trying too hard to pay homage to or copy and paste from something else, it is its own thing. But it does not mean there are not clichés. Some include having the main character have something be taken away, the main character going back to their roots to move the plot along, and occasional quips from one character to another. These are not disses on the movie, after all, these clichés were done well! It made for an entertaining product.

To say this is a “John Wick”-like movie would be an understatement. In fact, like glimmers of “John Wick,” which mostly stands out to me for being fun, it also aces in regard to its serious moments as well. One of the more iconic moments of “John Wick” is that moment when the title character’s dog gets killed, which is a catalyst for him seeking revenge. This movie has an animal-related revenge story as well. Although it has nothing to do with a dog, or a living creature.

It has to do with a kitty-cat bracelet.

The reveal for this is almost the best part of the movie and one of the reasons why “Nobody” aces its goal of not always having to take itself seriously. Now, I already knew that from the trailer that this would be in the film, but I did not expect it to be as paramount as it is. I do not want to go into complete spoiler territory, but the reveal for this in the film plays out like a scene from a Fox primetime cartoon like “The Simpsons” or “Family Guy.” The moment that Hutch’s young daughter, Abby (Paisley Cadorath), starts complaining that her precious item is gone and specifies exactly what that item is, is almost flat out hysterical. Because of ALL THINGS, this… Kitty cat bracelet, is the one thing that we see pushes Hutch over the edge and gets him to go out and bust some heads. Not having a watch stolen, not having money stolen, not having the house simply broken into at night.

A kitty cat bracelet.

I mean, seriously! Hutch’s reaction kind of reminded me of “The Simpsons” and “Family Guy” because I can totally see a scene in either one of those two shows where Homer Simpson or Peter Griffin respectively hear something as simple as a show being cancelled or the McRib being off the menu at McDonald’s again and that causes them to go on a rampage. If there is a film that I think could work well as inspiration for an animated spinoff, “Nobody” is an arguable contender.

But at the same time, this is a film that does the best it can to deliver a gritty, well-shot, and violent thriller every step of the way. The action in this film is well-choreographed, I can mostly tell who is fighting who, and it occasionally gets a laugh out of me. There is a scene on a city bus that nails this description.

One of the best parts of Bob Odenkirk’s character of Hutch is his relatability. Again, kind of like “John Wick” if you ask me. I got to stop saying that. He’s a 9 to 5 guy and a family man at the same time, so I would say that he is just a simple guy with extraordinary qualities, he’s a well thought out protagonist. I could buy into all of his motives at the beginning despite what others say about him. Think about it, when someone breaks into your house, what matters to you? Yes, your possessions are important, but living to fight another day is a priority as well, perhaps one that is even greater. Not to mention, he had a family to protect too. Sometimes you are in a situation where you have to pick your poison. I really like Hutch and I would not mind seeing him in a sequel.

Actor Christopher Lloyd arrives at Smiles from the Stars: A Tribute to the Life and Work of Roy Scheider at The Beverly Hills Hotel on April 4, 2009 in Beverly Hills, California. A Tribute To The Life And Work Of Roy Scheider – Red Carpet The Beverly Hills Hotel Beverly Hills, California United States April 4, 2009 Photo by John Shearer/WireImage.com To license this image (57129316), contact WireImage.com

Now Bob Odenkirk is great in this movie. So is Connie Nielsen, so is just about everyone else, but I also want to point out the comedic genius of Christopher Lloyd. To me, he will forever be known as Emmett Brown, that is inevitable, but Lloyd slaps in this film, mainly due to how his character is written. I will not say much, but we see him as this elderly man who just happens to be Hutch’s father, but without going into detail, he has some other qualities to him that almost come out of nowhere. Just watch the movie, but there is a moment that will likely have many of you grinning like an idiot around the halfway point or so. You’ll see what I mean.

Although I do want to talk about one thing. Per usual, I saw this movie a month ago. I hope I get to a point where I can review stuff I have recently seen, but this is just the way it is. But even though this is a fun action movie that is incredibly balls to the wall, it’s rated R, it goes for the edge, there is one presence that is lacking in this film, and that is a threat. Yes, there is one in the film, but the antagonistic side of things is honestly somewhat forgettable. At the same time though, the protagonistic presence is hypnotizing, which sort of makes up for the flaw. And, this once again, harkens back to “John Wick.” It has great buildup, and even though the climax is entertaining, the antagonistic side is not that memorable. I don’t know, maybe it is just me.

In the end, “Nobody” is a movie that everybody should see. That is if you really like action and violence that is taken up a notch. I keep making comparisons to “John Wick,” but this does not mean that “Nobody” is a bad movie, it just means that a lot of the great things that appear in “John Wick” make an appearance in here as well and it ends up being beneficial. Great action, likable characters, fast-paced editing, and stellar cinematography. What more could you ask for? I would definitely watch “Nobody” a second time, maybe on a Friday night when I am at home or something and I am going to give it a 7/10.

“Nobody” is now playing in select theaters and is also available through VOD services such as Xfinity On Demand, VUDU, and Prime Video to rent or buy.

Thanks for reading this review. My next review is for the battle of the year. Not humans vs. coronavirus, not Pepsi vs. Coke, and DEFINITELY not “Tom & Jerry,” it is “Godzilla vs. Kong.” I saw the movie in March, once more in April, and I cannot wait to finally give you my thoughts on it! Everybody’s seeing it, so I might as well pitch in and do my part to be in the conversation! That review should be up by next week, but we shall see. Tonight I watched “Mortal Kombat,” which is in theaters and on HBO Max. The film is based on the popular video game franchise, and I will have my thoughts on that soon. Be sure to follow Scene Before either with an email or WordPress account, and check out the Facebook page so you can stay tuned for more great content! I want to know, did you see “Nobody?” What did you think about it? Or, what is an item that means very little to other people, but you would freak out if you discovered it was lost? For me, it would have to be a particular external hard drive. Data is very important to me. Let me know down below! Scene Before is your click to the flicks!

Little Women (2019): Call Me “March” Like You Said You Would

Posted on by Jack Drees

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“Little Women” is directed by Greta Gerwig (Isle of Dogs, Lady Bird) and stars Saoirse Ronan (Lady Bird, Mary Queen of Scots), Emma Watson (Beauty and the Beast, The Circle), Florence Pugh (Midsommar, Fighting with my Family), Eliza Scanlen (Home and Away, Sharp Objects), Laura Dern (Marriage Story, Star Wars: The Last Jedi), Timothée Chalamet (Beautiful Boy, Interstellar), Meryl Streep (The Post, Sophie’s Choice), Tracy Letts (The Lovers, The Post), Bob Odenkirk (Breaking Bad, Incredibles 2), James Norton (Happy Valley, Flatliners), Louis Garrel (The Dreamers, Redoubtable), and Chris Cooper (The Amazing Spider-Man 2, A Beautiful Day in the Neighborhood). This film is based on the book of the same name conceived by Louisa May Alcott, which has been adapted and brought to other mediums in the past, and this is another attempt to make a film out of it. The story of “Little Women” follows the lives of the March sisters, four women who are determined to live life on their own terms.

Apparently, this is one of multiple adaptations of “Little Women.” However, just a fair warning, I have never read the book, and I never witnessed any other adaptation of the IP. So this film took my “Little Women” virginity. I probably would have gone to see this film earlier, but due to time constraints, other films getting in the way, not to mention missing out on an opportunity to go to an advance screening, I just couldn’t get around to “Little Women” until now. In fact, the reason why I am watching “Little Women” at this point is to get caught up on this year’s Academy Award nominations, specifically Best Picture. Upon hearing which films were announced for the category, I have seen each one except “Little Women,” so I took today,  perhaps my least busy day of the week, and took the subway to a non-profit theater that way I could go watch the movie in 35mm film. I figured if I wanted to watch a Best Picture nominee, I might as well commit.

Sadly, I don’t feel like that commitment has worked out. I will be honest, I was kind of disappointed with “Little Women.” I would like to just point out, I admire Greta Gerwig as a filmmaker. I think she knocked it out of the park with her 2017 feature-length directorial debut, “Lady Bird.” Although if I had to compare “Little Women” to “Lady Bird” and my desire to go back and watch them again, it would be like comparing odds of finding a Chick-fil-A in a casino or a slot machine in a casino. Even though I have seen “Lady Bird” once, it would probably associate more with the slot machine. It’s a jackpot! As for “Little Women,” I might chicken out after a little while.

Now… Don’t think I am nagging on “Little Women” calling it a disaster. It is by no means the worst movie of all time, it just has problems is all. In fact, “Little Women,” in terms of direction, shines. I feel like in terms of a director wanting to get THEIR vision out to the public, “Little Women’s” Greta Gerwig succeeded at such a task more so than a good number of other filmmakers this year. A lot of the cinematography done by Yorick Le Saux is beautiful and totally stands out through the 35mm print shown at my screening. Alexandre Desplat’s score is great and fits the vibe! I also like the idea of not only shooting the film on location, but shooting it around the area where Louisa May Alcott wrote the “Little Women” book, Concord, Massachusetts. It provided for some of the most gorgeous scenery of 2019’s cinematic year and some of the better production design for said cinematic year. A lot of the scenes in the film are wonderfully realized and jump off the screen. Too bad the movie’s kind of boring.

Don’t get me wrong, the movie starts out fine. In fact, the first two thirds are somewhat interesting. The characters, not to mention the actors who play them, are not half bad. I felt the chemistry between pretty much every single character, which may have been the most necessary requirement for this film, because if I did not believe in the chemistry between the sisters, then why should I care? Amazingly, I got to a point where I did not care. I say that because even though this film is one of the better technical pieces of the year, I think pacing-wise, it suffers. I like the idea of these women dealing with their separate and collective issues, and there are some scenes that were in a word, capital! I will not go into detail, because despite having seen a trailer, I am not sure how much this film revealed beforehand. But I think one of this film’s bigger challenges, from a screenplay and directing perspective is meshing together all of these characters’ individual journeys and having a viewer like me care about all of it without it feeling a tad like a mess. Unfortunately, the film dives into the messy territory. “Little Women” honestly feels ten, twenty, maybe even thirty minutes longer than its runtime, specifically 2 hours and 15 minutes. For reference, I watched “Marriage Story” in the theater at the end of the previous December, which was 2 hours and 17 minutes. “Marriage Story” honestly somehow feels shorter than “Little Women.” To add onto this, I remember staying throughout the entire credits during “Marriage Story.” On the other hand, I left part of the way through “Little Women’s” credits.

I almost wonder if “Little Women” is one of those films that could get better through a rewatch, that way I can just concentrate closely on each character and maybe care about them with an all new point of view, but after watching this film for the first time, I don’t see much else of a reason to watch it once more. I have never been interested in the book, I have never sought out any other adaptation of this material, and in case you must know, and maybe this is affecting my thoughts on the film a little bit, I am not really in the target audience for “Little Women.” As far as I know, “Little Women” was never originally written for me, so I may not have the perspective that many of its targets would. I think actors like Saoirse Ronan, Laura Dern, and Timothée Chalamet do a fine job with their roles and suit their characters well, pretty much to the point where I don’t imagine anybody else portraying them. I also think the costumes in the movie are some of the finest and most sophisticated costumes in a 2019 film. “Little Women” has a lot of good qualities to it, but several things keep me from wanting to go back and watch it again. I am honestly shocked to say all of this, because I didn’t hate the trailer that I saw for this film, and I had faith in Greta Gerwig. To be clear, she did a good job with the direction, but had a few things been handled better, I think this could have been a damn fine vision, not to mention a better movie.

Plus, another thing to consider is this… I already mentioned that I am not the target audience. So I have to ask everyone reading a question and this may be important. First off, if you have seen 2019’s “Little Women,” what are your thoughts on it? Also, if you have seen any other material related to the “Little Women” IP, what are your experiences in relation to that? Was what you saw pretty good? Bad? Middle of the road? I’ll even ask this classic question, was this movie better than the book? Let me know!

In the end, “Little Women” is one of the bigger disappointments of a film that I have witnessed in recent memory. If you have followed this blog recently, you may know that I reviewed “Cats” because I apparently have ALL THE TIME IN THE WORLD to watch “Cats.” When I reviewed “Cats,” I called it the most competent borefest of a film released in its particular year. “Little Women” was released in the same year as “Cats,” specifically 2019, and there is an argument that I could make from my end that “Little Women” may dethrone “Cats” to earn such a title. It’s gorgeous, beautiful, not to mention vibrant. As a production, it is a feast for the eyes. But the eyes need to do more than stare at pretty things for a couple of hours. Had the movie maintained the promising pacing and kept me as interested as I was during the first couple of acts, I would still recommend “Little Women” to a lot more people. Of the movies the Academy nominated for Best Picture this year, “Little Women” is honestly my least preferred. But to be honest, based on the positives outweighing the negatives for this film FOR NOW, I am going to give “Little Women” a 6/10. This film is no “Lady Bird,” and I’ll be honest, for everyone who is upset about Greta Gerwig not getting nominated for Best Director, I get it. But personally, gender is not a topic I am associating with how I view nominations, but that’s just me, I think a display of talent regardless of gender, should come first, doesn’t mean I want to start an online war about it. Although I will be honest, all the chosen nominees, to me, were better in terms of vision fulfillment, technical choices, not to mention creating an overall better movie, at least for the most part on some of these direction-related requirements. And if you want my two cents, I do have a recommendation for a great 2019 film directed by a woman. If you haven’t already, go watch “Honey Boy,” it’s gonna be on Prime soon and I highly recommend it!

Thanks for reading this review! I just want to let everyone know that I am going to be heading back to college next week, and hopefully it does not affect my consistent content release schedule. But maybe before I go back, I am planning on watching one more movie. Maybe I’ll watch more than one, but I didn’t want to end this post without mentioning “The Murder of Nicole Brown Simpson,” directed by Daniel Farrands. As of right now, this film is not playing anywhere near me, although it did get a release in theaters. And if this sounds somewhat familiar, this film is from the director of the 2019 abomination, “The Haunting of Sharon Tate.” I just want to say… I MIGHT sacrifice my soul and watch this movie. For those of you who have seen my worst of the 2010s list know that “The Haunting of Sharon Tate” earned a spot pretty high on the list. I’m just curious to know if “The Murder of Nicole Brown Simpson” is somehow any worse. If I watch this movie, please wish me luck! I might need it! Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! If you want to leave a like or comment (if your account is eligible), please do so! It really helps me out! Also, please check out my Facebook page and spread the word about Flicknerd and Scene Before on social! I want to know, did you see “Little Women?” What did you think about it? Or, of the 2020 Best Picture nominees from the Academy, which is your favorite? Let me know down below! Scene Before is your click to the flicks!