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Smurfs (2025): One of the Smurfing Worst Animated Movies Ever Made

“Smurfs” is directed by Chris Miller (Madagascar, Shrek the Third) and stars Rihanna (Home, Ocean’s 8), James Corden (The Emoji Movie, Cats), Nick Offerman (Parks and Recreation, The Founder), JP Karliak (X-Men ’97, New Looney Tunes), Daniel Levy (Schitt’s Creek, Happiest Season), Amy Sedaris (The Mandalorian, Clerks III), Natasha Lyonne (American Pie, Poker Face), Sandra Oh (Killing Eve, Grey’s Anatomy), Jimmy Kimmel (Jimmy Kimmel Live!, Win Ben Stein’s Money), Octavia Spencer (Hidden Figures, Gifted), Nick Kroll (Big Mouth, Sausage Party), Hannah Waddingham (The Garfield Movie, Ted Lasso), Alex Winter (Bill & Ted’s Excellent Adventure, Grand Piano), Maya Erskine (PEN15, Blue Eye Samurai), Kurt Russell (The Thing, Guardians of the Galaxy Vol. 2), and John Goodman (Revenge of the Nerds, The Big Lebowski). This film centers around its titular blue creatures who go on a mission to save Papa Smurf from evil wizards Razamel and Gargamel.

I hate using the term “kids movie,” mainly because it sounds like an insult towards certain people who watch those kinds of flicks. It is kind of like the term “chick flick,” as if a guy cannot watch films like “Easy A” and have a good time. That film is a blast, and I, a straight white male, fully endorse it. That said, having now seen “Smurfs,” I do not think it is a movie for anybody. Not even children.

This is not to suggest the film is inappropriate for kids. But if you were to ask me to recommend a movie for children, “Smurfs” would be the one I would recommend as a punishment. Forget the time out corner! Forget the extra chores! Forget the soap! Putting on “Smurfs” is the ultimate tool for any disciplinarian!

I saw “Smurfs” in a nearly full theater containing tons of families. Almost nobody uttered a sound during the film. Not the parents, not the children, no one. I actually chuckled once, but being the dark soul that I am, my chuckle was towards the fact that a particular character opted to sacrifice themself. One could argue that part of why I was laughing at this joke was that I wanted the characters to die so the movie could end.

It reminded me of “Borderlands” when Claptrap repeatedly gets shot. Spoiler alert, he ends up surviving! But at the time, that scene gave me a dose of optimism, because it hinted there was a chance that the film’s most annoying character could be left out of the picture.

In the case of “Smurfs,” my singular chuckle was not directed at the film’s most annoying character, but my point stands.

“Smurfs” is chock-full of well-known talent. You have Nick Offerman, John Goodman, Natasha Lyonne, Sandra Oh, even Kurt Russell! These are skilled actors, but there is not much for them to do in this film other than read some of the most predictable, unfunny lines in Hollywood movie history. There are a few lines in this film where I was trying to predict what line would succeed it, what joke would flourish as a result. It goes for the obvious joke time and time and time and time again. It is so annoying and makes for something absolutely uninspired. With these recently mentioned big name actors, you might wonder who has top billing. It is none of these people! Shocking, I know. Instead, that honor goes to Rihanna.

Courtesy of Paramount Pictures – © Paramount Pictures

I am not surprised that Rihanna has top billing. She has an impact on popular culture. That said, her music is not for me. I cannot name a single song of hers that I genuinely love. But this movie is Rihanna’s not just in the sense that she plays one of the core characters, but it is also hers through the music. Several of Rihanna’s hits make it into the soundtrack. If you are a fan of Rihanna, you will probably have more fun listening to these songs by themselves. That said, Rihanna does have an original song featured in the film, particularly during the credits, but at times, it is almost headache-inducing. By the end of this film, I truly wanted Rihanna, to “please, stop the flipping music.”

Paramount Animation/Paramount Animation – © Smurfs™ & © PEYO – 2025 Lic. Lafig B./IMPS © 2025 Par. Pics.

When it comes to finding a main character, it seems to clearly identify James Corden’s No Name Smurf (left) as the protagonist, but again, Rihanna’s Smurfette has such a notable presence to the point where she almost steals the spotlight. You might as well call this movie an 89 minute Rihanna music video featuring the Smurfs. I had trouble figuring out what this movie was trying to be. Is it a musical? Is it a comedy? Is it an adventure? Is it the latest attempt at the multiverse craze? The people behind the movie do not seem to know who exactly they are making it for. “Smurfs” is a family-friendly property, so the crew definitely had children in mind. Although one difference between “Smurfs” and another film from this year I frankly disliked, “A Minecraft Movie,” is that the kids at my screening seemed to be into it, whereas “Smurfs” was a misfire for all audiences, including yours truly.

If I had to pick a movie that “Smurfs” reminds me of, my immediate answer is “The Emoji Movie.” Will kids like this movie? Theoretically. Will adults like this movie? Probably not. Is it colorful and polished? Yes. Does have an everyday “nobody” protagonist? You betcha! Does it have generic sounding songs that have had their time on top 40 radio that get stuck in your head once you leave the theater? Absolutely! If you ever read my expletive-riddled review for “The Emoji Movie,” you may remember me comparing that pile of excrement to films like “The LEGO Movie,” “Wreck-it Ralph,” and “Inside Out,” suggesting that “The Emoji Movie” is a remix of those flicks, but significantly worse. “Smurfs” is basically a reskin of “The Emoji Movie.” Sadly, “The Emoji Movie” lingered so much in my mind that I could not think of any good films to compare “Smurfs” to while I was watching it. At one point, “The LEGO Movie” came to mind because No Name Smurf kind of reminded me of Emmet, whose standout quality is being incredibly pedestrian and everyday, but this film, arguably on purpose, felt like a spiritual sequel to “The Emoji Movie.”

Heck, James Corden is in both films! James Corden seems to be at the top of the list called “Actors to hire if you Have no faith in your project.” Between this film, “The Emoji Movie,” “Cats,” “Gulliver’s Travels,” “Superintelligence,” and “Cinderella,” Corden has built quite the resume of films that made me question my position as a movie person.

Did I mention that both movies reference arguably the most famous line from “Casablanca?” Because they do! And I would argue that “Smurfs” somehow trumps “The Emoji Movie” in terms of how poorly executed the delivery of that line was.

Yes, this movie has tons of stars in it. But they are all given a script that feels more akin to something that would go straight to Paramount+. I guarantee, if Rihanna, and perhaps some of these other actors were not in this film, this would be a streaming exclusive.

That said, there is one segment that I admire in this movie. Without spoilers, it involves a multiversal trip. I thought it was kind of creative. Unfortunately, it only lasts for a minute or two, and then the movie goes back to its regularly scheduled so-called programming. I could see this segment being something that one of the film’s animators would be proud to have on their demo reel. It is the greatest spark of creativity in what is ultimately a dumpster fire that lacks any and all imagination. The film is not consistent with its style. One moment it is fully animated. In another it is live-action. And there’s tons of weird blending between the two styles that sometimes make no sense whatsoever.

The film also reminded me of the equally unimaginative 2011 film “The Smurfs.” Not just because the film features the same characters, but the story beats are kind of similar because all the Smurfs end up leaving Smurf Village and end up in the real world. But perhaps more importantly, both films are not funny and absolutely boring! For an 89 minute movie to be boring is a true feat. It is one thing if the movie is two and a half-hours, but this movie flies at a TikTok pace and still manages to make me, and perhaps the children around me, want to fall asleep. The Smurfs in this movie may be blue, but by the time it was over, it had me turning red.

In the end, “Smurfs” is smurfing bad! It sounds like the obvious comment to make at this time, but if anything it is only fitting after watching this predictable 89 minute brain cell eradicator. “Smurfs” is easily the worst film I have seen so far this year. The film’s full of cringeworthy sequences that feel more like they are designed to show off Rihanna’s singing voice rather than tell a compelling narrative. The movie’s script is riddled with jokes that feel dated. And if they are not dated, they likely will be in five years. There is a sibling rivalry subplot between the film’s villains that ends up being a bore. The film surprisingly has enough time to introduce Kurt Russell’s character. By the time we got to his part of the film, my first thought was “Wait, now? Why are we doing this?” I like me some Kurt Russell, but his presence in the film feels out of the blue. No pun intended. If you want a good movie to take your child to, get tickets for “Elio” or if they’re a little older, take them to see “Superman.” I think the film will grab their attention, and possibly stick with them even as they get older. Do not waste your money on “Smurfs.” I am going to give “Smurfs” a 1/10.

You might make an argument that me not liking this film is irrelevant because it caters more towards children than it does adults. I do not know. I think the many silent children in my theater would have something to say to you. And also this brings up another thing, if the children in my theater, or other children who watched this film for that matter, did like it, I wonder what they will think of it in ten years. Will they feel the same way? Again, this is why I always bring up Pixar as animation’s current gold standard, because they are making films that refuse to insult children’s intelligence. Kids like them. Adults like them. Everyone likes them. Heck, I, a 25 year old man, watched “Cars” recently, which I first checked out when I was six years old. It is still worth watching as an adult. The film looks fantastic, features likable characters, and with my older age, I appreciated the film’s commentary on convenience and how that changes society. It did a great job at that by highlighting the unfortunate impact an Interstate had on the small town of Radiator Springs. Sure, “Smurfs” tries to implement a lesson about being yourself, but it feels surface level and is not enough to save the film from being dull and unfunny. Please avoid this movie at all costs, you will thank me later.

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

Thanks for reading this review! My next review is going to be for the brand new horror film, “Together.” Stay tuned! Also, I will eventually be sharing my thoughts on “Oh, Hi!,” “Weapons,” “Freakier Friday,” and “Nobody 2.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Smurfs?” What did you think about it? Or, what is the best piece of “Smurfs” media out there? I need to know because these recent movies do not seem to be doing it for me. If anyone has a recommendation, please send it my way. Scene Before is your click to the flicks!

The Bad Guys 2 (2025): DreamWorks Delivers a More Entertaining Caper Than the 2022 Original

Posted on August 17 by Jack Drees

“The Bad Guys 2” is directed by Pierre Perifel and JP Sans, and stars Sam Rockwell (Three Billboards Outside Ebbing, Missouri, The Way Way Back), Marc Maron (Maron, GLOW), Awkwafina (Shang-Chi and the Legend of the Ten Rings, Renfield), Craig Robinson (Ghosted, The Office), Anthony Ramos (Transformers: Rise of the Beasts, In the Heights), Zazie Beatz (Deadpool 2, Atlanta), Danielle Brooks (The Color Purple, Orange is the New Black), Natasha Lyonne (American Pie, Orange is the New Black), Maria Bakalova (The Apprentice, Borat Subsequent Moviefilm), Alex Borstein (Family Guy, The Marvelous Mrs. Maisel), Richard Ayoade (The Watch, The IT Crowd), and Lilly Singh (A Little Late with Lilly Singh, Canada’s Got Talent). Struggling with acceptance from the general public, the Bad Guys, who have since turned “good,” are recruited for a job by an all-girl squad of criminals.

Kind of like Illumination, it is somewhat unusual for a DreamWorks animated property to not end up getting a sequel at some point. It was perhaps inevitable this would happen with “The Bad Guys.” The first film was well received by critics and was a hit with families. It is also based on a popular series of books. Naturally, it makes sense to create a “Bad Guys” sequel. As for my thoughts on the original film, I thought it was surprisingly fun, but also a bit disposable. There is also a problem I have with the film that, spoiler alert, I also have with this sequel. More on that later.

If you like “The Bad Guys,” chances are you will like “The Bad Guys 2.” I have my problems with “The Bad Guys” but I enjoyed it just enough to the point where I could say I had an okay time. “The Bad Guys 2” maintains everything that works from the original, and delivers it in a new, fresh package that I personally found to be more entertaining.

A lot of the original cast returns for this second outing. Of course you have the film’s big name stars including Sam Rockwell, Awkwafina, and Marc Maron coming back as some of the core characters. Like the original, they unleash tremendous charisma in each of their roles. I appreciated this sequel’s continuation of having Rockwell’s Mr. Wolf (top right) break the fourth wall. It adds a welcoming touch and sucks you into this film’s world.

The film even welcomes back my favorite character from the first outing, Misty Luggins (center), once again voiced by Alex Borstein. Between the two films, she has been promoted from Chief to Commissioner, which ends up becoming one of the script’s many gags. The gag is a simple one… Mr. Wolf repeatedly messes up Luggins’ position. As far as gags go, one could call this lazy, and I would not blame anybody for doing that, but it is saved by how the voice actors, most notably Borstein, deliver their lines. You could feel the ire coming out of Luggins with each misinterpretation.

I like my characters to have depth, but sometimes the simplest character can work if done right. Luggins is one example of this. Because in each scene, much like the previous installment, I got a sense of the character’s passion. Whether it is represented through something as simple as being acknowledged correctly, or as complicated as capturing the Bad Guys once and for all. Luggins feels like DreamWorks’ version of Wile E. Coyote. Between what we saw of her in these two films so far, part of me wishes she could have her own spinoff. Maybe we could see her trying to catch the Bad Guys time and time and time again, and failing. Or maybe a life in a day film showcasing some crazy story or case she has encountered. I think it would also be a great way to showcase Alex Borstein’s chops. She is fantastic in the role.

© DreamWorks Animation LLC. All Rights Reserved.

This is an animated film, so some suspension of disbelief is inevitable. But when the film gets to the climax, I felt the same way that I did during the climax of “Sisu.” The film spends a lot of time getting you immersed into this crazy, zany world, but things that happen on screen get dumber and less realistic by its conclusion. There is a whole concept involving gold that on the surface, sounds intriguing, but the resolution left me with a question regarding how this was handled according to the public eye.

Speaking of suspension of disbelief, much like the original film, I am left wondering why there are not more non-human characters in this world. If “The Bad Guys” were a video game, the only NPCs would be humans. No one else. There are plenty of non-human characters in the forefront, but not so much in the background. Why is this? If you look at a film like “Zootopia,” it has such a diverse group of creatures making up its universe. This film’s universe kind of feels less creative and lazy by comparison. This is not to say the film itself is lazily done. The animation style is stunning and unique. The script is sometimes clever, even if it does get a little too over the top.

When it comes to the DreamWorks Animation library, this is not the most memorable film of the bunch. But it is undoubtedly entertaining. One reason why I would love to go back to it one day is for the action scenes. The film has a couple of creative sequences that feel like they are straight out of a graphic novel. The scenes are flashy and full of life. There is one sequence that takes place in a wrestling ring that is a feast for the eyes.

Although this film is more than just style. As someone who experienced a little trouble finding work once graduating college, there are some scenes that I related to as it properly highlights the competition that comes with the job market. Although in the case of this film’s core group, it is much harder, because they are known for committing crimes, and therefore have a bad reputation.

Heck, they’re literally called the BAD guys! I wonder if Agent Burns from “Bumblebee” would have anything to say about this group.

Sure, the ensemble may have turned good, but their past does not appear to have gone over the general public’s head. Overall, the movie is a good lesson for younger audiences, reminding them to maintain a positive image, because one wrong move could change everything.

To my surprise, at the end of “The Bad Guys 2,” one of the first thoughts that crossed my mind is that I want to see another one. These characters are fascinating and seem to play off each other quite well. I would not mind hanging out with them one more time.

By the way, once the film gets to the credits, do not leave your chair, because there is a mid-credits scene that you might want to stick around for.

In the end, “The Bad Guys 2” is funny, brilliantly animated, and wonderfully paced. It is an all killer, no filler good time. “The Bad Guys 2” maintains many positives from the original and even improves upon some of them. Granted, it also contains some of the negatives. I still cannot get over the fact that there are not more non-human characters in a world like this one. Is that just a me thing? Is this not bothering anyone else? In all seriousness, I think families will have a blast with this film. It is filled with mile a minute humor and my theater, myself included, was laughing quite a bit. I am going to give “The Bad Guys 2” a 7/10.

Before I conclude this review, I would like to point something out in the film’s end credits. Just before the credits conclude, there is a short text that reads “This work may not be used to train AI.” I have no idea if that is a Universal Pictures policy, a DreamWorks policy, or if this was at the request of the director or a producer, but I fully endorse this. I understand that “the future is now,” but as an artist, I would prefer to see more work done strictly by people. We cannot have human stories without a human touch. Anything to have more human stories out there is always a good thing.

“The Bad Guys 2” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for another animated family film, “Smurfs.” Stay tuned! Also coming soon, look forward to my thoughts on “Together,” “Oh, Hi,” “Weapons,” “Freakier Friday,” and “Nobody 2.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Bad Guys 2?” What did you think about it? Or, which installment of “The Bad Guys” do you prefer? Let me know down below! Scene Before is your click to the flicks!

The Fantastic Four: First Steps (2025): Marvel’s First Family Finally Gets the Big Screen Treatment They Deserve

Posted on August 15 by Jack Drees

“The Fantastic Four: First Steps” is directed by Matt Shakman (WandaVision, It’s Always Sunny in Philadelphia) and stars Pedro Pascal (The Mandalorian, The Last of Us), Vanessa Kirby (Mission: Impossible – Fallout, The Crown), Ebon Moss-Bachrach (Andor, The Bear), Joseph Quinn (A Quiet Place: Day One, Stranger Things), Julia Garner (Wolf Man, Ozark), Sarah Niles (Catastrophe, Ted Lasso), Mark Gatiss (Mission: Impossible – Dead Reckoning Part One, The Father), Natasha Lyonne (American Pie, Poker Face), Paul Walter Hauser (The Luckiest Man in America, Inside Out 2), and Ralph Ineson (The Witch, Nosferatu). This film is the latest entry to the Marvel Cinematic Universe and centers around a family of superheroes who must defend earth from the space God Galactus.

Photo by Marvel Studios/MARVEL STUDIOS – © 2025 20th Century Studios / © and ™ 2025 MARVEL.

This movie felt like a long time coming. Remember that sizzle reel Marvel had promoting all the movies coming out in the 2020s, trying to get people back to the cinema following the closures prompted by the COVID-19 pandemic? If you did not see it, I highly recommend checking it out, it is perfectly edited. But if you have seen it, you may recall at the end came this giant “4,” letting fans know that a Marvel Studios attempt at “Fantastic Four” was finally on its way. Only question was, when would we actually see this film come to life? The answer, long before Mahershala Ali gets his own “Blade” movie. That said, while the idea of a Marvel Studios-produced “Fantastic Four” was intriguing, the property comes with some baggage that has likely lowered expectations for future projects.

“Fantastic Four” is one of Marvel’s most celebrated franchises, and much like “Spider-Man,” the property has been adapted for the big screen multiple times. Although unlike “Spider-Man,” “Fantastic Four” has never been a surefire hit. Sure, some people have nostalgia for the 2000s “Fantastic Four” movies, but overall, they do not have the best track record critically. Having seen them, I cannot exactly say those films are good myself. The 2015 film, which some dub as “Fant4stic,” is not the worst comic book movie I have ever seen, but it is undoubtedly soulless and reeks of corporate desperation. On a positive note, if you can call it that, at least that film got released…

…Unlike that discarded project from 1994.

Now that the Walt Disney Company, and therefore Marvel Studios, maintains the rights to the “Fantastic Four” property, I was curious to see what Kevin Feige and crew were going to do with it. This is where “The Fantastic Four: First Steps” comes in. While not everyone appears to agree with me, I love the film’s marketing. The film promises a retro-futuristic ride with a family trying to save their world. I was hoping the movie would be as epic as its trailers had me assume it would be, and I am glad to report it most certainly is.

One thing about the Marvel Cinematic Universe that is both a blessing and a curse is that most of the movies feel the same as the next. This results in a tonal consistency from one project to the next. But it also sometimes leaves little room for variety and outside the box thinking. “The Fantastic Four: First Steps” has some familiarities from Marvel’s other projects, but it comes off as one of the most individualistic entries to the MCU. It sometimes has a “Guardians of the Galaxy” feel due to the film taking place in space, but “Fantastic Four” ultimately feels like its own movie because it is set in a universe outside most of Marvel’s projects. As an added benefit, the film lessens the need for homework or to connect itself to other properties or characters.

Speaking of that “Guardians of the Galaxy” vibe, the film’s space scenes are visually awe-inspiring and full of color. Although whereas “Guardians of the Galaxy” reminds me a bit of “Star Wars,” there are ways that “The Fantastic Four: First Steps” reminds me more of “Star Trek.” The sets sometimes feel like something out of Gene Roddenberry’s mind. Compared to “Guardians,” “Fantastic Four” feels less action-centered. Plus, the film carries this vibe of setting the stage for tomorrow. Much like DC’s “Superman,” “Fantastic Four” maintains a sense of hope. It leans into the idea of persevering even through the impossible. It celebrates brawn, but also brains. The film at one point leans into this seemingly impossible plan on Reed Richards’ mind, all in the hope of saving mankind. If this film were set on Earth-616, which seems to have quite a bit in common with our own universe, I would probably be more critical of Richards’ plan. But the movie is instead set on Earth 828, which likely opens the doors for more creativity and imagination. Therefore, as silly as Richards’ plan sounds, I was so sucked into this film that part of me was going along for the ride.

Speaking of Reed Richards, Pedro Pascal is in way too many projects! …Is what I might say if he did not do a good job as this film’s lead. Pascal has been busy lately between this film, “Eddington,” “Materialists,” among other projects. But there is a reason why he is getting so much work. He never fails to impress. First off, I am super happy to see Pascal redeem himself in the comic book movie sub-genre after the colossal disappointment that is “Wonder Woman 1984.” Second, Pascal is charming as Mister Fantastic. He is never over the top, but I bought into Pascal’s constant drive, and sometimes his disappointment. There is a scene in the middle of the film where Richards faces a large crowd and lets out his brutally honest thoughts, and I could truly feel his pain with each word that came out of his mouth.

While not my favorite character in the film, its heart and soul for me is Sue Storm, or the Invisible Woman. I liked Vanessa Kirby leading up to “The Fantastic Four: First Steps,” but this might be the first film where I can say I truly love her. Kirby gives such a powerful performance. I got a sense that she wants what is best for other people, especially her family. I also like how the film utilizes her powers, even if the action in this movie is minimal. More on that in a second.

Joseph Quinn puts on a good portrayal of Johnny Storm. Whereas Reed and Sue feel grounded, Johnny’s placement in the film shows him to be upbeat and hyperactive. Of the family, he comes off as the comic relief. Throughout the film I also could not help but notice Joseph Quinn and think he looked like a younger Chris Evans. Of course, if you know your Marvel history, Evans played Johnny Storm in the 2000s “Fantastic Four” movies. As for which performance is better, Quinn excels by miles, perhaps unfairly, given how he had much better material to work with as opposed to having every other line out of his mouth showcase his womanizing tendencies.

I would have to watch the film a second time to confirm how I really feel, but I think the Thing might be my favorite hero in the film. Ebon-Moss Bachrach unleashes a heap of charisma as one giant pile of CGI rocks. The special effects look pristine and there is not a moment where they took me out of the movie. Ultimately, if I had to choose one member of the Fantastic Four to meet for lunch somewhere, it would easily be The Thing. Ben Grimm is a genuinely likable guy who appears to be great with children. He has fun with everything that comes with his superhero life.

The action in “The Fantastic Four: First Steps” is really good, but if you are looking for nonstop, chaotic sequences, this is where “Superman” will serve you better. When it comes to the action in “The Fantastic Four: First Steps,” what we get is great, but it left me wanting more. The best thing I can say about the action is that each sequence had a logical and meaningful place in the story. Never once did I feel that I was watching an action sequence that was overdone just for the sake of showing off flashy effects.

On that note, while some Marvel projects as of late have some problematic special effects, I cannot think of one scene in “The Fanatastic Four: First Steps” where the effects were bad. I thought everything looked polished and maintained a sense of verisimilitude.

The climax in “The Fantastic Four: First Steps” undoubtedly comes with a sense of finality, but it also in a sense feels much smaller than some of the other films in the MCU. Despite my appreciation for the film unveiling Reed Richards’ smarts, I wish we could have gotten a tiny bit more of a showcase of his superpowers. I do not hate the climax, but I could understand people watching it and thinking “Man, that was short,” or, “Wow, that could have used more sparkle.” But for me, I appreciated it because it put the characters first. You have Galactus with an easy to understand motivation. Then you also have a family of superheroes thinking on their feet, while trying to protect the planet and their circle.

Speaking of Galactus, he looks terrific. He is quite literally a massive improvement over whatever the heck the crew behind “Fantastic Four: Rise of the Silver Surfer” conjured up. Unlike that film, Galactus is a tall space god, not a giant cloud. And his motivation is nothing more than to consume worlds. Sometimes you do not need to go higher than that. The film makes such a simple idea so compelling. Ralph Ineson does a good job with the role.

Photo by Marvel Studios/20TH CENTURY STUDIOS/MARVEL STUDIOS – © 2025 20th Century Studios / © and ™ 2025 MARVEL.

On that note, speaking of villains, I thought Julia Garner was well cast as the Silver Surfer. To my surprise, the film does such a marvelous job at humanizing her. I did not know what to expect from the trailers. It did not show a ton of her character, but I was pleasantly delighted to see how the movie handles her. Also, props to the effects team for bringing her to life. She looks attractively glossy but also menacing when she needs to be.

Part of why I was so sucked into this movie was its narrative. Also like “Superman,” “The Fantastic Four: First Steps” skips over the origin story. The film does explain it, but it does not spend much time showing it. What the film is really about is the team, most especially Reed Richards and Sue Storm, preparing for the birth of their child. Only thing is, there is a whole galactic event that could prevent such a thing from going smoothly. The characters are presented with an incredible dilemma that seems tough to take in once it is given to them. However, it is one that depending on what choice is made, other people could interpret as self-centered. I love this dilemma. It kind of reminds me of that scene in “Spider-Man” where the title character is faced with a choice to save Mary Jane or the people onboard the Roosevelt Island tram, but this stakes here are so much higher. There are many more lives that these characters have to worry about. For those not in the know I will not spoil how this dilemma gets resolved, but I imagine some of you could probably predict how it unfolds.

For years, I thought Marvel ate DC for breakfast when it comes to their film slate. This is evident in so many regards including story, characters, humor, tonal consistency, and world-building. But while select titles like “Avengers: Infinity War” and “Endgame” have moved me with their original scores, DC has always slayed when it comes to its music. I am not the biggest fan of “Wonder Woman 1984,” but I play that film’s tracks on a highly consistent basis. That said, Michael Giacchino may have delivered the best score in a Marvel Studios film, not to mention a contender for my favorite score of the decade so far.

As mentioned before, “The Fantastic Four: First Steps” heavily dives into the realm of retro-futurism, and the music compliments that vibe to perfection. By itself, it is an epic superhero theme. When you break it down even further, it combines the magnificence of old school orchestras but every other millisecond you will hear a sound that evokes a sense of moving forward. As I hear this film’s main theme, I both imagine myself wanting to hear it at Carnegie Hall while also thinking about what it would be like to get down to it at the club. This is my favorite Michael Giacchino score since “Rogue One: A Star Wars Story,” and that says something considering how boisterously epic that music gets at times, especially towards the climax.

“The Fantastic Four: First Steps” might be my favorite comic book movie of the year. Is it a perfect film? No. If anything, I think it would benefit from a smidge more action. That said, I have no problem with the action scenes we have. Each one is essential to the story and feels special. Nothing feels overdone. Even the big final fight feels smaller for Marvel standards, but that does not mean it is bad. The fight successfully ties up loose ends established throughout the film, and finishes in a fashion that leaves me more than satisfied. Much like “Thunderbolts*,” another Marvel title released earlier this year, “The Fantastic Four: First Steps” is a film that I will remember fondly because of how well utilized its main ensemble turned out to be. If the characters do not work, then the movie does not work. Thankfully, the characters are phenomenally written and truly feel like a family.

By the way, the film contains two scenes during the credits. The second one is more of a “fun scene.” It does not really add much to the film other than referencing something that was highlighted earlier. You will not miss much if you skip it. But make it your mission to stay in your seat for the first one. DO NOT get up when the credits roll. If you are at risk of being late for your table at Seasons 52, then so be it! Do not miss the mid-credits scene!

In the end, I cannot wait to watch “The Fantastic Four: First Steps” a second time. This film is legitimately some of the most fun I have had at the movies this year. It is a film that never lets its characters escape from conflict. Every single scene had me engaged. While his motivation is not complicated, Galactus quite literally stands tall with such a commanding screen presence. “The Fantastic Four: First Steps” is an exceptional start to phase 6, and it only has me beaming for whatever Marvel has up its sleeves next. It is by far the best “Fantastic Four” movie without “Incredibles” in the title. I am going to give “The Fantastic Four: First Steps” an 8/10.

“The Fantastic Four: First Steps” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Bad Guys 2!” Stay tuned! Also coming soon, look forward to my reviews for “Smurfs,” “Together,” “Oh, Hi!,” “Weapons,” “Freakier Friday,” and “Nobody 2.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Fantastic Four: First Steps?” What did you think about it? Or, what are your thoughts on the other “Fantastic Four” movies we have gotten? Do you have a favorite “Fantastic Four” movie? I am willing to bet most people would agree that this latest one is the best of the bunch, but it is the Internet. Crazy things can happen. Leave your comments down below! Scene Before is your click to the flicks!

Guns Up (2025): Kevin James Punches and Kicks His Way Through This Fun but Tonally Uneven Action Flick

Posted on August 8 by Jack Drees

“Guns Up” is written and directed by Edward Drake and stars Kevin James (King of Queens, Here Comes the Boom), Christina Ricci (Speed Racer, Casper), Maximilian Osinski (Agents of S.H.I.E.L.D., Ted Lasso), Luis Guzmán (The Limey, Oz), and Melissa Leo (The Fighter, All My Children). This film is about a mob henchmen whose final job goes wrong and now it is up to him to keep his family safe.

I watch less television than movies. But sitcoms have played a heavy role in my TV habits through the years. One show that has long been a mainstay of mine is “King of Queens.” It is a fantastic show, but it is also one that comes with a side effect due to seeing Kevin James’ character from one episode to the next for a long time. Kevin James is super funny on “King of Queens” as Doug Heffernan, but ever since his noticeable jump to film following the series finale, I sometimes have trouble seeing James as anyone else. Sure, Paul Blart has a mustache. Whatever. Films like “Zookeeper,” “Grown Ups,” and “Pixels” see Kevin James playing variants of Doug Heffernan, despite some noticeable differences. But “Guns Up,” kind of like another recent Kevin James film, “Becky,” feels like an unexpected move coming from the comedic actor. Also like “Becky,” I thought “Guns Up” was a solid, albeit imperfect flick.

Going off of what I just said about Kevin James, if someone were to pitch “Guns Up” to me and said they wrote the screenplay with Kevin James in mind for the lead role of Ray Hayes, I would gladly tell that person to belly flop into a kiddie pool naked to think about what they have done. But I was pleasantly surprised. James does a good job carrying the film and just about every scene featuring him is fun to watch. I was also surprised to see how well he handled some of the action choreography. I am not sure how much of it was done with a double, but James did a good job with the action scenes and I bought into his character. There are elements of James’ previous, more comedy-based performances that sneak themselves into his latest one, but this is definitely one of the more unique outings James has had as an actor. I thought “Becky” was an unexpected turn for James when that film came out. But having now seen that film along with “Guns Up,” I am open to seeing James in many types of projects that I probably would have never imagined he’d take on about a decade ago. I have no idea if he would take on an Oscar bait role in the next five years. That said, Dwayne Johnson seems to be doing so right now with “The Smashing Machine” based on how that film is being marketed, so anything is possible. Heck, for all I know he could have a turn similar to his occasional co-star, Adam Sandler, like he did in “Uncut Gems.”

The screenplay is one of the more grounded ones James has taken on, though there is plenty of comedy sprinkled throughout. I am not going to say all of it was funny. There is one gag involving the f-word that was so overdone that it almost made me want to utter some swears myself. But there are gags that work, including one that shows the children learning how to shoot a gun. I thought that scene was cleverly executed and had a couple unpredictable lines. When it comes to comedy, the real star of the show for me is Leo Easton Kelly as Henry. To me, his character would sometimes remind me of myself when I was younger. I got the impression he would sometimes just jump into a conversation almost randomly just to get some attention. While I do not remember the exact lines, I recall Henry giving me perhaps the two biggest laughs in the movie. I do not know if “Guns Up” is going to be Kelly’s big break because the movie is from a lesser known studio and had a day and date release. As a matter of fact, on opening weekend, there were no showtimes for this film in my home state of Massachusetts, including Boston. I was lucky enough to be in Illinois, where this film happened to be playing when it came out.

“Guns Up” is an action-comedy, and there are plenty of films where those two genres can blend together seamlessly. Films like “Ride Along,” “Free Guy,” and “Zombieland” are a few that come to mind. As mentioned, “Guns Up” is not a bad movie, but it does not mean it is tonally consistent. Going back to “Free Guy,” it is a film where the action and the comedy tend to work together. You have Ryan Reynolds trying to take down a bigger, badder, nuder version of himself by the end of the movie. It is hilarious and also easy on the eyes. “Guns Up” is a movie where it is a little bit of action and a little bit of comedy. The genres at times feel like they distract from each other rather than do what “Free Guy” does which is make them work together. This is not to say the action is bad. This is not to say the comedy is bad. But it feels like it comes from two different visions. Only one person wrote the film, so this is not a result of too many cooks in the kitchen. That said, if this film were being prepared in the kitchen, it is perhaps possible that it is being made by a cook that is dealing with a Franken-recipe at times.

Speaking of the action, “Guns Up” is by no means the next “John Wick,” even though there is a line towards the climax that tries to make the audience think otherwise. In fact, the climax is a lot of fun. All of the characters play off each other well. The action, while not the best I have ever seen, is decently handled. There is a good mix of people working with their hands as well as using more advanced weaponry.

Much of the film is fluidly shot and decently cut. I cannot confirm the exact budget of “Guns Up,” but having seen the film, its budget definitely comes off as somewhat limited. I say this film is not the next “John Wick,” but I say that knowing that the “John Wick” franchise does not always come with a tiny budget. The film perhaps does not pop like a “John Wick” movie does sometimes, but it most certainly gets the job done and kept me on the edge of my seat.

One of my favorite moments of action in “Guns Up” involves a group of people going through a doorway, at which point the camera does not move. The shot shows tons of combat without having to pan, tilt, or cut to the next angle. It is such a minimalist idea, but it is executed beautifully. Take notes, “Taken 3!”

In the end, “Guns Up” gets a thumbs up. For the record, it is not a big thumbs up. The film’s budgetary limitations sometimes make themselves clear. The tone of the movie is sometimes inconsistent. Again, this film is an action comedy, and while neither of those two aspects are done horribly, the film’s action and humor are not the best I have ever seen. Other than the main family, the film’s supporting cast did not entirely stand out. That said, the film is most definitely entertaining and if you were to check it out, you would not be wasting your time. Is it a fantastic watch? No. Is it a decent watch? Yes, that seems to be a fair assessment. I am going to give “Guns Up” a 6/10.

“Guns Up” is now available to rent or buy on VOD.

Thanks for reading this review! If you enjoyed this review, be sure to look forward to some of my other ones! I have a long list of reviews coming including for “The Fantastic Four: First Steps,” “The Bad Guys 2,” “Smurfs,” “Together,” and “Oh, Hi!” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Guns Up?” What did you think about it? Or, what is your favorite project featuring Kevin James? Let me know down below! Scene Before is your click to the flicks!

Superman (2025): The DC Universe Begins with a Big Bang

Posted on August 3 by Jack Drees

“Superman” is directed by James Gunn (Guardians of the Galaxy, The Suicide Squad) and stars David Corenswet (Twisters, Pearl), Rachel Brosnahan (The Marvelous Mrs. Maisel, House of Cards), Nicholas Hoult (The Menu, Juror #2), Edi Gathegi (Into the Badlands, Twilight), Anthony Carrigan (The Forgotten, Gotham), Nathan Fillion (The Rookie, Firefly), and Isabella Merced (Transformers: The Last Knight, Dora and the Lost City of Gold). This film centers around the titular hero as he takes on Lex Luthor while trying to win back the general public’s trust.

It’s finally here. A brand spankin’ new cinematic universe. Just like DC’s last attempt at one of these ongoing sagas, we are kicking things off with Superman, this time around played by David Corenswet. When the DC Universe was announced, I was excited about it. Yes, I was enjoying the DCEU, but demand for it to continue has clearly diminished with one unsuccessful project after another, so I get why this new universe is happening. What really sold me is who would be involved. There was Peter Safran, a producer behind many of Warner Bros.’ recent films, including some DC fare. And alongside him on the more creative side was James Gunn, the director of this very film.

While Gunn is not my favorite filmmaker working today, he has a respectable knack for the craft. I thought he was perfect to shepherd something like this partially because of his love for comic books, as well as his experience with adapting them into films like Marvel’s “Guardians of the Galaxy.” Plus, with the release of “The Suicide Squad” in 2021, he is responsible for making my favorite DC movie ever. And I say this as someone who has seen every DCEU movie. Every Christopher Reeve “Superman” movie.” Every Christopher Nolan “Batman” movie. Even “The LEGO Batman Movie.” Not to mention “V for Vendetta!” There was a point where “Superman” was my most anticipated film of the year. That has changed having seen the more recent marketing, which was not horrible, but kind of lost steam for me the more I knew about the film. There were undoubtedly plenty of creative marketing stunts in recent weeks, but if we are just talking about trailers, that is where I feel the batting average starts to weaken. But who knows? Maybe I could walk out of the movie having a blast.

A lot was riding on this film between a new cinematic universe, trying to get general audiences onboard, as well as making a relatable story about a god. James Gunn and Peter Safran can take a moment to breathe a sigh of relief. This film is excellent.

Is “Superman” my favorite comic book film of the year? No. I prefer “Thunderbolts*” over “Superman,” but there is no denying that the latter is a blast. That said, there is something that separates “Superman” from a lot of recent comic book movies, even some of the better ones. With this being a brand new cinematic universe, there is no homework to be done to prepare for this movie. “Superman” is not the first entry to the DC Universe. It is the first film installment, but the current cinematic universe started earlier this year on HBO Max with the animated series “Creature Commandos.” Even so, one can go into “Superman” knowing nothing about the DC Universe, the comics, or any other piece of media related to the character and have a good time. It likely helps if you are more attached to that stuff, but it is not necessary.

While “Superman” may not be my favorite comic book film of the year, there is a serious possibility that this is likely the best “Superman” movie ever. It is definitely a more generalized interpretation of the character than “Man of Steel” but it is more pleasing to the palate. Despite my praise for “Man of Steel” and what would be my favorite “Superman” film if it were not for this latest one coming out, “Superman: The Movie,” there are parts of both stories that drag. Meanwhile, in this film, the pacing is quite literally perfect. The film is not exactly an origin story, though it does introduce Superman’s birthparents as well as Ma and Pa Kent. Instead it starts off with Superman losing a battle for the first time. We are not even two minutes into the movie, and it has already made a literal god compelling and relatable with what may be his lowest low as a hero. And it does not even stop there. Because if you stick around for the rest of the film, Superman has to deal with issues that are not only relevant, but incredibly human.

“Superman” astoundingly links to multiple prominent real world issues. Whether it has to do nations or groups of people fighting each other, hostile world leaders, the downsides of social media, or having your life forever changed by false information. The film is also likely an allegory on immigration. After all, Superman is not from Earth. So, despite him living there, he is technically an illegal alien. The rivalry between Superman and Lex Luthor sees the latter irritated by the former because in a sense he, an outsider, is being prominently celebrated to the point where Lex, an Earthling, envies him. This film does an amazing job of putting pressures on a popular figure like Superman. He knows how to be a hero in a general sense, but he is not as super in other areas such as dealing with social media controversy or handling the press. Although I will say, as well as that last concept is, it is a tad unexpected considering Clark Kent works for a news outlet, but still.

When I think about “Superman” my mind often goes to about how hard the character must be to write, and this film does an amazing job in terms of its script. I was genuinely surprised by how hooked I was by James Gunn’s vision from start to finish. But the pressure must have been equally as high for David Corenswet. Some of you who have not seen this movie yet are probably wondering who Corenswet is, but if you watch the film, I think he would be responsible for putting a smile on your face. When it comes to the movie variants of Supes, I do not think a single performer has ever been bad. That said, as much respect as I have for Henry Cavill as Superman in the DCEU, I think Corenswet’s character channels more joy, and he works well that way. Part of this is due to how he was written and directed, but when I look at Corenswet and hear him speak, it allows for an incredibly welcoming presence. While this Superman is very much Corenswet’s own thing, his interpretation somewhat reminded me of what I enjoy about Christopher Reeve’s take on the character. He is a likable role model, albeit flawed in certain ways.

We learn that there is so much more to Superman behind the big fat “S.” Going back to what I said about his handling of controversy, there is a fantastic scene early on in the film where the pressures of an interview are getting to him. Lois Lane is asking him a bunch of questions and he ends up saying things that he then realizes he probably did not want to say. We see that Supes is strong on the outside, but he might not always be the best at hiding his emotions. This is not to say he is a wuss. If anything, it means he avoids falling into the trap of toxic masculinity, but he also is not afraid to showcase how he really feels.

The surprise star of the show? Krypto the Superdog. I genuinely did not expect to like this character as much as I did. First off, I am not a dog person. I am allergic to dogs and my sensitive ears are not exactly the best things to have when a dog happens to be near me and starts barking up a storm. But Krypto is perfectly utilized here. He is not exactly a “good boy.” Though I can see one making a valid argument suggesting he actually is, considering he is loyal to his master. To my surprise, Krypto’s action scenes brought out some of my biggest laughs during the film.

The thing I perhaps loved most about this movie is its nature to embrace the silly and fantastical. Of course, with this being a James Gunn film, there is a scene where Superman takes on a kaiju in the middle of Metropolis. The film skips over Superman’s origin story and introduces other DC heroes like Hawkgirl, Metamorpho, Green Lantern, and the fantastically portrayed Mr. Terrific. James Gunn knows how to inject charisma into characters who may seem like they belong in the background, and Mr. Terrific is one such example. He is most certainly as terrific as his name suggests. I almost cannot see anyone else but Edi Gathegi in his shoes. Every line out of him is given with such pizazz. I would love to have lunch with Mr. Terrific if I was given the chance.

The film kind of reminds me of a Studio Ghibli title like “Ponyo.” One of my favorite things about that film is that even the adults seem to embrace things some in “the real world” would consider to be out there or of the land of make believe. I found it fascinating how Lois Lane, who by the way is excellently portrayed by Rachel Brosnahan, simply accepts the idea that she is flying an intuitive, advanced super vehicle.

That said, with this being a comic book movie, we have the return of one of the most overused jokes in the sub-genre. Specifically, this film has a gag that has something to do with a specific name. This is a joke as common as a Dunkin’ location in New England. It is not always a bad joke, it is just overdone. This time around, it revolves around the group of heroes trying to determine what exactly to call their team. The jokes are passable and by no means offensive. But they sometimes lack originality, especially coming off of “Thunderbolts*” which handled this cliché surprisingly well.

Speaking of humor, that is something that James Gunn is no stranger to in his movies. If you are coming to “Superman” to laugh, I am not saying you won’t, but the laughs in this film are not as strong as say “Guardians of the Galaxy” or “The Suicide Squad.” Then again, laughter is not exactly the most important item on the to-do list of making a “Superman” movie. That said, it is nice to have. The script, while definitely lighthearted, sucks me in to the point where I am more excited to see Lex Luthor lose his mind.

On that note, Nicholas Hoult is irreplaceable as Lex Luthor. They say a movie is only as good as its villain. And I will remember Hoult’s interpretation of the iconic villain for a very long time. Hoult has proven himself to be a solid actor in previous projects like “The Menu” and “Juror #2.” Meanwhile in “Superman,” Hoult unleashes a side of himself I am not used to seeing. His take on Lex Luthor is almost hyperactive nightmare fuel. While Lex Luthor may look like someone who can take a punch at times, he is beyond intimidating. His methods of trying to kill Superman sometimes teeter into Saturday morning cartoon territory, but James Gunn made me buy much of the movie’s over the top tendencies and choices.

With this being the first movie of its cinematic universe, “Superman” spends a little time teasing what is ahead, and I am interested to see what is next. Of course, I am a bit predisposed to these kinds of projects, but I probably would not be as excited for what lies ahead if I was not enjoying what was already in front of me. “Superman” may not be the best movie of the year, but it is unbelievably fun. It would have been a colossal disappointment if this movie failed because you only have one chance to make a first impression. I cannot wait to see what the DCU delivers from here on out.

In the end, “Superman” is a super fun time! Is it James Gunn’s best comic book movie? No. But it is also far from his worst. It is miles better than “Guardians of the Galaxy Vol. 2.” “Superman” is one of the most joy-filled movies of the year. It is packed with well written, phenomenally cast characters. The film never denies that “Superman” is a godly creature, but also spends lots of time humanizing him. I loved getting to know Clark Kent, as well as his alter ego. The story may be relevant, but it is delivered in such an otherworldly vibe. I was under the impression I was watching James Gunn flip comic book pages right in front of a projector lens. While I thought the score from John Murphy and David Fleming score could have used more memorable original bits and pieces, I thought the nods to John Williams’ music added a nice touch at times. Kind of like “Jurassic World: Rebirth,” I get why Williams’ music made into the final cut. He knows how to craft an epic theme. The film is off and on in the comedy department, but when it lands, it is smooth as butter. Go see this film with a group of people, everyone is guaranteed to have a great time. I am going to give “Superman” an 8/10.

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

Thanks for reading this review! My next review is going to be for the brand new action movie “Guns Up.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Fantastic Four: First Steps,” “The Bad Guys 2,” “Smurfs,” “Together,” and “Oh, Hi!.” If you want to see these review, and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Superman?” What did you think about it? Or, what are some things you are looking forward to seeing in the DCU going forward? Is there anything that has not been revealed yet that you would like to see? Personally, “Peacemaker” season 2 cannot come fast enough. Let me know down below! Scene Before is your click to the flicks!

F1: The Movie (2025): Joseph Kosinski Puts Viewers in the Driver’s Seat for One of the Year’s Most Immersive Blockbusters

Posted on July 29 by Jack Drees

“F1: The Movie” is directed by Joseph Kosinski (Top Gun: Maverick, Tron: Legacy) and stars Brad Pitt (Ad Astra, Babylon), Damson Idris (Outside the Wire, Snowfall), Kerry Condon (The Banshees of Inisherin, Better Call Saul), Javier Bardem (Being the Ricardos, Dune), and Tobias Menzies (Game of Thrones, Outlander). This film centers around racer Sonny Hayes, who returns to the track following a long absence to boost his former teammate’s underdog team, all while mentoring a younger driver.

Director Joseph Kosinski has a knack for turning films into experiences. Back in 2010, he directed “Tron: Legacy,” which is one of the prettiest looking neon-infused fever dreams in cinematic history. But like lots of other people, the first film of his that comes to mind when you say his name, perhaps somewhat due to recency bias, is “Top Gun: Maverick.”

I had a blast watching “Top Gun: Maverick.” Is it a perfect movie? No. In fact there are some genuine screenplay problems that have been on my mind ever since I first saw it. That said, when I saw Kosinski’s name attached to “F1: The Movie,” it made perfect sense. If Kosinski can deliver to audiences the same kind of thrilling, high-octane, exhilarating experience that he did with “Top Gun: Maverick,” then I would be quite happy.

I am proud to report that Kosinski’s jump from planes to automobiles is just as exciting, and frankly, has a better story. Though that last part is not saying much. More on that later.

This film is an experience. My pupils dilated beyond their sockets watching this movie in IMAX. Part of this is thanks to the brilliant execution delivered in each shot from cinematographer Claudio Miranda, who previously worked with director Kosinski on “Top Gun: Maverick.” For a great chunk of the film I felt like I was inside the car driving it myself. There are several clever camera angles that gives the viewer the illusion they are moving with the car, whether it is on the side, on top, or while looking at the windshield. Some of these techniques are familiar. But there are select moments where the movie offers a first-person perspective that had me imagining that I was literally the car itself. There is a moment towards the film’s conclusion that is so riveting, so heart-pumping, and so freaking cool to look at that I could not help but glue my eyes to the screen. And it is even better in IMAX because the movie was shot with the company’s digital cameras, which expanded the aspect ratio for the entire film on their screens.

Keep in mind, it is the 1.90:1 aspect ratio, not 1.43:1. In Layman’s terms, it will not cover the whole screen at taller IMAX locations.

Once I saw Hans Zimmer’s name on the opening credits, I knew we were in for something special with the score. And something special we got. Some of the movie’s tunes genuinely got me excited. There is a moment that reminded me of another one of Hans Zimmer’s efforts, particularly “Interstellar,” mainly because the music appeared to be going at 60 beats per minute during one of the races. It seemed to be aiming for that “ticking clock” effect that was present for much of “Interstellar’s” runtime. The percussion in this film’s score is some of the best I have heard since Ludwig Gorranson’s score for “Tenet.”

The soundtrack in this film is not bad either. The film has a fairly rock-heavy soundtrack. There is not a bad track on the lineup. Perhaps the most well-known song on the list is Queen’s ‘We Will Rock You.” There is a pretty good use of it early on in the movie.

The best way I can sum up “F1: The Movie” is that on the surface, it is the quintessential “dad flick.” It is very much a movie that you can imagine being made for the “dad” crowd. It has fast cars, good looking men and women on screen, it has a good amount of rock music, and it is about someone who is trying to prove himself despite his older age.

I sincerely feel bad for anyone whose first experience of “F1: The Movie” is going to be through Apple TV+. After seeing this film, “Mission: Impossible – The Final Reckoning” has got some competition for the greatest technical achievement of the year. This movie cost anywhere between $200-300 million to make, and I honestly can see all the money on the screen. Yes, the film has a well known star in Brad Pitt. But my jaw was on the floor with this film’s look. The colors. The audio. The camera angles. Everything in this film feels dialed up to an 11.

“F1: The Movie” is quite the ride. So, how is the script? It is not bad. As far as Joseph Kosinski’s library goes, this is a step up from “Top Gun: Maverick” in some ways. Perhaps the biggest improvement is that it never mysteriously refers to the antagonist as “the enemy.” What enemy? Who exactly? Who even cares?

The movie can most certainly be enjoyed by F1 fans, but it is definitely written with general audiences in mind. There are broadcaster bites throughout the film, highlighting every little nook and cranny throughout the race. As someone who has never sat down and seen an F1 race on television, I think this is an okay technique to use. The announcer lines are well done and there are quite a few that sound like they would come from a genuine sports telecast, and they also did a good job at introducing me to the rules of F1 that I probably would not have known right off the bat.

The one big negative, to a certain degree anyway, is that the movie is full of clichés. A lot of parts of the script feel been there done that. Though as I have addressed time and time again, clichés are fine as long as they are done well. And they are done well here. In fact, this movie feels like a genuine cousin to “Top Gun: Maverick” not only in terms of its experience, but structure as well. The film involves a race car driver who is trying to prove himself despite being past his prime, and much of the film sees him teaming up with a younger individual who shares his profession and ambitions. The two are off and on with each other, but ultimately have to work together no matter the obstacle.

If anything, “F1: The Movie” reminded me of Pixar’s “Cars,” and not just because both involve racing. But I happened to watch “Cars” a week before catching “F1: The Movie” in theaters and many of the story beats and character traits presented throughout the film felt interchangeable. “F1: The Movie” is kind of like the original “Cars” if someone gave it a bit of a “Freaky Friday” treatment. In this case, the filmmakers took Doc Hudson and made him the main character and turned Lightning McQueen into the supporting character. Additionally, they gave the Doc Hudson wannabe a little bit of Lightning McQueen’s entitlement.

So, maybe the story is generic, but it does not change the fact that I had fun watching it play out. Sometimes a simple story is effective as long as all the elements that make it up are done right. You have an arrogant but likable main character. You have an ambitious supporting character. All the other characters serve the story perfectly. On top of that, you have one of the most cinematic experiences of the year. What’s not to like about that?

In the end, “F1: The Movie” is an exciting race to the finish. You do not have to be an F1 fan to enjoy this film. It is simply an engaging two and a half hours of cinema that gets into gear and never runs out of gas. The script does not reinvent the wheel, but if you like watching wheels turn really fast, it will leave you beyond satisfied. I left this film thinking that this was likely going to have a strong presence in regards to the technical awards at this year’s Oscars ceremony. If “F1: The Movie” is playing in a theater near you, please check it out. You will have a ball. Do not wait for streaming. I imagine some of you are probably looking for an excuse to use your Apple TV+ subscription, but I guarantee the film will not look or feel as epic as it would on the big screen. I am going to give “F1: The Movie” a 7/10.

“F1: The Movie” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for another highly anticipated summer blockbuster, “Superman.” At one point, this was my most anticipated film of the year. Admittedly, with more marketing coming out and other films making their presence known, some of the anticipation has dwindled a bit. That does not mean I was not excited, but I was interested enough to see if this film could truly be something special. I will share more of my thoughts during my upcoming review. Also coming soon, look forward to my thoughts on “Guns Up,” “The Fantastic Four: First Steps,” “The Bad Guys 2,” and “Smurfs.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “F1: The Movie?” What did you think about it? Or, do you ever watch actual F1 sporting events? What’s that like? Let me know down below! Scene Before is your click to the flicks!

M3GAN 2.0 (2025): Does Not Compute

Posted on July 23 by Jack Drees

“M3GAN 2.0” is directed by Gerard Johnstone, who also directed the original “M3GAN” installment. This film stars Allison Williams (Get Out, Girls), Violet McGraw (The Haunting of Hill House, Black Widow), Ivanna Sakhno (The Spy Who Dumped Me, Pacific Rim: Uprising), and Jermaine Clement (Moana, The Flight of the Conchords). This sequel sees the return of the original cast a couple years after the titular character went on a rampage. Despite her dangerous antics, said title character is tasked with taking down a robot named Amelia.

Photo Credit: Universal Pictures – © 2025 Universal Studios. All Rights Reserved.

If you told me in 2023 that I would walk out of the original “M3GAN” having a great time, I would summon a lightning cloud and strike a bolt into your head. But to my surprise, the film is solid. And not just because the robot does a funny dance. I found it to be a fine metaphor for technology always being there for you, perhaps to extremely dangerous levels. I liked the first film so hopefully “M3GAN 2.0” would keep up the good work.

“M3GAN 2.0” had an unusual marketing campaign. The trailers seemed to indicate a shift similar to that of a James Cameron sequel like “Aliens” or “Terminator 2: Judgment Day.” The first film is at its core, a horror movie. This sequel has horror elements, but it is a bit more action-oriented. It is definitely not as scary as the original film, at least not in a direct sense. Although if there was something that was as scary this time around, it would be the overhanging commentary. Another key difference this time around is that M3GAN goes from being a bad robot to a good gal. The film finds a less than buyable way to have her make amends with those she either harmed or nearly killed in the previous installment to justify her goodness, but still.

That is just one of several wrongs in this film’s screenplay. “M3GAN 2.0” is not that scary. Sure, this is less of a horror film than what the first film turned out to be, but there are attempts at horror in this film that do not stick the landing. The film clearly tries to be funny and edgy, but if anything it just sounds like M3GAN is trying her darndest every other second to join the cool kids table. If anything she comes off as a PG-13 robot “Deadpool.” There are select moments and lines where I think the film would have been better if they were done in a more R rated fashion. I am not saying that this film needs to go overboard like it’s the next “Wolf of Wall Street,” but I think it would have helped if M3GAN had a tad less of a filter. Granted, the original film was PG-13, so I guess logically this one had to be as well. If the film goes for an R, that would risk losing the younger audience who likely checked out the last film. But seriously! This sequel changes the genre as well as the titular robot’s personality. Why not a maturity shift? Is it to get more money? Because I do not think your $10 million opening weekend is not doing you any favors.

Honestly, the only genuine laugh I remember having in the film involves a line having to do with a yeast infection. If I did laugh at all for the remainder of the runtime, then said laughter was not that hard or it ended up being for the wrong reasons.

As previously established, “M3GAN 2.0” is an action movie. Is the action good? Well… It is competent. I do not have a ton of complaints regarding the action, but I am not going to pretend any of it was that memorable. Although there was one fun scene between the film’s antagonist and a wealthy individual in his erotic cave. Remember how I said the film was not that funny? Well, this part actually had me laughing for, you guessed it, the wrong reasons. It was not necessarily comedy gold. I was laughing at the movie rather than with it.

One thing that people seem to remember distinctly from the first film is the scene where M3GAN jumps around and dances. That moment is still ingrained in my mind and its memability is noticeable. In this sequel, the filmmakers appear to create a scene inspired by the roaring response that scene got. And quite frankly, it seems that is the only reason why that scene was put in the film. It felt kind of forced.

Speaking of memes, this movie introduces some new meme potential for the M3GAN character… She sings now. I do not want to spoil much about it, but I was so thrown off by this moment to preposterous levels. The moment that M3GAN sings is so out of left field that I would not have been surprised if at one point Lady Gaga’s Harley Quinn showed up in the background asking to perform a duet. It kind of reminded me of the musical planet from “The Marvels,” but at least that moment had some greater context and purpose in the story.

That said, I can somewhat appreciate the film’s commentary, which presents a double edge sword. Part of me wonders how this movie, and the more I think about it, the last one, is going to age. I saw the last movie as a warning that being too attached to your phone, or in some cases, your phone being too attached to you, can be dangerous. If anything, this film is a warning about artificial intelligence. You can argue the last film was as well, but this one feels stricter in that regard. It shows the dangers of advancing technology to a point where it could potentially kill us, and it may lead to an inevitability where we have to adapt to the technology being in our lives rather than ignoring it. As campy as these films occasionally come off, there are moments where they feel down to earth.

Unfortunately, the commentary feels like a downgrade from that of the original because as I said before, this film is not that scary. Part of what made the commentary work in the original movie is that it had a hand in the film’s scares. Here it is just littered throughout the script.

In a way, I can appreciate the crew behind “M3GAN 2.0” for trying something different rather than resorting to the same old tricks. I was looking forward to a more action-centered installment. But what makes this film different either felt too out there or simply put, poorly executed. As for what felt the same, it was kind of lame this time around. It does not matter if you try to go for something different or the same as before. If all of your material is bad, then it is bad. Plain and simple.

In the end, “M3GAN 2.0” was kind of disappointing. It is one of the weakest films of 2025. I was really looking forward to this film after the original turned out to be a delightful surprise. In a way one could say that this sequel was a surprise of its own, but not in the way that I would want it to be. The film differentiates from its predecessor in more ways than one. This is more of an action movie than a horror movie. But no matter what genre it shoots for, I simply wish it were a good movie. And unfortunately, it is not. I am going to give “M3GAN 2.0” a 3/10.

“M3GAN 2.0” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for “F1: The Movie.” Stay tuned! Also, coming soon, look forward to my thoughts on “Superman” and “Guns Up.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “M3GAN 2.0?” What did you think about it? Or, what is a sequel you enjoy that shifts its genre from the original? Let me know down below! Scene Before is your click to the flicks!

The Odyssey IMAX 70mm Tickets Going on Sale One Year Early – Let the Hype Begin

Posted on July 16 by Jack Drees

Hey everyone, Jack Drees here! You know that feeling when you were going Black Friday shopping in the 1990s or the 2000s? You found a parking spot at Walmart, and you were trying your best to get your hands on that new TV and would push hundreds of people out of the way just to get your hands on it? Imagine that, but online, and with movie tickets. “The Odyssey” is about to do something that as far as I know, no movie in history has done before. Not even a “Star Wars” or Marvel title.

Tickets are going on sale for “The Odyssey” a full year before its scheduled release. If I had to be honest though, part of me is not surprised this is happening. The film, which comes out July 2026, is expected to be one of the biggest of that year and unleash a first in cinematic history.

If you look on several ticketing sites right now, you will notice that there are times available for Christopher Nolan’s “The Odyssey” a year in advance. This kind of push rarely, if ever, happens for films. If the tickets are not sold out by the time you are reading this, they are likely ready to buy. This post is being published on July 16th, 2025, one day before these tickets officially drop. That said, if you are reading this hours after publication, check Fandango. Check AMC. Tickets are available!

There are a few caveats however… The showtime options are limited, and the tickets are only available at select locations. “The Odyssey” is expected to have a wide release, but if you are looking for times in cities like Boston, which is where I live for example, be patient. Also, these are for IMAX 70mm screenings. If you want to see the film in a standard theater or another format such as Dolby Cinema or IMAX digital, you will have to wait a bit longer. But if you are eager to see the film early the way it was intended, now may be a good time to buy your tickets.

Based on Homer’s epic poem of the same name, “The Odyssey” centers around the character of Odysseus as he ventures home following the end of the Trojan War. The film features an all star cast including Matt Damon, Tom Holland, Zendaya, Jon Bernthal, Robert Pattinson, Lupita Nyong’o, Charlize Theron and Anne Hathaway. That is just scratching the surface! Christopher Nolan is writing and directing the film, as well as producing it alongside his wife Emma Thomas. You might think with an all star cast and an Oscar-winning filmmaker who is hot off of “Oppenheimer” these reasons would be enough to sell tickets early. But perhaps the biggest selling point for me is the opportunity to see the film in IMAX 70mm.

Those who know Christopher Nolan are well aware that he champions the IMAX format, most especially IMAX 70mm, the company’s original film format that has decreased in use throughout the current century with the rise of digital filmmaking and projection. But in recent years, it has regained popularity following the releases of certain movies. Christopher Nolan’s most recent film, “Oppenheimer,” released in a list of theaters playing it in IMAX 70mm. The presentation allows the IMAX-shot scenes to cover the entire screen in a resolution that is theoretically as high as 18K. That movie was Nolan’s latest effort where he would combine traditional 35mm or 70mm film with IMAX film while shooting. But “The Odyssey,” which is also showing in IMAX 70mm, is a different story.

“The Odyssey” has many distinctions of being a cinematic event, including the fact that this is the first Hollywood feature to be shot entirely on IMAX film cameras. This is a feat that yours truly thought might never see the light of day. IMAX film cameras are traditionally known for being loud and bulky, Despite their magnificent results through the lens, they are not always the most realistic camera to use. One reason why “Dunkirk” in particular has so much IMAX-shot footage is due to the film having minimal dialogue.

Dropping the tickets this far in advance is not just a great way to get people talking and push this film’s marketing campaign into gear, but it is essentially an invitation to be a part of history. People who buy tickets for these shows on opening weekend not only get to see the movie, but they earn the right to say that they are the first people to see a Hollywood film shot entirely on IMAX film. Seeing any movie on IMAX film is worth bragging about, especially today when much of the moviegoing market is digital. I had the opportunity, by complete coincidence, to see Ryan Coogler’s “Sinners” on IMAX film a week into its release while it was playing in Fort Lauderdale, Florida. Like some of Christopher Nolan’s previous movies, “Sinners” combines multiple film formats. But “The Odyssey” is a different animal. Whereas with the “Sinners” IMAX experience, where that movie will switch between black bars and full screen, “The Odyssey” will show the entire movie with the picture covering the screen from top to bottom.

Do any extra perks come with these tickets? Other than bragging rights, it does not look like that will be the case. At least for now. That said, it would be cool to include something special for the attendees whether it means a Q&A, getting to meet one of the film’s stars, or maybe an exclusive t-shirt or popcorn bucket. Just spitballing ideas.

Thankfully, if these theaters are too far for you, IMAX film has a digital equivalent capable of showcasing the IMAX-shot scenes in all their glory through their 4K laser projection system. The projector is available at a short list of IMAX’s “true” theaters, and definitely worth seeking out if you cannot watch the movie on film. That said, tickets are not on sale for any of those locations. But it is nice to have options closer to the film’s release.

As of writing this, a part of me is planning to buy a ticket for one of these screenings, perhaps at the AMC Lincoln Square 13 in New York City since as of now, it appears to be the closest theater to me with showtimes. If you know me, I am such an avid Christopher Nolan and IMAX fanatic that being one of the first to see this film in IMAX 70mm would be a dream. I am honestly willing to fly to another state if New York starts selling out and they have tickets over there. Move over, Taylor Swift, the Eras Tour is so 2023! As a cinephile, my moment is here, and I am “ready for it!” For my fellow New Englanders, the Providence Place Cinemas in Providence, Rhode Island has an IMAX with a film projector. However, due to certain issues it had during “Oppenheimer’s” run there, I do not think that theater is going to end up screening “The Odyssey” in IMAX 70mm. One can hope, but I am worried it will not make the list.

Do you have to buy “The Odyssey” tickets right now? Not necessarily. Again, the showtimes available are limited. The film is not out for a year and they are inevitably going to add more times. Heck, the film could end up getting delayed, thereby making all these advance purchases irrelevant. But if you want to guarantee your spot as a part of film history, this might be a solid investment. Should the ticket gods by on my side, I plan to be a part of this cinematic event, and I hope to see you there in July 2026.

I also very much look forward to potentially bonding with my new best friend, the “refresh icon.”

Thanks for reading this post! This was a bit impromptu, but I had to get this off my chest because to be honest, the hype is real and I choose to be a part of it. There are probably people reading this right now, including my own friends and family that think I would be a madman for buying a movie ticket a year in advance in a theater far from home. They might be right, but I make no apologies. What if I move to that city? Who’s crazy now? That’s one less travel ticket I have to buy! That’s less gas in the car! I should not have to apologize for being a fan. That said, if you are getting tickets for “The Odyssey” a year in advance? What theater are you going to? What showtime? Maybe we will run into each other. I would love to meet my fellow movie fans. Let me know down below! In the meantime, please check out the official Facebook page if you want to be updated on my latest posts through social media! Scene Before is your click to the flicks!

PS: If you plan to sell scalp tickets for this, do the world a favor and get off this page. In fact, even better, get off the Internet.

Jurassic World: Rebirth (2025): Dinosaur Dullness

Posted on July 15 by Jack Drees

“Jurassic World: Rebirth” is directed by Gareth Edwards (Godzilla, The Creator) and stars Scarlett Johansson (Black Widow, Under the Skin), Mahershala Ali (Spider-Man: Into the Spider-Verse, Moonlight), Jonathan Bailey (Bridgerton, Wicked), Rupert Friend (Obi-Wan Kenobi, Pride & Prejudice), Manuel Garcia-Rulfo (Sicario: Day of the Soldado, The Lincoln Lawyer), and Ed Skrien (Alita: Battle Angel, Deadpool). This film is about a group of people who are on a mission to extract DNA from dinosaurs in order to achieve a medical breakthrough.

Photo by Universal Pictures and Amblin Entertainment – © Universal Studios. All Rights Reserved.

Here we go again. “Jurassic Park” is undoubtedly a well known franchise. But so far, it is, at best, two for six as far as yours truly is concerned. Maybe three if I am being generous. Of course, the original “Jurassic Park” is peak cinema. I also enjoyed “The Lost World.” The film had some engaging sequences. The other films as far as I am concerned are dinosaur fodder, but I will admit when I watched “Jurassic World” in the theater a decade ago, it was a cool experience, especially in IMAX 3D. But having watched it at home, I think the film as a story and character piece is mediocre at best.

I went into “Jurassic World: Rebirth” with little expectations. After all, the odds were against this film being good based on the data I have provided thus far. Plus, I thought the last film, “Jurassic World: Dominion,” is one of the most abysmal blockbusters of all time. They say you are only as good as your last project.

I saw “Jurassic World: Rebirth” with a friend. Upon walking out of the film, I told my friend that I thought it was one of the weaker installments. Because that is the truth. I thought compared to the original, this was a waste of time. It is really hard to establish myself as a “Jurassic Park” fan when there is only one outright memorable installment. Yes, the second film has its moments. But other than those two, I have no desire to go back to watch any of the “Jurassic Park” movies, including this one.

There are positives to this film, and thankfully, as a narrative, it is slightly more entertaining than whatever the heck “Jurassic World: Dominion” turned out to be. It certainly helps that this movie chooses to focus more on dinosaurs than it does locusts. The biggest positive I can give to this film is that it is scary. The previous film had only one dinosaur sequence that had me scared for the characters. This latest film improves upon that. Part of that has to do with the direction from Gareth Edwards.

While Gareth Edwards may not be my favorite director working today, he is a name I respect. He can bring a lot to a big budget project. I love how he demonstrates the scale of titans in his work between establishing the titular character in 2014’s “Godzilla” and the AT-ATs in “Rogue One: A Star Wars Story.” Unsurprisingly, there was a sense of wonder to be had with the dinosaurs on screen. There is one particular sequence involving two dinosaurs with long tails in the middle of the grass that honestly took me back to the original “Jurassic Park” when Alan Grant takes off his sunglasses and marvels over the sight of a living dinosaur. There is also some okay dinosaur action… When said action actually happens.

Gareth Edwards does a good job at handling the action sequences in this film, but much like his “Godzilla” movie, my big problem with it is that I thought the film’s action does not become truly exciting until the film’s second half. There is some action in the first half, but it is honestly kind of a bore. You could argue that the crew wanted to spend time establishing the human characters, and there are snippets where you get to know the film’s cast. But I am honestly not going to remember most of these people. Yes, some of them are played by well known, award-winning actors, but I failed to connect with their respective characters. If you want a better monster movie that perfectly balances characterization with monster action, I hate doing this because Edwards did not direct this installment, but I highly recommend “Godzilla Minus One.”

When it comes to story, “Jurassic World: Rebirth” seems to have an identity crisis. While many movies have a plots and b plots, this movie has a couple different plots that feel like they distract from each other for the most part. The movie spends so much time establishing one set of characters only to suddenly introduce another set who quite frankly do not feel like they belong in this particular narrative.

But maybe the screenplay will utilize these plots to their full potential and unleash some memorable characters and line delivery! Ha! I wish. Some of the dialogue is cliche. The film seems to have attempts at humor that do not stick the landing. Some lines sound like they are out of a bad Michael Bay movie. And as I said before, the characters could have been better. Even the main ones feel relatively shallow. Do I like Scarlett Johansson? Yes. A lot actually. I think she is talented. I could tell she wanted to be in this film and she looked like she was having fun. But I wish I had more of a reason to care about her character of Zora Bennett.

These are not even the biggest faults of the screenplay. For some time after watching the movie, I thought this was a bad “Jurassic Park” installment. But the more I think about it, the angrier I get based on one particular complaint I have. For reasons I do not understand, the film establishes early on that public interest in dinosaurs has waned since the last movie. I’m sorry, what?!

How is that possible?! Look! Dinosaurs might just be one of the most consistently amazing concepts in history. Think about it! These are magnificent creatures from ages ago who dominated the planet until all of sudden they were taken out by space junk! They’re humungous! They’re boisterous! They come in many different shapes, sizes, types, and colors! Some of them will probably rejoice in the thought of straight up annihilating you! How on earth do dinosaurs become tiresome to the general public? In fact, let’s talk about this franchise alone! Four of these movies made more than a billion dollars! Yes, if you read my review for “Dominion” I thought that film accomplished the unthinkable feat of making dinosaurs boring. But that does not mean dinosaurs as a concept is boring. They were boring in a certain context. Ask ANY young boy living today if they like dinosaurs. I guarantee all of them would answer with a “yes.”

One could argue that the idea of the general public being bored by dinosaurs was written based on the ongoing consensus of the recent “Jurassic Park” installments. The films do not appear to be impressing audiences as much the previous ones did. But even if that is true, it does not change the fact that dinosaurs are still exciting. I live 20 minutes away from Boston, so we have the Museum of Science, and just about every time I go, I cannot help but look at the giant t-rex exhibit.

Saying that public interest in dinosaurs has deteriorated is like assuming that people today are no longer interested in other animals. We still go to zoos! We still go to aquariums! We still have pets! We still go on YouTube and watch cat videos every once in a while! But sure, the general public thinks dinosaurs are boring.

Now I would defend this idea for one reason, which is that dinosaurs spent so much time terrorizing the planet to the point where so many people were afraid to so much as look at one again. After all, they were unleashed into our world between “Fallen Kingdom” and “Dominion.” I do not recall “Jurassic World: Rebirth” making such a point clear, so I continue to question the film’s logic.

By the way, this film is written by David Koepp! The writer for the original “Jurassic Park!” Oh how the mighty have fallen. It is not like he has a perfect resume. After all, in recent years he did “You Should Have Left” and “Indiana Jones and the Dial of Destiny,” but I cannot recall being as infuriated by one of his screenplays as much as I am with this one.

Also, going back to what I said about the film’s wonder factor and how it reminded me of a certain scene from the original “Jurassic Park,” some of “Rebirth’s” highest points are those that are borderline nostalgia bait. While Alexandre Desplat is doing the score this time around instead of John Williams, the best musical beats are, unsurprisingly, those that clearly springboard off of John Williams’ original music. Do not get me wrong, these are iconic tunes. But the film does not really individualize itself from a musical perspective. There is, admittedly, a pretty fun chase scene in the climax of the film that feels at least partially inspired by the kitchen scene from the original movie. I will not go into spoilers, but the very end of the film reminded me of the original as well. As I watched it play out, I got the sense the filmmakers were trying to pay tribute to the original’s ending.

That said, if anything, this film makes me want to go back and watch the original “Jurassic Park.” Not necessarily because this film was fun, though there are one or two moments that stand out, but because it spent so much time reminding me of the original’s superiority.

I have nothing against dinosaur movies, and “Jurassic Park” is a franchise with potential. But unfortunately that potential is repeatedly shattered from one bad movie to the next. My interest in dinosaurs has definitely not waned. But my interest in this franchise definitely has.

In the end, “Jurassic World: Rebirth” is further proof that this franchise needs to be wiped out by an asteroid. This is one of the worst films of 2025. I honestly think if they continue to make these movies they are going to achieve a fate similar to the “Transformers” franchise when it was under the helm of Michael Bay. These movies have had their moment in the sun, but I think audiences are going to open their eyes and either ask for the filmmakers to aim higher or decide to stop going to these films altogether. Then again, these are literally the only relevant dinosaur movies on the market, so maybe not. This franchise should be exciting but for whatever reason, each movie finds a way to spiral into awfulness. I am going to give “Jurassic World: Rebirth” a 3/10.

“Jurassic World: Rebirth” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “M3GAN 2.0.” Stay tuned! Also, coming soon, look forward to my thoughts on “F1: The Movie” and “Superman.” Blockbuster season is kicking into gear so I hope you are ready to hear what I think about the hottest movies of the summer. Hopefully these movies will end up better than “Jurassic World: Rebirth.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Jurassic World: Rebirth?” What did you think about it? Or, what is your favorite “Jurassic Park” movie? Let me know down below! Scene Before is your click to the flicks!

Elio (2025): One of Pixar’s Zaniest, Poppiest Films Yet

Posted on July 8 by Jack Drees

Photo by Pixar/PIXAR – © 2025 Disney/Pixar. All Rights Reserved.

“Elio” is directed by Madeline Sharafian (We Bare Bears, Burrow), Domee Shi (Turning Red, Bao), and Adrian Molina (Coco, Monsters University). This film stars Yonas Kibreab (Sweet Tooth, Obi-Wan Kenobi), Zoe Saldaña (Guardians of the Galaxy, Avatar), Remy Edgerly (Pretzel and the Puppies, T.O.T.S.), Brandon Moon, Brad Garrett (Everybody Loves Raymond, Ratatouille), and Jameela Jamil (The Good Place, She-Hulk). This film is about a young boy who gets abducted by aliens and must survive against a warlord while befriending and helping those he meets along the way.

I have a love/hate relationship with the Disney brand. They own a lot of properties I enjoy and are responsible for some killer titles. Not a day goes by where I do not think about “The Lion King.” But I will also call them out for their greedy business practices as well as their lack of originality in recent years. However, one part of Disney that has failed to let me down for the most part is Pixar. The studio has a strong blend of exceptional originals and solid sequels. While their more recent fare has not been as great as “Toy Story” or as satisfying as “Ratatouille” or as incredible as… Well, “The Incredibles,” Pixar still has a special place in my heart and I will continue to support them. To this day, the only film of theirs I disliked is “Elemental.” That said, everyone makes mistakes.

Even with my love for Pixar, I was nervous going into “Elio.” The biggest culprit for me is that the marketing has been middle of the road at best. I have most certainly been exposed to the campaign considering it has been going on for multiple years. But none of the trailers have wowed me. At the same time, this is not the first instance for me where a Pixar film’s marketing campaign underwhelmed me. Even films I enjoyed like “Inside Out” or “Finding Dory” had trailers that made their respective films look average at best. Maybe “Elio” would end up like them and pull off a pleasant surprise. Thankfully, it did.

“Elio” is one of Pixar’s weaker films. But as I continue to say, bad Pixar is still better than a lot of movies. And there are some fantastic elements that make “Elio” worth watching, especially in a movie theater. I had the privilege of checking out “Elio” in one of AMC’s Dolby Cinema auditoriums, which allowed the film’s technical strengths to stand out. Rob Simonsen’s score is bonkers and is packed with the spirit of adventure. The color palette, particularly when the film spends time in space, is awe-inspiring. There is a pod sequence towards the climax that had me on the edge of my seat at times. Like some of Pixar’s other films, the sound design is larger than life and incredibly immersive. I did not see the film in 3D. And as someone who wears glasses, I try to avoid 3D in most cases, but I do think “Elio” is a film that could justify a 3D upcharge. It looks beautiful, poppy, and dynamic.

But of course, some would argue that characters are more important of an aspect when it comes to judging a film. When it comes to judging Elio as a character, he is kind of an enigma.

Photo by Pixar/PIXAR – © 2024 Disney/Pixar. All Rights Reserved.

For the record, I like Elio as a character. But I wonder what kind of impression he would leave on younger viewers. Elio is kind of a weirdo, a bit of an outcast. There is nothing wrong with that per se. If anything, he reminds me of myself when I was an adolescent. He is hyper-obsessed with space to the point where he literally wants to be abducted by aliens. That said, there are some moments where Elio’s uniqueness is so out there that it makes me wonder if a parent could ultimately regret introducing their child to this film at a certain point of their life. Kids emulate what they see on screen. Literally as I finished this film and headed towards the restroom I heard a young boy shouting “Chicken jockey,” in reference to “A Minecraft Movie.” I get that the ideas of space travel and aliens are exciting, but I would be a smidge concerned if some children hope to be abducted after seeing this film.

The film never mentions it outright, but based on Elio’s mannerisms, I would not be surprised if he has autism. If that is the case, I like the film’s interpretation. One sign of this happens to be Elio’s unusual fascination for space, which yes, that could be considered normal. But his obsession in particular feels rather extreme. On top of that, he is also interested in ham radios. How many children in the 2020s can say they know what a ham radio is? The film does not outright mock this particular interest, even though it shines a bright light on said interest at times. In fact, the way the film ends up utilizing it is kind of clever.

Going back to how Elio does not have many friends on Earth, it is partially because he is what his peers would deem to be “the weird kid.” Therefore it almost feels appropriate that he ends up befriending space aliens. If anything, the movie suggests to its audience that there is nothing wrong with being weird, and if anything, it should be embraced. In fact, if you think you are a bit weird yourself, there may be someone out there waiting to weird out alongside you.

I can also see this film serving as a positive influence in terms of helping young people follow their dreams. I could see it inspiring younger people to want to go to space or at the very least, pursue some kind of career having to with space or astronomy, perhaps even other branches of STEM.

I am not saying the character of Elio is a terrible influence. If anything he is simply imperfect. In fact, the movie does its best to show why people should avoid being too “normal,” which I thought was clever. The movie presents a case as to why Elio wants to be abducted, and in some ways it does make sense. He lost his parents, he does not have a ton of friends, and he has trouble communicating with or relating to others. While the concept itself is a bit out there, it is clever. And despite Elio being an iffy influence, his motivation is cleaner for a family-friendly feature than say turning to suicide or drugs or alcohol. Although I will say at one point Elio does try a drink in space that looks like something you’d get poolside at a galactic resort, plus it was handed to him by someone he barely knows. Whatever, sometimes you have to live a little.

The film also has a lesson that I think is great for both children as well as parents and guardians. The lesson specifically regards traditions, and how someone’s life is not written in the eyes of their guardian. One can argue that this feels familiar given how it was a lesson that was highlighted in “Elemental” a couple years back. But if you know my thoughts about that film, you might imagine I think this idea was executed better in “Elio.” If so, you would be correct.

I also thought the ending was a bit odd. The film itself ends on a satisfying note. But there is a soundbite that plays in the movie’s final minute that feels well-intentioned, but I honestly think it could have been left on the cutting room floor. I think the movie would have made a greater impact by ending with a lack of dialogue and simply letting the music, sound, and visuals do the talking. Also, Elio’s “ultimate choice” in the film so to speak feels a bit forced. One could argue it plays into his character development and the film’s overall lesson, but I do not buy him making that choice by the time the film ends based on everything we know about him.

One more standout about the film that I would be ticked with myself for missing, Brad Garrett as Lord Grigon. I think Brad Garrett can do no wrong no matter the role he takes. His one of a kind voice and charisma makes him a standout in whatever he does. The same can be said here, although unlike his previous work as the saintly Gusteau in “Ratatouille,” he is a bit of a psychopath who essentially wants to conquer other beings. I had so much fun watching Brad Garrett flex his muscles here. I am not the biggest fan of “insert celebrity here” playing voiceover roles to get people in the doors, but Garrett gives a performance that has me failing to imagine anyone else in his character’s shoes. Garrett has such an expressive presence and he gives it his all. While Lord Grigon may not be my favorite Pixar antagonist, he is well written, especially when it comes to scenes regarding him and his son. Honestly, the entire cast in this movie works. There is not a bad voice on the lineup. Though Brad Garrett to me is the standout.

In the end, “Elio” is far from the best Pixar movie, but if you were to check it out sometime this summer, I think you will end up having a blast. It is the classic Pixar formula. Make a film that both kids and adults can enjoy, and that is the case here. All the story elements are well-realized. The characters are likable, even if I wonder what kind of impact some of them will have on younger audiences. Keep in mind, the film is PG, not G. Make sure to guide your children! The animation, per usual, is breathtaking. The score is flipping fantastic and makes me want to go on an adventure. Also, having seen this in Dolby, I think parts of the film can be incorporated into a fun ride at Disney World or something. The film is a lot of fun. It is not quite the galactic masterpiece that “Wall-E” turned out to be, but it is a great ride. I am going to give “Elio” a 7/10.

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

Universal Pictures and Amblin Entertainment – © Universal Studios. All Rights Reserved.

Thanks for reading this review! My next review is going to be for the brand new blockbuster “Jurassic World: Rebirth.” Stay tuned! Also, look forward to my reviews for “M3GAN 2.0” and “F1: The Movie.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Elio?” What did you think about it? Or, what is your favorite Pixar movie? Let me know down below! Scene Before is your click to the flicks!

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