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Wildwood (2026): A Boundary-Pushing, Emotionally Riveting Stop Motion Masterpiece

Posted on by Jack Drees

“Wildwood” is directed by Travis Knight (Kubo and the Two Strings, Masters of the Universe) and stars Carey Mulligan (Promising Young Woman, Maestro), Peyton Elizabeth Lee (Secret Society of Second-Born Royals, Andi Mack), Jacob Tremblay (Room, Wonder), Richard E. Grant (Can You Ever Forgive Me?, Withnail and I), Awkwafina (Crazy Rich Asians, Shang-Chi and the Legend of the Ten Rings), Amandla Stenberg (Bodies Bodies Bodies, The Hunger Games), Tom Waits (Father Mother Sister Brother, Licorice Pizza), Charlie Day (The LEGO Movie, It’s Always Sunny in Philadelphia), Blythe Danner (Meet the Parents, Will & Grace), Arthur Knight, Angela Bassett (Akeelah and the Bee, Black Panther), and Mahershala Ali (Moonlight, Green Book). This film is based on a fantasy novel by Colin Meloy and Carson Ellis. Upon watching her baby brother Mac get taken away by a murder of crows, a young girl named Prue goes on a quest through the forbidden forest to save him.

Life is full of surprises. As someone who has watched a lot of movies, I often get the feeling that it is difficult to be caught off guard anymore. Though the 2020s have shown me how much I continue to be marveled by the power of animation. My favorite film of 2020 was “Over the Moon,” which going into it, I thought was just going to be another throwaway Netflix film. Turns out it reminded me a lot of what I went through as a teenager and for that reason, it left me in tears by the end. 2021 saw the release of “Belle,” which I watched more times than I can count on two hands. “Spider-Man: Across the Spider-Verse” pushed the boundaries of the medium in 2023 and seamlessly blended together six different animation styles. Plus I must not forget other films that left an impact on me like “Puss in Boots: The Last Wish,” “Marcel the Shell with Shoes On,” and “The Wild Robot.”

These are all amazing films in their own right, and much like many other animated titles, these are fantastic choices for all ages. This brings me to a point I must make clear in this review. “Wildwood” is not for kids. It is PG-13 for a reason. Animated projects for adults are not a new thing, but I know in the United States, they’re not always the ones getting the most attention. I am not saying all kids should be kept away from “Wildwood,” but given this film’s intense moments and sequences, nudity, and language, this is a film that clearly keeps an adult audience in mind first. It is not like there’s a sex party or anything of that sort. This is not “Sausage Party,” nor is it something for “everyone” like I often claim Pixar movies to be. This is something in between.

That said, if you are of the right age or mindset and are able to watch “Wildwood,” do it now. Like, literally right now. In fact, if you make it to the end of this review and you still have not watched “Wildwood,” you may be doing yourself a disservice. This is one of the best animated films I have ever seen. This is a medium-defining movie, and I contend it could be the greatest project in the history of stop motion. I say this as someone who may not have a ton of experience with stop motion, but appreciates the works that goes into those movies and has some fond memories of watching them over the years, including those by Laika. I grew up with “Coraline” to an extent. I remember going to watch it in the theater and renting it from Blockbuster Video. Over the years, I got around to watching films like “Paranorman,” “The Boxtrolls,” “Kubo and the Two Strings,” and “Missing Link,” all of which were really good.

“Kubo” just so happens to be directed by Travis Knight, who went on to helm this very movie. When I saw “Kubo” in 2016, I thought it was Laika’s best movie. Having seen “Wildwood” a decade later, I think “Kubo” has been dethroned. It is not just because of how much this latest movie captivated me as a story, which it most certainly did, but because it is one of the most technically impressive feats in the history of filmmaking. What “The Odyssey” did this year for live-action, I would contend “Wildwood” does for animation. In fact, both are fantasy stories based on preexisting material. They are simple narratives, but they are brought to life in such a way that hits the goldilocks zone. In fact, I would not be surprised to find out that one’s complaint about “Wildwood” is that despite how good the film looks, the story and characters feel overly familiar. To me, that was not an issue, because I was engaged with what was in front of me. The characters are all beautifully fleshed out and go through admirable arcs. Meanwhile, the film continuously puts us in shoes of its protagonist, Prue, who is constantly trying to figure out what the deal is with the forbidden forest and its many ins and outs.

Although going back to the film feeling familiar, it did remind me a lot of some other projects I enjoyed. I have not read any of the “Wildwood” books. I cannot compare them to this movie. But I found myself reliving the joys I felt watching other films over the years. There is an incredibly immersive flying scene that felt very much like something out of “How to Train Your Dragon.” There are battle sequences that seemed to be inspired by “Lord of the Rings.” Even a film that I was admittedly not the biggest fan of, “The Goonies,” came to mind. Not only does this film, like that one, boast a sense of adventure, but both movies made me want to go to Oregon. When the film is not taking place in the forbidden forest, it is in Portland, Oregon. The sets representing Portland looked stunning as can be. I kid you not, hours after this movie ended, I looked up flights to Portland in hopes of being able to go next year.

There is not a single character that I could look at in “Wildwood” and say I dislike. I do think there is one slightly questionable voice casting choice. But even as I say that, I think they did an okay job in the movie. For the record, that one cast member is Awkwafina as Septima, a friendly rat. I have nothing against Awkwafina as a performer, but her many roles in recent years, both as a physical character as well as someone’s voice, have given me a sense that she lacks range. Every other movie, she seems to rely on the same schtick and quirks that she implemented in some of her previous roles. Awkwafina seems to bring that schtick to the table once again, but not to as obnoxious of a degree as she has in some prior roles. She also has some decent, funny material to supplement her performance. There are some good moments between her and Prue.

Speaking of Prue, she is voiced by Peyton Elizabeth Lee, and this is my first introduction to this young actress. I say young like she is a kid, she is actually 22. But after hearing her in this film, I hope I have the opportunity to see Lee get more work. There is a constant conviction in her voice that is as palatable as it is believable. Granted, with this being a stop motion animation, one could argue that the puppet is the star of the show as opposed to the person voicing it. And I was often impressed with how convincingly this puppet and others were brought to life. Prue has dynamite chemistry with just about everyone with whom she crosses paths.

There is a supporting character named Curtis (Tremblay) who we often see alongside Prue. The two do not always seem to mesh together, but seeing their imperfections play out allows for some entertaining sequences and fantastic character development on both ends. I bought into the bond between Prue and her parents. I particularly found her father (Jake Johnson) to be a solid voice of reason, even if he does have a helicopter parent vibe. I was constantly rooting for Prue to find her baby brother, not just because it is the right thing for her to do, but because she always gave off a sense of ambition. She sounded like she was going to stop at nothing to make sure Mac gets home safe.

The film also has a fabulous antagonist, Alexandra. While the movie does show her doing questionable things, Alexandra is not exactly vicious. What makes Alexandra compelling is that she seems to want something along the same lines of what Prue wants. Prue is willing to do anything to get her brother back, and we come to realize that there is someone in Alexandra’s life that she would give everything up to see return as well. The film sets up a situation that not only puts Alexandra in Prue’s way, but said roadblock is what gets Alexandra closer to getting to see that special someone one more time. Carey Mulligan also does a terrific job voicing the character. Much like the rest of the cast, Mulligan has some great material to work with.

The word “epic” is one that can often be used as a hyperbole. But “epic” is exactly what I would use to describe “Wildwood.” The sets and effects are mind-blowing. Dario Marianelli’s score is satisfyingly booming. The battle sequences look like something out of “Braveheart.” Each one feels like pure eye candy and quite heavy in terms of the stakes. Even when the movie slows down, the story feels like it is just getting started. Overall, this is a story that starts out small and by the end feels larger than life. I know that sounds every other movie ever made, but “Wildwood” is a project that understands how to perfect that philosophy. This film is 2 hours and 12 minutes. That makes “Wildwood” the longest stop motion animated film ever made. It earns every single minute. This film is never boring. It hits a sweet spot when it comes to pacing. The quick moments are exciting, but the film knows when to let the audience breathe. I am not going to pretend that everything in “Wildwood” is original. Though it is undoubtedly imaginative and presents all of its material in a spectacular, awe-inspiring package. It is kind of like the original “Star Wars.” If you think about the movie hard enough, you can come up with some idea as to what inspired it, but the film nevertheless brings something fresh to the table and offers a ton of replay value. As I said in previous posts, cliches are fine as long as they are done well. They could not have been done better in “Wildwood” if anyone tried, as is the case with all the extraordinary things included in this movie.

In the end, “Wildwood” is not just one of the best films of the year, there is a serious argument to be made that it could go down as one of my favorite films ever. This is a movie that I want to take friends to in the future. It is one that I want to show my dad. It is one that I can see myself rewatching in the comfort of my bedroom. I remember watching the “Lord of the Rings” and “The Hobbit” movies as a teen and being inspired to make films of my own one day. If “Wildwood” came out during that time in my life, it would have been just as formative of an experience as those movies. I am not sure what the legacy of “Wildwood” is going to be, but I am hopeful that it is going to inspire future artists and filmmakers. This is a movie that pushes the boundaries of animation and reminds me of the joys of being a film fan. Go see this movie. You’ll laugh. You’ll immerse yourself in such a wonderful world. You might even cry. I am going to give “Wildwood” a 10/10.

Laika is a studio that I am shocked yet happy is still around today. If it were not for Travis Knight being born into a family associated with Nike, this film probably would have never happened. As far as nepo-babies go, Knight is probably one of the coolest. In fact, this is not Knight’s only film he directed to have come out this year, as he also directed “Masters of the Universe,” which came out in June. This double-header may not have the same prestige as Steven Spielberg’s double-header in 1993 with “Jurassic Park” and “Schindler’s List,” but this is still quite the hot streak. Knight has not made a bad movie. I did not think it was possible for him to outdo “Kubo and the Two Strings,” but he did. If he sometime in the future outdoes “Wildwood,” I am going to need surgery, because chances are my jaw is going to break the earth from dropping so monumentally low.

And in case I did not make myself clear, please go see “Wildwood.” Take your friends. Take your loved ones. Maybe take your children if they seem like they can handle it. Please go. You will thank me later.

“Wildwood” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this written review, check out one of my video-based reviews! Right now, I am working on a limited series called Movie Requests, and last week I just published the 13th episode, which features “Adam Ruins Everything” star Adam Conover! He requested I should talk about “To Live and Die in L.A.”, which was a first time watch for me. Did I enjoy it? Click the video above the find out! Also, be sure to subscribe to my YouTube channel that way you can check out more episodes of Movie Requests as soon as they drop!

My next review is going to be for “Clayface!” Stay tuned! Also coming soon, I will be sharing my thoughts on “You Can See Everything,” “Wild Horse Nine,” and “La Bola Negra.” 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 “Wildwood?” What did you think about it? Or, what is your favorite film of the year so far? Right now, “Wildwood” has made my job here so much harder. When I get cracking on that best movies of the year list, picking my number one is going to be tough. Let me know your favorite film of 2026 down below. Chances are I haven’t seen it, so maybe that can add to the challenge. Scene Before is your click to the flicks!

Whalefall (2026): Oh Whale, Better Luck Next Time…

Posted on by Jack Drees

Photo by 20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

“Whalefall” is directed by Brian Duffield (Spontaneous, No One Will Save You) and stars Austin Abrams (Brad’s Status, Do Revenge), Josh Brolin (Weapons, Avengers: Infinity War), Elisabeth Shue (Back to the Future Part II, The Karate Kid), and John Ortiz (Fast & Furious, Jack Goes Boating). This film is based on a book written by Daniel Kraus, who co-wrote the film alongside Duffield. The story follows a scuba diver who is looking for his father’s remains in the ocean. While the diver is underwater, he is swallowed by a sperm whale. Now in a tough situation, he has an hour to come up with a way to exit the whale before his oxygen runs out.

Photo by 20th Century Studios./20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

“Whalefall” has one of the most compelling pitches for a movie I have seen this year. Essentially, it follows a man who is scuba diving in the ocean, and in a sudden turn of events, he is swallowed by a whale. The pitch very much screamed “127 Hours” but in the ocean. It is a survival movie where our protagonist is constantly in a cramped space, time is not on his side, and he has to do anything he can to escape.

Upon hearing early reviews of the film, I found out “Whalefall” was based on a book. I have not read the book, and do not know when I will get around to it. But I hope it is better than this movie.

This is not to say that the movie is the worst I have ever seen. In fact, as an October movie, this is not super scary, but it is somewhat appropriate for this to release at such a time. I think “Whalefall” ultimately works somewhat better as a summer release because there is a lot of time spent in water, but still. I could somewhat defend the film being released in October because the moments in the water, particularly before we see the whale, are hypnotically shiver-inducing. I have never been scuba diving, and this movie sort of reminds me of why that is the case.

Photo by 20th Century Studios./20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

Speaking of shiver-inducing, the moment we see our main protagonist, Jay Gardiner, encounter the whale itself is very well done. If you have a chance to witness “Whalefall” on the big screen, the whale encounter may justify the price of admission. The whale itself is menacing. Unlike say the shark in “Jaws,” the whale never comes off as an outright enemy and more so an obstacle. Even when we see Gardiner end up in the whale’s mouth, that sentiment stands. The movie never makes me hate the whale, but it nevertheless puts me in a position where I want the hero to succeed against said whale.

Even some of the moments inside the whale are somewhat tense. The movie is not short on conflict and keeps its protagonist, and therefore the audience, on their toes. The movie does a good job at establishing a ticking clock as well. Not just because Gardiner spends time inside a whale, but because he only has a certain amount of oxygen in his tank.

Does “Whalefall” give what it promises in the marketing? Absolutely. But it has an odd way of going about it. The film is presented in a non-linear fashion and brings forth maybe the oddest character ever given by Josh Brolin. Note that I said character and not performance. Brolin did okay with the material given to him.

Photo by 20th Century Studios./20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

“Whalefall” reminds me quite a bit of “The Lion King,” partially because it is a story centered around a father-son relationship, even if that father is technically dead throughout the film. In fact, part of the film, prior to the whale encounter, sees Gardiner talking with other people and it is established that his father left a positive impact on those people. Eventually we see Gardiner go into the water specifically to find his father’s remains.

When we see parts of the father and son’s relationship play out, that is all presented through flashbacks. This does make sense to a logistical degree. If you are all seeing this post on November 5th, 2026, I am very much alive, so I do not what it is like to experience death, but there is a saying that life flashes before your eyes as you’re about to die, and this movie seems to deliver an interpretation of that.

Much like “The Lion King,” “Whalefall” effectively shows the complication between the father and son. The two did not always see eye to eye on everything, but they still admired each other.

For those who have seen “The Lion King,” you may recall there is a scene towards the final act where Simba, who is at a low point, talks to the ghost of his father, Mufasa. The latter winds up giving his son some words of encouragement so he can confidently progress through the rest of his journey. It is a fantastic scene and cements the film as one of the best animations of all time. There are quite a few moments through “Whalefall” where we see a somewhat similar version of that. We see the main protagonist having hallucinations and sometimes “talking” to his father. If this movie perhaps had better material to back it up or executed certain parts in a superior way I may have been more onboard with this concept. But these hallucinations wind up sometimes feeling cheesy. The dialogue does not really help much either. These moments at least progress the story forward to a certain degree, but it does not change the fact that they feel weird before said progression occurs.

Photo by 20th Century Studios./20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

I said before that this movie keeps you on your toes, and it does. But the flashback moments sometimes feel distracting or do not exactly blend with the tone the movie might be aiming for. Maybe the people behind the film thought it would be best to give the movie some balance by slowing things down a bit, but it resulted in a few somewhat boring moments.

This is definitely a layered film because there is a whole father-son element. There is a story involving the son sort of “reuniting with his deceased father” if that makes any sense. Perhaps that is the heart of the film. But in my mind, part of me wonders if this movie would have been more entertaining if it were simplified. Maybe if it just happened to be about a scuba diver trying to get out of a whale, I would be more invested. There is nothing outside that comes off as a distraction or tonally inconsistent. One could argue that this keeps the film from being feature-length, and therefore would perhaps limit its box office potential as there is less prestige, if you want to call it that. Though I am not sure how much the feature-length runtime is helping as “Whalefall” has now been out for several weeks and has only made more than half of its $60 million budget.

Maybe the father-son element works great in the book. And perhaps we would live in a reality where book loyalists and fans would protest against this movie for taking the father-son relationship out of the movie. Though it also goes to show that is sometimes hard to adapt certain things for the screen. I saw “Project Hail Mary” earlier this year, and despite the crew taking things out of the book that I enjoyed, this resulted in one of my favorite films of the decade. If anything, maybe I would pick up a copy of the “Whalefall” book in my spare time because of the curiosity factor. Maybe it really is significantly better than the movie. But you only have one chance to make a first impression, and this movie did not impress me.

Photo by 20th Century Studios./20th Century Studios. – © 2026 20th Century Studios. All Rights Reserved.

In the end, “Whalefall” is not the most bottom of the barrel film I have ever seen, but it definitely could have been better. Parts of it are exciting, while others are noticeably less so. The actors do an okay job with the material given to them. There is definitely no shortage of tension from scene to scene. But while the movie itself isn’t outright boring, there are most definitely dull moments that stood out. Going into this film, the pitch screamed “127 Hours” but in the ocean. If there is a takeaway from this review, it is that I recommend you watch “127 Hours” before “Whalefall.” Maybe it is unfair of me to put these two together, because “127 Hours” is based on true events whereas “Whalefall” is based on a book, but it does not change that I found the former more compelling than the latter. I am going to give “Whalefall” a 4/10.

“Whalefall” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this written review, check out my latest video review! The latest episode of Movie Requests is now online! This episode’s special guest is comedian Adam Conover, who recommended I should watch “To Live and Die in L.A..” This is my first William Friedkin film. I am glad to finally get around to his filmography, so I thank Conover for recommending this film to me. Did I enjoy it? Click the video above to find out! And if you enjoy the video, leave a like, subscribe to my YouTube channel and hit the notification bell! Movie Requests is being made in honor of Scene Before’s 10th anniversary. I have two more guests to tackle until the series comes to a close. Look forward to those episodes coming soon!

My next review is going to be for “Wildwood!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Clayface” and “You Can See Everything!” 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 “Whalefall?” What did you think about it? Or, have you ever been scuba diving? Is it a one-time thing for you or can you not get enough of it? Let me know down below! Scene Before is your click to the flicks!

Sense and Sensibility (2026): A Mishmash of a Jane Austen Adaptation

Posted on by Jack Drees

“Sense and Sensibility” is directed by Georgia Oakley (Bored, Blue Jean) and stars Daisy Edgar-Jones (Twisters, Normal People), Esmé Creed-Miles (Hanna, The Doll Factory), Caitríona Balfe (Ford v Ferrari, Outlander), Frank Dillane (Urchin, Fear the Walking Dead), Herbert Nordrum (The Worst Person in the World, The Hypnosis), George MacKay (Marrowbone, 1917), and Fiona Shaw (Ammonite, Harry Potter and the Philosopher’s Stone). This film is based on Jane Austen’s book of the same name and is about sisters Elinor and Marianne Dashwood as they are forced to leave their estate to live with a distant relative, while also taking on romantic and financial struggles.

Movies are more fun. Sorry, books!

Those of you who followed me a long time may have come across a post of mine where those exact words are mentioned. Based on the typing of this very phrase, this should likely hint that I do not have the greatest fanaticism for Jane Austen’s bibliography. In fact, I read “Pride and Prejudice” in high school, and became increasingly exhausted with it page after page. Austen’s style is not for me, nor is that particular genre of book. By extension, I have not checked out many of the Jane Austen film adaptations. That said, maybe I am not giving them the fairest shot. I did check out “Emma.” in 2020 and had a lot of fun with it. Maybe I was just in the right place at the right time, as I got to see the film at a press screening before it came out. In fact, at said screening, star Anya Taylor-Joy and director Autumn de Wilde happened to be there promoting the project. Plus, the place was crowded, and likely packed with Jane Austen diehards.

As for “Sense and Sensibility,” I saw this film during its official release. I had no one behind the scenes in the room who could potentially influence me to think a certain way. Though the theater was crowded. That is something these two screenings had in common.

Having now seen “Sense and Sensibility,” it is… Okay.

I do not have a girlfriend, but if I did have a girlfriend who wound up dragging me to this movie as I beg her to go with me to see “Primetime” instead, I would walk out of this movie saying, “That was good.” I would not be lying, nor would I be exaggerating. The movie is technically good. Not great, but good.

That said, if my imaginary girlfriend did successfully get me to go to this movie, our relationship would be on the verge of disaster for the first 30, 40 minutes or so. The pacing in this film is sometimes rough. There is a saying that you do not have a second chance to make a first impression. This film is quite slow at the beginning. It takes a long time for things to truly get into gear. To me, this is almost a reverse of Greta Gerwig’s “Little Women,” because both films, while not the exact same in terms of setting, offer fairly similar vibes. I found myself invested in “Little Women” at the beginning and it got progressively more boring. “Sense and Sensibility” is a movie that I initially found disengaging only for things to turn around in acts two and three.

As the movie went on, I was surprisingly into the drama at hand. I am not going to pretend this movie is an all-timer or that I will remember it for as long as I live, but in the moment, it was engaging. As someone who never read the book, I was amazed with how much material the film threw at the screen in just a matter of 132 minutes. It really keeps you on your toes. I know I said this movie was boring at the beginning, but the film’s commitment to quantity, on top of adapting a novel many readers have found to be quality, make for something watchable.

That said, while the film is not short on drama, it appears to have a slight identity crisis. I am not saying that you cannot have levity or comic relief in a drama. It can work if done right. But in the midst of this somewhat serious narrative, there are a couple characters who sound like they are in a sitcom. One of these characters include Mrs. Jennings (Shaw). Watching Mrs. Jennings interact with almost every other character in this film reminded me of what it felt like watching Jar Jar Binks interact with just about anyone else in “The Phantom Menace.” Granted, while she gave an odd vibe, she was not quite as annoying as Jar Jar. Though it does not change the fact that she came off as if she belonged in a different universe compared to those around her.

This is not to suggest that every performance in “Sense and Sensibility” doesn’t work. The ones that are perhaps most important to the story stand out in a positive light. George MacKay does a good job as Edward Ferrars. Caitríona Balfe plays Mrs. Dashwood with conviction. Perhaps most importantly, the chemistry between the two main sisters is on point. Daisy Edgar-Jones and Esmé Creed-Miles kill it as Elinor and Marianne Dashwood respectively.

Technically speaking, the film is not too bad looking. Arnaud Potier is responsible for the film’s cinematography, and he never misses on the framing. Each shot is full of detail and does as best it can to immerse me into the world. That said, the world itself is a bit questionable. The color palette of the film probably could have been punched up. It could have been given a little more life. Everything from the color grading to the costumes to maybe even some of the sets. Again, this is a drama. Perhaps the color matches the film’s somewhat serious vibe, but it lacks a certain personality. The work that went into the film’s costumes and production design clearly took a certain amount of effort, and it led to something that one can describe as consistent. I just think it needed a different flavor. This feels too depressing. It feels like what the Hot Topic version of this story would be.

Courtesy of Focus Features – © 2026 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.

In the end, “Sense and Sensibility” is a bit of mishmash. I may sound like I am complaining about certain things in the film. But the reality is that the film does very well in certain regards, but lacks the same luster in others. I cannot compare this to Jane Austen’s book. Truth be told, this is not a book I would willingly read in my spare time. But if I happened to be in the shoes of someone who were to read this book in their spare time, part of me thinks I would most likely find this adaptation to work to a certain degree. Though I would probably also imagine myself saying the book is better. The movie mostly has good performances and an engaging back half. It is by no means the worst film of the year, but not the best either. I am going to give “Sense and Sensibility” a 6/10.

“Sense and Sensibility” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! For those looking forward to the next episode of Scene Before’s Movie Requests, I am happy to announce it is going to feature “Adam Ruins Everything” star Adam Conover! In addition, you know Conover from his comedy specials including “Unmedicated” and “Big Divorce Energy.” He is also known for his work on “The Crystal Maze,” “The G Word with Adam Conover,” as well as his podcast “Factually! with Adam Conover.” Click the video to watch the short promo, featuring Conover give a hint as to which film he suggested. That film will be revealed Monday, November 2nd here on Flicknerd.com and YouTube! As a reminder, please subscribe to my YouTube channel if you want to see new episodes of Movie Requests as soon as they drop!

My next review is going to be for “Whalefall.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wildwood,” “Clayface,” and “You Can See Everything.” 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 “Sense and Sensibility?” What did you think about it? How does this compare to other “Sense and Sensibility” adaptations, in addition to Jane Austen’s book? Let me know down below! Scene Before is your click to the flicks!

Don’t Move (2026): For Tonight’s Punishment… A Church Group Takes on a Giant Spider!

Posted on by Jack Drees

“Don’t Move” is directed by Maclain Nelson (Studio C, Show Offs) and stars Lyndsy Fonseca (The Young and the Restless, Kick-Ass), Russ (Trap, Little), Hunter King (Life in Pieces, The Young in the Restless), Joseph Lee Anderson (MacGruber, Young Rock), Tom Cavanagh (The Flash, Ed), and Rob Riggle (Holey Moley, The Hangover). This film is based on a book written by Darren Wearmouth and James Murray, also known as “Murr” from “Impractical Jokers.” In this movie, a church group has to fend off a giant spider while camping in the woods.

I do not watch a ton of television. Partially because I am so heavily invested in movies, but one of my major commitments on the small screen over the years has been “Impractical Jokers.” This show always gets a laugh out of me. Even the newer seasons without Joe have continued to deliver comedy goodness. One of the show’s stars, James Murray, on top of his success as a TV star, has found time to write books including “Awakened,” “You Better Watch Out,” and the one that inspired this movie, “Don’t Move.” When it comes to this movie, he is credited with writing and producing it.

For the record, while I own a copy of “Don’t Move,” I have yet to read it. But as someone who loves movies and is willing to support the world’s finest ferret look-a-like, I made it my duty to check out “Don’t Move” as soon as I possibly could.

Should you move as fast as you can to watch this movie? That’s… Complicated.

“Don’t Move” is not the greatest cinematic achievement of 2026, and I am pretty sure many, if not all the people working on the movie recognize this. No offense, but this ain’t “The Odyssey.” Although is it fun? Is it enjoyable? Sure.

“Don’t Move” is quite a departure from the material where a majority of James Murray’s fans know him. If you are looking for comedy, look elsewhere. There are not many laughs in “Don’t Move.” There may be one or two slight chuckles in the film, but this is a horror film first and foremost. If you like horror, this could be your jam. But then again, there are better horror movies released this year. Go watch “Obsession.” Go watch “Ready or Not 2: Here I Come.” Go watch “Send Help.” This film is not bad, but it pales in comparison to those three.

“Don’t Move” is by no means the best movie of the year. Again, there are moments to appreciate, but I have seen better. Although the film does stand out in two particular ways. The beginning and the end. This works well in the film’s favor as it provides a brilliant hook for what’s to come and eventually ties everything up in an exciting bow.

The beginning is not completely perfect, but as a general concept, it sings. It also does a decent job when it comes to serving as compelling exposition. More than an hour later, the film brings forth an ending that is not only bone-chilling, but also jaw-dropping. I did not know this film was going to end the way it did. I was genuinely impressed with the final scene.

Going back to the beginning, this is where we meet the film’s star, Megan (Fonseca) who is dealing with the loss of her loved ones. The film does a great job at encapsulating the emotions of what she was going through following her inciting incident, and it is only supported by her solid performance. Fonseca does a good job as the lead.

Another thing I admired in the film is the sound mix. In horror, sound is almost more important than the visuals sometimes. There are a couple cliche sound effects you have heard in dozens of other horror projects that make their presence known here. But they are used rather effectively. One sound effect in particular left me shook. It was well-timed and utilized at an appropriate volume. Although I cannot say that was the case for every sound effect. This may be a personal annoyance I have with the film, but there is a repeated whistle sound effect that ends up being essential to the story. I have no problem with the sound effect itself, but every time I heard it up close it would hurt my ears. Granted, this may be more of a problem of having sensitive ears than anything else. Though if I were mixing the audio, I would pinch the whistle effect down just a hair.

Speaking of things I would change, the film does have a lot of problems. Yes, there are good things about it, but there are also a lot of bad things. It is a bit of a mishmash.

While the scenes either featuring or having to do with the spider are fun, part of me wishes we got a little more action with the spider. I think the moments featuring the spider makes for some of the better parts of the movie, and quite frankly, I am surprised it was not utilized more. I was somewhat underwhelmed with how little the creature was used.

This film focuses on a church group in the woods. For the record, I am not in a church group, so I cannot say I have much experience with the typical goings-on, but I am pretty sure that few church groups swear and take the Lord’s name in vain as often as these people. I understand that some of these instances are played out for comedic effect, but it threw me off seeing this group be such pottymouths. For the record, I have no problem with pottymouths. Bring on the filthy. But it was a little hard to buy this group given some of their vocabulary. Although I will say, one of the most hilarious things about this film is that one of the members of the group, Pastor Rizzo (Cavanaugh) at times comes off as a dead ringer of Ned Flanders from “The Simpsons.” He is so overly calm and almost unnecessarily welcoming regardless of the situation. He comes off as both a neighbor I would like to have but also maybe ask to back away if they get too close.

Another thing I did not like in this film is the visual effects. For instance, this movie has a ton of fire effects. Sometimes they look great, but at other times they look like they belong in the late 1990s. Another effect that threw me off was a giant waterfall. The water flow looked unnatural and too clean. It lacked an imperfect ruggedness. I can slightly forgive the film’s faults in terms of its visuals as it is made on the cheap compared to many others that came out this year, but the effects still looked odd at times.

This film is helmed by Maclain Nelson, who has directing experience, but not with feature films. Having seen this film, it is somewhat easy to tell that it is from a director who lacks such feature filmmaking experience. In fact, the film somewhat looks like a television show. If anything, the look of the film reminds me of, perhaps coincidentally, “Impractical Jokers: The Movie.” Although I thought that the film’s look worked as it was, for the most part, based in reality. I will not deny that there are times where “Don’t Move” has a cinematic touch. The opening scene at the carnival in particular looks great. But there are a couple scenes in the woods that look a little too real. Not necessarily cinematic if that makes any sense.

On a sidenote, “Don’t Move” packs in some Easter Eggs for “Impractical Jokers” fans. These barely affect my opinion of the film as a whole, but it was nice to see this film show some nods. For instance, James Murray is in this film as a carnival worker. As a bonus, his nametag reads “D. Chiggins,” which if you have watched “Impractical Jokers,” you would be familiar with that name. Brian Quinn is in this film too. I will not say more, I will let you see for yourself. There are more Easter Eggs, but it is not like the film has one every other minute like “The Super Mario Bros. Movie.” As far as I am concerned, that may as well be a positive.

In the end, “Don’t Move” is all right. It is a competently made creature feature, but in some ways, it could have been longer. Some of it felt surface level and lacking in personality. This is, thankfully, not the case with the entire film. Again, the ending is surprisingly amazing. I like the main character of the film, I think Lyndsy Fonseca does a good job portraying Megan. She was very much the film’s heart and soul. The film is by all means entertaining and makes for a fun hour and a half, but it does not do a whole ton to provide an oomph. Overall, this is not a bad time. I am going to give “Don’t Move” a 6/10.

“Don’t Move” will be available on VOD starting October 13th.

Thanks for reading this review! THIS MONDAY ON SCENE BEFORE, get for the 11th episode of Movie Requests, featuring special guest Rosario Dawson! Movie Requests is the Scene Before original series that sees yours truly taking film suggestions from celebrities. What do you think Dawson suggested? Well, she gives a hint in a brand new promo, which you can watch by clicking the video above! If you want to see the episode, you can follow Flicknerd.com or subscribe to my YouTube channel!

My next reviews are going to be for “The Uprising” and “Forgotten Island!” Stay tuned for those! 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 “Don’t Move?” What did you think about it? Or, did you read the “Don’t Move” book? How does this movie compare to that? Let me know down below! Scene Before is your click to the flicks!

Tony (2026): Marty Supreme for Foodies

Posted on by Jack Drees

“Tony” is directed by Matt Johnson (BlackBerry, Nirvana the Band the Show the Movie) and stars Dominic Sessa (The Holdovers, Oh. What. Fun), Emilia Jones (CODA, Task), Dagmara Domińczyk (Priscilla, The Lost Daughter), Rich Sommer (Fair Play, BlackBerry), Stavros Halkias (Let’s Start a Cult, Bugonia), Leo Woodall (One Day, The White Lotus), and Antonio Banderas (Shrek 2, Babygirl). This film is about a young Anthony Bourdain who is aspiring to be a writer. It follows Bourdain’s time in Provincetown, Massachusetts as he takes a job at a restaurant, tries to impress a girl, and covers up a big lie to his family.

For those who read this blog in 2023, you may know that one of the movies I massively enjoyed was “The Holdovers.” Not only has the film quickly become a must watch for me around the holidays, but it has the bonus of being shot minutes away from my house. “Tony” is not shot as close, but nevertheless in my home state of Massachusetts. One thing those films have in common – Dominic Sessa stars in both of them. Another thing both films have in common – I enjoyed them very much.

No matter where this movie was shot, it did not change the fact that I witnessed one of the year’s most compelling films. While this film can probably best be described as a coming of age drama, it has a little bit of everything in it. It has humor. It has grit. It has romance. This is the kind of film that I can honestly see appealing to many different demographics. Not only does it implement all of these elements from the getgo, but utilizes each one to their full potential.

“Tony” is basically “Marty Supreme” for foodies. For those who remember my review of “Marty Supreme,” you may recall that when I described Marty Mauser, I said he was “by no means a role model.” I did not necessarily mean that as a negative. In fact, the way that film fleshes Marty out only accentuated his complication. He is a bit of a jerk, but he comes off as palatable. Anthony Bourdain, or at least this film’s interpretation of him, is kind of in the same boat. He is young, has a remarkable drive, but also comes off as cocky. Depending on the situation, he is not the most pleasant person to be around. This is something that the late Anthony Bourdain himself seems to have acknowledged at a certain point in his life. As a matter of fact, when the film starts, there is a title card with a quote from Bourdain himself. In the quote, Bourdain says that he was a “spoiled, miserable, narcissistic, self-destructive and thoughtless young lout.” That specific quote is taken from his memoir, “Kitchen Confidential,” which also inspired this movie.

I love that the movie started with this quote. Not only is it a compelling quote by itself, but this perfectly set the tone for what’s to come. While there are people who fondly remember Bourdain following his 2018 death, the film in more ways than one portrays him as a bit of a whiner and egomaniac. Is he smart? Perhaps. Is he driven? Sure. But it does not change the fact that he does come off as an occasional moron. I think many of us, in one way or another, would look at our younger selves and ask what the heck were we thinking at that age. If anything, this film is a raw look at a Bourdain’s young adulthood where his character flaws come to show.

Despite being a Bay Stater and finding out “Tony” was set in Provincetown, that did not turn out to be the sole big draw for me. Another big draw for me was the casting of Dominic Sessa as Anthony Bourdain. This is not necessarily because I thought Sessa would make a good Anthony Bourdain. I know as much about Anthony Bourdain as I do about professional cornhole. I have seen both of those things once or twice on a television screen, but that is about it. Though maybe I should take that back a little bit, because Sessa, who just so happened to have a major role in “The Holdovers” prior to this movie, has proven his talents. He is a sensational young actor and I can see him following in the footsteps of the greats. He had plenty to work with in “The Holdovers” alongside Paul Giamatti and now he has this movie to essentially call his own.

Although at the same time Sessa’s dynamic with Antonio Banderas felt like a remix of his dynamic with Paul Giamatti. It’s a mentor-mentee relationship where both sides have their clear differences. It’s a cliche that works in both of these movies, and much like “The Holdovers,” what really holds this relationship together is the chemistry between both actors in addition to their individual performances, which, by the way, to my lack of surprise, Antonio Banderas does an excellent job in the film as Chef José Vatel. No notes.

Another actor I am happy to see in this film is Emilia Jones. While she has been in other projects since, like “The Running Man,” I still adore Jones for her lead outing in “CODA.” That movie is so riveting. While Jones plays a supporting role as Nancy, Bourdain’s crush, instead of a leading role, she is still fun to watch on screen. She and Bourdain tend to have a rocky connection as characters sometimes, and both Jones and Sessa do a great job at capturing said rockiness.

Random segway, one of the best movies I watched over the years is “Chef.” I love the story, the characters, the performances… Everything about it. But one of my favorite things about the film is the fact that the food looked so good that it made me hungry. For the record, the food in “Tony” is not as good-looking as “Chef,” but it is still quite appetizing. I love a good restaurant that serves nothing but their interpretation of the American basics. When I saw the camera angle on the french fries in this film, I wanted to leap into the screen and take one for myself. This is one of those films that makes me want to go to a restaurant and soak in the atmosphere. Not necessarily a nice restaurant. In fact, regarding the eatery where Bourdain works, Nancy even refers to its cuisine as junk food at a particular point of the film. Look, the food may be unhealthy, but it does not mean the it looks off-putting. In fact, it is quite the opposite. This film’s food sometimes makes me want to chuck my popcorn towards the screen, dash out of the auditorium, and indulge in some hand-cut fries.

In the end, “Tony” impressed me. It is hard to come up with any flaws that I have with “Tony.” The film is perfectly paced, engaging, and as I said before, it has a fine balance in multiple genres. It has some cliches that you might see in coming of age stories like this, but cliches do not really break a movie if they work, and the cliches seem to work here. I cannot recommend this movie enough. I went into “Tony” mainly because it was new and I wanted to pay off my AMC A-List subscription for the month, I stayed because how much this film sucked me in. Oh, and it made me hungry. I want french fries! I am going to give “Tony” a 9/10.

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

Thanks for reading this review! If you have not done so already, please be sure to check out the latest episode of the Scene Before original series, Movie Requests, which features actress Melissa Barrera! In this episode, she recommends the movie “Roma.” Click the video to find out my thoughts! And if you enjoy the video, remember to leave a like, subscribe to my YouTube channel, and click the notification bell if you want to see more episodes of Movie Requests coming soon!

My next review is going to be for “Spa Weekend.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Coyote vs. Acme,” “Idiots,” and “Don’t Move.” 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 “Tony?” What did you think about it? Or, in the spirit of “Marty Supreme,” have you seen that movie? Tell me your thoughts on it if you have seen it! Scene Before is your click to the flicks!

The Sheep Detectives (2026): A Flocking Brilliant Family Film

Posted on by Jack Drees

“The Sheep Detectives” is directed by Kyle Balda (Minions, Despicable Me 3) and stars Hugh Jackman (X-Men, Real Steel), Nicholas Braun (Zola, Succession), Nicholas Galitzine (Red White & Royal Blue, Cinderella), Molly Gordon (Oh, Hi!, Shiva Baby), Julia Louis-Dreyfus (Seinfeld, Onward), Bryan Cranston (Godzilla, Breaking Bad), Chris O’Dowd (Bridesmaids, The IT Crowd), Regina Hall (Little, Think Like a Man), Patrick Stewart (Star Trek: The Next Generation, American Dad!), Bella Ramsey (Game of Thrones, The Last of Us), Brett Goldstein (The Garfield Movie, Ted Lasso), Hong Chau (Downsizing, The Menu), and Emma Thompson (Saving Mr. Banks, Sense and Sensibility). Based on Leonie Swann’s 2005 novel “Three Bags Full,” this film is about a flock of sheep who try to solve the murder of shepherd (Jackman).

© The sheep detectives

“The Sheep Detectives” had me at Hugh Jackman. Then they showed what his character does, and I refused to miss this movie. That said, for those unfamiliar with the material, do not be fooled, Hugh Jackman’s involvement in “The Sheep Detectives” is minimal, and I knew that, but his presence left me with a solid first impression through what I thought would be a fun family film.

One pleasant surprise about this movie is that it was written by Craig Mazin, whose resume has been… Fascinating to say the least. While I am a little bitter that he is partially responsible for bringing both “Hangover” sequels to life, I will give him credit where it is due, as he is recognized for his success in recent years with HBO. Not only did he write the acclaimed mini-series “Chernobyl,” but he is also involved with “The Last of Us,” which has received rave reviews since its launch in 2023. Mazin knows his stuff.

“The Sheep Detectives” looked moderately funny and charming from the trailers. But color me amazed, because I adore this movie.

Amazon is on a roll right now movie-wise. After releasing “Project Hail Mary” last March, which stands as the best film I have watched in years, “The Sheep Detectives” comes in hot with an experience that is not quite as memorable as “Project Hail Mary,” but much like that movie, I was left with the urge to give this movie a second viewing sometime in the future. Upon watching it, I have talked with family members who heard about the film. One in particular thought it looked stupid. I frankly think they are underestimating what this film is capable of.

After seeing the asinine chore that is “Animal Farm,” it is so fulfilling to see a movie that has fantastic humor. Repeated gags that work and pay off. Memorable and sometimes unpredictable lines. A complete twist on “the chicken crossing the road.” This movie excels when it comes to comedy, and it is perfect for all ages.

“The Sheep Detectives” sort of plays like a more exaggerated Pixar movie. Saying that sounds ironic. After all, “The Sheep Detectives” is live-action, whereas Pixar specializes in animation. But some of the characters, and by that I mean human characters, come off like they belong in a cartoon. When you are making something in live-action, you can only heighten reality to a certain extent, but for whatever reason, this movie sticks the landing in that regard.

© The sheep detectives

This is most evident when showcasing one of the film’s more notable supporting characters, Tim Derry (Nicholas Braun), a local policeman who might as well be this universe’s Jar Jar Binks. Although unlike Jar Jar Binks, I thought this character was well written and executed. Derry is not exactly the brightest of bulbs. But it does not mean he isn’t determined to get the job done. To say he is not good at his job is a bit of an exaggeration. In fact, going back to Pixar, his character almost reminds me of Linguini in “Ratatoullie,” who has no business working in his particular field, but allows unusual outside forces to help them improve at their job.

But it is not just the humans who fascinate throughout the movie. The sheep do their part to bring some solid characterization to the table. One of my favorites in the film is Sebastian (Bryan Cranston). The film takes time to unveil Sebastian’s backstory, where he spent time at a petting zoo. The backstory not only deepens the character, but delivers an emotional reaction. Cranston is not the only big name that makes up the film’s talented voice cast. Other actors include Julia Louis-Dreyfus, Patrick Stewart, Regina Hall, and Brett Goldstein. That last actor, by the way, voices two sheep, and they are responsible for one of the movie’s most memorable jokes.

This film also taps into how sheep interpret the afterlife, and the film gets creative with that idea. Sort of similar to how some people see themselves going to a better place when they die, the sheep believe that when one of their kind dies, they become a cloud. This is well explained during a giant rainstorm, when one of them says that the sheep are dancing when thunder sounds off.

The film does require a bit of suspension of disbelief. This should not be a surprise when the main characters include talking sheep, but the movie makes me believe in its rules and characters, even if they sometimes come off as unusual. The movie’s characters essentially go against mankind’s typical expectations of sheep. In fact, the characters even address how the “term” sheep is often used as a negative when used to describe certain people.

There are certain parts of this movie that I saw coming. However, I did not necessarily find myself peeved by this film’s occasional predictability. Just about every moment in this movie feels earned. By the time we get to the very end of this film, I felt satisfied with what it had to offer.

What is somewhat out of the ordinary regarding this film is its tone that could have easily clashed, but ends up working. This is a murder mystery, but beyond that, it is a movie about the beauty of life. It is about friendship, community, and appreciating what’s in front of you. The movie perfectly shifts its vibe when it needs to. At one point, it is mysterious and somewhat dark. At another, it is lighthearted and fun. Sometimes it successfully finds a middle ground.

I feel like I was one of the few people in the world who was genuinely looking forward to “The Sheep Detectives.” It is a premise that sounds silly, but I do not particularly mind silly as long as it works, and in this movie’s case, it ended up doing more than just working. I will be thinking about my experience watching this film for a long time. This film came out the same weekend as “Mortal Kombat II,” which I said I would watch again in my review. I would do the same for “The Sheep Detectives.” While I am eager to watch “Mortal Kombat II” by myself so I can laugh myself to death without sounding like a lunatic, “The Sheep Detectives” is a movie that I am just as hopeful to watch with somebody else just to see the look on their face once they realize what they are in for. Please watch this movie. Get some friends or loved ones to watch it with you. If you have kids, check this film out with them. It is a solid gateway murder mystery.

In the end, “The Sheep Detectives” is a stupendously satisfying and incredibly engaging film. Between this film and “Project Hail Mary,” I did not think Amazon would be cranking out the year’s two best pieces of cinema thus far, but here we are. While the film revolves around a murder, it is nevertheless delightfully wholesome. If Pixar started doing live action material, I would have been convinced this film had come from them. It feels like something in their DNA. This is a fantastic film for all ages. Give it a shot. It may surprise you. I am going to give “The Sheep Detectives” an 8/10.

“The Sheep Detectives” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you have not done so already, be sure to check out my latest episode of Movie Requests, the original web series dedicated to yours truly talking about movies recommended by some of your favorite stars. This newest episode features Brian O’Halloran, otherwise known as Dante from “Clerks.” I had a good time checking out his recommendation, “Patton.” Click the video above to see what I thought of it. Leave it a like if you enjoyed it!. And if you want to see more episodes as soon as they drop, be sure to subscribe to my YouTube channel!

My next review is going to be for “In the Grey!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Star Wars: The Mandalorian and Grogu,” “I Love Boosters,” “Backrooms,” “Masters of the Universe,” “Another World,” and “The Breadwinner.” Yep. That is a list of 7 movies. I clearly have time management skills. If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Sheep Detectives?” What did you think about it? Or, what is a film that you think is better than it deserves to be? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

“Animal Farm” is directed by Andy Serkis (The Lord of the Rings: The Fellowship of the Ring, Star Wars: The Force Awakens). He also stars in the film as a rooster named Randolph and has an uncredited role as Farmer Jones. Joining him in the cast is Seth Rogen (Sausage Party, Knocked Up), Gaten Matarazzo (Stranger Things, Honor Society), Steve Buscemi (Miracle Workers, Fargo), Glenn Close (The Wife, 101 Dalmatians), Laverne Cox (Doubt, Orange is the New Black), Kieran Culkin (A Real Pain, Scott Pilgrim vs. the World), Woody Harrelson (The Edge of Seventeen, The Glass Castle), Jim Parsons (The Big Bang Theory, Hidden Figures), Kathleen Turner (Romancing the Stone, The Virgin Suicides), and Iman Vellani (The Marvels, Ms. Marvel). This film is based on George Orwell’s book of the same name and is about a group of animals whose farm-based revolution results in a pig-led dictatorship.

There are a few major texts I was assigned to read in my English class during my freshman year of high school. One of those includes Homer’s “The Odyssey,” which is being adapted into a film coming out this summer. Another one happens to be George Orwell’s “Animal Farm,” which is now an animated film directed by Andy Serkis. What’s next? Is “Of Mice and Men” getting another film adaptation?

Regardless, “Animal Farm,” through its book and interesting to say the least adaptations, left an impression on me. When the book was a major studying point in school, the class often focused on Orwell’s material linking to the U.S.S.R.. The book presents a fascinating allegory on the dangers of leaders becoming power hungry and bending the rules to their benefit.

The idea of someone like Andy Serkis taking on “Animal Farm” left me intrigued. He has shown his talents in the VFX and directing spaces, and I thought “Animal Farm” would be a fine fit for his skill set.

Then I saw the trailer…

While I thought the trailer overall made the film look cheap, it did end with one note that left me interested, which is that it was recommended for ages 11 and up. While the MPA gave this film a PG rating, which can be seen as okay for many younger audiences, the marketers essentially sent a message saying this might not be for the youngest crowds. Having read “Animal Farm,” that makes sense.

Frankly, after seeing this movie, I have no idea who exactly this is for. It is definitely not for “Animal Farm” purists, as there are some major changes made to the material. For instance, Old Major is not in the movie. There are some characters who are not in the book. No, unlike the 1999 adaptation, the main character is not a dog this time around.

Despite the movie being recommended for ages 11 and up as the trailer suggests, the film has plenty of jokes that feel like they were designed for the under five crowd. I do not know what George Orwell would think of this movie, seeing as he is no longer with us. But I think he and I would agree that toilet humor and “Animal Farm” do not mix. Maybe the conversation would be different if the trailer said the movie was recommended for “all ages,” However, that’s not the case. I would let it slide if this movie resorted to one fart joke, but I remember counting at least five or six instances of jokes related to bodily functions. It would also be forgiven if those jokes made me laugh. But they failed to do so.

This is not to say that I do not think younger viewers should not be exposed to a story like “Animal Farm.” I think it is an important tale, and the more that we experience corruption in power the more it is going to matter. In the case of “Animal Farm” 2026, this is a more modern telling of the tale compared to its mid-20th century source material, as it focuses on capitalism as the big bad. Despite happily living in the U.S. all my life, I think this idea has potential to work. One of the core antagonists of the film is a boss lady who essentially owns all the land in her sight, but she is not satisfied, as she wants to add Animal Farm to her collection.

In this film, Napoleon is played by Seth Rogen. …Okay? What is it with Seth Rogen’s voiceover roles lately? I always thought he was a weird choice for Donkey Kong, but this is another level. And much like Donkey Kong, Seth Rogen often sounds like he is playing himself when sounding off every other line. In fact, one could argue the performance is kind of meta, as there is a scene where Napoleon does the infamous Seth Rogen laugh, and he follows that up with “please do not make fun of my laugh.” Is it just me, or is Seth Rogen’s laugh one of the most recognizable laughs of all time? If I had to make a top 5 list in that regard, Rogen would be up there with Jimmy Carr, SpongeBob SquarePants, Peter Griffin, and J. Jonah Jameson during that one scene from “Spider-Man 2” where Peter asks him if he can get paid in advance.

That said, there is something there with Seth Rogen’s material. As immature as the writing often sounds, there is one scene between his character and a gender-swapped Snowball (Laverne Cox) where the latter is explaining her plan concerning the farm that stood out to me. Every other second, Napoleon, who is not afraid to showcase his opposition to the plan, is constantly mocking Snowball, sometimes calling her boring while they are in front of a large crowd. Again, the material itself comes off as borderline cringeworthy, but the more I think about it, the more it reminds me of the current state of politics in the U.S.. I try to keep my mouth shut in regards to that topic on here, but Napoleon is essentially Donald Trump. He is loud and quite limited in his vocabulary. He calls others names to their faces. And as we have seen in the 2016 and 2024 elections, his biggest rivals tend to be, whether you agree with their policies or not, well-meaning women.

Although there is one woman that Napoleon tends to get along with, and that is the recently mentioned “boss lady,” Frieda Pilkington (Glenn Close). A billionaire who essentially wants everything and will stop at nothing to get it. She owns a giant company that I would perhaps sum up as this universe’s equivalent to Amazon, as it seems to have their fingertips in just about every industry. Her character is by no means broken, but her one-dimensionality definitely stands out.

In fact, this movie is chock-full of big stars. From Jim Parsons to Kieran Culkin to Steve Buscemi. One rising star who I am glad to see in this film is Iman Vellani, who I adore as Ms. Marvel in the MCU. Her roles, and yes, she has more than one, does not give her as much to work with compared to Marvel, but I am glad to see she is getting more work.

Another standout in this film is Woody Harrelson as Boxer. While the film does have its many differences from the source material, the way Boxer was written and executed feels similar to how I would have imagined reading the book as a teenager. Harrelson is a good pick for the role. It is hard to say that “Animal Farm” is one of the most heartfelt films ever made, but I would not deny that Boxer is perhaps the emotional core of the story, even if he is a supporting character.

While this is based on a famous text, “Animal Farm” is not the best when it comes to screenwriting. By the way, it is written by Nicholas Stoller, whose “Muppets” films I did enjoy, but I will also acknowledge his resume also contains duds like “Sex Tape,” “Dora and the Lost City of Gold,” and “Zoolander 2.” Despite Stoller’s best efforts, the jokes do not work. I do not mind “Animal Farm” having jokes, as long as they stick the landing. They did not. Some of the jokes play a part in the film’s clashing tones. At times this film tries to be ridiculous and go for a laugh, and at others it tries to pull the heartstrings or make you shed a tear. Pixar has proven that their films can both be funny and emotional. “Animal Farm,” which is a collaboration between Aniventure and The Imaginarium, tends to fall flat in both categories. The end of the film feels kind of like a Marvel movie, almost as if the climax is aiming too high.

I have nothing against people making changes to source material. I think “Willy Wonka and the Chocolate Factory” is one of the greatest movies of all time, even if it made some significant alterations from Roald Dahl’s classic tale. This adaptation of “Animal Farm,” like the others that have been brought to the screen, has its differences from the book. Although I went back to watch the other two adaptations and those tended to maintain the tone and spirit that the book was going for. Neither one was particularly groundbreaking or IMDb top 250-worthy, but they did their job in more ways than one. This movie does not feel like “Animal Farm” in the most accurate sense. That would be fine if I liked the movie, but between the bad comedy, several characters lacking dimension, weird editing choices, and some scenes feeling rushed, “Animal Farm” reminded me that not all movies are equal. Some are just plain bad.

In the end, “Animal Farm” is not as bad as I hear other people claim it to be, but to call it good is definitely a stretch. There are parts of the movie that exceeded my expectations, and I am probably being generous with that statement. While I definitely found Rogen’s interpretation of Napoleon to be rather annoying, I do think the way he was written worked in terms of matching the current political climate. He is not the smartest, nor the most calculated leader. But if you ask certain people today what they think about the current U.S. President, they would probably say the same thing. The animation was passable, but not exactly revolutionary. The soundtrack of this film is also kind of weird. Including a rap version of “Old McDonald Had a Farm” is most certainly a choice. The book is definitely more serious than this movie, and I thought when this film tried to be funny, it did not always work. Although there was one gag involving E=mc² that did make me chuckle. This is probably not going to be my least favorite movie of the year as there are glimmers of positivity to be found, but I hope to see a superior version of this tale brought to the big screen one day. I am going to give “Animal Farm” a 4/10.

“Animal Farm” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! I am happy to announce that the next guest in my ongoing web series, Movie Requests is none other than Brian O’Halloran! You may know him from several of Kevin Smith’s films, including the “Clerks” trilogy! By the way, he is not the first guy from said trilogy I featured in the series, as a couple months ago I took a request from Jason Mewes, AKA Jay of the Jay and Silent Bob duo. As for Brian’s request, that review will be available on Sunday June 7th! You can check it out here on Flicknerd.com, but if you want the fastest method of watching the review, do yourself and I favor by subscribing to my YouTube channel!

My next review is going to be for “Mortal Kombat II!” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Sheep Detectives,” “In the Grey, “Star Wars: The Mandalorian and Grogu,” “I Love Boosters,” and “Backrooms.” If you want to see these review and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Animal Farm?” What did you think about it? Or, did you read the “Animal Farm” book? What are your thoughts on it? Let me know down below! Scene Before is your click to the flicks!

Project Hail Mary (2026): A Spectacular, Awe-Inspiring Adaptation of Andy Weir’s Hit Novel

Posted on by Jack Drees

“Project Hail Mary” is directed by Phil Lord and Christopher Miller (Cloudy with a Chance of Meatballs, The LEGO Movie) and stars Ryan Gosling (La La Land, Blade Runner 2049), Sandra Hüller (Anatomy of a Fall, Zone of Interest), James Ortiz (Cryptid, The Woodsman), and Lionel Boyce (Loiter Squad, The Bear). This film is based on a novel by Andy Weir, who also wrote the book “The Martian,” which has since been adapted into a hit movie starring Matt Damon. “Project Hail Mary” follows a middle school teacher-turned-astronaut by the name of Ryland Grace who is put on a mission to stop a mysterious substance from destroying the earth’s sun.

I am not that much of a reader. Although there have been rare occasions where a movie would come out and I would read the book sometime before seeing it. I did this years ago for “The Martian,” by Andy Weir, which has become one of my favorite reads. The movie, while not as good as the book, is utterly amazing. Much like the book, I found the movie to be extremely funny and endlessly engaging. As someone who found myself to be a fan of Andy Weir’s writing style, I thought I would give the “Project Hail Mary” book a shot. I barely finished it before I saw the movie, but I really liked the book. It maintains the humor that Weir mastered in “The Martian,” while delivering something more complicated and adventurous. I think “The Martian” is the superior read, but both books are winners.

The hype train was real going into “Project Hail Mary.” Not just because it was based on a well received book… Not only because I happen to concur with those who say the book is great… Not just because I am a sci-fi junkie… Not just because it stars Ryan Gosling… Not just because it is directed by Phil Lord and Christopher Miller… But the trailers and the footage leading up to the movie, for the most part, looked incredible. The effects were pure eye candy. The sets looked great. The camerawork looked awe-inspiring. The film was even shot in true IMAX… Granted, it is technically digital. But still.

Maybe I am overexaggerating my excitement a bit. If there is any movie this year I would have been looking forward to more than any other, it would be “The Odyssey,” but “Project Hail Mary” was up there based on everything that I have seen, heard, and read prior to checking it out, including the overwhelmingly positive reviews.

Ladies and gentlemen, believe the hype. Actually… No. The hype might actually be too small.

“Project Hail Mary” is the best movie I have watched in years.

It has not been since “Godzilla Minus One” that I walked out of a movie buzzing so excessively.

As previously mentioned, I have read the book. I thoroughly enjoyed the book. I thought the way Weir told the story was unique. I think I prefer the movie. If you told me that Steven Spielberg directed this film, I would believe you. I said this some time ago with “Arco,” but I meant that more as a statement on the film’s style rather than its quality. This not only reminds me of some of Spielberg’s past movies, but it is just as watchable as some of his greatest hits. My dad, who for the record did not read the book, saw the movie with me. He had a great time. He said the movie reminded him of “Close Encounters of the Third Kind.” To me, “Project Hail Mary” feels like “E.T.” for a new generation. Only this time around, not as much of the story is set on earth.

Honestly, there are a number of filmmakers whose work I could compare this to, and I mean that as a positive. This film reminds me of some of my favorite projects said filmmakers have done. In addition to this film delivering Spielberg vibes, it comes off as what would happen if a Christopher Nolan epic had a baby with a James Gunn adventure. It has the scope and ambition of one of Nolan’s blockbusters and the humor and fun of Gunn.

This movie is a pure bundle of joy. I should not be surprised, as this movie is done by Phil Lord and Christopher Miller, who have produced some of my favorite films of the past decade like “The Mitchells vs. the Machines” and the “Spider-Verse” movies.

They have also done “The LEGO Movie,” which is so much better than it should be. If I ever have a conservations with people discussing my personal favorite films of all time, I am proud to say “The LEGO Movie” and “Project Hail Mary” will both likely be part of said conversations.

No, seriously, who is Ryan Gosling’s agent? Because his resume, especially over the past ten years, is filled with banger after banger after banger, with this film being the latest example. “La La Land” is extravagant and otherworldly. “Blade Runner 2049” was amazing despite not doing so hot at the box office. “First Man” was moving. “Barbie” was not just a good movie, but Gosling practically stole the show. When I think of the best actors working today without an Oscar, Gosling is somewhere close to the best of the best. After seeing “Project Hail Mary,” I am convinced that not only is Gosling capable of being nominated, but also of winning an Oscar next year. Granted, it is only spring. The Oscars are practically a year from now. But I have a feeling that Gosling’s performance can sit well with people through the coming months as he is given lots to do and handles all of it with excellence.

It also helps that he plays such a likable character. There is a line in this film where Ryan Gosling’s character, Ryland Grace, says he puts the “not” in astronaut. As corny as that may sound, that line solidifies his entire journey. I do not want to spoil everything that happens in this movie, but the narrative constantly unfolds bits and pieces of the character as it goes along through its clever non-linear format. Much of the film is set in space, but there are portions that take place on earth, and those portions are surprisingly engaging. Grace is a middle school teacher, which only adds to his likability. Remember “Interstellar?” Arguably the biggest drive Cooper has in that film that allows him to try to save earth are his children. Grace does not have any kids, but his middle school class, while temporary, almost comes off as a set of children he never had.

In a multitude of other possible movies, Grace would be the star of the show. But one character constantly steals the spotlight, and that is Rocky. Much of the film features these two in close quarters as they learn about each other, their worlds, their backstories on how they found each other, to the point where they end up working together not only to save earth, but Rocky’s own planet.

Remember the Grogu craze when “The Mandalorian” came out? It felt like for months that Grogu fever, and by extension, merchandise, was everywhere. Heck, I own a pair of Grogu socks that are worn out, but I cannot get rid of them. They’re comfortable, and I like the design. There is a fine line that a film rides with a “merchandisable” character, which I would say Rocky just so happens to be. For me, to get me to buy a character’s merchandise, I would prefer to realize I like said character before wasting my money. Thankfully for this film, Rocky is a riot. Having read the book, I had no clue how they were going to portray him in the movie, but I was actually surprised with how much I loved his first moments on screen. He is adorable, but also rather smart. Rocky is a winning combination. James Ortiz does an excellent job on the voice. Given how Rocky is an alien, the communication styles vary significantly between him and Grace, but I enjoyed getting to see how the movie showcases both characters as they learn how to communicate back and forth.

Rocky also has the best line in the movie, and without giving any context to the situation, all I will say is that it involves a guy named Mark. You will know it when you hear it.

I said before that this film reminded me a lot of “E.T. the Extra-Terrestrial” and I could sum up the basic reasons… Both films heavily feature bonds between a human and an alien. Both have inspiring musical scores. Both have characters who want to do what they can to get home. But the real reason why I find this to be “E.T.” for the next generation is that the film is an incredibly emotional experience. I did not cry during “Project Hail Mary,” but I would not be surprised to be sitting during this film again and seeing other people wiping tears off their faces. This film has everything that reminds me of why I love the movies. Well-realized characters with their own quirks… A great story that enlightens the soul… Stunning visuals and audio that excite on every level.

Some could argue that I am rather predisposed to liking “Project Hail Mary.” Not only did I read the book and like it, but if you know me well, you would know that sci-fi is my preferred genre. It does not mean every science fiction tale is great. I have seen a few “Star Wars” movies I would rather forget. In fact, having read the book, I recognize that not everything from the source material is going to find its way into the film. It is too long, and I think the general audiences can only take so much technical and scientific jargon. Are there things from the book that I am disappointed are not in the movie? Yes. There is a pinch of backstory involving Stratt towards the book’s end that moved me. But these are two separate things. I am not going to let the dismissal of that material affect my verdict of the film, because as a general movie, regardless of what it was based on, this was one of the most unbelievable experiences I have ever had.

“Project Hail Mary” presents a universal problem, as a mysterious creature is causing the sun to die. On the surface, one would think this film is about saving the world. And in a way, it is. But as soon as Rocky is brought into the picture, the film basically gets to the point where both he and Grace think bigger. The journey these two go on together as friends is truly something. I could honestly watch a weekly sitcom starring these two. But the film, as fun and joyous as it is, is simultaneously sad. You have this protagonist who minute by minute is trying to remember every little thing about himself. He finds out he is alone. He is tasked with mankind’s most important mission, and his only escape appears to be Rocky. And you might think he has people back on earth to save. Sure, he has the people he knows from his school. But he has no lover, no pets. Nobody. All he has is himself, the children he will likely only see for portions of his life, and Rocky. But the film manages to balance the sadness with more optimistic moments, hilarious lines, and a satisfying ending. This is the kind of movie that I can see a lot of people going to multiple times, bringing new people with each go. Heck, I am already thinking about who I would bring for a second viewing. If you are still reading this and have not seen this movie, please stop what you are doing and go check it out. Do not pirate the film. Go to a theater. See it on a big screen. Do it as soon as you possibly can.

In the end, I cannot stop thinking about “Project Hail Mary.” I read the book before checking out this movie, but I have to say I enjoyed the movie more than I did the book. There are certain scenes in this film that honestly play out ten times better as visuals rather than text. I have a pretty active imagination, but even I have to say some of these scenes were better than how I interpreted them. Ryan Gosling gives the performance of a lifetime. James Ortiz is fantastically cast as the voice of Rocky. Sandra Hüller does a great job as Stratt. Overall, the cast brings their A-game. The musical score is riveting. The cinematography is easy on the eyes. Phil Lord and Christopher Miller deliver a spectacle for the ages. Everything in the story from the beginning to end had me hooked. It is a longer film at two hours and thirty-six minutes, but it is never boring! Please go see this movie. It will make you laugh. It may even make you cry. Amazon does not have a long history as a film distribution company, but this is easily my favorite film they have put out thus far. If you are reading this review around its publication, do not wait for Prime, if there is a prime time to go see “Project Hail Mary,” it is now. I am going to give “Project Hail Mary” a 10/10.

“Project Hail Mary” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! I want to remind everyone that in honor of Scene Before’s 10th anniversary, I started a new series called Movie Requests and if you would like, you can now check out my latest episode, where “Jay and Silent Bob Strike Back” star Jason Mewes requests I talk about “House Party.” And if you want to see future episodes, please consider subscribing to my YouTube channel that way you can see them as soon as they drop!

My next review is going to be for “Ready or Not 2: Here I Come!” Also, coming soon, I will be sharing my thoughts on “They Will Kill You,” “You’re Dating a Narcissist!,” “The Super Mario Galaxy Movie,” and “The Drama.” 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 “Project Hail Mary?” What did you think about it? Or, did you read the “Project Hail Mary” book? What did you think about that? Let me know down below! Scene Before is your click to the flicks!

Train Dreams (2025): One of 2025’s Most Atmospheric Films

Posted on by Jack Drees

Just a note before we begin this post…

For those who missed it, I finally announced the guests that are going to be featured in my upcoming video-based film review series, Movie Requests. In honor of Scene Before’s tenth anniversary, I asked ten people if they wanted to be in a ten second or so video where they request a movie for me to review. The ten guests you see here agreed and gave me their unique suggestions.

The guests are…

  • Rosario Dawson
  • Sandi Harding
  • Chris Hardwick
  • Bryce Dallas Howard
  • Jason Mewes
  • Joel David Moore
  • Brian O’Halloran
  • Michael Rooker
  • Katee Sackhoff
  • Amy Sedaris

I want to thank each and every one of these guests for participating in this series, it means the world. I cannot to watch all of your movies. I am also pleased to announce that this series starts Saturday February 28th and will feature Bryce Dallas Howard, as well as a review of the movie she requested! The video will be shared here on Flicknerd.com, but if you would like to see it as soon as it comes out, then please subscribe to my YouTube channel! I also recently put out a trailer for the series. If you would like to check it out, click the link here and give it a watch. I hope you are looking forward to the series, and now onto your regularly scheduled programming!

© 2025 Netflix, Inc.

“Train Dreams” is directed by Clint Bentley (Jockey, Sing Sing) and stars Joel Edgerton (The Gift, The Great Gatsby), Felicity Jones (Rogue One: A Star Wars Story, The Brutalist), Nathaniel Arcand (FBI: Most Wanted, The Birds Who Fear Death), Clifton Collins Jr. (Jockey, Triple 9), John Diehl (The Shield, Miami Vice), Paul Schneider (George Washington, The Assassination of Jesse James by the Coward Robert Ford), Kerry Condon (The Banshees of Inisherin, Night Swim), and William H. Macy (Everyone’s Hero, Fargo). Based on Denis Johnson’s novella of the same name, this film is about Robert Grainier, a logger and railroad worker. Throughout the film we get to see the journey of his life, as well as his perspective of the world as it changes around him throughout the early 20th century.

This review is coming to you about a month before the 98th Academy Awards, which, per usual, will recognize 10 Best Picture nominees. Each and every year, I try to catch all the nominees before the show. My degree of success for such a task tends to vary from one year to the next. As soon as this year’s nominations dropped, “Train Dreams” was the one Best Picture nominee I needed to see. Flash forward to a little more than a week later, I am sitting in a theater to check out the film, presented on a 35mm print. I could have checked this movie out in 2025, but “Train Dreams,” for whatever reason, was never on my radar. If I had to guess a reason, it is partially because Netflix is not that good at marketing their content, unless said content is called “Stranger Things” or “Squid Game.” While I do not recall seeing any trailers or ads for the film, “Train Dreams” is one of those movies whose word of mouth from audiences would find its way into my social media feeds, all of which seemed to be positive. Plus, when it comes to streaming services, Netflix is not usually my goto, so there is that.

That said, “Train Dreams” is quite good. There is a lot to like about this movie. First off, the cast is amazing. Everyone is well placed in their role and plays their part well. Unfortunately, I do not think anyone from “Train Dreams” is going to win an Oscar following their performance. Although everyone here deserves their flowers. Joel Edgerton and Felicity Jones in particular are standouts. Not just because they have arguably the most name recognition of everyone in the cast, but because they feel at home in their respective roles. As a couple, the two have great chemistry and I really enjoyed any scene where the two happened to be together. For the record, before seeing this movie, I did not look up a whole ton about it. If I did see the cast, I barely skimmed it. I have seen Joel Edgerton in other movies like “Red Sparrow,” and having seen him in projects like that, I felt a sense of shock based on my experience of watching “Train Dreams.” I could not believe this whole time I was watching him. One of the grandest compliments I can give an actor is to say that their performance is a transformation. I did not see Edgerton in Robert Grainier’s shoes. I just saw Robert Grainier.

Another thing I love about this movie is the general progression of the story. At times, this is not so much a movie as much as it feels like an extended journal. For whatever reason, it almost comes off like a documentary rather than a feature narrative with actors. It dives into several chapters of one’s life, with each chapter delivering something interesting in its own way. If anything, this film made me think about the beauty of life, and the magic of seeing the world change right before your eyes. Whether that change is good or bad is another conversation for another time. But this film takes me back to when I was 9, 10, 11, 12 years old and I would think about my future. I am pretty sure many kids within the last 50, 60 years have asked themselves when things like flying cars would exist. At times, seeing Grainier working in railroad construction had a vibe that basically screamed something along the lines of “the future is now,” even if this movie was set many years ago.

I have been a student of film going back to my teen years. In high school, one of the classes I had been blessed with taking for four years straight was TV production. One of the first things the teacher taught us in that class is about the rule of thirds. This is a traditional method used for framing subjects. A good example is when you see two people having a face-to-face conversation. In cases like these, you often see the main person in a shot on one side of the frame, with their head often nearing the top depending on how close the angle is. When the other person is on screen, this is also the case, but mirrored. This film manages to break that rule on a frequent basis. Several shots are set to the point where the subject is on the lower portion of the frame, allowing for images that focus more on the film’s natural beauty towards the top. Could this film have been done as well with a greater use of the more traditional rule of thirds? Perhaps. That said, I have no problem with the way this movie is shot. Every frame looks gorgeous and the way the shots are pulled off allows me to focus more on each scene’s environment. It kind of reminded me of seeing a movie shot on IMAX film like “Sinners,” which has a series of eye-popping shots that reveal more of the movie’s neat locations and sets.

In fact, the film’s aspect ratio also falls into the rulebreak territory. The film is presented in 1.5:1, which is not quite widescreen, but it is also wider than the old school 4:3. Perhaps that is why the film reminded me of a true IMAX experience, because it is formatted fairly close to the ratio for IMAX film, which is 1.43:1.

“Train Dreams” does not exactly fall within the stereotype of what I consider to be a “Netflix movie.” This is not to say that Netflix cannot churn out an artsy title like “Roma,” but “Train Dreams” feels much less manufactured and reliant on star power than say “Red Notice,” which I do not understand why it is still popular today. Though I did recognize Felicity Jones as soon as she appeared. Also, the film has narration, which one could argue may serve as an aid to second screen viewers, or to the people who use the movie as background noise. That said, if I were a Netflix executive, and I were to think about this movie as a product of its streaming service, I would say one of the main reasons people would wind up watching the movie is due to its sense of atmosphere. It is a film in every other frame, sucks you in to the point where you end up being part of its world. The film, despite being eventful and sometimes packing a punch with its sound mix, feels like it is on the quieter side. It is a film that if it were late at night, that I could see myself putting on to help me fall asleep. I am not saying this in the sense that the movie is boring, but rather that it is soothing. I never use anything like the Calm app to put me to sleep at night, but “Train Dreams” sounds like a nice alternative as a sleeping aid. Heck, it literally has “Dreams” in the title! I guess you actually can judge a book by its cover!

In the end, “Train Dreams” is a superb movie. I have very few, if any complaints about it. There may be a scene or two that did not connect with me as much as certain others. Maybe some of the supporting characters are forgettable. Perhaps I would be able to appreciate those things more during a rewatch. Then again, this movie reminded me of life itself, and I admit, there are likely people in my life who may have stood out 10, 15 years ago whose names I would not be able to tell you now. The film, just like life itself, moves fast. There is not a moment in the movie’s runtime that feels like filler. The film is beautifully shot, terrifically acted, and Clint Bentley brought a killer vision to life. Not only did he do a good job directing the film, but he did just as good of a job writing it. I should not be surprised, as this is his latest screenplay collaboration with Greg Kwedar. Prior to this film, both of them penned the brilliant and emotional “Sing Sing.” While I am not sure that “Train Dreams” is going to have as big of an impact on me as “Sing Sing” did, I think this is yet another exciting addition to both writers’ resumes. If you have Netflix, or if this is playing somewhere near you, go check out “Train Dreams.” I recommend it. I am going to give the movie an 8/10.

“Train Dreams” is now playing in theaters and is available on Netflix for all subscribers.

Thanks for reading this review! My next reviews are going to be for “Arco” and “Solo Mio.” Stay tuned! Also, I want to thank everyone who read the 8th Annual Jack Awards, and I want especially thank those who read all 11-thousand words of it. You guys have earned yourself a much deserved pat on the back. Thanks for your support and I am honored to continue one of Scene Before’s traditions! If you want to see my upcoming 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 “Train Dreams?” What did you think about it? Or, here is a two part question… What movie do you think will take Best Picture at the Oscars this year? And… What movie do you want to see win Best Picture at the Oscars this year? Personally, I think “One Battle After Another” will take the win. It has a great lead performance, excellent technical aspects, an amazing supporting cast, and it is in some ways a relatable concept. That said, if I had to pick a favorite amongst the nominees, I would say that “Sinners” might be the one. The film has gotten a decent amount of replay value from me since I first saw it in April. Leave your comments down below! Scene Before is your click to the flicks!

Hamnet (2025): Chloe Zhao’s Latest Vision Breaks Your Heart and Puts it Back Together

Posted on by Jack Drees

“Hamnet” is directed by Chloé Zhao (Eternals, Nomadland) and stars Jessie Buckley (Wild Rose, Men), Paul Mescal (Gladiator II, All of Us Strangers), Emily Watson (Hilary and Jackie, Chernobyl), and Joe Alwyn (The Brutalist, Kinds of Kindness). This film showcases what happens as Agnes and William Shakespeare deal with the loss of their son, inspiring the latter’s play, “Hamlet.”

I was not aware that Chloé Zhao was working on a movie this year, but after seeing “Nomadland” and “Eternals” earlier this decade, I found her directorial efforts to be delivered with a sense of grace. There is something wholesome and calming with how her work is executed. Maybe it is because of the stories she chooses to tell. “Nomadland” is in a sense an inviting tale about real people. “Eternals” may be a Marvel movie with tons of CGI and fast-paced action, but it has a set of likable characters. I found Sprite’s arc in particular to be quite compelling. When I saw the marketing for “Hamnet,” I was less interested in the concept of the story as opposed to who was telling it. When I saw Chloé Zhao’s name pop up in the trailer, I was onboard. Is this film worth the hype? I would say so.

“Hamnet” is not my favorite film of the year. Though I have fiddled with at the least, making it an honorable mention on my best list this year. Spoiler alert, it is probably not going to make the list. I think select scenes throughout the film lack memorability compared to others. A number of factors play into this claim, because I found the atmosphere to be inviting. I thought the story, while it may not be the most thrilling, to be moving. But most of all, this film may have, collectively, the best acting I have seen in a film this year. The cast may not be the most recognizable, but every performer here is on their A-game. The chemistry between Jessie Buckley and Paul Mescal as Agnes and William Shakespeare is unbelievable, and the drama that is hankered in from their families also make for some compelling scenes.

The child actors were also incredible, and not just by the standards of “child actors.” They are so good that they honestly rival the grown-ups. In fact, as I watched this movie, I got the sense that just about every scene was presented in somewhat of a child-like spirit. It is a weird way to describe this movie, but every scene feels energetic. Even ones that are clearly drawn out. If a scene goes on for a while, it is supplemented by a satisfying dramatic effect. Part of this spirit is likely enhanced by the film’s location choices. Every place on camera looks gorgeous and I would not mind escaping into each one if I had the chance. Speaking of child-like spirit, I really enjoyed getting to see specific scenes from Hamnet’s youth. Seeing him swordfight with his dad emitted oodles of joy.

Before going to see “Hamnet,” I was told by friends who had already seen it that Jessie Buckley gave what may have been the best performance of the year. This set the bar really high for me. But even I was not prepared for the acting chops Buckley was bound to unleash. She is given so much to do in this film. You see her character, Agnes Shakespeare (left) through multiple portions of her life. You see her when she finds love, becomes a parent, deals with tragedy. Of course, she is no ordinary woman, as the film reveals she is a healer. Yes, there is quite a fantastical element to this story. After all, it is based on a fictional book. This is not my first film featuring Buckley that I have seen, but much like my previous review, “The Secret Agent,” this film does for Buckley what “The Secret Agent” did for Wagner Moura. It took someone I have seen in other movies and liked in other movies, but now that I have seen them in this one, it essentially put their name on the map for me. Buckley previously starred in Alex Garland’s “Men.” I barely remember that movie but I do remember Buckley giving her all in each scene. “Hamnet,” however, is a different animal entirely. I think this performance will be studied for quite a long time.

Of course, this is also a film about William Shakespeare (right), played brilliantly by Paul Mescal, and his portion of the story is not only compelling, but it sometimes paints him as a loving, but also imperfect father. I would not go as far as to say Shakespeare is a jerk. In fact, I often get a calming vibe from his character. But there is a fantastic scene between Agnes and William where the two argue and Agnes reminds her husband that he misses important life moments. The scene plays out in a way where I feel bad for both people.

There are many great films in recent years that do a good job at not just telling a marvelous story, but honoring storytellers while doing so. A lot of these have noticeably been about movies themselves, as seen in projects like “Babylon” and “The Fabelmans.” But “Hamnet” proves that there is room to pay tribute to the stage. The film sort of takes elements from “The Disaster Artist,” where a sequence of events happen, granted such events that happen in this story follow a significantly different structure. Then, instead of showing a movie at the end, “Hamnet” has a scene where a large crowd gathers to watch a play. The film reinforces a motto that I hear a lot when it comes to storytelling, specifically to write about and tell the stories you know. Seeing William Shakespeare tell the story of “Hamlet” really hits emotionally given the background the film offers through every moment leading up to said scene. In fact, there are multiple moments, especially towards the end, where the film plays out as if it was trying to make one tear up.

There is one music choice I was not expecting at the end of the film, but as soon as I recognized the song, it only made the scene hit that much harder. I am not saying the scene would not have hit without it, because that part of the movie by itself is as heavy as it is fulfilling, but the music choice was a bonus. If you know the name of this film’s composer, Max Richter, and one particular piece he crafted, you are in for a treat.

In the end, “Hamnet” is a beautifully done movie. Upon walking out, I debated as to whether this was my favorite Chloé Zhao film. Given time to marinate, I would probably give “Eternals” the edge at this point. But that does not mean I cannot appreciate her efforts here. The acting is some of the best I have ever seen, and I would not be surprised if this film dominates the SAG Awards. The film has brilliant cinematography, it is decently paced, and also finds time to both break your heart, then suddenly put it back in one piece. The film is definitely not for everyone, but I think if you are in the right mood, this movie could hit you where you live. I am going to give “Hamnet” a 7/10.

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

Photo by 20th Century Studios/20TH CENTURY STUDIOS – © 2025 20th Century Studios. All Rights Reserved.

Thanks for reading this review! My next review is going to be for “Avatar: Fire and Ash!” Stay tuned! Also coming soon, stay tuned for my thoughts on “Is This Thing On?” and “Marty Supreme.” 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 “Hamnet?” What did you think about it? Or, have you ever read the “Hamnet” book? What did you think about that? Let me know down below! Scene Before is your click to the flicks!