Cinema

Call Jane (2022): Elizabeth Banks Delivers a Stellar Performance in This Progressive-Centric Story

Posted on by Jack Drees

DISCLAIMER: Before we go any further in this review, I want to make an announcement. In all of my content that I have done on Scene Before, I have often tried to stray away from politics, especially in recent years. But “Call Jane” is a film that requires me to talk about certain issues that some would deem “political.” This is a movie about abortion after all, which can be defined as a human issue. But given the current climate, it is also political, not to mention religious. Therefore, if you decide to read on, you will hear certain thoughts I have on such an issue. I try to keep politics and entertainment separate, even during my yearly awards shows, but this is a case where I have little to no choice in this matter. With that said, enjoy my review of “Call Jane.”

“Call Jane” is directed by Phyllis Nagy, who also wrote “Carol,” in addition to scribing and directing a 2005 HBO film titled “Mrs. Harris.” This film stars Elizabeth Banks (The LEGO Movie, Pitch Perfect), Sigourney Weaver (Alien, Ghostbusters), Chris Messina (Birds of Prey, The Mindy Project), Kate Mara (Fantastic Four, The Martian), Wunmi Mosaku (Lovecraft Country, Loki), Cory Michael Smith (Camp X-Ray, Gotham), Grace Edwards (Schooled, Modern Love), and John Magaro (Orange Is the New Black, The Good Wife). This film follows a housewife in the 1960s who becomes pregnant and finds out said pregnancy could threaten her life. With few options available, she finds herself amongst the Janes, who despite certain laws being in place, perform abortion procedures. After finding out more about their efforts, she joins the Janes in their mission.

I did not hear much about this movie until a week or two before it came out. Although I was sold immediately upon seeing Elizabeth Banks’s name attached. She is easily one of my favorite actors, no, people working in Hollywood. She is easily the best game show host on television with her run on ABC’s “Press Your Luck.” I love her voiceover work in both of the “LEGO Movies.” Some of her physical roles like “Slither,” “Zack and Miri,” or even her supporting character in “Brightburn” stand out to me. The last movie I reviewed, specifically “Black Adam,” is no stranger to star power with box office behemoth Dwayne Johnson at the top of the cast. While Johnson may be a star, Banks is a thespian. Her talent knows no bounds. Even though I was not fan of her directorial effort in 2019’s “Charlie’s Angels,” I still have respect for her. In fact, she is directing another film set to come out soon, “Cocaine Bear,” a movie with a concept that is awesome as it sounds.

As for the film itself, this did not look like my type of movie, and to be frank, if I were not reviewing movies, I would have probably waited to watch this film when it came out for home viewing. That said, I went to go see this film in the theater a couple weekends ago. Was it worth the impromptu trip?

I guess you can say so.

If I have noticed anything about filmmakers and stars over the years, it is that they do projects that often align to certain values. Paul Feig, who once wrote an article suggesting “Why Men Aren’t Funny,” went on to direct a woman-centered “Ghostbusters” remake. Seth MacFarlane, who has often been vocal about his liberal opinions, has done a series of “Family Guy” episodes making fun of famous conservatives like Rush Limbaugh or Donald Trump. Regardless of whether how often people do projects aligning with what they think, I would say Elizabeth Banks, who happens to be the chair for the Center for Reproductive Rights Creative Council, was a solid choice to play the main character. Her experience with such matters in real life seem to translate with how effectively she plays Joy. To my lack of surprise, she is the highlight of the film.

While “Call Jane” does not have my favorite cast of the year, it does come with some great actors including the legendary Sigourney Weaver, Kate Mara, and Wunmi Mosaku. All of whom play their part very well. Each one feels representative of the time, and the dialogue occasionally did them favors.

Phyllis Nagy does not have a lot of directorial credits on her resume. Her only other one is a straight to premium cable film, therefore this is her first theatrically released directorial feature. “Call Jane” has one of my favorite early shots of any 2022 feature. I always enjoy when movies have extended takes and this movie is no stranger to that. It does such a thing beautifully. There are better directorial visions that came out this year, but this one stands out to me.

Unlike other films coming out this time of year, this movie is not going to win any notable awards. Partially because of its lack of marketing and the fact that there are supposedly better movies coming. That said, “Call Jane” is a movie that if it had a bigger budget and played in more cinemas, it would probably be in a larger conversation for Oscar contention. It is also a movie that makes its message clear, and knowing the Hollywood stereotype, there is often a tendency for the progressive voices to be heard or recognized when it comes to Hollywood filmmaking. Why do you think some of the more notable jokes during the Oscars in recent years were about Donald Trump or his colleagues?

“We don’t make films like ‘Call Me by Your Name’ for money. We make them to upset Mike Pence.” -Jimmy Kimmel (The Oscars, 2018)

There is a saying that not every movie is for everyone. That statement is often used to describe personal tastes. Even though I hated Tom Tykwer’s “Run Lola Run” because of its ridiculously fast-paced editing, I can see why people like it. Maybe that style appeals to people. My mom and I often have different tastes in movies. She often likes disposable comedies, I am more of an action junkie. Not everyone is going to like the same things. With “Call Jane,” this movie’s biggest weakness is that its viewers may automatically be turned off by its concept. I will iterate, I am pro choice, therefore I watched this movie with no opposition to some of the things happening on screen. But if you are pro life, there is a good chance that you might turn this movie off 20 minutes into it, possibly even before that.

Although at the same time, given the current political climate and the way things are, I think that this is a relevant story that was perfect to release this year, coincidental or not. “Call Jane” is a movie that I assume is going to resonate with individuals who have some sort of experience with unwanted pregnancy or abortion. But I do not know how many people this could convince to become more open-minded towards abortion whether it is for religious reasons, political reasons, or something else. This is a movie that to me, does not feel like propaganda, but could easily be interpreted as such depending on who you talk to. As for whether this movie does something to sway people in one direction or another in regards to abortion, that could take years to be answered. But unless this film becomes a big hit on streaming for some reason, the message of this film will likely not have as big of an impact some of its crew would probably want to achieve.

In the end, “Call Jane” is a difficult movie to judge because I think it ultimately depends on where one stands on abortion. That said, as a story, this was compelling and engaging. Therefore, I liked it. Elizabeth Banks is great as the lead, the supporting cast also shows their talent, including Chris Messina. He and Banks have one particular scene towards the end of the film that has not left my mind. This is a film that I would recommend, but only to certain people. This is the kind of movie that if you hear the concept, you might know right away whether or not it is worth your time. For me, it was. Maybe it will be for you, maybe it will not. We shall see. Despite my mixed recommendation, I do want to see what would happen if someone who is pro life watches this to the end. It could make for a fun experiment. Will the viewer see it as propaganda? Will they see it as just plain wrong? Could it change minds? Great movies have the power to offer new perspectives that people take with them and change who they are. I simply do not know if “Call Jane” is able to do that despite being a decent story. Given its decency, I am going to give “Call Jane” a 7/10.

“Call Jane” is seemingly finishing up its theatrical run. It is available for preorder on streaming platforms like Vudu.

Thanks for reading this review! My next review is going to be for the highly anticipated Marvel Cinematic Universe installment “Black Panther: Wakanda Forever.” While this may not be the movie I am not putting at the top of my hype list this year, it is the one releasing this year that I am mostly curious as to how it could possibly be pulled off. Between Chadwick Boseman’s death, rewriting the future of a cinematic universe, and the return of Ryan Coogler in the director’s chair, this could be something special. I will unveil my official verdict soon. I am seeing the movie tonight in IMAX 3D. 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 “Call Jane?” What did you think about it? Or, what is your favorite Elizabeth Banks movie? Let me know down below! Scene Before is your click to the flicks!

Black Adam (2022): The Hierarchy of Power in the DC Universe Does Not Change All That Much

Posted on by Jack Drees

“Black Adam” is directed by Jaume Collet-Serra (The Shallows, The Commuter) and stars Dwayne Johnson (Red Notice, Jumanji: Welcome to the Jungle), Aldis Hodge (Straight Outta Compton, Hidden Figures), Noah Centineo (To All the Boys I’ve Loved Before, The Fosters), Sarah Shahi (Person of Interest, The L Word), Marwan Kenzari (Aladdin, The Old Guard), Quintessa Swindell (Euphoria, Trinkets), Bodhi Sabongui (A Million Little Things, The Baby-Sitters Club), and Pierce Brosnan (Mamma Mia!, The November Man). This film is the latest installment to the Detective Comics Extended Universe, well before the recent transition under James Gunn and Peter Safran. Nevertheless, the film follows an individual who is freed from a tomb after 5,000 years. Being a fish out of water, said individual must adapt to a new world with new friends and foes.

2022 has been an okay year for comic book movies. I liked most of the comic book movies that have come out this year. There have been some duds like “DC League of Super-Pets” and especially “Morbius.” However, the genre has had more wins than losses so far. I will say, regardless of their quality, this year has given me a reason to look forward to various comic book movies like “The Batman” and “Doctor Strange in the Multiverse of Madness.” The expectations I had for those movies were at the very least, notable. As for how they turned out, both were good, but not great. Although “Black Adam” is an interesting case in regards to hype unlike those two movies. While “Black Adam” may not be as popular as say Wonder Woman, this project had a lot of time put into it, so I was curious to see how it would turn out after all these years. The development of “Black Adam” had been known since the late 2000s. Since then, Johnson has been a busy professional, but I am glad to see him come back to work on this property. At the same time, was the wait too long? It is possible, because every other year, the idea of a “Black Adam” movie became an idea where I would “believe it when I see it.” Well, it is 2022, and now I have seen it. What did I think of it?

Ehh… I guess it is okay…

If you want me to be real, my expectations for “Black Adam,” despite the amount of time that has been put into it, were not high. I was not expecting to be disappointed. Although the marketing was fine at best. When it comes to Dwayne Johnson, I have respect for him as a personality, but he does not always make the best movies. Sure, there are some standouts like “Central Intelligence,” some of the “Fast & Furious” installments, and the “Jumanji” movies. Although he has also made quite a few stinkers like “Rampage,” “Skyscraper,” and “Red Notice.” Despite being arguably the biggest and strongest movie star in the world, he has had quite a few punches he had to roll with. Even so, I find Johnson charming and I look forward to some of the things he does, even if it ends up sucking.

From a general audience perspective, this is the kind of movie that should sell. It is based on comics, which has been a hot trend in recent years. It stars The Rock, who has also been on trend based on his leading and supporting roles. Not surprisingly, the film already made over $250 million worldwide. It may not be making as much money as certain previous DC films, but the film is on track to become one of the biggest of Johnson’s career. Just because the box office is big, at least until “Black Panther: Wakanda Forever” slaughters the movie next weekend, does not mean the movie has the strength of Johnson himself. Although I can see why this movie is doing so well with audiences. The action is bombastic, the scope is enormous, and there are some genuinely fun moments to be had here.

This movie is fun, but it is the kind of fun that would I also use to describe certain fast food restaurants. It is great for getting together with your friends to experience something that is it not going to revolutionize the world, but instead something you will mostly enjoy the moment it is in front of you. The dialogue is some of the cheesiest of its genre but the visual effects are pretty enough to have an attractive flair.

Dwayne Johnson, after many years of advertising this movie, saying it will happen, and finally delivering it to the masses, dons the suit of Black Adam, an anti-hero whose main trait is changing his mood either between brooding or stoic. While this may sound like a jab at the performance, I will give Dwayne Johnson some credit for his performance. Every time I watch a performance from Johnson, it comes off like he is playing the same person. Specifically, himself, or some alternate version of such an individual. It is just like Kevin Hart. It is just like Melissa McCarthy. It is just like Tiffany Haddish. Johnson has a tendency to play characters from one movie to the next who would come off as interchangeable if they stood next to each other. While Black Adam may not be my favorite of his characters he has played, Johnson seems to emit a different vibe or deliver another tone when portraying the anti-hero. Maybe it is because Johnson is often seen playing characters whose motivations for good happen to be clear. He is trying to help friends, his family. This time around, he plays a character who is comparatively psychotic compared to say Bob Stone in “Central Intelligence.” Though it is slightly different from some of other roles, I admire Johnson for attempting to play a character with this angle in mind.

When it comes to this film’s characters, that is the element of the film, as disposable as it is, that I am probably going to remember the most. But it is probably for reasons that would work more when it comes to marketing than the film itself. There is nothing wrong with star power, but I am likely going to remember this film because of that more than what happens in the film. I have a strong feeling that the only reason I will remember who the Justice Society is a year from now is the fact that renowned actor Pierce Brosnan plays Dr. Fate. No offense to Hawkman, Atom-Smasher, and Cyclone along with their discount Xaiver Institute where they reside. If Pierce Brosnan was not in the Justice Society, this movie would be just a tad more forgettable than it really is.

“Black Adam” feels like a comic book movie that tries to belong in the 2020s, especially with its attempts to expand a tonally inconsistent cinematic universe. But at the same time, it cannot help but stretch itself back to previous decades. Select scenes reminded me of a wild 90s movie with goofy edits or some notorious 80s film from Cannon Productions like the Sylvester Stallone-starring “Over the Top.” The latter is actually a pretty good example here because of the unlikely bond between the protagonist and a young boy. Although when it comes to this similarity, “Over the Top,” which is not a great movie to begin with, somehow delivers a more appealing edition of such a bond.

Despite my digs at the film, which it earns, I had a halfway decent time with “Black Adam.” But if you had to ask me what my favorite part of “Black Adam” was, I would have a troubling time coming up with a definitive answer. This is not to say the movie is awful. It is to say that maybe that when it comes to DC fare, this is an addition that delivers. but maybe not to its full potential. Even though I did not think the movie was perfect, I had a “favorite part” in “The Batman,” specifically the chase between Batman and the Penguin at the movie’s midway point. I had a favorite part in “Joker.” I had a favorite part in “Wonder Woman.” Despite its flaws, I had a favorite part in “Batman v. Superman.” To me, “Black Adam” is going to be remembered for its wins. But when I use the word “remembered” in this case, I might be a bit generous with that, because there are better comic book movies this year. As far as movies with Dwayne Johnson go, this is not the worst he has done, but it is certainly not his strongest effort either.

If anything, this movie comes off as a visual experience. When I watch movies, I refuse to turn off my brain because as someone who reviews movies, I need to stay focused on what it is in front of me. That said, “Black Adam” feels like a turn off your brain kind of movie. Not to mention a noisy one at that. If you watch this in a premium cinema, I would not be surprised if your auditorium shakes, or at least comes close to doing so. “Black Adam” is basically this year’s “Venom: Let There be Carnage.” I liked both movies, but not for reasons that would make want to watch them in the next month or two. They’re noisy, but they’re also noisy in a way that appeals to the senses. The dialogue is not the greatest, but it has its moments. Although “Venom: Let There be Carnage” in this case would be a better movie because as a turn off your brain movie, it feels simpler. Possibly because of its tightly knit runtime and pacing.

In short, did the hierarchy of power in the DC Universe change? The answer, not so much.

In the end, there is not much to say about “Black Adam” other than it is a movie that easily entertains, but also hardly gives a reason to have staying power. “Black Adam” is not the worst DC movie in the ongoing cinematic universe. That dishonor belongs to “Wonder Woman 1984.” Although it comes off as a massive step down to the previous DCEU film, “The Suicide Squad.” I was not expecting this film to be as killer as “The Suicide Squad,” but I was hoping that it would be good. To say it is good would not be a lie, depending on what your definition of good is. But to say it is memorable is another thing. If I need background noise, “Black Adam” is an okay choice. But if I want to watch a DC movie, I will stick with “The Dark Knight.” Although I would still give this a watch in the theater if you really want something to see, but maybe for a matinee price. I am going to give “Black Adam” a 6/10.

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

Thanks for reading this review! My next review is going to be for the brand new movie “Call Jane.” I went to go see the film in theaters last weekend. It is not getting a lot of publicity, but it is a movie that had my curiosity with Elizabeth Banks in the lead role. Whether it had my attention, is another story. 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 “Black Adam?” What did you think about it? Or, who is your favorite movie star working today? For me, the rule is simple. Give me Tom Cruise or give me death. Let me know your picks down below! Scene Before is your click to the flicks!

West Side Story (2021): Steven Spielberg Reinvents the Musical Genre Through This Compelling Adaptation

Posted on by Jack Drees

Hey everyone, Jack Drees here! Welcome to the final installment of Steven Spielberg Month! You know what that means? It is time for shameless self-promotion! If you are interested in checking out more of my Steven Spielberg-related reviews for the month, this is your opportunity to read up on my thoughts regarding “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial,” and “The Post.” With that out of the way, it is time to introduce the last review of the themed event. It is one of Spielberg’s most recent outings, “West Side Story.” I would have reviewed this film last year if I had the time to. Unfortunately, I could not make it happen. Although I am glad to finally be able to give myself an opportunity to release my thoughts on it, and for you to finally find them out. Ladies and gentlemen, here is my review of “West Side Story.”

“West Side Story” is directed by Steven Spielberg (Lincoln, Ready Player One) and is based on a 1957 play by Jerome Robbins. The film stars Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, and Rachel Zegler as Maria, a young Puerto Rican girl who falls in love with New York native Tony (Elgort). These two are caught in the middle of rivaling gangs, conflicting sides, and altering identities. While these two may be star-crossed, the turmoil beyond their relationship heats up.

I saw this movie on December 6th, 2021 during a free IMAX fan event screening in Boston. The screening took place days before the film’s wide release. This was my first time seeing anything related to “West Side Story.” Prior to rewatching this film for review purposes, not to mention after, I still have not watched the 1961 “West Side Story” adaptation, despite its acclaim. The film won ten Oscars, including Best Picture. In recent months, Steven Spielberg’s “West Side Story” sort of followed in its footsteps. The 2021 remake won an Oscar for Best Supporting Actress in addition to earning other categorical nominations. One such nomination was Best Picture, which the film lost to “CODA,” which I have no problem with as that film was brilliant.

Having rewatched “West Side Story,” it honestly was more fun than it was the first time around. And that says something because that first viewing was a great time. Did I mention that my most recent watch of the film is not my second, but my third time? I went to go see the film in theaters twice, and both times it knocked my socks off. Therefore, it should be no surprise that I am handing the film this much praise.

I am so glad to finally get to talk about “West Side Story” after being busy during the tail end of 2021, partially because it is my favorite musical movie of that year. I had fun with “In the Heights” and I admired “Tick, Tick… BOOM!”, but “West Side Story” takes the cake as the most serotonin-emitting of these films. When I first heard about a remake for “West Side Story,” I had mixed thoughts, and slight indifference as I had not seen the original film. When you announce that you are about to remake something iconic or highly acclaimed as this, it begs the question as to how you can make something that is on par with what the prior material provided. Again, I did not see the 1961 movie, so I cannot compare and contrast these two films together. Although as a standalone movie, “West Side Story” 2021 is one of the most finely crafted creations of the decade thus far. The decade has only started, but if things continue to go in a certain direction, “West Side Story” could end up in my top 50, maybe even top 25 films of the 2020s by the time the ten year span ends.

The cast of “West Side Story” could not be better. Every actor is perfectly placed in their role, they feel at home, and they play their part to the best of their ability. Rachel Zegler is a goldmine of adorableness as Maria. Not only is Zegler a ridiculously talented singer, which is an ability that is somewhat expected in a film like this, but she is also unspeakably beautiful. Every time I glance at Zegler in this movie, I can sense that not only is Zegler happy to be in the movie, I can sense her character is always in the moment. Even during an occasional sense of hardship, every time I look at Rachel, I am, assumingly, as happy as her. She is always either upbeat or expressive, which for a musical, is an appropriate set of emotions. Part of the recently mentioned adorableness not only has to do with Rachel Zegler herself, her character, or her acting ability, but also the costume design.

The costumes in this film are designed by Paul Tazewell, who also designed costumes for the musical “Hamilton.” Tazewell’s designs feel straight out of the 1950s. To go along with the extravagant, larger than life feel of a story like this, some of the costumes feel attractively glitzy. Again, Zegler’s costumes, such as her white dress from the first act, are standouts. All the costumes from the dance in the gym are easy on the eyes. Another one of my favorites is Anita’s yellow outfit that she wears during the “America” scene. It goes well with the atmosphere and the time of day. Everything feels intricately planned.

Speaking of Ariana DeBose, she and Zegler pretty much tie for the greatest performance in the film. DeBose won a Best Supporting Actress Oscar for her performance as Anita, which is undoubtedly deserved. Everything from her physicality to her line delivery to her overall charisma makes for one of the best performances I have ever seen in musical film. The past couple times I watched “West Side Story,” every line out of DeBose’s mouth, even minor ones, made me smile. There is a saying about movies providing escapes for audiences. Anita in “West Side Story” is synonymous with such a philosophy. Every time she spoke, I instantly transported to another world. I am going to continuously debate as to whether Zegler or DeBose gave my favorite performance in the film, but as far as non-lead roles go, DeBose may have given the greatest of them all in 2021.

Despite having story in its name, the story of “West Side Story” is not the most original when you break it down. Not just because it is remaking a 1961 movie based on a 1957 play. If anything it is a spin on the “Romeo and Juliet” formula with different characters and dance fighting. If anything, this latest iteration of the musical is a fantastic spin, and even saying that is arguably an understatement. As I have said before, you can always supply a cliché story, or a story that has been done in the past. What matters is the execution. If you deliver something great with familiar elements, then job well done. This is exactly what Steven Spielberg did, I was on the edge of my seat during scenes that could have potentially come off as goofy. Dance fighting is a concept that to my surprise, successfully highlighted much of the tension between characters. Not only that, but the music used as a backdrop sounded great. It kept my attention.

This movie is shot by Janusz Kaminski, a brilliant cinematographer who has worked with Spielberg for years. The wides in this film are beautiful. The opening sequence is one of the most intriguing of the year based on the camera movements alone. The scope of the film would not be as massive if it were not for some of Kaminski’s long takes. One of my favorite shots of the film is when we get into the gymnasium and see everyone dancing. The camera swoops around the entire place non-stop until we arrive on our core characters like Anita, Bernardo, and Rachel. Looking back on it and what that one moment was able to capture, is jaw-dropping to say the least. Also, if you ever watch the scene, note the use of color. There is a sense of consistency between the colors of various outfits throughout the shot. It almost comes off like a painting. Again, credit goes to Paul Tazewell for how well he handled the film’s costume design.

Musicals, including this one, often thrive based on the spectacle. “West Side Story” has a ton of poppy moments where the cinematography and musical numbers keep my eyes on the screen. That is despite there being a sense of danger throughout the movie. “West Side Story,” at its core, centers around two star-crossed lovers. Although this film effectively encapsulates how their connection affects the people around them. The rivalry between the Jets and Sharks was already heading for trouble, but as soon as we see Rachel and Tony together for the first time, we also begin to see how various supporting characters handle this matter. Even though it should barely affect them on paper, it ends up resulting in increased calamity. As for said calamity, it made for a great movie.

If you ask me, based on everything I presented so far from the costumes to the shot selection to the editing to the acting, this is a sign that Steven Spielberg has brought together one of the greatest directorial efforts of his career. Or, as some might call it, just another Tuesday. “West Side Story” is apparently a part of Spielberg’s childhood, and it shows. The numbers are handled with grace, the characters are well realized, and the aesthetic of the film has a perfect blend between lighter and darker moments in addition to tones. There is no surprise that a sense of passion was present in every scene.

Aside from the cliché elements and familiar story treads, there are not many noticeable flaws with “West Side Story.” This might not be my favorite Steven Spielberg movie, but I cannot help but recognize how massively bonkers and fun this movie is. At the same time, it also successfully hits emotional beats. Performances from Rachel Zegler and Ariana DeBose highlight this. One of my favorite elements of the film, as someone who watched it perhaps the way Spielberg intended, is that when the characters speak in Spanish, they do not provide subtitles to aid in regard to what they are saying. I have taken a screenwriting class in college, and one thing my professor noted is that dialogue does not always matter. Sure, movies can have great lines that enhance the experience. Whether they are funny, dramatic, or emotionally charging. Although what makes “West Side Story” great is its tendency to use Spanish, a language which I do not understand, without subtitles, and nevertheless compel me into the scenes in which such a language is spoken. Given select moments and the supposed attitudes of various audiences, this sounds like a big risk. As someone who dropped out of Spanish class in high school for Sociology, I have been moved by this choice and its execution.

Big risk, big reward.

One might as well make the conclusion that this is what the whole movie sounded like from the beginning. A big risk. Sure, when you have Steven Spielberg in the chair, he makes everything look easy. Sure, name recognition is definitely a selling point in modern media. The film did not do well at the box office for various reasons. COVID-19, competition with other movies, and controversy with Ansel Elgort are contributing factors. However, this film is now available to watch at home and if you ask me what movie in the musical genre you should watch nowadays, this is one of the first I can think at the top of my head. It is that good. I do not know if Spielberg will make another musical, but if he does, I wonder how the heck he could top this one.

In the end, “West Side Story” is one of the best musical films of this century. Why should I be surprised that this movie is as solid as it is? Steven Spielberg is at the helm. Then again, maybe I should be surprised. After his many previous monumental successes, Spielberg has yet to create a film in the musical genre. He has done a variety of genres prior to “West Side Story” like science fiction (Close Encounters of the Third Kind), period pieces (Lincoln), adventure (Raiders of the Lost Ark), war (Saving Private Ryan), drama (The Post), and you could even argue that “Jaws” would be considered a horror film. By today’s standards, it is not the most terrifying option on the table, but it has its eerie moments. The man has done everything, and yet he continues to pump out gold. For some filmmakers, this would be an achievement. But I cannot call it that for Spielberg after watching “West Side Story.” As far as Spielberg is concerned, his efforts have amounted to another day at the office. That is how effective of a filmmaker he continues to be. Spielberg could have ended his career at say “Jurassic Park” and have an endlessly celebrated library of films. But that is not the case. His adaptations of songs like “Somewhere,” “Cool,” and “America” have stayed in my memory for a long time, and will likely continue to do so. The look of the film is stunning, the shots are beautiful, and the cast is incredible. Again, I have yet to see the 1961 film, so I cannot confirm if this is better or worse, but I can hardly think of a single problem I have with Steven Spielberg’s “West Side Story.” So much so, that the film is worthy of a 10/10.

Musicals are not my genre, but this is a film that I liked the first time, adored the second time, and found myself eating up by the third time. I am floored by this film’s craft and how extravagantly immersive it is, even when watching it at home. I feel bad for skipping this review last year, but I am more than happy to have gotten my thoughts out by now. Although some of you reading this might not be that surprised that I liked the movie so much, because I ended up nominating it in a few categories during the 4th Annual Jackoff Awards. If you want to see what the film did or did not win, check out the post!

“West Side Story” is now available on DVD, Blu-ray, and 4K Blu-ray. The film is also available to rent or buy on VOD. For those who have the services, it is also available to watch on Disney+ and HBO Max.

Thanks for reading this review! This is officially the end of Steven Spielberg Month! But this November, we will be seeing the latest addition to Spielberg’s neverending library. That my friends, is “The Fabelmans.” The film is loosely based on Spielberg’s childhood, and the trailer looks phenomenal. Between this and Damien Chazelle’s “Babylon,” this awards season is likely going to have lots of talk about Hollywood’s self-indulgence. Whether such self-indulgence will be successfully utilized, is a question waiting to be answered.

Also, my next review is going to be for the all DC film “Black Adam.” Be sure to stay tuned for the nine-millionth superhero movie I will be reviewing in my blogging journey. 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 “West Side Story?” What did you think about it? Or, did you see the 1961 “West Side Story?” What did you think of that? How would you compare the two movies? Let me know down below! Scene Before is your click to the flicks!

Ticket to Paradise (2022): An Un-Bali-vably Okay Time

Posted on by Jack Drees

“Ticket to Paradise” is directed by Ol Parker (Mamma Mia!: Here We Go Again, Now Is Good) and stars George Clooney (Money Monster, Gravity), Julia Roberts (Pretty Woman, Wonder), Kaitlyn Dever (Booksmart, Dear Evan Hansen), Billie Lourd (Booksmart, Star Wars: The Rise of Skywalker), Maxime Bouttier, and Lucas Bravo (Emily in Paris, Mrs. Harris Goes to Paris). This film follows a divorced couple who fly together to Bali to stop their daughter from marrying someone she just met.

I went to go see this movie last Friday with mom and grandma. If I had the chance to go see this movie alone, I probably would have passed on it. While I like comedies, “Ticket to Paradise” is not my type of movie. I like the people in it. George Clooney is a great actor, and in recent years he has developed a knack for directing through films like “The Midnight Sky” and “The Tender Bar.” I enjoyed both of those films. Clooney is a multitalented personality. Even the younger actors in this film are likable. Kaitlyn Dever has proven to be a force in the acting industry in recent years. I enjoyed her in “Booksmart” and she was nominated for a Primetime Emmy for her role in “Unbelievable.” Long story short, this film has talent of all ages. Although as I have shown in my recent review for “Amsterdam,” you can have all the talent in your movie that you could beg for and still fail to make something entertaining. So, how was “Ticket to Paradise?”

Well, for starters, staying slightly on topic, it is better than “Amsterdam.” I was not remotely bored. There were select moments where I was more entertained than others, but nevertheless.

“Ticket to Paradise” is a movie I am probably not going to watch a second time. In fact, there are moments during the movie, where I found my hand touching my face. Not because I was scared or shocked, but because I found various segments or lines in the film cringeworthy. Then again, given the type of film that this is, I should not be surprised. It is helmed by the “Mamma Mia!: Here We Go Again” director after all.

When you go to watch a comedy, which “Ticket to Paradise” is to some degree, you would expect it to be funny. Nothing is worse than a comedy that does not make you laugh. I would rather die than watch “Jack and Jill” and the 2016 “Ghostbusters” a second time. As far as “Ticket to Paradise” goes, it is down the middle in terms of humor. It has its ups and downs. Some of it is ridiculously far-fetched and plays out like an episode of a network sitcom that is probably going to be canceled in three months. I remember laughing at select moments of this movie, but I think my experience overall highlights how disposable this movie will end up being. Despite my occasional laughter, I cannot exactly paint a picture of everything that made me laugh.

George Clooney and Julia Roberts, who have previously worked together on the “Ocean’s” franchise, make for a fine pair here. I bought into these two being married and having it not work out in the end. The two have decent chemistry. Unfortunately, some of the writing does not serve their characters justice. I get that this movie involves the obstacle of a divorced couple having to come back together to save their daughter from possibly living a life they previously had. However, I think the amount of “I hate you” or “I wish we were never together” or “marriage sucks” jokes this movie had were enough to fill the Chrysler Building. You can only do so many variations of the same joke and have a select few stick to the wall. Honestly, if I wanted to see a comedy where two people who are no longer married have to stick together to overcome an obstacle, I would rather watch the pilot episode of “The Orville.”

Now there are select comedy gags that are genuinely funny. There is a great hotel room layout bit that had me chuckling. Even though the “I hated our marriage” jokes are a dime a dozen, there is an occasional diamond in the rough. That said, there are funnier movies that you could watch that came out this year. If you want a better comedy with big stars, check out “The Lost City” with Channing Tatum and Sandra Bullock. I watched that on a plane this year and had a great time. If you have the chance to check it out, do it. I recommend it over “Ticket to Paradise.”

Although going back to good chemistry, I thought the connection between Kaitlyn Dever and Maxime Bouttier was charming. While the connection between Clooney and Roberts may have overdone it on the comedy at times, I think the cuteness between these two was right in the goldilocks zone. Given the context of the story, I bought into Lily and Gede as a couple from the moment they were together.

Romcoms are not my genre. Although I have seen ones I liked. In fact, I recently watched the 2013 film “Enough Said” and I would recommend it. However, there is a problem I have with this romcom in particular. Based on the way everything is laid out, the movie is somewhat predictable. There is nothing wrong with a predictable storyline if you can make me like the characters or the way said storyline is done. I have said this with “Wonder Woman,” and I have recently said this with “CODA.” I do not think the writing or the characters in “Ticket to Paradise” are admirable enough to justify said predictability.

For certain audiences, I could see this maintaining a status as a comfort movie. I could see this being a movie certain individuals will find on television or a streaming service and watch on a rainy day when there is nothing else to do. As for me, I do not think it will be something I would end up watching again. Although if you want me to be real, when I left the movie, I said parts of it were good. Despite the talent in this film, “Ticket to Paradise” is not going to be nominated for any Oscars. However, I think everyone did their best with the material given to them and managed to make something that I found at the very least… Fine.

In the end, “Ticket to Paradise” is not quite the best comedy of the year, but the best way to describe this movie is to say that it is a halfway decent one time watch for me. If I bought this film on Blu-ray, I might watch it once, say it was okay, but I might end up trading it at whatever store still takes Blu-rays. Much like “Amsterdam,” the big stars like George Clooney and Julia Roberts may have been a selling point for “Ticket to Paradise.” They are likable together despite the occasionally bad line here and there. Although if you ask me, “Ticket to Paradise” perhaps accomplished its goals to a greater degree than “Amsterdam” despite the latter being a movie I would watch if I knew nothing about either title. I did not think I would love this movie. And honestly, I do not love it. But I have to be real. There is some fun to be had, so I would have to give “Ticket to Paradise” a 6/10.

“Ticket to Paradise” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! Pretty soon I will have a review for the all new DC film “Black Adam!” It has been years since this film has been announced. Is it worth the wait? We’ll see when the review drops.

Also, this Friday, October 28th, I will be concluding my official Steven Spielberg Month with my thoughts on his 2021 adaptation of “West Side Story.” I had the opportunity to rewatch the film last week so it is fresh in my memory, so I will be sharing my two cents soon! 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 “Ticket to Paradise?” What did you think about it? Or, what is your favorite comedy of 2022 so far? For me, when it comes to pure comedy, it feels weird to say, but “Clerks III” might be my pick. Let me know your picks down below! Scene Before is your click to the flicks!

Barbarian (2022): The Best Horror Movie of 2022 So Far

Posted on by Jack Drees

“Barbarian” is directed by Zach Cregger, who you may know from playing Owen on the TBS comedy series “Wrecked.” This film stars Georgina Campbell (Murdered by My Boyfriend, Krypton), Bill Skarsgård (It, Deadpool 2), and Justin Long (Alvin and the Chipmunks, Live Free or Die Hard). This film follows a woman who books a stay at an Airbnb only to find another person already staying in the property. Despite the unexpected encounter, the two end up staying together only to discover the house is haunted.

I went into “Barbarian” doing something that I do not typically do when it comes to movies I see. Specifically, unless there was one playing at a screening and I do not remember, I went into “Barbarian” having seen no trailers. My earliest memory of this film was hearing about it from someone I follow on Twitter who saw the movie and had a good time. I checked out “Barbarian” for a couple reasons. First off, and least importantly, apparently there is going to be no physical media release, so I wanted to watch the film in a theater before it goes to streaming, and I inevitably forget about it. Streaming is temporary, physical media is forever. Second, I have heard nothing but good things about “Barbarian.” People I know who have seen it, liked it. The critics are eating it up too. “Barbarian” has a whopping 92% on Rotten Tomatoes.

I saw the movie, and the first thing I must say is that this is the best horror movie of 2022 so far. I am happy to say that because not only is this a great movie, but this shows how spectacular of a year the horror genre is having. I am happy for a lot of people working in horror right now. I hope everyone is proud of themselves. I just saw “Smile,” which was fantastic and I literally claimed a week or two ago to be my favorite horror film of the year. “The Black Phone” is really good and had plenty of creepy moments. Even though it is not pure horror, “Nope” was also quite entertaining. I also really liked “Bodies Bodies Bodies.” This movie surpasses all of them.

Before I continue my thoughts, I must state that this review is going to be vague. This is a movie that not only do I recommend, it is one that would recommend with providing as little detail as possible as to why it works so well. The trailer for this film, which I did see while doing this review, perfectly details my sentiments. Whoever worked on that trailer is a legend.

The best part of “Barbarian” is its simplicity. You start off by seeing two characters who immediately develop an inciting incident over who can stay at a house they are renting. This simple bump in the road causes them to get to know each other and deliver some of my favorite chemistry between a duo I have seen this year. In the first ten minutes, I found myself buying into every single one of these two’s interactions. Campbell shines as Tess and Skarsgård is perfectly cast as Keith. The two are great together. I also like how this movie is told from Tess’s perspective instead of Keith because in addition to all the traditional horror elements, there is also another sense of danger I did not initially think about, specifically stranger danger.

Now, if I, a straight white male, showed up at the door of the rental house and I saw Keith staying inside, I would be confused. But if I had nowhere to go, it was raining, I were low on money, and a bunch of hotels were booked, I might walk it off if we agree to spend the night together. Perhaps if neither of us were forced to sleep on the floor. Meanwhile, there is a scene that stood out to me where Tess secretly takes a picture of Keith’s driver’s license. Little things like that reveal the creeps Tess is experiencing.

Some of this movie’s more tense moments are more or less linked to basic, everyday thoughts that runs through one’s mind if they are somewhere unfamiliar or far from home. I tried to get inside Tess’s head for a second. What is she thinking? She must have been asking questions such as… What if this guy drugs me? What if this guy is not what he says he is? How safe is this part of town? The key word here is tense, not scary. The scary shenanigans do not come until maybe a half hour into the movie. If you are looking for scares, they are there, and they are terrifying. You will get them eventually, and the wait is worth it.

This movie is 102 minutes long. As far as I am concerned, that is a perfect runtime. Pacing-wise, this movie could not be better. Despite the kind of short runtime, the pacing is not balls to the wall. It is not quite a slow burn either, at least to me, but everything that happens during the runtime feels either minimalistic or quiet. Even a simple conversation kept my attention, partially because of the conflict in every scene, even if it did not involve something horrifying.

Even when a movie of this sort is not good. I always enjoy a project that challenges its audience. “Barbarian” takes a big swing and it is undeniably a grand slam. I do think the climax is less entertaining than the first two acts. Not that I did not enjoy it, but if I had to name which part of the film I thought was the weakest, that would have to be the one. That said, everything that builds up to the climax from the relationship between Tess and Keith, to the scary shenanigans, to even simple interactions that could backfire, make the ride worth it.

I always make an effort when I show a movie to a family member or a friend to let them go in the way I often did. I want that individual to experience the movie firsthand as blind as a bat. Thankfully, this movie has a great trailer that I would not mind showing to someone who has not watched the movie. But this movie is a perfect encapsulation as to why I keep my mouth shut on all the details as to why I like certain movies when showing them to other people. Maybe if I show my friends “Barbarian” one day, they will disagree with me as to why I like this movie so much. But it does not change the fact in this solid year of horror, “Barbarian” is the genre’s biggest swing and mightiest payoff yet.

In the end, “Barbarian” is a fantastic movie that I would watch again some year on Halloween if given the chance. It is crazy, mind-boggling, yet simple. It is a movie that even though it belongs in the horror genre, can also qualify as a simple human drama. The cast is great, the script is phenomenal, and Zach Cregger’s direction is perfect. The movie’s final moments, while fun, are not as hypnotizing as its initial moments. Even so, this movie is, as I said, the best horror movie of 2022. I am going to give “Barbarian” an 8/10.

This movie is not coming to physical media and instead, only getting a Digital HD release for home viewing, which I think is a shame. This is a movie, if I bought it on Blu-ray, would probably go in my player every other October. Although if you have the chance to check out “Barbarian,” just do it.

“Barbarian” is now playing in theaters and will be available on Digital HD tomorrow, October 25th. The film will also soon be available to stream on HBO Max and Hulu.

Thanks for reading this review! My next review is going to be for the all new romcom “Ticket to Paradise.” The film just hit theaters this weekend, I had the chance to see it with my family, and I will have my thoughts very soon. 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 “Barbarian?” What did you think about it? Or, what is your favorite horror movie of the year? Let me know down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

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

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

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

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

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

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

No pun intended.

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

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

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

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

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

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

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

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

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

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

Halloween Ends (2022): Film Dies Tonight

Posted on by Jack Drees

“Halloween Ends” is directed by David Gordon Green. This film is the conclusion to his “Halloween” legacy sequel/reboot/whatever you want to call it series. And yeah. We know it’s not over. It ain’t over until there’s no more money to be made. This movie stars Jamie Lee Curtis (Everything Everywhere All at Once, Knives Out), Andi Matichak (Orange is the New Black, Blue Bloods), James Jude Courtney (Babylon 5, Buffy the Vampire Slayer), Will Patton (Falling Skies, Swamp Thing), Rohan Campbell (Mech-X4, The Hardy Boys), and Kyle Richards (Little House on the Prairie, ER). “Halloween Ends” is set between the years 2019 and 2022. Simply put, the town of Haddonfield, Illinois is still not over the last attacking spree from Michael Myers. Laurie Strode, who is now enjoying a somewhat normal life, is set to do whatever she can to kill Michael Myers once and for all. Oh, and there is a subplot about her daughter and a child-killing babysitter.

Trailers are perhaps my favorite form of marketing. They can easily make something more epic than it has to be in just a span of a couple of minutes. The trailers for “Halloween Ends” promise one thing in particular, the showdown between Laurie Strode and Michael Myers. The good news is, the promise is kept during the movie. But that is not the movie itself. One of my biggest critiques for trailers is that they often show the best parts of the movie or they flat out just spoil the entire movie from start to finish. I have seen both trailers for “Halloween Ends.” This is where I remain conflicted. They did a great job at not showing the entire movie, but they also show something that I never thought we’d see. In addition, the things that I imagine a majority of the people would come to the movie for, barely shows up in the movie at all.

Thus far, David Gordon Green’s “Halloween” trilogy has been all right. I liked the first movie he did, his follow-up, “Halloween Kills” had its moments of entertainment, but with this conclusion, it could not quite stick the landing.

Last year, when I reviewed “Halloween Kills,” my biggest problem with the movie was that Jamie Lee Curtis was barely in it. Also, for the moments where she happened to be present, there was little entertainment value through it all. It felt odd for a movie where she had top billing. In “Halloween Ends,” Curtis once again has top billing, and her presence in the movie is less of a problem. She is in the film for an adequate amount of time. Whenever she was on screen, she was charming to watch.

At the same time, one of the previous movie’s successes is its use of Michael Myers. I saw the movie in a crowded theater, and we all enjoyed the moments Myers happened to be on screen. It literally puts the “kills” in “Halloween Kills.” If you were to watch the movie to see Michael Myers do his thing, you came to the right place. Last time around Jamie Lee Curtis was barely in the movie, but for the case of “Halloween Ends,” Michael Myers ends up being shadowed amongst the cast. He barely does anything in the movie, and unfortunately, the little we get of Michael Myers did not make the price of admission feel like it was worth it. The final fight between Laurie Strode and Michael Myers is somewhat thrilling. But I do not know if it was worth an hour and a half of everything else the story provides. If anything, I do not see myself watching “Halloween Ends” again. Instead, what I see myself doing is if I need a fix, I am going to go on YouTube and search the end of the movie to just watch Laurie and Michael duke it out. The fight was fun, but it is surrounded by an average movie that does not feel like it belongs in the “Halloween” universe.

I like what the movie was going for. Some of the movie’s plot plays around with certain characters’ perceptions. I thought it was somewhat well utilized. Seeing Laurie have relations, of sorts, with someone who the world finds to be as crazy as her sounds great on paper. Although I cannot say the same for the execution. The story that built up to the Laurie vs. Michael finale that the trailers promise has glimmers of fun, but it also has cheesy dialogue and over the top moments that took away from some of the entertainment. I am not going into “Halloween Ends” expecting the next “Parasite,” but like every movie I go into, I am expecting something of quality. I want to watch something that feels like the crew is trying, and in this case I did not get that.

If anything, “Halloween Ends” reminds me of what people say about the Michael Bay “Transformers” movies. It is not about what’s in the title, because they spend all this time sneaking a forced human drama about characters that the audience has little reason to care about. To be fair, Laurie has established herself as a fixture in the franchise. Laurie’s granddaughter, Allyson, has her moments. Andi Matichak does her best with the material given to her.

The movie at the very least, looks and sounds competent on a $20 million budget. I had no problems with the way the movie was shot. The action sequences, for the most part, looked good. The score, which emits the classic “Halloween” tunes horror fans have come to know over the years, is booming. I watched this film in the theater, specifically in IMAX, and was worried that I was going to go deaf by the end. It might have been the loudest score I heard in a movie since Ludwig Goransson’s series of music from “Tenet.” Sadly though, despite being a horror movie, it is not that scary. Despite being a slasher film, the slasher elements did not add any highlights. Nothing stood out. Again, when Michael Myers is sidelined in a film franchise that made the character famous, that can be problematic. The movie has some occasional jumpscares, and they were not that terrifying. Honestly, if you are reading this and need a movie to watch this spooky season in the theater, just go watch “Smile.” Or, if you browsing around Peacock, where this movie debuted simultaneously, just turn on “The Black Phone!” If you are looking for scares, there are better options than “Halloween Ends.” This movie is a stab in the back if there ever was one.

In the end, “Halloween Ends” is the worst installment to David Gordon Green’s “Halloween” sequel trilogy. I have not seen too many of the “Halloween” movies. Other than David Gordon Green’s films, I have seen the original “Halloween” and “Halloween II.” I enjoyed both of those films for what they were. Of the “Halloween” films I have watched, this is my least favorite. The kills are not entertaining. Michael Myers is barely in the movie. As for the movie’s screenplay, it has an identity crisis. The marketing makes this look like a “Halloween” movie, but as for the product itself, it felt like a straight to Lifetime drama with better framing and more recognizable actors. I am going to give “Halloween Ends” a 4/10.

“Halloween Ends” is now playing in theaters everywhere and is also available to stream on Peacock.

Thanks for reading this review! Speaking of horror, I just saw “Barbarian” at the movies recently. Therefore, I will have a review for the flick coming soon. Also coming soon, I will be sharing my thoughts on “Ticket to Paradise,” the brand new comedy starring Julia Roberts and George Clooney. Following that, I will be unveiling my feelings about the latest entry to the DCEU, “Black Adam.” Is the hierarchy of power in the DC Universe really about to change? That question will be answered soon. If you want to see more of my reviews, check out my thoughts on “Medieval” and “See How They Run.” 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 “Barbarian?” What did you think about it? Or, what is your favorite installment in David Gordon Green’s “Halloween” trilogy? Let me know down below! Scene Before is your click to the flicks!

Smile (2022): A Grin-Inducing, Good Old Fashioned Horror Flick

Posted on by Jack Drees

“Smile” is written and directed by Parker Finn and is based on “Laura Hasn’t Slept,” a 2020 short film he previously made. This film stars Sosie Bacon (Scream, 13 Reasons Why), Jessie T. Usher (Survivor’s Remorse, The Boys), Kyle Gallner (Veronica Mars, Smallville), Caitlin Stasey (The Sleepover Club, Neighbours), Kal Penn (Harold & Kumar Go to White Castle, Designated Survivor), and Rob Morgan (Daredevil, Stranger Things). This film follows Dr. Rose Cotter, a psychiatrist, who witnesses a patient commit suicide during an appointment. Before her death, said patient says she is being chased by a smiling entity that tells her she is going to die. When Rose starts seeing strange happenings after said incident, she must find a way to survive and confront this reality.

Paramount is having a heck of year so far with its theatrical content. Between “Sonic the Hedgehog 2” and the latest member to join the billion dollar club, “Top Gun: Maverick,” the studio is maintaining a solid track record with its tentpoles. Early on in the year, “Jackass Forever,” which was made for $10 million, ended up making over eight times that while in the cinemas. By the looks of things, “Smile” is following in the footsteps of all these projects. This movie came out at the tail end of September, and it is clearly having some notable success. After all, it has currently raked in more than $130 million at the box office so far. When considering the film is based on a short, a feature-length debut, and was produced on a $17 million budget, that is incredible. With Halloween just around the corner, I predict this film will continue to having staying power. After all, not only is it a financial success, but people are liking the movie itself. As for my thoughts, the hype is real. “Smile” is my favorite horror movie of the year.

Now, I have not seen every horror flick that has come out in 2022. I skipped “Scream,” and I still have not gotten around to watching “X.” Part of me wants to wait to maybe do an “X” and “Pearl” double feature. But of the ones I have seen, “Smile” might be the most… Grin-inducing. Almost every time I went to the movies, I saw a trailer for “Smile,” and it kind of had a campy vibe to it at times. Not all of what I saw was camp, but a trailer where an overly expressive dude repeatedly screams “YOU’RE GOING TO DIE!” does not promise Shakespeare. If anything, I was nevertheless in for the ride. Little did I know how much I would enjoy said ride.

The star of the show, both literally and figuratively, is Sosie Bacon as Rose Cotter. Bacon is perhaps perhaps responsible for my favorite lead performance in a horror film since Toni Collette in “Hereditary.” As Rose, Bacon delivers a performance where she comes off as increasingly twisted to those around her. The way this is executed from the giving and receiving end only makes me continue to root for her. The beauty of this performance also highlights the stellar direction of Parker Finn, who does a great job at putting you in everyone’s shoes, but eloquently brings you straight back to Rose’s.

Seeing “imaginary” things is nothing new in horror. In fact, I recently watched “It Follows” for the first time where such a concept was also handled well. Although the best thing about “Smile” is the altering perspectives between Sosie and the people she knows. It is how Sosie is seeing all these things and it causes people to have all these different emotions. None of which are remotely positive. While some of the happenings of this regard may lead to some predictable moments, the execution is solid enough for these things to work.

Once again, if you are not familiar with me as a movie watcher, horror might be my weakest genre. It is the one I seem to watch the least, and when it comes to my favorite movies, not many of them are actually within the horror realm. Sure, there’s “Jaws,” but by today’s standards, that is not a horror fest. That said, “Smile,” while not being as good as “Jaws,” is one of the scariest movies I have seen in my life. I watched a good chunk of horror over the past few years for Scene Before, and I cannot recall the last time, maybe other than “A Quiet Place,” where I jittered so much because something spooky may have been bound to happen. If you are looking for the spooks this season, this movie has them. Even the jumpscares are great. They are used sparingly, and therefore, perhaps used effectively.

“Smile” is a movie that makes something seemingly innocent look like the scariest thing on the planet. Smiles are not scary, they release serotonin. It is a fact. Although let’s be real, the smiles in “Smile” are definitely unsettling. This is a notion that I would also apply to what could be the best scene in the movie. Going back to the idea of Rose’s close friends and loved ones having different feelings than her, one of the highlights of “Smile” is during a child’s birthday party. Without giving away much, there is a singular instance that I did not see coming that shook me to the core. There was a cue for what was coming, but what the cue specified is a different story.

The film is not perfect. It uses some elements that have been used in horror films before, although it is somewhat forgivable given how brilliantly said elements are used here. The climax does become maybe a tad convoluted and is not as much of a highlight as the first two acts, but it still delivers enough creeps and entertainment to make the whole experience worthwhile. When I say this is the scariest movie I have seen in a long time, I mean it. My sister evidently enjoys horror more than me. We talked the other day. She wanted me to recommend a scary movie to her. “Smile” was the first thing that came to mind. Maybe it is recency bias, but I am still thinking about “Smile” after I saw it, so the movie more or less did its job.

In the end, “Smile” is the best horror film of 2022. If you ask me, this year has not been too great for movies, but this is one of the few highlights of the year so far. Simply put, I left the theater smiling. If you are looking for a fun movie to watch on Halloween and you do not want to stay home, I give “Smile” the highest of recommendations. Sosie Bacon is a standout as Rose Cotter. The love interest, Trevor, played by Jessie T. Usher, also does a great job. Based on the trailer, this could have been campy as could be. Although from my experience, I was delightfully surprised to find myself not laughing, but instead, quivering. I am going to give “Smile” an 8/10.

Before I go on, I need to talk about this film’s theatrical release, and how monumental of a success this has been for Paramount. This movie was going to go straight to Paramount+, but after positive test screenings, it was upgraded to a theatrical run. This film, which was made for $17 million, has already made over eight times its budget and is one of this year’s highest-grossing movies. I want to thank Paramount for providing one of the scariest times at the movies I had in ages, and for not putting “Smile” on streaming right away, because I do not think this film would have gotten the traction it needed to be as successful as it is.

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

Thanks for reading this review! Speaking of horror movies, stay tuned for my review for the all new “Halloween Ends!” This film just released last weekend, and let it be known that I have some things to say. Also, this Friday, October 21st, I will be continuing Steven Spielberg Month, which has already produced a couple reviews including “Close Encounters of the Third Kind” and “E.T. the Extra-Terrestrial.” My next review in the series is going to be for the 2017 film “The Post.” 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 “Smile?” What did you think about it? Or, what is the scariest horror film you have seen this year? Let me know down below! Scene Before is your click to the flicks!

Amsterdam (2022): David O. Russell’s Latest Fast-Paced, Star-Filled, Forgettable Time

Posted on by Jack Drees

“Amsterdam” is directed by David O. Russell (Silver Linings Playbook, American Hustle) and stars Christian Bale (The Dark Knight, Ford v. Ferrari), Margot Robbie (Suicide Squad, I, Tonya), John David Washington (BlacKkKlansman, Tenet), Chris Rock (Madagascar, Grown Ups), Anya Taylor-Joy (The Queen’s Gambit, Last Night in Soho), Zoe Saldaña (Avatar, Guardians of the Galaxy), Mike Myers (Shrek, Bohemian Rhapsody), Michael Shannon (Revolutionary Road, Nocturnal Animals), Timothy Olyphant (Once Upon a Time in Hollywood, The Mandalorian), Andrea Riseborough (Bloodline, Battle of the Sexes), Taylor Swift (The Lorax, Cats), Matthias Schoenaerts (The Danish Girl, Red Sparrow), Alessandro Nivola (American Hustle, Selma), Rami Malek (Night at the Museum, The Little Things), and Robert De Niro (Raging Bull, Meet the Parents). This film is mainly set in the 1930s, and centers around three people who are framed for murder. Together, this trio uncovers a plot that will change the course of history.

I have not seen all of David O. Russell’s films. I have seen “American Hustle,” which I was not a fan of. I have mostly forgotten it by now. I saw “Joy,” which I thought was cute. The acting was great, especially on Jennifer Lawrence’s part, but it was not my favorite movie of the year. I also saw “Silver Linings Playbook,” which, while not one of my favorite movies ever, is probably the best attempt at a feature Russell has ever given. I still have yet to see films like “Flirting with Disaster,” “Three Kings,” and “I Heart Huckabees.” I am mostly familiar with David O. Russell’s recent work. That said, he has built quite a name for himself as a filmmaker and it is no surprise that names like the ones listed happen to be working with him.

When you have this many Academy Award-nominated or winning actors and actresses in your film, it builds promise. It builds interest. It reminded me of when I saw “The Circle” back in 2017. You had all these culturally relevant or critically acclaimed performers like Tom Hanks, Emma Watson, John Boyega, Patton Oswalt, and Bill Paxton. Given their resumes, I was excited to see what they could do. Unfortunately, their collaborative efforts could not escape them from this misfire. “Amsterdam,” while definitely more satisfying than “The Circle,” is in the same boat.

The best way I can describe “Amsterdam” is to say that the film is all over the place. There is a lot that goes down in just a span of two hours that I felt like I had to take some notes. The film is not wholly incompetent by any means, but it begs me to keep up with its quick pacing. I like quick pacing, but at times, the movie goes too quick. There are a lot of characters and interwoven storylines that there is a good chance that I will have forgotten a couple of them by the next couple weeks. I think this is a film that could warrant a second viewing, but I am not sure yet if it has the replay value. At times, the pacing of this movie reminded me of Guy Ritchie’s “The Gentlemen,” which I know some people like, but for whatever reason I just could not get into. One moment we’re here, one moment we’re there, and in the next my brain, which has escaped from my body, might as well have traveled to the end of the universe.

If there is any saving grace in “Amsterdam,” it would have to be Margot Robbie as Valerie Voze. I thought she had the best moments in the movie. I thought the casting matched the character and the way she was written and directed. This performance solidifies Robbie as one of my favorite actors working today. Her chemistry with Christian Bale and John David Washington is solid, and as much effort as those two put into their performances, Robbie feels like the clear winner here.

Speaking of Christian Bale, if you want me to be completely honest, I think he had a more memorable performance in “Thor: Love and Thunder” of all things. I am not saying that Christian Bale gave a terrible performance in “Amsterdam.” If anything, it was stellar. But I think when combining acting with overall characterization, Bale’s attempt at playing Gorr the God Butcher was somehow more convincing and compelling despite a movie like “Amsterdam” appearing to be more along the lines of Bale’s forte.

It is crystal clear that the story of “Amsterdam” is not the highlight of the movie. If you ask me, it had its moments. There was a specific moment that intrigued me at the beginning where our main characters find themselves in an unspeakable situation. Unfortunately, as soon as we dive away from that, the quality of the movie lessens.

If I had to look in advance at 2022 in film and predict any Best Ensemble nominees at the SAG Awards, “Amsterdam” would have been a contender based on name recognition. However, much like Garry Marshall’s unwatchable holiday-based movies like “New Year’s Eve” and “Mother’s Day,” the movie’s cast is the one glimmer of hope within what can simply be referred to as a hot mess. At least on paper. I never thought I would see the day where we have Margot Robbie, Anya Taylor-Joy, and Robert De Niro in the same movie. I just hope when that unpredictable day came along, there was good script for them all to bring to the screen.

As for other positives, the movie is attractively colorful. Not quite as glitzy and glossy as say “Elvis,” which in some ways might happen to be a good thing if you ask me. However, the look of the film is sometimes easy on the eyes. In addition to having a stacked, recognizable cast, a lot of them are wearing stunning outfits, some look handsome or sexy. If this were a silent film, this might be okay depending on what you put for text. The sets at times look presentable, elaborate, and occasionally have a vintage feel to them.

There is a saying that looks are not everything, and this movie is exhibit A as to why that saying exists. Yes, some of my favorite actors are put in the forefront. Yes, some of the costumes and sets look dazzling. Yes, the movie has an occasional feeling of immersion. Although this cannot save the film itself from providing what could be one of the sloppiest stories of the decade, and that is despite this movie claiming “A LOT OF THIS ACTUALLY HAPPENED.” Just because a story is true, does not make it entertaining. You want to know a true story? I woke up today and wrote this review. Imagine if I tried to sell that as a movie. The distributor would probably go out of business!

Here is a fun fact. Christian Bale, who has worked with David O. Russell in the past, signed on to do “Amsterdam” before a script was written. I get the notion of wanting to work with a big name director. Especially one you supposedly have a decent relationship with. Heck, if I were an actor and I hear the name Christopher Nolan or Jordan Peele I automatically think “business partnership.” I hope while these two high-profile industry insiders were thinking about how great it would be to work with each other, they took a moment to think of the quality of what they were going to make. Because despite the quantity of big names, quality seems to be sacrificed when it comes to the final product of “Amsterdam.”

In the end, “Amsterdam” has occasional glimmers of enjoyment, with some extreme emphasis on the word “occasional.” The film has an okay start, but the film itself never finds a way to be as compelling or entertaining as its first ten or fifteen minutes. I liked “Silver Linings Playbook,” but I cannot say the same for “Amsterdam.” I am going to give the forgettable and dull “Amsterdam” a 4/10.

“Amsterdam” is now playing in theatres everywhere, tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have more coming! I will soon unveil my thoughts on a couple of horror movies I watched recently, specifically “Smile” and “Halloween Ends.” Also, if you want to see more reviews from me, check out my thoughts on “See How They Run.” 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 “Amsterdam?” What did you think about it? Or, what is a movie with a stacked cast whose script could not justify its star power? Let me know down below! Scene Before is your click to the flicks!

E.T. the Extra-Terrestrial (1982): An Emotionally Thrilling, High-Flying, Down to Earth Tale

Posted on by Jack Drees

Hey everyone, Jack Drees here! Last September, I made a promise to those who follow me on social media that I would do a Steven Spielberg Month! And with that promise comes a review of one of his most famous works, “E.T. the Extra-Terrestrial.” I mean, how can I not review this movie? Look at my last minute Photoshopped poster! I am committing to this movie no matter what! That said, “E.T.” is one of the films most people think of when they hear the words Steven Spielberg. It might shock you to know that despite this film coming out before I was born and having such longevity, this is my second time in my entire life watching this film. Is the rewatch worth it? Let’s find out.

“E.T. the Extra-Terrestrial” is directed by Steven Spielberg (Jaws, Close Encounters of the Third Kind) and stars Dee Wallace, Henry Thomas, Peter Coyote, Robert MacNaughton, and Drew Barrymore. This film centers around a young boy who finds an alien life form. Despite the foreign nature of this being, the boy befriends and communicates with the alien all the while trying to send him back to his planet of origin.

When it comes to Steven Spielberg’s most influential works, there’s often a debate as to what that film might actually be. “Jaws” essentially invented the modern blockbuster. “Raiders of the Lost Ark” spawned an iconic franchise that other exploration and adventure stories often get compared to. “Jurassic Park” is not only often considered to be the best dinosaur movie, but paved the way for CGI heavy cinema as we know it. However, “E.T.” should also be in the conversation. Even though “E.T.” is a story that brings our world together with foreign territory, it is a film that works because of how tiny it feels. And that is despite the occasional scene where things happen away from home. That is despite an iconic moment where we see our heroes fly by the moon. That is despite the punch-packing score by John Williams. This movie is like being promised a small, delicious pizza, but getting a large at no extra charge.

Safe to say, I had a ridiculously fun time watching “E.T.,” and it is easy to see why people are still celebrating it forty years later.

Even if its video game adaptation is cringe.

I only saw “E.T.” once when I was younger, and while I remember various things about it, this viewing truly felt like an initial watch. Like “Close Encounters of the Third Kind,” I had the chance to watch “E.T.” at home on 4K Blu-ray. Speaking of similarities to “Close Encounters,” “E.T.” looks surprisingly practical, and that practicality adds a hint of charm to the film itself. If E.T. himself were CGIed, part of me would wonder how off-putting or pixelated that could come off. Thankfully, such an idea remains a mystery.

Speaking of practical, one of the most believable things in the movie is how they handled the connection between Eliott and E.T.. Whether you believe a kid like Eliott would actually take an alien into his home is one thing. As for how they handled the taking of an alien into Eliott’s home makes the journey worthwhile. Seeing their differences in communication provided for glimmers of entertainment. This also goes to show the magic of minimal dialogue, notably on E.T.’s part. E.T. has very few lines in the movie, but each one emits a particular positive emotion that stands out. This is perhaps the film’s biggest strength. The story is simple, but the way it is executed allowed for a great balance of happiness, sadness, and everything in between.

When I look back on my experience of watching “E.T.,” I anticipate to remember select moments where my eyes lit up, and others where my eyes almost watered. And this movie is not short on these. While “Blade Runner” may still be my favorite movie from 1982, I can confirm that “E.T.” is more effective when it comes to inducing character attachments and emotions for everything that is happening.

When it comes to Steven Spielberg’s science fiction slate, I think this is a better movie overall than “Close Encounters of the Third Kind.” The biggest strength of “Close Encounters of the Third Kind” is not the main character of Roy Neary, as likable as he is. Instead, that honor belongs to the curiosity of Barry, a three-year-old boy. Spielberg is consistent from one film to another in suggesting that children are likely to take steps to determine what strange happenings are going on outside. This consistency is effective because naturally, children are curious. Although for “E.T.,” the child of focus here, specifically Eliott, is the protagonist. His mother, Mary (Dee Wallace) plays a prominent role in the film. However, when it comes to “Close Encounters” comparisons, Mary emits more of the characteristics of Ronnie, who is noticeably less open-minded towards the ongoing alien plot.

If I had to give any problems to “E.T.,” it would have nothing to do with the story. In fact, it is as perfect as can be. I would barely change a single thing about it. That dishonor, instead, belongs to the technical aspects of the film. The film has its highlights from various night shots that look beautiful, a nicely edited action sequence towards the end, and of course, one of the best, not to mention catchiest, scores John Williams has ever done.

“E.T.” came out in 1982. Therefore, after the film’s release, many improvements have been made to how green screen is done. Although you cannot have the improvements seen in movies like “Avengers: Endgame” without the mistakes made in “E.T. the Extra-Terrestrial.” There are a couple flying sequences in this film. At times, they come off as beautiful. John Williams’s score accompanies both of these scenes and allow him to deliver the best music in the movie. However, the green screen, or blue screen in this case, looks obvious. It looks kind of fake. If anything, it makes the shark in “Jaws” look real. I was fully immersed in this flying sequence and nevertheless continue to reflect on it after the movie with positive thoughts. But seeing the landscape move around in the background the way it does is kind of distracting. That said, as far as I know, there is no such thing as a flying bike. Therefore I respect Spielberg and crew for trying to imagine how such a thing could look. The result, per my born in 1999 and viewing in 2022 eyes, is mostly positive.

If I had any other problems with the movie, it would be the first scene between Eliott and E.T. from either an editing or directorial perspective. When E.T. is revealed, we see Eliott react to the sight of the foreign creature. Obviously, he is terrified. I have no problem with the way this is written, but the way it was assembled was a bit jumpy. There are only so many cuts you can do of one person’s face screaming in fear. I think that was a bit overdone.

That said, these are small problems within a film of wonder. The cast is great, the characters are well-written, and the shots are some of the most gorgeous of 1980s cinema. As far as science fiction and alien-based films go, I think Spielberg stepped it up from “Close Encounters of the Third Kind.” As much as I enjoyed “Close Encounters,” I think I would rather watch “E.T.” again in the near future.

Also, I cannot go on without acknowledging this iconic moon shot. There are few instances in cinema that are as eye-popping as this. There is a reason why this became part of the Amblin logo.

In the end, “E.T. the Extra-Terrestrial” is some of the most fun I have had watching a movie recently. They say that moviemaking is a business, which comes with a double-edged sword. The studios always try to follow the money, and therefore quality is sometimes neglected. Not with “E.T.,” because the movie is the highest-grossing project of 1982 by a long shot. It is one thing to be successful, but to be successful and career-defining is another. This film was a win for Steven Spielberg back in the 1980s, and it is a still a winner today. This is a great film for all ages, and I would not mind putting it on again sometime. I am going to give “E.T the Extra-Terrestrial.” an 8/10.

“E.T. the Extra-Terrestrial” is now available on VHS, Laserdisc, DVD, Blu-ray, and 4K Blu-ray. The film is also available to rent or buy digitally, and you can also stream it on Peacock.

Thanks for reading this review! If you want to see another review from this ongoing Steven Spielberg Month event, check out my thoughts on “Close Encounters of the Third Kind!”

My next review in the Steven Spielberg Month series is a 35 year jump in time! This is a film I have not seen yet, I am watching it for the first time for this review, “The Post.” I have heard decent things about this movie. In fact it was nominated for Best Picture at the Academy Awards. Here is hoping it is good! Also, be sure to stay tuned for my reviews for “Amsterdam,” “Smile,” and “Halloween Ends.” 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 “E.T. the Extra-Terrestrial?” What did you think about it? Or, this might be a dumb question, but it is about something stupid so it comes full circle. Have you ever had the chance to play “E.T.” on the Atari 2600? If so, tell me about your experience. I want to know everything. Scene Before is your click to the flicks.