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Blade Runner (1982): Gimmie a Hard Copy Right There

Posted on by Jack Drees

Hey everyone, Jack Drees here! And welcome one and all to the final entry to the Ridley Scottober review series! If you want to check out my reviews for the other films in the series, such as “Body of Lies,” “Gladiator,” and “All the Money in the World,” click the provided links and have a ball! Today we will be talking about one of my most rewatched movies in recent years, “Blade Runner.” Also, if you want to see a less professional, perhaps crappier example of my writing, I reviewed “Blade Runner 2049” back when it came out in 2017. I was less experienced, but still had a sense of a writing style of sorts. Check it out! Before we begin this review, I want to make something clear. On this blog, when I review a movie, it is typically of the initial version released in theaters or whatever platform it was designed for. With “Blade Runner,” this is no exception. For this review, I will be using the theatrical version of the film as a baseline. Maybe one day I will do my thoughts on “The Final Cut” as a separate post, which I have seen. But I am treating this movie the same way I treat just about every single other one I watch. That said, if you choose to stick around and read this review, enjoy your stay, make yourself at home, and let’s dive into one of Ridley Scott’s most talked about films.

“Blade Runner” is directed by Ridley Scott (Alien, The Duellists) and stars Harrison Ford (Star Wars, Raiders of the Lost Ark), Rutger Hauer (Nighthawks, Inside the Third Reich), Sean Young (Jane Austen in Manhattan, Stripes), and Edward James Olmos (Wolfen, Zoot Suit). This film is based on the Philip K. Dick novel “Do Androids Dream of Electric Sheep?” and centers around LAPD detective Rick Deckard as he is tasked with hunting down and retiring four Replicants who come to earth on a stolen ship in order to find their creator.

“Blade Runner” is one of those films that has had an impact on me since the first time I saw it back in 2017. In fact, this is not my first time talking about the film on this blog as I once did a post weeks after my initial viewing, talking about what the film got right about the future. Again, much like my “Blade Runner 2049” review, my quality of writing may have been a bit different at the time. Just a fair warning.

Little to my knowledge, “Blade Runner” would have a major influence on my academics. If you knew me in high school, there is a chance that you were with me in a film studies class. “Blade Runner” was the first and last feature film I ended up watching in the class given how much of the curriculum tended to use that film as a backbone of sorts. In college, I ended up choosing to study “Blade Runner” for a final project in my Television & Film Studies class. I have developed a passion for this movie, this property, and if the right people are involved, I would not mind seeing more of it. Judging by what I just said, you already know that this is going to be a positive review. If “Blade Runner” had a personality and made an effort to describe my relationship with it, it would probably channel Michael Corleone in “The Godfather Part III” and say “Just when I thought I was out, they pull me back in!”

Sorry, “Blade Runner,” my days of discussing you are not over just yet.

But I cannot help it, because “Blade Runner” is a master class effort. I think it is a particularly unique film. And it has done a lot to influence many stories that came after. The film is based on Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?,” which a number of claim is the earliest example of cyberpunk. This sub-genre has remained popular over the years with titles across various mediums like “Akira,” “The Fifth Element,” “Ghost in the Shell,” “Altered Carbon,” and “Cyberpunk 2077” just to name a few. It is easy to get lost in a good movie with proper atmosphere, and when it comes to the cyberpunk nature of “Blade Runner,” getting lost in 2019 Los Angeles, or at least what this movie makes it out to be, is as easy as pie.

One of the basic rules of filmmaking is to show, not tell. And that is going to be an ongoing theme in this review. Because everything this movie shows is remarkable. There are tons of practical effects that are beautiful to the naked eye. The production design for this film is off the charts. There are very few films that are like this one aesthetically, and I say that knowing how much cyberpunk has evolved over the years. This film released in the 1980s, a time where cars looked quite different than they do today. And when I look at the vehicles in “Blade Runner,” they definitely have a look at the time that screams futuristic, but I admire how they seem to carry a vintage charm to them. I could totally buy the design of Deckard’s spinner in the film, even if it seems to look a bit like something from the time this movie came out.

Framing-wise, this is one of the coolest-looking films I have ever seen. Despite the film claiming it is set in Los Angeles, it feels like a different kind of environment. This film, at least at the time it came out, is science fiction. There is also a bit of a film noir undertone as well. This movie’s use of the color blue throughout is vivid in my memory. The color palette always packs in a blue tone. You can see hints of bluish lighting throughout the film. And one nice little touch in the background during various scenes are the many umbrellas going about the streets. Their handles have a bluish neon glow to them, almost like Luke Skywalker’s lightsaber in the early “Star Wars” installments. Speaking of “Star Wars,” one of my favorite Easter eggs about “Blade Runner,” if you pay close attention, is that there is a building in the film that resembles the look of the Millennium Falcon, Han Solo’s ship. And to top it off, Han Solo’s respective actor, literally plays the main character of this movie!

Sticking on the topic of things that look cool, one of the most intriguing designs in the whole film is the Tyrell Skyscraper. This building is utilized throughout multiple portions of the movie, and every time I look at it, I cannot help but stare in awe and wonder. The inside is enormous and carries a robust flair to it. From the outside with the help of lights shining through the windows, it looks screensaver-worthy. I also admire how the pyramid design allows for tons of incline elevators to be put in place throughout the premises. If you know me in real life, I am a bit of an elevator geek. If I were in the “Blade Runner” universe, one of the first things I would do is go into the Tyrell Skyscraper just to ride the elevator.

But just because this movie shows all sorts of cool things, does not mean it tells all sorts of cool things. Now to be fair, the dialogue in this film is minimalistic and it is perfect. There are plenty of scenes where the characters are completely quiet or there are inklings of silence. If you watched other versions of the movie, this will not matter, but if you watch the original version, there is a chance you may remember Harrison Ford’s character, Deckard, not only serving the film as a protagonist, but as a first-person narrator. While there are moments where the narration is not that much of a big deal, there are some that overexplain what is happening, and others that ruin the visual experience of this movie. One of the highlights of this film for me, from a visual perspective, is the scene where we see Deckard and Gaff inside the spinner, flying through a darkened Los Angeles. The aerial shots really help encapsulate the beauty of the city, even with a supposed sense of gloom in its people. The problem is, the scene, which has no dialogue from the characters, also features narration from Harrison Ford that sort of overembellishes the idea of cityspeak, a mix of pre-established languages. It is not really something I would need to know or care to know on my first viewing. It honestly reminds me of when I watch certain broadcasts of “New Year’s Rockin’ Eve” on ABC, and Ryan Seacrest is talking up a storm as I am trying to take in the first moments of the new year. I am basically trying to hear the crowd, listen to Frank Sinatra’s “New York, New York,” and feel like I am there with everyone. But much like Seacrest’s voice on those occasions, Harrison Ford’s voice is nothing more than added noise. At the end of the day, it does not do much to benefit the film. There are a couple voiceovers that do not colossally damage the experience, but there are plenty that are better left unused. This is especially true for one used towards the end of the film where a crucial character’s arc is fulfilled. We are seeing this moment play out, and I am enjoying every second. Then it is suddenly interrupted with voiceover lines from Harrison Ford that basically spitballs what is happening for the audience, instead of allowing them to take in the lesson from the narration themselves. It is kind of insulting the more I think about it.

That said, I watched a documentary on the making of this movie, “Dangerous Days: Making Blade Runner.” And if you have the Blu-ray edition of “The Final Cut,” you can watch it yourself. Harrison Ford revealed not only that he thought the narration, which was added due to poor test screenings, was awful, but he ended up doing it with reluctance. Ford was contractually obligated to complete the lines, so he did what he had to do. He tried his best with the material, but he did not think it was necessary.

Though speaking of Harrison Ford giving his best effort, his performance as Rick Deckard is perfect. The character easily blends into his increasingly depressing environment. He is the kind of guy who will not take any nonsense from anyone, but also kind of has a softer side on occasion. There is nothing overblown about this character, especially when you compare him to some of Harrison Ford’s earlier performances, like those he previously gave as Han Solo. In fact, much of what makes Ford’s character believable in his environment is his tendency to remain quiet during certain scenes, which is balanced perfectly by the mannerisms of this film’s antagonist, Roy Batty.

While Harrison Ford may be the most iconic face in the movie, I think the award for best performance in this film easily goes to Rutger Hauer as Roy Batty. I have no idea if Hampton Fancher and David Peoples, this film’s writers, wrote this character with any particular actor in mind, but Hauer is one of the best castings for an antagonist perhaps in the history of cinema. There is a ton of range in a character like this one. When we first see him, his execution of the film’s dialogue is quite direct and to the point. It is almost kind of robotic, which should play into the fact that he is a Replicant. But as we go through the film, there is a continued sense of humanity that develops within this character. You can hear it in his voice, and even his physicality. I said there is a balance between Batty and Deckard, and I mean that wholeheartedly. It is perfectly displayed in the film’s climax, which is not particularly the most epic of climaxes, but it is one that serves the movie to perfection. That said, while I am ultimately rooting for Deckard, I cannot help but admire Batty throughout the climax because every other line out of him sounds like a grounded cartoon. This may be weird to say, but having rewatched this film for review purposes, the dynamic between these characters in the climax almost reminds me of a father and son playing tag or chasing each other around the house. It almost feels carefree even though there are higher stakes involved. Well, that, and there are moments where Batty twists Deckard’s fingers to get revenge.

The movie also kind of ends on a weird note. Again, this is the original cut we are talking about. There is a final scene, which believe it or not, uses footage that was originally made for Stanley Kubrick’s “The Shining,” it is unbelievably rushed, and kind of uneven when consider how most of the film is paced. “Blade Runner” is kind of a slow burn, and by the time we get to this scene, it kind of kicks things up a gear or two. It is really weird. Overall, it is an abrupt scene. And while I definitely prefer the more open ending offered in future versions, I think if this movie were trying to go for a more upbeat ending, they probably could have gone for a longer scene. This scene is too quick, too in your face, and appears to be the result of a last minute decision that likely was not even on Ridley Scott’s mind while making his way through much of the film’s production.

Doing this review in 2023, I realize that some of the problems I have with the movie are those that tend to bog down the original cut and eventually get changed in later versions. That said, there is one problem I have with this movie that has lingered with me for years. While I think Sean Young and Harrison Ford have fabulous chemistry together as Rachel and Deckard, and every scene delivers the best out of each actor, I am not a fan of how their love blossoms. If you can call it that. This movie is written by two men, and I am sure that if a woman were credited with the screenplay, the scene where Rachel and Deckard first embrace their love for each other would have been handled differently. Basically, Rachel is trying to leave Deckard’s residence, but before she can get out, she is barricaded by Deckard, preventing her from making an exit, and pushed to a window. The two do end up embracing each other and confirming their love for each other, but the way it happens feels for starters, unrealistic, but also, kind of unsettling. It reminds me of another movie I have rewatched several times over the years, “Revenge of the Nerds,.” In that movie, sure, Betty and Lewis end up confirming their love, or perhaps more accurately at the time, lust, for each other. But the way that initiates is from Lewis basically assaulting her if you break it down. And much like “Revenge of the Nerds,” I will not deny that “Blade Runner” has reminded me of my love for movies in one way or another. But if I had to name a standout flaw with both films, and it is a monumental one, it would be a central love connection that may seem believable in the end due to proper chemistry, but is initiated in a way that can described as off-putting and erroneous.

As mentioned, “Blade Runner” is an example of cyberpunk, which likely takes inspiration from large cityscapes, but in a way, puts them on steroids. That said, even with a somewhat over the top nature provided throughout this movie’s interpretation of Los Angeles, everything around the city in terms of the environments and characters felt completely grounded. There is rarely a moment of this movie that I could not buy. This movie also manages to insert, for the most part, believable product placement. After all, it is set in a major city, so tons of advertising is to be expected. But from the very beginning, the frame is often bombarded with neon, noise, or product acknowledgments from companies like Budweiser or Coca-Cola. Ridley Scott manages to deliver an atmosphere with “Blade Runner” that not only emits realism, but for the entire runtime, makes me feel like I am there.

Though if I had to finish this review with one thing, it is that few movies, in fact few franchises for that matter, tend to answer the question, “What is human?”, like this one. I think Roy Batty, despite being an android, is perhaps one of the greatest encapsulations of that question in the history of film. We see him from the very start of his journey wanting more life. It is established that Replicants tend to have a four-year lifespan. Obviously, most humans live a lot longer, and that is something that he is trying to achieve. But if anything, this movie shows that life is not something you should take for granted. I am 23 years old. In fact, as I am writing this review, I am going to be 24 in just over a week. This movie reminds me to enjoy the moment, even in the darkest of times. Even in a city where the rain never stops, there may be one or two moments of sunshine. This movie may be set in a depressing future, but it is one where beings tend to find inklings of joy to keep themselves busy, whether that inkling can be defined as enjoying some noodles, playing chess, or fiddling with a piano. The beauty of “Blade Runner,” despite coming off as a slow burn and a thinker film, is its simplicity. At its core, “Blade Runner” is about a cop trying to stop a group of targets before it is too late. Everything else is just a bonus, and a mighty bonus it is. Because as far as I am concerned, there is a reason why I have rewatched this film so many times over the years, because it is that good.

Oh, and to answer the often debated question amongst fans, Deckard is a Replicant.

In the end, “Blade Runner” is one of Ridley Scott’s best films, even with its flaws. Again, a lot of the flaws I have in this review did get resolved, but I imagine if I did watch “Blade Runner” back in 1982, I would be having a ball with it. Unfortunately, the film did not do too well when it came out. It polarized critics, made an underwhelming amount at the box office, and possibly suffered from studio notes. Having to compete with another excellent and successful film, “E.T. the Extra-Terrestrial,” probably did not make things any easier. Even with that in mind, the film has a lot to offer. Exciting action, likable characters, incredible story arcs, life lessons, captivating writing, stellar direction, brilliant lighting, and stunning effects that make a number of modern movies that rely on CGI pale in comparison aesthetically. I must add, Vangelis’s score is also an absolute banger. “Blade Runner” is one of the best-looking movies I have ever seen, and it is hard to believe it looks this good over forty years later. But these looks are supplemented by a narrative that did nothing more than grabbed my attention and kept it for a couple of glorious hours. I am going to give “Blade Runner” a very high 8/10.

Again, if I were reviewing “The Final Cut,” I might honestly give a higher score. But I am treating this review the same way I am treating the other ones I typically do. And if you want me to be honest with you, as much as I love the original “Blade Runner,” it feels odd to say because I have not watched it in a while, but I honestly think “Blade Runner 2049” is the superior installment. It has all the positives of the original movie, but does some things to improve on it as well. Much like the original, that is another film that I have watched incessantly. In fact it finished as my runner-up for best movie of the 2010s. And if I could go back and do my review of it again, I would give it a 10/10 if I had the chance. Few films made me escape my reality and bring me to another world like that one did. I highly recommend if it is a rainy day, do a “Blade Runner” double feature. Both movies are absolutely worth your time and are two of the finest examples of what sci-fi can be.

“Blade Runner” is now available on VHS, Laserdisc, DVD, HD DVD, Blu-ray, and 4K Blu-ray. The film is also available through various streaming services.

Thanks for reading this review! And I hope you enjoyed my entries to the Ridley Scottober review series! I had a lot of fun doing these. I got to check out some films I have never seen before, in addition to watching one for the umpteenth time. I had a blast doing these and I hope you had fun reading them. If you want to see more reviews, good news! I have more coming soon! I will soon share my thoughts on “It Lives Inside,” “Dicks: The Musical,” and “Killers of the Flower Moon.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Blade Runner?” What did you think about it? Or, what is your favorite science fiction movie? Let me know down below! Scene Before is your click to the flicks!

Dumb Money (2023): A True Story Rich in Humor and Stars

Posted on by Jack Drees

“Dumb Money” is directed by Craig Gillespie (I, Tonya, Cruella) and stars Paul Dano (The Batman, The Fabelmans), Pete Davidson (The King of Staten Island, Big Time Adolescence), Vincent D’Onofrio (Daredevil, Full Metal Jacket), America Ferrera (Barbie, How to Train Your Dragon), Nick Offerman (Parks and Recreation, The Founder), Anthony Ramos (In the Heights, Transformers: Rise of the Beasts), Sebastian Stan (Captain America: The First Avenger, I, Tonya), Shailene Woodley (Divergent, Big Little Lies), and Seth Rogen (Neighbors, Sausage Party). This film is inspired by Ben Mezrich’s “The Antisocial Network,” a book based on true events. The story of “Dumb Money” captures ordinary people subverting the expectations of Wall Street and turning GameStop into the hottest company on the stock market.

I never got involved in the stock market in any capacity throughout my life. It is just something I have never gotten around to. But even as someone who has never gotten involved, there were times in 2021 where I could not scroll through social media without seeing something related to GameStop, or heck, even AMC Theatres. Both companies were the talks of the town at the time because a ton of people kept buying their stock, and on the surface, it felt like an ongoing joke, but for some people, it was more than that. This is a fascinating story. Therefore, I was surprised, but also delighted, that people were making a movie of this caliber on it as soon as they were. On the surface, the cast is fantastic. Many of them either had recent roles that were highlights of their respective works or have maintained careers that have kept my attention for a long time.

When I think of the GameStop stock story, part of me wants to laugh about it. I mean, come on! It is a physical media company that is as much the butt of the joke as it is synonymous with its own industry. If you live in an area where used game stores are a rarity, chances are you will, even with recent closures, have a GameStop or two within close distance. I am a GameStop customer and shop there multiple times a year. I don’t think all their business practices are great, but they usually provide a decent experience if you are looking for something in particular. In fact, I almost ended up working for GameStop in my teens. Having seen this film, I realize that as much as it highlights the people who are investing in GameStop, it is not afraid to joke about some of the things the company has done. Additionally, “Dumb Money” seems to satirize retail environments in general. I previously worked in retail. Not at GameStop, but still. And this kind of took me back in a way. One of my favorite segments of the movie is this bond between a GameStop employee and their boss. Each scene between them got a laugh out of me. This movie highlights, as I previously knew, the fact that GameStop remained open during the pandemic as an essential business. Sure, it sold certain technologies that people often used during the pandemic, but it is far from the most essential of businesses.

My favorite dig this movie does towards the large gaming chain is when they reference the idea of employees doing a TikTok dance challenge as part of a company contest. This is true by the way. The moment I heard that joke, I was in shock, and then in amazement. Because I nearly forgot that happened. Or more specifically, that it almost did. For those who don’t know, GameStop proposed a challenge to its employees to dance to a song on TikTok in the hopes of achieving extra hours on Black Friday week. This is the thing I love about “Dumb Money,” it is a film that balances humor and respect towards its subject matter. But at the end of the day, it is also a film that tells marvelous tales of underdogs.

There are several underdogs in this movie, and their stories are all compelling. In fact, one of those underdogs is a GameStop employee played by Anthony Ramos. If I did not suggest it already, I enjoyed his presence in the film and his character was well written. Meanwhile you have a couple college students trying to strike it rich. Both of whom are wonderfully played by Myha’la Herrold and Talia Ryder. On another side of the spectrum is a struggling nurse named Jenny, played by America Ferrera, whose presence oozed of charisma every moment she was on screen. But at the center of it all is Keith Gill, who spends his off time from his job on the Internet talking about stocks and Wall Street. The working man and family background of this character made him a compelling protagonist, in addition to Paul Dano’s acting method.

I like all the characters in “Dumb Money,” and I must say the antagonists of the film, specifically those more connected with Wall Street such as Seth Rogen’s Gabe Plotkin, are also fun to watch. At times, this movie basically spitballs who to root for, which is not a hard thing for me to do considering the personality traits and backbones of the antagonists. But there is one scene that perhaps over-embellishes the necessity to root against Gabe. This movie is set during the early-ish days of the COVID-19 pandemic. And one of the earliest things we learn about Gabe is that he and his family now own a new place in Florida so they could party hard during the pandemic. I was, and still am to a degree, one of those people who takes the recent events of the pandemic seriously. I am not perfect, but I still keep everything about it in the back my mind. I remember when the pandemic first started, my family and I had to balance our finances because of the way the economy flipped on its head. And I was primarily concerned about getting my grandparents sick. Meanwhile, this guy is more concerned about being able to party like an animal. The difference here is obvious.

“Dumb Money” is one of those stories that highlights the divide between classes. You have Wall Street up at the top and people like Keith Gill, who is not poor, but making chump change in comparison. It shows how even people at the top feel like they might not have enough despite their enormous success. Meanwhile, this GameStop story, whether it will be remembered more as a triumph for people outside Wall Street or as a silly meme that caught a lot of people’s attention, shows that there may be room for regular people when it comes to striking it big on the stock market. This is a story set in recent times that often delivers humor highlighting said times. I am wondering how well this movie is going to age as a comedy because some of its humor is COVID-driven, but there are plenty of other jokes emitting a more timeless feel to balance it out. “Dumb Money” is very funny, entertaining, and brings out a heck of a story. Before this movie, I looked at the GameStop stock trend as a silly fad, but this movie presents it as something more. And that’s probably the best thing about it. It added depth to this subject for me that I was not expecting. A job well done is in order to everyone involved with this movie.

In the end, “Dumb Money” is rich in excellence. It is not my favorite movie of the year, but when it comes to comedy, this movie has a ton of laughs, and as a drama, it is way more compelling than it needs to be. It presents all these individual stories from different walks of life and makes one big, masterful connection out of all of them. “Dumb Money” is neither short on stars or chuckles. Go check it out if you get a chance. I am going to give “Dumb Money” a 7/10.

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

Thanks for reading this review! Stay tuned because I have reviews coming for “It Lives Inside,” “Dicks: The Musical,” and “Killers of the Flower Moon!” But in addition to those reviews, I have my last review of the Ridley Scottober series dropping this week. If you want to read my reviews in the series so far, you can check out my thoughts on “Body of Lies,” “Gladiator,” and “All the Money in the World.” As for this last review coming up, I must claim it is a big one. I am talking about “Blade Runner!” Make sure you check out these reviews, past and future, when you get a chance! And you can do so by following Scene Before either with an email or a WordPress account! Also, check out the official Facebook page! I want to know, did you see “Dumb Money?” What did you think about it? Or, do you shop at GameStop? If not, what is your gaming store of choice? Do you even play video games? Let me know down below! Scene Before is your click to the flicks!

All the Money in the World (2017): Ridley Scott’s Mildly Thrilling Work Featuring Captivating (Non Kevin-Spacey) Performances

Posted on by Jack Drees

Hey everyone, Jack Drees here! Welcome to the third installment of the Ridley Scottober review series! It is a series where I will be talking about four Ridley Scott-directed films throughout the month of October. If you are interested in my first two reviews of the series, feel free to check out my thoughts on “Body of Lies” and “Gladiator.” The movie I am talking about today shares something in common with the last two I talked about. The fact that I have never seen it until now. That film in particular is “All the Money in the World,” whose name I have ton when it came out for a number of reasons. Now that I have finally gotten a chance to see what everyone is talking about, it is time to share my review.

“All the Money in the World” is directed by Ridley Scott (Alien, The Martian) and stars Michelle Williams (My Week with Marilyn, Manchester by the Sea), Christopher Plummer (Up, Beginners), Mark Wahlberg (Transformers: Age of Extinction, Patriots Day), and Romain Duris (L’Auberge Espagnole, The Beat That My Heart Skipped). This film is based on the events surrounding the kidnapping of John Paul Getty III, whose grandfather is the world’s richest private citizen, J. Paul Getty Sr.. When the kidnappee’s mother is unable to hand over $17 million for her son’s freedom, she does what she can to convince Getty Sr. to provide the money.

When it comes to Ridley Scott, he is usually a name that would get me in the theater. If he were sitting in the director’s chair, there is a good chance I am there. Granted that is not always true as I did not have a ton of interest in “House of Gucci” when it came out, but nevertheless. One of the reasons why I am very much looking forward to his next film, “Napoleon,” is because he is helming it. But when it comes to “All the Money in the World,” there is a particular name that was on my mind, even years after this film came out. But maybe not for the reasons the people behind this movie would desire. That name, is Kevin Spacey.

Ah… Kevin Spacey. How the mighty have fallen. A couple wrong moves in life and here you are. Your relevance is about as tiny as bacteria. Now this review is being done as part of a Ridley Scott series, and I will not deny that I was partially intrigued by this film because Scott’s name was attached to it. But if I were in the general audience months before this film’s release, there is a solid chance that Kevin Spacey would have gotten me in the door. I thought he was good actor with a decent resume. In fact, he just did “Baby Driver” earlier in the year, an incredible action flick with pristinely executed sequences and a killer soundtrack. Before this movie came out, all of his footage was shot, and he was going to play J. Paul Getty Sr.. Sounds interesting, right?

Well, fast forward to October 2017. News comes out reporting Kevin Spacey’s sexual misconduct allegations, and therefore “All the Money in the World” is in a world of hurt. Kevin Spacey was supposed to be a centerpiece of the film’s campaign, especially considering the arrival of awards season. AFI Fest was around the corner, and the movie was supposed to premiere there. That premiere was canceled, and everyone went back to work on the film. Kevin Spacey was recast with Christopher Plummer, and they shot his scenes over the course of nine days. I think this whole behind the scenes aspect is the highlight of the film. I am a production junkie. I work in production so I may be biased. But I know a thing or two about how hard it is to do something last minute, but if done right, the results can present themselves as fantastic.

Now if you pay close attention to the movie, and I did not know this upon my watch, there is one shot in the film that features Kevin Spacey getting off a train. The reason for that is because it would have been too expensive to redo. All the rest are of Christopher Plummer. I was amazed at this movie’s quick turnaround, even if the people behind it admit they could not achieve perfection.

I do not know what Kevin Spacey’s performance was like in this film, and frankly I do not care. What we got from everyone onboard was great. The recently mentioned Christopher Plummer, Michelle Williams, Mark Wahlberg, and Charlie Plummer (no relation to Christopher) all knocked their portrayals out of the park. All of them bring something exciting to the table with their characters and I cannot see anyone else, including Kevin Spacey, playing them. One of the reasons why Ridley Scott himself is a solid director is because he always manages to bring the best out of his talent. My favorite performance of 2015, and I sincerely apologize to the great Academy Award-winning Leonardo DiCaprio of “The Revenant” when I say this, is Matt Damon as Mark Watney in “The Martian.” Damon not only highlighted a constant survival instinct within his character from scene one, but did so with a sense of humor that I could only describe as irreplaceable. “All the Money in the World” clearly delivers different vibes, it is more dramatic, more serious, and LITERALLY more down to earth. “All the Money in the World” does a superb job at putting me into a world where we have all these people who would be hard to relate to 100% of the time, and yet I could sit in a room with them as a fly on the wall, intrigued by their actions.

But just because I am jumping up and down about the acting in “All the Money in the World,” does not mean it captivated me from beginning to end. There are moments of the movie that are more thrilling than others. There are moments where I had to struggle to pay attention. And there are also moments where I almost tuned out entirely. The movie is not bad, but much like “Body of Lies,” there is a certain spice that I wanted out this film that I could not quite achieve. It feels like I am going back to my watch of another thriller of his, “Body of Lies.” I think “All the Money in the World” is a better film with a more compelling story, fewer cliches up the wazoo, and more interesting characters. But if there is one thing both films have in common, there are select scenes in the film that had that had a greater span of my attention than others.

If there is another thing to note about “All the Money in the World,” it looks beautiful. The production designer for “All the Money in the World” is Arthur Max, who has worked a ton with Scott in the past on films like “Gladiator,” “Black Hawk Down,” and even as recent as “The Martian.” The two go hand in hand. Speaking of Scott’s usual suspects, the cinematography is done by Dariusz Wolski. He previously worked on “Exodus: Gods and Kings,” “The Martian,” and even “Alien: Covenant” which released months before this movie hit theaters. The lighting and framing make for a consistently perfect pair throughout “All the Money in the World.” There is a wide shot in Rome from the first few minutes that I wanted as a desktop photo. It is that good.

As a story, despite the film’s pacing issues, some characters standing out more than others, and select scenes not having as much of a pop as I would prefer, I am glad we got to see it. I think the movie presents a fascinating moral about wealth, and how even when you are rich, you feel that there is no breaking point. There are probably more people out there than we think that will put their riches before their family. I will not deny that having money is nice. And I am not going to pretend that I have as much as Christopher Plummer’s character. I found it fascinating, and kind of depressing, how his character seemed to think saving someone in his family was not worth even just a small portion of his wealth. J. Paul Getty Sr. stands out way more than he should as a character given all the controversy surrounding this film, but I guarantee that regardless of who is playing him, he is probably the character that would stand out most in the story, for good reason. But of course, at the risk of beating a dead horse, Christopher Plummer does an excellent job in the role.

In the end, “All the Money in the World” is not my favorite of Scott’s works. But much like “Body of Lies,” it stands as a film that I think a lot of people would kill to make. But if I have to be real with you, I think the history of this movie is more interesting than the movie itself. If it were not for all the controversy, this would just be a lesser film in Ridley Scott’s library. But with the way things are, it is a lesser film in Ridley Scott’s library with notable complications that came up around its release. It is not something I plan on watching a second time, but it is a film that I do not regret putting on. The performances are all standouts, the camerawork is some of the finest of its year, and when it comes down to it, it is an intriguing study of how wealth can affect people. Yes, at times it is a chore to watch, I will not deny that. But I think you would not be doing yourself any harm if you decide to check it out. I am going to give “All the Money in the World” a very high and generous 6/10.

“All the Money in the World” is now available on DVD, Blu-ray, and on various streaming services.

Thanks for reading this review! My final Ridley Scottober review arrives next week, and unlike the ones I have done so far, it is for a film I have seen.

Many times, actually.

For the final Ridley Scottober review, I am going to be talking about “Blade Runner,” the 1982 science fiction classic! It is a film that I have mentioned and talked about many times on Scene Before, but after many years of blogging here, I finally get to do a proper review of it. Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “All the Money in the World?” What did you think about it? Or, if you could replace any actor or actress in any movie in the history of time with Christopher Plummer, which one would it be and why? Let me know down below! Scene Before is your click to the flicks!

Body of Lies (2008): A Pinch of Intrigue Mixed with a Hint of Blandness

Posted on by Jack Drees

Hey everyone, Jack Drees here! Happy October! Or should I say, Ridley Scottober! What is Ridley Scottober? Well, throughout the month of October, I will be reviewing four movies directed by Ridley Scott! I wanted to do this because in addition to getting one themed review done this year, I might as well prepare myself for Ridley Scott’s upcoming feature, “Napoleon,” which so far has won me over with the marketing. I cannot wait to see it. Let’s kick things off with the first review in the series, “Body of Lies,” Scott’s 2008 spy thriller.

“Body of Lies” is directed by Ridley Scott (Black Hawk Down, Gladiator) and stars Leonardo DiCaprio (Titanic, The Aviator), Russell Crowe (Gladiator, A Beautiful Mind), Mark Strong (Stardust, Babylon A.D.), Golshifteh Farahani (M for Mother, Half Moon), Oscar Isaac (The Nativity Story, Law & Order: Criminal Intent), and Simon McBurney (The Golden Compass, Friends with Money). This film centers around a CIA agent named Roger Ferris, who attempts to track down a terrorist leader in Jordan.

I owned the Blu-ray for this film for almost six full years, and yet I have not watched this film for the first time until only last month. On the cover, there is a lot to like. Between Ridley Scott’s name behind the scenes, in addition to DiCaprio and Crowe’s names standing out for the talent on camera. All of these people, not just today, but even back in 2008 have proven their worth. In fact, “Body of Lies” is not the first rodeo between Scott and Crowe, as the two have worked together multiple times before, therefore it shows they have a solid business relationship. The same cannot be said for Leonardo DiCaprio, but I am sure both individuals brought plenty of promise to each other at the time of production. When you have these three names together, it equally brings a lot of promise to the audience.

Unfortunately though, while the promises of this film do not appear to be empty, they do not feel like they were entirely met. Now, these three individuals do an okay job in the film. But I cannot say that this film comes off as the pinnacle of any of their resumes. Whether we are talking about a collective or individual effort. All three have done better things before, all three have done better things after. In fact, of the Ridley Scott pictures I have seen, this is one of the more pedestrian ones he has made.

The movie is shot well, like many other Ridley Scott pictures. In fact, this was shot by Alexander Witt. This is the first proper cinematography credit in a feature film. Much of his work prior, not to mention after, was as a part of a second unit, but this time around he is on the front lines. The way the camera is used in “Body of Lies” for the most part provides for a bit of an uneasy vibe. After all, that is what the film should be beyond its surface, it is a soldier vs. terrorist sort of rivalry. “Body of Lies” is a film that at times puts you in the middle of the action, but it does not have enough oomph to make me run out on the streets and recommend this film to others. Although if there is one additional positive to point out, the color palette of this film perfectly establishes its overall atmosphere. It has this moody feel to it, but it supplies itself in such a way where everything around it still manages to pack in a tad of thrills and excitement. It was easy on the eyes.

Speaking of beginnings, I am pleased to report that this film is one of the early roles from Oscar Isaac, who I think is one of the better performers who has tended to lend himself to content within the spectrum of popular culture over the years. This is not his first role. Isaac was previously in films like “All About the Benjamins” and “The Nativity Story.” But I think this film shows how solid of an actor he was early in his career. Despite his first name, he is not on an Oscar level here, but he is one of the standouts in this film for me, which says something considering who the two leads happen to be.

This film stars Russell Crowe in addition to Leonardo DiCaprio, and when it comes to the former, it is clearly established that he is a dad. Particularly, one who is heavily involved in the lives of his young children. This allows for an ongoing gag where his character is doing things for his children all the while trying to balance work. We see him on the phone with Leonardo DiCaprio completing important calls all the while either doing something such as taking his kids somewhere or tending to them. While this is a great way to establish a character’s background, the amount of time spent exposing this feels like overkill. I do not know if they were trying to be funny with this tendency, after all this is a thriller, not a comedy. Sure, maybe if I were a parent myself, which I am not, maybe I could relate to this gag. And the more I think about it, seeing this sort of reminds me of seeing my mom taking calls over the years while I am in her presence given her line of work. But when it comes to this gag, it feels like too much delivered in my face. The phone gag feels like the one moment that the movie is going for humor. But because everything else, for the most part, comes off as serious, the only reaction I have as this is going on is silence. I am not saying this should not be in the movie, it serves a purpose as to establishing the characters, but I think it overembellishes itself at times.

The narrative, in terms of progression, character development, and concept, all get the job done. There is nothing remotely broken that I can point out about the film in terms of how everything in it is laid out story-wise. All the characters work. The chemistry works. The concept works. And that is the best way that I can sum up “Body of Lies.” It is not a film that is overly offensive. But it is also not a film that I walked out of thinking that it is a game changer. It is a film that I think some people would kill their first born child in order to have it be as good as it is. But when it comes to the reputation of Ridley Scott, who continues to be one of the more respected filmmakers working today, this feels kind of bland. There is a reason why nobody is talking about “Body of Lies” all these years later and instead bringing up other films like “Blade Runner” and “Thelma & Louise.” It’s because those films made a mark on its viewers culturally and managed to deliver something special. And yes, “Body of Lies” is exciting at times and there are moments where the intrigue is there, but it is not enough for me to say I would watch it again in the next few months. Maybe it would make for good background noise if I find it randomly on cable, but that is probably the extent of it.

If there are any other highlights I can point out, I did like the relationship between Leonardo DiCaprio’s character, Roger Ferris, and his love interest he meets along the way. Said love interest, Aisha, is played by Golshifteh Farahani. I thought the two had solid chemistry and every moment they were on screen together, they clicked. They probably had the best connection in the entire movie. Their bond was fun to watch.

In the end, “Body of Lies” is… Fine, I guess. When I bought the Blu-ray six years ago, I was quite intrigued to know that Ridley Scott was behind it. I was intrigued by the big names on the cover. There was a lot of potential. The potential here is not wasted, but it does not mean the film doesn’t underwhelm. There is nothing about this movie that makes me angry, but there is nothing about this movie that makes me think I should go back to it anytime soon. Ridley Scott is a respected filmmaker. And while this may be an okay movie for some people, this may not be the finest Ridley Scott movie. I am going to give “Body of Lies” a 6/10.

“Body of Lies” is now available on DVD, Blu-ray, and streaming. As of this writing, it is available on Max to all subscribers.

Thanks for reading this review! If you enjoyed this first installment to the Ridley Scottober series, guess what? I’ve got three more coming! I don’t think the next review is gonna be on Saturday like this one. To be frank, I wanted to get this review out a little earlier, but I have had a pretty busy week. And I honestly have a busy week next week too, because I’m gonna be on vacation in New York, but I should have some time to whip something up. I’m gonna be on a train for three to four hours, so I can definitely do something. Maybe I will drop the review Thursday. I am kind of playing this series by ear at this point. But if you want to see another one of my reviews for a Ridley Scott movie I did a couple years back, check out my thoughts on “The Last Duel!” That should hold you all over for some time. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Body of Lies?” What did you think about it? Or, what is a movie from a respected filmmaker that you think may be one of their inferior works? Let me know down below! Scene Before is your click to the flicks!

A Haunting in Venice (2023): A Not so Happy Halloween with Hercule Poirot

Posted on by Jack Drees

“A Haunting in Venice” is directed by Kenneth Branagh (Belfast, Hamlet), who also stars in the film as Hercule Poirot. Also joining him in the cast are actors including Kyle Allen (West Side Story, The Path), Camille Cottin (Stillwater, House of Gucci), Jamie Dornan (Fifty Shades of Grey, Belfast), Tina Fey (Saturday Night Live, 30 Rock), Jude Hill (Belfast, Magpie Murders), Ali Khan (Red Rose, Everyone Else Burns), Emma Laird (The Crowded Room, Mayor of Kingstown), Kelly Reilly (Sherlock Holmes, Yellowstone), Riccardo Scamarcio (John Wick: Chapter 2, The Woman in White), and Michelle Yeoh (Everything Everywhere All at Once, Shang-Chi and the Legend of the Ten Rings). This film is the third installment in Kenneth Branagh’s ongoing series of Agatha Christie novel adaptations. In this movie, Poirot is retired, but reluctantly attends a seance, an event where people attempt to make contact with the dead. Interestingly, that is how one person at the event ends up. Therefore, it is up to Poirot to figure out the mystery behind said person’s death.

Given how this is Branagh’s third Hercule Poirot adaptation in six years, I think his passion for the character is more evident than ever. He is once again starring as the heavily-mustached detective, in addition to putting his cushion in the director’s chair. That said, I wish I share the same passion for this series that he must have. For the record, I have still not found any time, and supposedly any interest, in checking out “Murder on the Orient Express.” I bought the 4K Blu-ray for a fairly cheap price, but even with the bargain, I still ended up never checking it out. Although I did see “Death on the Nile” last year, which I thought was in a word, fine. Even though it barely meets decency, I did technically watch it twice, as I put on HBO in a hotel room earlier this year and used it as background noise. I thought the casting was effective. And yes, I even liked Gal Gadot in it. Was she stiff at times? Maybe. But she still had enough charisma throughout the picture to be a highlight. Perhaps by just the barest of minimums, I still had enough interest to check out Branagh’s latest attempt at bringing the Poirot character to the screen.

Oh, and Michelle Yeoh is heavily used in the marketing for this film. So that won me over as well. With that in mind, how is the movie?

Unfortunately, not great.

I have seen some people saying online that “A Haunting in Venice” is apparently their favorite or the best of this particular franchise. Again, I still have not seen “Murder on the Orient Express,” but between “A Haunting in Venice” and “Death on the Nile,” I honestly would give the slight edge to “Death on the Nile.” Even with the film’s problems, I will still rather invested in everything that was going on. “A Haunting in Venice” has some entertaining moments. But it is also riddled with its fair share of moments that either annoyed or bored me. The pacing of this film is probably the most insufferable of the year.

The reason why “A Haunting in Venice” does not work, and I hate to say this because there are people I admire in this movie, is the cast. When it comes to these murder mystery style stories, I cannot imagine how hard it is at times to balance a large roster of characters like this. I do not envy Kenneth Branagh for putting himself in this position. That said, I wish the execution for these characters happened to be better. It’s been a little over a week since I have seen “A Haunting in Venice,” I honestly would not be able to tell you a single character’s name without the assistance of the Internet. That goes to show you how unappealing this movie’s characters are. And this is also why I give the edge to “Death on the Nile.” The story is more appealing. There’s more interesting drama. The rivalries kept my attention throughout. “A Haunting in Venice” had none of that. Honestly, as soon as the murder happens, the movie goes from being mediocre to a hot mess.

To be honest though, it is really sad to be saying this, because I think when it comes to the aesthetic of the film, that is the best part of it. I was totally immersed in the film’s environment, but not so much the story. Watching this film reminds me of sometimes when I would play “Watch Dogs.” I would spend some time playing that game neglecting the actual story and find myself more invested in hacking things around Chicago.

The production design of “A Haunting in Venice” is some of the best I have seen all year. I imagine if “Barbie” or “Oppenheimer” did not already exist, it could be my favorite production design of 2023. The film is set in the 1940s and the architecture, interior, and everything in between felt like they fit in with the time. While I will say “Death on the Nile” is the better film, I must admit this is one consistency that is carried over from that film to here, and it is one that is possibly better realized in this case.

Speaking of the film’s look, the cinematography is very well done from start to finish. It sort of fits the spooky, almost creepy crawly vibe the film is going for. If I had one complaint, it is that some of the imagery seems to be a bit fish-eye-like at times. It might not fish-eye by definition. But a lot of it reminds me of a fish eye effect. I would prefer if that effect, if there is one, were removed. There were some shots that were kind of distracting and took me out of the film for a second.

“A Haunting in Venice” is not just a murder mystery, it also doubles as a horror flick. Unfortunately, it is not much better as a horror flick than it is a murder mystery. The film is barely scary, if at all. There are a couple attempts to scare me that probably annoyed me more than they made me jump out of my chair. They kind of felt cheap.

To top this all off, I would like to remind you that this movie prominently features Michelle Yeoh, which I will remind you, earned an Oscar this year for her epic performance in “Everything Everywhere All at Once.” I honestly think the Academy made the right choice by giving her the win. With that in mind, it is still too early to tell, but I think the Razzies could potentially make as equally of a smart choice by nominating Yeoh for the next ceremony. This performance is not only a significant step down from her previous effort, but honestly, kind of wasted. Yeoh is a great actor, so I want to hope that this may just be based on the direction that was given to her by Branagh. But when we get to the moment where Yeoh says “Listening…,” I almost had a headache. Do not get me wrong, I still love Michelle Yeoh, but she has been in better movies, and given better performances.

In the end, “A Haunting in Venice” is one of the biggest bores of the year. Thankfully, it is not even Kenneth Branagh’s worst outing in the past few years. Have you ever seen “Artemis Fowl?” If your answer is no, you have just saved yourself an hour and fifty-five minutes of torturous nonsense. That said, of the two Branagh-directed Poirot films I have seen, “A Haunting in Venice” is the worst of them. Maybe one day I will watch “Murder on the Orient Express,” but knowing that this franchise not earned the highest of praise overall, it is hard to say whether I actually will check out that film anytime soon. I have no idea if Kenneth Branagh wants to continue this franchise, but part of me thinks the franchise has died at this point. Then again, maybe he has something neat up his sleeve and I am underestimating him. I always love a good surprise. Sadly though, “A Haunting in Venice” fails as a murder mystery, and it also fails as a horror movie. Terrible combo if you ask me. I am going to give “A Haunting in Venice” a 4/10.

“A Haunting in Venice” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Fun fact, this film was produced by one of the industry’s most revered directors, Ridley Scott. And this is the perfect segway to introduce an all-new segment that I will be debuting this month, RIDLEY SCOTTOBER! That’s right! Once a week, I have not decided on the days yet because this month is kind of busy for me, I will be dropping a brand new review for a Ridley Scott-directed film. It only feels appropriate. There is not too much coming out this month that I want to see right away. I should also note I am not a Swiftie. Plus Scott has a brand new film coming out in November, specifically “Napoleon,” therefore this serves as proper preparation. The first film in the series is going to be “Body of Lies,” a 2008 action thriller starring Leonardo DiCaprio and Russell Crowe. I will announce the other films to be reviewed at a later date. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “A Haunting in Venice?” What did you think about it? Or, what is your favorite of Kenneth Branagh’s Agatha Christie adaptations? Let me know down below! Scene Before is your click to the flicks!

Oppenheimer (2023): A World-Defining Film for a World-Defining Time

Posted on by Jack Drees

“Oppenheimer” is directed by Christopher Nolan (Interstellar, Tenet) and stars Cillian Murphy (Inception, Peaky Blinders), Emily Blunt (Edge of Tomorrow, Mary Poppins Returns), Matt Damon (Downsizing, We Bought a Zoo), Robert Downey Jr. (Iron Man, Chaplin), Florence Pugh (Black Widow, Don’t Worry Darling), Josh Hartnett (Cracked, Pearl Harbor), Casey Affleck (Manchester by the Sea, Gone Baby Gone), Rami Malek (No Time to Die, Bohemian Rhapsody), and Kenneth Branagh (Death on the Nile, Tenet). This film is about the adult life of J. Robert Oppenheimer, a physicist who would play a major role in changing the course of both science and history.

Christopher Nolan is my favorite film director working today. I appreciate every single one of his films. “Interstellar” is my top film of the past decade, not to mention all time. “Inception” is a marvelous, trippy, dream-esque trip like no other. While they are not my favorite comic book movies, I think “The Dark Knight” trilogy is full of great action, characters, and performances. “Memento” is one of the better non-linear stories that comes to mind. I even liked “Tenet.” I have seen it four times in theaters. I do not know how many people can say that. While I call what I do critical, I will not deny that I am a Christopher Nolan fan. I look forward to every one of his films, including “Oppenheimer,” which I put amongst my most anticipated of the year. This film is a different angle for Nolan, who has created dark material, but he does so with a sense of joy sparkled in somewhere. For “Oppenheimer,” there is no joy. Only sour vibes. If you look at “Dunkirk,” which is set during a depressing time like World War II, the movie fails to earn a more mature R rating, instead of a PG-13, because there is a lack of blood and other things in it like excessive foul language. “Oppenheimer” is Nolan’s first R rated film since 2002’s “Insomnia,” a remake of a 1997 Norwegian film of the same name.

Safe to say, when it comes to the content of “Oppenheimer,” Nolan does not hold back compared to some of his other films. Much like “Dunkirk,” there is not much blood to be seen. There is not much violence either. However the film earns an R due to sexuality, nudity, and language. If you take out some of the sex or swearing, Nolan and crew probably could have earned a PG-13. Even with the sex and nudity, it honestly feels tame, especially when compared to another recent film, “Joy Ride.” There is nothing that comes off as super objectifying or over the top about it. In some ways, it feels everyday, but with some extra flair to it. Of all of the Christopher Nolan films, and this is not a diss on any of the others, this is some of his most lifelike work yet. Then again, having it be based on history definitely helps.

But overall, what did I think of the film? Well, as of now, I have seen “Oppenheimer” twice. That should tell you something you need to know by the end of this review.

In addition to being his most mature work yet, Christopher Nolan fires on all cylinders in “Oppenheimer” to tell a story that not only captivated me through showcasing history’s past, but also highlighting where we may be going. On the surface, “Oppenheimer” chronicles the life of a man who dedicated his life to his field, only to have his choices lead to monumental events. It is so much more.

For those who are often challenged when facing three hour films, I can tell you that this film is a heavy watch, but even with that in mind, those three hours are used brilliantly. There is a lot to see, and a lot to digest. Despite the long runtime, “Oppenheimer” is especially worth seeing in the theater. If you have a small bladder, plan wisely. Because if you are like me, you will enjoy much of what is in front of you.

“Oppenheimer” is told in a way that despite being non-linear, flows like a straight line. It is also told in a way that I think only someone resembling a Christopher Nolan-type could tell it. The film is heavy in flashbacks and storytelling shifts. The story may be called “Oppenheimer,” and it is ultimately a film about the titular character from start to finish. But it is not always told from his perspective.

Speaking of Oppenheimer, Cillian Murphy is gold throughout the picture as the title character. If the Oscars were tomorrow, he would be a serious contender for Best Actor. A lot of what makes Murphy pop is his subtleties. There are multiple signals throughout the film of what Oppenheimer was thinking, that may sometimes be highlighted by either something he says, or an expression on his face. In addition to Murphy’s mannerisms, he looks the part, and ultimately, feels the part.

Joining Murphy is a stacked cast whose talents know no bounds from Florence Pugh to Kenneth Branagh to Robert Downey Jr. in a bit of a departure from what he has been doing in recent years through his time in the MCU. I have seen users on social media say that Robert Downey Jr. is finally “acting” again. First off, he never stopped, he just played Iron Man so many times that it may feel like he is. Over the years he has done a great job as Tony Stark, and he also kills it here as Lewis Strauss. Like Murphy in his lead role, Downey Jr. is probably gonna be a frontrunner for Best Supporting Actor by the end of the year. But in all seriousness, look at this cast! Matt Damon! Emily Blunt! Rami Malek! That is not even the stretch of it! The cast is a murderer’s row of both star power and off the charts performances. It is like what “Amsterdam” was trying to be, even with an iconic, experienced director to back them up, but the difference here is the comparatively greater execution.

This film sort of reminds me of “2001: A Space Odyssey,” because “Oppenehimer” deals with weapons somewhat similarly to how “2001” deals with technology. Throughout history, mankind has had an obsession with tools. In a way, they made us stronger, they kept us alive, and in some ways, we refuse to live in a world without them. Technology and weapons continue to evolve, and therefore, there could be a breaking point. “Oppenheimer” begs to ask what happens if mankind not only gains enough power to destroy an entire group of people, but possibly themselves. When this film highlights the development of the bomb, there is a lot of talk about the weapon’s uncertainty. During its assembly, the chances of the bomb destroying the entire planet were near zero, but some would argue even that is too intimidating of a chance. When the bomb went off, it seemed like the weapon that made all others inferior. But like how there is always a bigger fish, there may also be a bigger weapon as time goes on.

I have seen a couple horror titles this year and I can say “Oppenheimer” is eerier than both titles. “Oppenheimer” may not come off as a horror movie at first sight, but it is certainly one by the end of it. Speaking of the end, to drive that point home, I will not say anything about what happens, but there is a final exchange in the film that I cannot stop thinking about. “Oppenheimer” is responsible for possibly the greatest last line in the history of film. It is up there with “Well, nobody’s perfect,” from “Some Like it Hot.” I am not going to give the line away, but it is a series of words that will stick with me, along with the hallowing shots that follow.

One of the reasons why Christopher Nolan is a favorite director of mine is that while his movies vary across the board, is that they are some of the most prominent examples of narratives that get me to think. “Interstellar” got me thinking about the earth’s future, in addition to my own. “Dunkirk” made me think that people are genuinely good at heart even in the worst of times. “Tenet…” Well, it certainly got me to think. Maybe think backwards sometimes. “Oppenheimer” is another one of those thinker kind of pictures, but it is making me think in ways where I am afraid that mankind may achieve a point of self-destruction. As a moviegoer, I often watch films for an escape from my problems. But not all films are created equal. Sometimes there is room, depending on the occasion, for a film that reminds you of your problems, or in this case, highlights problems that could haunt you for the rest of your life.

I was off and on as a history student in school, but there is a basic saying about history that justifies teaching even the darkest of tales. Those who do not know history are doomed to repeat it. That saying is perhaps the backbone of “Oppenheimer,” no matter how you slice it. This film may tell the story of J. Robert Oppenheimer, and he is by all means the protagonist of this picture, but he is more of a notable presence than a “hero” in some ways. There are certain scenes where other characters may see him as such, but he is not entirely a proper fit for the description of “hero.” Understandably, “Oppenheimer” was not released in Japan. There is also no scheduled release there as of yet. That said, as I watched the film, there are moments where I got the notion that the film served as an occasional apology to the country. It is not necessarily in your face propaganda, but from start to finish, the film never comes off as an attack towards Japan or its people. If anything it comes off as a warning to anyone who desires mass destruction on a large group. And yes, that is all the while the movie highlights an event of mass destruction. But it says that if we get to a point in our history where we continue to fight, where we continue to destroy each other, we may ultimately destroy ourselves.

Again, “Oppenheimer” is a horror movie disguised as a three hour historical drama. If you think ghosts, ghouls, and goblins are the scariest things you will see this year, just wait until J. Robert Oppenheimer gives a speech to flag-wielding Americans in a gym. If I watch a new horror movie in theater around spooky season, there is a good chance that it will not leaved as haunted as I have the past two times I have watched “Oppenheimer.”

In the end, “Oppenheimer” is a hallowing time at the movies, but nevertheless a remarkable achievement of cinema. While I really liked “Tenet,” I think “Oppenheimer” is a step up from Christopher Nolan’s previous efforts. If anything, this may end up being a top 3 film of his for me. The film stands as a technical achievement that must be seen in a large format like IMAX. This is especially considering it was partially shot with IMAX film cameras by Hoyte Van Hoytema, who also used the camera to shoot three other Nolan titles and even Jordan Peele’s “Nope.” Additionally, it is a dramatic achievement that has been perfectly executed by its star-studded cast. Even with the haunting nature of this film, a good portion of the imagery is awe-inspiring, the music is captivating, and the sound is beautifully audible. That said, if I had a complaint with the film, the sound mix, despite the powerful audio and score, is not the greatest, which is not new for Christopher Nolan. Other than that, the movie stands as one of the director’s best. I am going to give “Oppenheimer” a 9/10.

“Oppenheimer” is now playing in theatres everywhere. The film is also available in select IMAX 70mm locations for a limited time. I had the grand opportunity to see it in one of those locations, and if you are thinking of taking the opportunity to see “Oppenheimer” in one of those locations, I highly endorse it. Tickets are available now.

Thanks for reading this review! Pretty soon I will be dropping reviews for “Haunted Mansion,” “The First Slam Dunk,” “Barbie,” and “Teenage Mutant Ninja Turtles: Mutant Mayhem.” Stay tuned! Also, if you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Oppenheimer?” What did you think about it? Or, what is the scariest non-horror title you have ever seen? Let me know down below! Scene Before is your click to the flicks!

Devotion (2022): A Compelling, Soaring Journey with Fine Chemistry Between Glen Powell and Jonathan Majors

Posted on by Jack Drees

“Devotion” is directed by J.D. Dillard (Sleight, Sweetheart) and stars Jonathan Majors (Loki, Lovecraft Country), Glen Powell (The Dark Knight Rises, Hidden Figures), Christina Jackson (The Good Fight, Swaggers), Joe Jonas (Camp Rock, Night at the Museum: Battle of the Smithsonian), Thomas Sadoski (The Newsroom, Life in Pieces), and Daren Kagasoff (The Secret Life of the American Teenager, The Village). This film is based on a book by Adam Makos, and simultaneously inspired by true events during the Korean War. The story mainly centers around the bond between two naval pilots, Tom Hudner and Jesse Brown, as they navigate themselves through various periods during said war.

As a reviewer, it is hard not to compare one film to another. This is especially true considering how most of the movies I review are those that come out within the year of release, therefore I will sometimes say “x” film is similar to “y” flick, because “x” and “y” are at the movies at the same time or at similar times. It is a repetitive habit, but one I do not see myself quitting anytime soon because they involve movies that continue to be on people’s minds, including my own. “Devotion” is no exception to this rule because it released about a half a year after one of the most successful films in a long time, “Top Gun: Maverick.” I am not saying that “Devotion” is a carbon copy of “Top Gun: Maverick.” In fact, it is far from it. For one thing, “Devotion” is based on a true story whereas “Top Gun: Maverick” is a fictionalized sequel. “Devotion” is also comparatively dramatic to “Top Gun: Maverick” despite the latter having glimmers of emotion.

This leads me to my first positive of “Devotion,” which is that the narrative kept me compelled from start to finish. Due to my country’s supposedly mediocre educational system, I maybe do not think about U.S. history as much as I should. I was thrilled with the story of “Devotion” to the point where I felt somewhat sorry for myself that I did not think about these pilots all that much earlier. What really helps this movie is not just having a story as solid as this, but having a duo of actors who are clearly meant to be together. Glen Powell and Jonathan Majors are two fine actors on their own, but if you put them together in a movie like this, the formula is bound to deliver something special. While there are better lead and supporting performances I have seen this year, I cannot think of many acting duos that are as memorable or likable as this one.

And no, this does not mean that this film fails to do what a lot of other war-set films like “Dunkirk” and “1917” manage to do effectively, which is immerse me into the environment of the war itself. Now, unlike those films, this is more of a story where we get to know the characters themselves and less of a run to the finish line for survival. I would not call this a bad thing, but if you are looking for a certain type of film, now you know which one you are in for.

I would say when it comes to the immersion factor though, I would say “Dunkirk” and “1917” did it better because those films felt like technical experiments or feats whereas “Devotion,” again, is an extended tale perhaps putting story and characterization in the forefront. However, the sound mixing is quite good and the aerial shots are occasionally nice to see in action. The film does not appear reinvent the wheel with its technical aspects, but is also pretty looking enough to be worth checking out in whatever theater it is playing in near you. I should note, that this film has been out for a month and it is not playing in a ton of locations near me, but it was worth the 20 minute trek to a nearby town.

Speaking of immersion, I was also kind of impressed with some of the production design. Part of the movie takes place in a French casino and it was all sandy yet rugged. The interior of Brown’s home is also a standout. Many of the locations in this film are impressive to say the least.

My favorite aspect of the narrative behind “Devotion” is probably not even anything having to do with war itself, which is prominently featured in the film. However my favorite parts of the film simply come through the training, all the preparation that went into the events that followed. To be specific, there are scenes where we see the pilots trying to land their plane. Usually when it comes to these war stories and films, the first thing that comes to mind when it comes to the protagonist is how they deal with being on the battlefield. I love how effectively “Devotion” has not only brought stakes in terms of the fight itself, but all the work that leads up to it. We see Jesse Brown nervous not because he anticipates he is going to get killed by the opposition, but because he fears he cannot land his own plane. Going back to “Top Gun: Maverick,” much of that movie, like its predecessor, is about training to fight an enemy and less about fighting the enemy itself. What makes “Devotion” work is how effectively the training, which reminded me of “Top Gun: Maverick” at times but with a more serious vibe, was executed in terms of the story and how that made everything in terms of the actual conflict that lied ahead more exciting.

There are not many major problems I have with “Devotion,” although I do think a few of the supporting characters are somewhat unmemorable. The real highlights of the character lineup in “Devotion” are the two leads. Although I must also say Christina Jackson shines as Daisy Brown. Although on the military side, unless I went to IMDb to find out, I could not tell you anybody’s name or real descriptive aspects of their personality. Then again, the story is not about them, so this is somewhat forgivable. Although “Devotion” is a thrilling, entertaining story nevertheless, and it is one that if given the opportunity, you should check out.

In the end, when it comes to movies about the navy, “Devotion” is no “Top Gun: Maverick,” but if you are looking for a more serious take on the subject matter, this is a a story that is worth your time. I did not know what to expect with “Devotion,” but I left the film having had a fine experience. Glen Powell is solid, Jonathan Majors is excellent, and the story is one that kept me interested to the very last second. I am going to give “Devotion” a 7/10.

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

Thanks for reading this review! Within a matter of days, I will be going to see one of my most anticipated movies in history. For the record, when I did my most anticipated movies of 2021 list, this made the #2 spot. Did I say 2021? Yes I did. It was supposed to come out then, but it got delayed to the following year. That film my friends, is “Babylon.” I know the film is not making a lot of money right now, but it is the kind of film that can get me in the door. I just have to find the right day to enter that door.

Also, I want to remind everyone that the end of the year is almost here, and pretty soon I will be counting down my best and worst films of 2022! I want to give a little housekeeping in advance and note that this year’s set of lists is going to be a little different, and it is inspired by a tactic from one of my favorite YouTube personalities, John Campea. This year, instead of doing my top 10 best list first, which I have always done in the past, I am going to start with the worst list. The reason for that is because I often share my best list first, leave it up for a day, and then the next, I am onto the worst, which has sometimes left me a break in regard to posting new material. Within that break, I have the worst list linked to my Instagram (realscenebefore) because Instagram hates links for some reason, and that means my Instagram followers might end up seeing my worst list for a longer period of time than my best. And on Scene Before I want people to remember me for what I love and not what I hate. I love doing the worst lists, and I will still do them, but I do not want to be a monster. That said, if you want to see these lists 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 “Devotion?” What did you think about it? Or, what is an acting duo from a movie this year that you enjoyed seeing? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

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

Bullet Train (2022): A Rambunctious, Wild Ride That Lives Up To Its Transportive Name

Posted on by Jack Drees

DISCLAIMER: Before this review had been published, reports suggest Angelina Jolie had been revealed as a plantiff in recent assault allegations against her former partner, Brad Pitt. Scene Before (flicknerd.com) is a film review-centered website and will review “Bullet Train” in the same way it reviews any other movie regardless of who its crew happens to be and what their past actions are. Scene Before and its owner, Jack Drees, does not condone actions of assault.

“Bullet Train” is directed by David Leitch (Atomic Blonde, Deadpool 2) and stars Brad Pitt (Mr. and Mrs. Smith, World War Z), Joey King (Ramona and Beezus, The Kissing Booth), Aaron Taylor-Johnson (Godzilla, Avengers: Age of Ultron), Brian Tyree Henry (Atlanta, Eternals), Andrew Koji (Warrior, Snake Eyes), Hiroyuki Sanada (The Last Samurai, Mortal Kombat), Michael Shannon (Revolutionary Road, Nocturnal Animals), Bad Bunny, and Sandra Bullock (Gravity, The Lost City). This film centers around a former assassin, known by the name Ladybug, who is tasked with acquiring a briefcase on a bullet train, all the while encountering other deadly assassins.

Brad Pitt has been on fire in recent years with the success of Quentin Tarantino’s “Once Upon a Time in Hollywood.” Not only did he receive critical acclaim for the role, but he went on to win the Golden Globe, the BAFTA, the SAG, and the Oscar for his work. After adding all of these awards to his Tinder profile and wiping off his sweat from the forgettable “Ad Astra,” Brad Pitt is back to work releasing another cornerstone of the summer. Albeit this one definitely fits the definition of “summer movie” compared to his outing with Tarantino.

Not only is Pitt the big star this time around in this movie, because joining him you have cast members including Aaron Taylor-Johnson and Brian Tyree Henry, both of whom are likely the best part of the entire story. Their chemistry is undeniable. Some of the major awards ceremonies like the Oscars do not rank on-screen couples or duos, but one awards show that does is the Razzies. If the Razzies decided to give a Worst On-Screen Couple nomination to Tangerine and Lemon, then I think they are high. Their awards body would need to seek a medical professional.

But behind the camera, you have an action director who has been making the rounds in recent years in David Leitch. He is a legend in regards to stuntwork, which he has been credited for in films like “The Matrix Reloaded,” “The Matrix Revolutions,” “300,” “TRON: Legacy,” and even though I do not look back at “Jupiter Ascending” as the best sci-fi film ever, its stunts were never the problem. As a director, his work on “Atomic Blonde,” “Deadpool 2,” and “Fast & Furious Presents: Hobbs & Shaw” are thrilling to say the least. Therefore, it is nice to see him have another go at an action flick. Overall, I had a ball with Leitch’s latest attempt at delivering some fast-paced glory.

The biggest positive I can give to “Bullet Train” is that the action, per usual, is ridiculously entertaining. While somewhat similar, this outing seems to have a different flair compared to say “Deadpool 2” in terms of how the action is delivered. Let’s imagine… You sat me down to watch this film, and I went in blind. If you told me that this film were directed by Guy Ritchie, I would believe you. It kind of had that same pace that films like “Snatch” and “The Gentlemen” delivered. If anything, “Bullet Train” comes off as what would happen if Guy Ritchie were given some of the tools to direct a “John Wick” movie. Now, “John Wick” is obviously in a different universe, but the action in this movie felt somewhat reminiscent of something I’d see in a more modern, stylized action film such as John Wick. There is a great sequence between Ladybug and Wolf (Bad Bunny) where the latter goes all Jason Voorhees on him and the former’s main defense is a briefcase. It’s ridiculous, but as the review’s title suggests, this ridiculousness lives up to the name. The movie is over two hours and not nearly a minute of the movie feels wasted.

This film is based on a book which I have never read. Therefore, I cannot tell you the differences between the two stories. But what I can tell you is that at times, “Bullet Train,” the movie, feels like a graphic novel or a comic book. There are several shots and sequences that leap off the screen and made me feel like I was in the moment, perhaps in a hyperactive way.

Going back to Tangerine and Lemon, one of my favorite moments in the movie is where we get into this flashback sequence where we reveal how many people they killed. That is the spice this movie needed to individualize itself. It kind of had a “Deadpool” flair, which should not be surprising considering the director’s previous work. And again, it also kind of had the pace of a Guy Ritchie movie. I would love to see more stories told in this style, from this universe. It does not even have to be on the same characters. But if we could get a similarly set story from David Leitch’s mind perhaps, I would want to check it out.

But at the same time, if you ask me, I would rather go back and watch one of David Leitch’s previously mentioned movies. This is not a complete diss on “Bullet Train” because I had a GREAT time with “Bullet Train,” I just think “Atomic Blonde,” “Deadpool 2,” and “Hobbs & Shaw” offer a smidge more of entertainment than “Bullet Train.” Just a smidge. The one thing I can say is that the competition for which David Leitch movie I randomly put on the TV on a Friday night just got a lot harder, because these are all entertaining flicks in their own way. “Atomic Blonde” feels grounded yet fun. “Deadpool 2” is silly yet gory. “Hobbs & Shaw” is absurd yet delightful. “Bullet Train,” if you ask me, is obnoxious yet hilarious. It has the right amount of ridiculous, but it does not go too over the top in an annoying way. Kind of like “Kingsman: The Secret Service.” It is a movie that knows what it is from starts to finish. It starts as a nonsensical spy movie, and ends as an even more nonsensical, but also satisfying spy movie.

Also, I must say, that as someone who grew up with “Thomas the Tank Engine,” this movie is a wonderful tribute to my childhood. You would have to see the movie to understand.

If I had any other comments in regard to “Bullet Train,” the main one that comes to mind, sticking with the ridiculousness, is that the ending is probably some of the most stupid fun I have ever had during any of my recent moviegoing experiences. “Bullet Train” is willing to embrace its ridiculous nature and the ending is just the cherry on top. If you like big, loud action movies, this could be for you. I’d rather watch “John Wick,” but when it comes to being a supposed “John Wick” wannabe, this is a fun ride that you might want to buckle up for.

In the end, “Bullet Train” is probably some of the most fun I have had at the movies this summer. All the actors do their best with the material. And while Brad Pitt does a good job in the movie as Ladybug, the whole story eventually becomes the Tangerine and Lemon show. I would love to see another story with these two as the leads. Aaron Taylor-Johnson and Brian Tyree Henry play their parts with excellence. This is a slow month for movies, but if you are looking for something to watch, I would buy a ticket to ride what I would call a fast-paced thrill. I am going to give “Bullet Train” a 7/10.

“Bullet Train” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for the all new A24 film “Bodies Bodies Bodies!” Stay tuned! Also, be on the lookout for my thoughts on “Beast!” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Bullet Train?” What did you think about it? Or, what is your favorite of David Leitch’s films? For me, I gotta say of the ones he’s directed, “Deadpool 2” stands out the most. Let me know your picks down below! Scene Before is your click to the flicks!

The Gray Man (2022): Ryan Gosling, Ana de Armas, and Chris Evans Team Up to Deliver Some Expensive Mediocrity

Posted on by Jack Drees

“The Gray Man” is directed by Anthony and Joe Russo (You, Me and Dupree, Avengers: Endgame) and stars Ryan Gosling (Blade Runner 2049, First Man), Chris Evans (Avengers: Endgame, Knives Out) Ana de Armas (Blade Runner 2049, Knives Out), Jessica Henwick (Star Wars: The Force Awakens, The Matrix Resurrections), Regé-Jean Page (For the People, Bridgerton), Wagner Moura (Elysium, Narcos), Julia Butters (American Housewife, Once Upon a Time in Hollywood), Dhanush (3, Vada Chennai), Alfre Woodard (Desperate Housewives, St. Elsewhere), and Billy Bob Thornton (Armageddon, Goliath). Based on a 2009 Mark Greaney book of the same name, this film is about a man who goes by the name of Six. Years after Six is let out of prison under the condition that he works for the CIA, he uncovers dark secrets. This results in a former colleague putting a bounty on his head and an international manhunt.

“The Gray Man” is the latest film from the Russo Brothers, These two are in-house Marvel directors known for their work on the latest “Captain America” and “Avengers” titles. In addition to Joe Russo’s respective screenplay credit, the film also happens to be written by Christopher Markus and Stephen McFeely. These two have handled writing duties for tons of Marvel fare including “Thor: The Dark World,” “Agent Carter,” “Avengers: Infinity War,” “Avengers: Endgame,” and the “Captain America” trilogy. It is nice to see these two join forces to write one of the most expensive Netflix movies ever made. It feels weird to say that in a circumstance like this because when I think Netflix, I think of television, and I think of movies that are more likely to be seen on the smaller screen. But this film is not cheap, as it did cost $200 million to make. This is $50 million less than “Thor: Love and Thunder,” Disney and Marvel’s latest blockbuster movie to hit the big screen. This leads me to my first compliment. As weird as it is to confirm, I think “The Gray Man” looks better visually than “Thor: Love and Thunder” does at times.

But believe it or not, Netflix has put out a decent amount of big budget movies over recent years. Some have been good, like “The Irishman.” Some have been bad, like “Red Notice.” I’ll get straight to the point. “The Gray Man” is in between.

I went to go see “The Gray Man” in a movie theatre. The best thing I can say about “The Gray Man” is that it uses every bit of its big budget wisely to deliver one of the best-looking films of the year. There is a scene where people are ringing in the new year that totally popped. Despite having some occasional vivid and eye-dilating images, it is all given within a script that tends to rely on clichés.

“The Gray Man” is a marketable film for sure. Big action, big stars, and for some, it comes with the perk that you can pause and go to the bathroom without missing anything. I was sold with the campaign because the stars of the film are bankable. I dig Ryan Gosling, I love Chris Evans, and Ana de Armas may be on track to be one of the greatest thespians of her generation. It should not surprise me that this trio has solid chemistry all around. Because De Armas worked with both of these actors in the past. Therefore, not only are we getting a reunion behind the camera between the directors and writers, but in front of the camera as well with the leads.

Essentially, “The Gray Man” is this year’s “Red Notice,” because it is another action film that has notable clichés and a globe-trotting plot. Both even star a sexy Canadian Ryan! But the difference between “The Gray Man” and “Red Notice” is that I would rather watch “The Gray Man” a second time. …Barely. “The Gray Man” is “Red Notice,” except in this case, “The Gray Man” does more than get big names. They utilize those big names to greater potential.

Ryan Gosling is well-directed by the Russos and happens to be given plenty to do in the film to make it as watchable as it can be. But his character of Six does not have much dimension to him. He feels like a less suave, perhaps less emotional Ethan Hunt. Gosling is a great actor who has done a fantastic series of roles in recent years in movies like “La La Land” and “Blade Runner 2049.” He has a knack for picking well-developed, enchanting, defining scripts. What got him into this movie? Who knows? Everyone probably needs a paycheck every now and then. When it comes to Gosling’s library, this is probably on the same level of quality as the kind of forgettable “Gangster Squad.”

The scene stealer award in this case goes to Chris Evans as Lloyd Hansen. Chris Evans gives one of my favorite performances in a recent action film. He continues to demonstrate his range as a performer. He not only can vary up his performance style, but do it well. Whether it means being patriotic and kind-hearted as Steve Rogers in the Marvel Cinematic Universe, or a complete moron as Ransom Drysdale in “Knives Out.” Here, he unsurprisingly channels more of the latter’s traits. Out of everyone in the film, Evans brings an energy to his performance that every other actor can only hope to evoke out of their own.

Even though I say there are clichés, it does not mean that there is no entertainment to be had in the movie whatsoever. As I have said in the past, clichés can be good if they are done effectively. Why do you think the “hero’s journey” structure gets repeated time and time again? In this story of familiar happenings, there is a slight glimmer of fun or emotional weight here and there. One of the best story elements of the film is between Ryan Gosling’s character, Six, and a kid played by the young and talented Julia Butters, Claire. Not only do both actors play off each other brilliantly, but they are given some of the film’s best exchanges of dialogue. By the end of the film, Claire became one of my favorite characters and her story wrapped up satisfyingly.

Also, random fact I found out as I was doing this review. Apparently this film was in development hell for years. The earliest this project was announced happens to be 2011, with James Gray once set to direct. Between swapped actors, swapped studios, and so on, the project never found its footing until now. Was it worth the wait? Hard to tell. It’s a cliché film with familiar storylines, so it does not add much to the table. Although it could get some watches on both big and small screens for now. As for how well it will age, that is for the audience to decide.

In the end, “The Gray Man” is in a word, fine. The star-studded cast got me in the door. Not only are they capable of bringing charisma, but delivering on talent. They do their best with the ordinary writing. Ryan Gosling delivers the goods in the acting department, but I will not remember his character as much as say K in “Blade Runner 2049.” I would love to see Ana de Armas in more thrillers and action fare as I think she has done a good job not only in this film, but also “No Time to Die.” She is attractive, joy-inducing, and skilled at her craft. She is everything you can want in an actress. Chris Evans continues to show his range as a performer, but if I had to rank his filmography for the year, I would prefer “Lightyear.” It is a completely different movie for another audience perhaps, but if you want to know which movie does a better job at accomplishing its goals, “Lightyear” is that movie. “The Gray Man” is fun to look at, but does not deliver much that is new. I am going to give “The Gray Man” a 5/10.

“The Gray Man” is now playing in select theaters and is available on Netflix to all subscribers.

Thanks for reading this review! If you like this review, why not check out some of my other ones? If you are in the Netflix mood, check out my review for another recent Netflix movie, “Hustle!” Want something more recent? Feel free to take a glance at my thoughts on Scott Derrickson’s new horror film, “The Black Phone!” Also, be on the lookout for my thoughts on “Marcel the Shell with Shoes On” and “Nope!” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Gray Man?” What did you think about it? Or, if you could put three actors in one action movie together, who would they be and why? Let me know down below! Scene Before is your click to the flicks!