“The Penguin Lessons” is directed by Peter Cattaneo (The Full Monty, Military Wives) and stars Steve Coogan (Night at the Museum, Philomena), Jonathan Pryce (The Two Popes, Brazil), Vivian El Jaber (Guapas, Cha Cha Cha), and Björn Gustafsson (People of Earth, Parlamentet). This film is about an Englishman living in 1970s Argentina who rescues and looks after an orphaned penguin.
One of the coolest things about going to the movies is getting to experience something with other people. “The Penguin Lessons” is the latest example of one of those events. Partially because this is a film I would have probably waited a bit before going to see by myself. Granted, the trailer, for the few times I saw it, won me over, but this was not my kind of movie. I picked this movie to watch with a couple other people, particularly my mom and grandma, as an equalizer. I thought it would be something we would all agree on.
Thankfully, the decision to watch this film was a wise one. “The Penguin Lessons” is one of the most adorable films I have seen in a long time. I am the furthest thing from a pet person, but even I was captivated by the connection between our film’s protagonist, Tom, and a penguin who eventually winds up going by the name Juan Salvador. The film itself follows a predictable path, where you have a guy who could care less about owning a penguin, he is essentially obligated to take care of it, and he ends up forming an unlikely bond with it. Although the film is much more than that. It is a look into a tragic time for Argentina, where its people were noticeably divided and under dictatorship rule.
In some cases, the penguin in this film seems to serve as an escape from the troubles Argentina’s people were experiencing at this time. We see him not only as Tom Michell’s pet, but also as a reward for his class. There is a scene where we see the class spiraling into chaos, and to calm him down, Michell goes into his nearby home, grabs the penguin, and walks into class with it. Having had time to think about this movie, I probably would have had a much different reaction to this scene if Michell suddenly brought in a dog or a cat, considering a decent number of people are allergic to them. That said, in fairness, there are not as many known records of people having penguin allergies. It is nice to see this group of students experience a moment of comfort and joy in what is clearly a tense time. Some of these boys may be immature or part of the problem, but we see them lighten up a bit because of this one animal.
Some of the best films have something to say about what it means to be human. At certain points, “The Penguin Lessons” is not afraid to show the worst of humanity, as this film is set in an Argentinian dictatorship where anyone on the street can be captured. “The Penguin Lessons” reminds me of humanity’s unique connection to other creatures. We do not just bond with our own kind, but also many others. In fact, the penguin in this film sometimes shows it is easier for certain people to step up for another animal than it is for them to step up for another human being, even if they see another human being in serious danger. In some cases, that may be because we do not want to risk our own lives, partially to the blame of, unfortunately, other humans.
The film may be set during a dark, gritty time, but it manages to pack plenty of joy and levity into just about every other scene. If you are looking to escape from the problems of the real world, this movie surprisingly works, despite also presenting a world with prominent problems of its own. The first 30 minutes of this film, especially when we first see our protagonist and the penguin in the same place, is sometimes laugh out loud funny. There is a line, I will not say what it is, but you will know it when you hear it, that Tom says twice in a span of several minutes, and I was almost rolling on the floor. It is not so much the line itself that is funny as much as it is the delivery. There are moments where Tom finds out what it is like to clean up bird poop, but much to my delight, the film does not treat it so much like a gag.
This film is directed by Peter Cattaneo, who was previously nominated for a Best Director Oscar for “The Full Monty.” With “The Penguin Lessons” being a 2024 release to some degree and having its wide release this early in 2025, I do not know if Cattaneo is going to get another nomination, but if the Oscars were tomorrow, his presence amongst the nominees would be debatable. Between his perfect balance of comedy and drama, as well as the timing connected to both of those genres, Cattaneo knows exactly what he is doing.
Another reason why Cattaneo knows what he is doing shows through the performances. This film is led by Steve Coogan, who I have seen in a number of films before. But I am not going to lie, I had no idea who the lead was for this film going in,. As I was watching, I thought, much to my embarrassment down the line, that I was looking at Hugh Grant. The two actors have their aesthetic individualities, but for whatever reason they do look surprisingly similar. Steve Coogan in this film sort of reminds me of a Hugh Grant type. His character, Tom, is reserved and comes off as if he is stuck in his ways. Yet at the same time, if you get to know him, you will realize he is a wholesome person. While Tom may seem like a grump on occasion, he stands firmly alongside Juan Salvador the penguin as the film’s heart and soul.
The film clearly establishes Tom’s lack of enthusiasm for keeping a penguin from the getgo, but never once did I think he was a jerk. Heck, if someone randomly handed me a penguin, I would probably resist the idea of keeping it too. But this film shows the fascinating journey of what happens when you choose to keep a pet you never wanted, and how taking on such a responsibility can be rewarding.
In the end, “The Penguin Lessons” is a well-paced, well-written delight. If you are looking for a film that focuses on Argentinian history, it might be for you, but you may also want to look elsewhere. Ultimately, this is an adorable story about a man and his penguin. If that is what you signed up for, you will be satisfied. Steve Coogan gives a heck of a performance. It is still early, but I will be interested to see what other portrayals could top it throughout the year. I highly recommend “The Penguin Lessons,” and I am going to give it an 8/10.
“The Penguin Lessons” is now playing in theaters and is also available to rent or buy on VOD.
Thanks for reading this review! If you have been paying attention to my recent posts, you may have noticed my last couple have focused heavily on game shows. If you have not yet checked them out, be sure to read my thoughts on “The Luckiest Man in America,” the new movie based on a couple of infamous “Press Your Luck” episodes, as well as my thoughts going into the upcoming season of “Who Wants to Be a Millionaire.” If you want to see posts like these 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 Penguin Lessons?” What did you think about it? Or, what is your favorite movie involving penguins? I’ll even accept “Batman Returns.” That movie is sick. Let me know down below! Scene Before is your click to the flicks!
“The Luckiest Man in America” is directed by Samir Oliveros (Bad Lucky Goat, Cactus Blossom) and stars Paul Walter Hauser (Inside Out 2, Cobra Kai), Walton Goggins (Justified, The Shield), Shamier Anderson (Wyonna Earp, John Wick: Chapter 4), Brian Geraghty (Chicago P.D., Boardwalk Empire), Patti Harrison (Shrill, Together Together), Haley Bennett (The Girl on the Train, Hillbilly Elegy), Damian Young, (Amateur, Ozark), Lilli Kay (Your Honor, Yellowstone), James Wolk (Mad Men, Zoo), Shaunette Renée Wilson (Billions, The Resident), David Rysdahl (Nine Days, Fargo), Ricky Russert (I, Tonya, Banshee), David Strathairn (The Bourne Ultimatum, Good Night, and Good Luck), Johnny Knoxville (Jackass, Action Point), and Maisie Williams (Game of Thrones, Doctor Who). This film is inspired by true events and centers around a “Press Your Luck” contestant who has figured out the secret to winning as much money as possible.
I have had a habit of balancing several random hobbies and interests, no matter how atypical. Of course, with this being a movie blog, it would come as no surprise that I love movies. Ever since I was a kid, I loved riding elevators for fun. I still do. So you have a “normal” hobby, and a “less normal” hobby. I also have another interest that I would personally put in between those two when it comes to normalcy, specifically game shows.
As someone who loves movies and game shows, part of me thought for years that the subject matter for “The Luckiest Man in America” would make for a compelling film. For those not aware, the story is based on Michael Larson’s two-episode appearance on “Press Your Luck” in 1984, at which point he broke the record as the biggest winner in game show history. It also took the “luck” out of “Press Your Luck,” as those working on the show came to realize Larson figured out the board’s predetermined patterns and used his knowledge to win a six figure total.
I was really looking forward to this film. My excitement for this project was similar to how I would feel going into a project from one of my favorite directors like Steven Spielberg. I am happy to confirm the film is quite enjoyable, but if you want the best version of the story, this movie is not it. It is good, but not great.
This is not to say you should avoid this movie. In fact, if it is playing near you, which it absolutely likely is not as of this publication, I recommend you give it a shot. By itself, this is a fascinating story and I think it has the potential of winning a lot of viewers over. I think you will have a good time. But just know that there are better options out there regarding the same subject matter that I would more highly recommend.
If you remember my review for “80 for Brady,” which is set during Super Bowl 51, I said the football game by itself is far more compelling than the movie that features it. Similarly, I highly recommend you check out Michael Larson’s “Press Your Luck” episodes on your own time. They are available on YouTube, or they might eventually air as a rerun on BUZZR or something. There is also a solid documentary on the matter called “Big Bucks: The Press Your Luck Scandal.” It does a great job at diving into Larson’s tendencies during the game, as well as his relationships with people on set and his loved ones.
“The Luckiest Man in America” bridges a weird gap to the point where parts of it come off as played up and Hollywoodized. Yet at the same time, the film spends a lot of time on a Hollywood game show set, specifically the one for “Press Your Luck,” that seems to lack the electricity of the original show in the 80s. I remember watching the broadcasts these movies are based on and the crowd was somtimes unhinged, literally losing their minds like animals. It was like Black Friday except in this case the crowd of people was rooting for a stranger to get their hands on a big TV before they did.
Although as someone who has been in live audiences for various TV programs, including two game shows, I did enjoy how hard the film leaned into the list of instructions the audience was given during their visit to the set. They are cued on when to clap, when to boo, as well as when to laugh. If you have ever been in a live audience for a TV show it is a lot of fun, but sometimes you realize that some of what you end up doing is part of a script. The movie even shows a moment where they have to redo a key moment of the game because Michael ended up swearing on camera.
The film is based on real events, but it ends up changing a surprising amount of what has been televised. Some of these include small changes like sounding off the “Price is Right” fail horn whenever someone hits a Whammy or the order in which the contestants answer the trivia questions. There is also a more sizable change involving the Home Player Spin, which was a special event featured in the actual taping in which Larson appeared, but they changed it to play more to the drama of the film and the characters involved.
I have no problem with adapting something for the screen and changing the source material. In fact, one of my problems with the 2019 remake of “The Lion King” is that the film is too similar to the 1994 original. Although a lot of the changes brought to “The Luckiest Man in America” felt out of left field considering this production is based in reality. This is not based on a book, not a video game, nor a TV show. …Okay, well it is kind of based on a TV show. But the point is, I would be down for these changes if they made the story better, but some of the drama added to the film felt forced and fabricated. The film eventually spirals into hints of ridiculousness. Sometimes it is entertaining, but it is still ridiculous. “Once Upon a Time in Hollywood” proves that you can change something that is true and still have it be great. Unfortunately, “The Luckiest Man in America” is not quite on that level.
The film does have a lot to rave about though. The Press Your Luck set, while not entirely the same as the original from the 80s, is about as dead of a ringer as you can get. Props to the design team. The set came out fantastic. At times, the film definitely feels small, but when it is on the “Press Your Luck” set, it is larger than life.
My compliments on the film’s look also extends to the characters. Their fashion choices match the ones we see on the show’s episodes. Paul Walter Hauser looks a lot like Michael Larson himself. I thought the hair and makeup department did a good job at styling him to fully resemble the infamous contestant. If I had any knocks when it comes to the looks, I would say the biggest one would be towards the star of “Press Your Luck,” Peter Tomarkan. For the record, this is not a diss towards Walton Goggins. He did a fine job in his role and I thought he was a solid choice to play the host. But the way his hair was styled looked incredibly artificial. I know on-screen talent like game show hosts are often dolled up to look a certain way on camera, but Goggins looked like an action figure at times. His look was a bit overdone.
Although going back to Paul Walter Hauser, his transformation into Michael is immaculate. If you watch the real Michael Larson, chances are you could find him eccentric at times. He has the personality of a curious, young boy in the body of a grown man. He is expressive and oftentimes giddy. The film clearly paints Larson as a dreamer and does an effective job at representing him as an overzealous “Press Your Luck” fan.
In fact, Larson’s competitors, Ed and Janie are also fun to watch. They also match their real counterparts in terms of their delivery and style. Ed (Brian Geragthy) is over the top and full of enthusiasm. On the other hand, Janie (Patti Harrison) is a little more reserved, but will occasionally pipe up every once in a while. In service to the film’s narrative, Ed sometimes becomes Michael’s voice of encouragement, while Janie channels the heebie jeebies. She is sometimes annoyed by Michael, although the movie makes it clear he means no harm towards her or anyone else in his path. The film even tries to go for the emotions regarding Michael’s family, particularly his spouse and daughter.
I will also compliment John Carroll Kirby’s score. It is very wacky, very 80s. Sometimes it gets a little overly obnoxious, though not to the annoying degree that I experienced watching “Challengers.” That said, I did watch this film alongside my grandparents, and my grandmother in particular thought the score could have been turned down a notch or two at a certain point.
In the end, I do recommend “The Luckiest Man in America,” but again, if you want a better version of this story, just go watch the actual “Press Your Luck” episodes or “Big Bucks: The Press Your Luck Scandal.” They are both available on YouTube. The film runs at a breakneck pace and provides a unique spin on a true story. It is chock full of solid acting, especially from Paul Walter Hauser. Even if you are not familiar with the material featured in this movie, I would say it is still a decent watch. I am going to give “The Luckiest Man in America” a 7/10.
On a sidenote, I never reviewed this, but I try to endorse this project whenever possible… If you want a great piece of media based on a true game show scandal, go watch the miniseries “Quiz.” It is based on Charles Ingram’s fraudulent run to the top prize on the British version of “Who Wants to Be a Millionaire,” as well as select events that play out before and after. I give it the highest of recommendations. I would say you should even phone your friends about it.
As of this writing, “The Luckiest Man in America” is not playing in theaters, nor is it available on any streaming platforms.
Thanks for reading this review! If you want to hear me talk a little bit more about game shows, please check out my recent post I did regarding how unexcited I am for the upcoming season of “Who Wants to Be a Millionaire?“. It is not often that I have a chance to talk about television. But when it comes to this subject matter, I had to get this off my chest. This post involves topics I have been thinking about for quite some time so I had to scribble those topics down and discuss them. As for upcoming reviews, you can soon see my thoughts on “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” “A Minecraft Movie,” “Sinners,” and “Thunderbolts*.” 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 Luckiest Man in America?” What did you think about it? Or, have you ever watched “Press Your Luck?” What do you think of the program? Let me know down below! Scene Before is your click to the flicks!
“Hans Zimmer & Friends: Diamond in the Desert” is a concert film directed by Paul Dugdale. The picture features performances from a Hans Zimmer concert as well as several interviews featuring people Zimmer has worked with over the years.
I was somewhat hesitant to talk about this film. Not because I thought it was bad, or I wanted to easily forget about it, but it all comes down to a lack of experience. I can safely say I have not watched many concert films. In fact, to this day, I never reviewed a concert film on Scene Before. Yes, even that “Eras Tour” movie that made a decent amount of money when it came out. I am not a Swiftie, to be honest. In fact, my experience of attending concerts in person is next to none. I have sensitive ears, so attending obnoxious events like these are not often my first choice. Although, Hans Zimmer is one of the few artists I have seen live during his tour, fittingly titled “Hans Zimmer Live,” at Boston’s TD Garden last year, which leads me to another reason why I almost avoided reviewing this movie.
I am a huge Hans Zimmer fanboy.
If there one artist that has defined my life over the past decade, it is Hans Zimmer. Not just because he has done some of my favorite movies, but his variety of approaches to composing his music. In one movie, he will go super electronic, in the next he will do things a bit more on the orchestral side, sometimes he will go full rock and roll. Sometimes a bit metal. Zimmer is one of the greatest musicians alive. When I would do homework after school, blaze down the highway on road trips, or even trek on Amtrak trains, Zimmer would often be my artist of choice. Going into this film, I was a bit worried that I would be so lost in what I love about Zimmer’s music that I would forget that there was a movie in front of me to potentially critique.
We will start this review off with some bad news for the filmmakers. Despite my fanaticism, and it was definitely on display during my experience of watching the movie, I have some negatives to point out. They are not game-breaking, but still.
There is a scene in the film where we see Hans Zimmer suggest that the audience was not allowed to take photos or use their phones during the concert. Shortly after, he essentially says “Screw it,” and allows everyone in the room, including him, to take a photo of the exact same moment in time. There is nothing wrong with the concept of this scene. In fact, it is a cool, community-driven moment of the movie. But when the film later features a ton of quickly spliced shots of people recording the concert, it makes me wonder if that “rule” existed to begin with. For the record, during my show in Boston, camera use was fair game, assumingly as long as we did not engage in flash photography. Perhaps the same was true for the concert he did in the film. Maybe Hans Zimmer and crew just wanted a good scene for the sake of a good scene. I have no clue.
Before we get to my next negative, I will state one positive, and it is that the music sequences outside the venue are not only fitting, but incredibly creative and very well put together. They start the concert off with a piece from “Dune” and it makes you feel like you are in the middle of an Arrakis-like landscape. When the film gets to “The Dark Knight,” it becomes an obnoxious rush through the city. Later on, when the movie gets to “Interstellar,” they eventually transform the set into a cosmic wonder. The efforts on display to make the most stunning spectacles possible are nothing short of magnificent. That said, if I had a nitpick, the film spends so much time outside the venue for the “Interstellar” sequence that I wish I could have been in the room with the audience, seeing their reaction to the musicians playing the music in front of them.
In fact, if you look hard enough during the movie, you will notice a disco ball in the middle of the arena. Having been to the concert that inspired this project, I can confirm that the ball was utilized during the “Interstellar” portion of the concert. We never see it used during the movie. Then again, I went to the concert with my dad, and he told me while he did see the ball at one point, he never noticed the ball being used during the “Interstellar” sequence. Perhaps no one could figure out a way to show the ball and make it look cinematic, but part of me would have liked to see a closer look at least once.
Although if you are a Hans Zimmer fan, like me, you are in for a treat. If you missed the Hans Zimmer Live concert, this movie shows most of it. There are a couple pieces missing, but the film is already quite long so I can understand why a couple parts were taken out. The film also features several interviews between Zimmer and some of the people with whom he has a connection to in the industry. Some of these include producer Jerry Bruckheimer, musician Pharrell Williams, director Christopher Nolan, and actor Zendaya. The film is not short on notable names. Some of the more prominent members of Zimmer’s band are not part of the talks like Tina Guo or Lebo M, but they do get their shoutouts during the concert itself.
These interviews give fascinating insights as to why Hans Zimmer attached himself to the movies he did. I found Zimmer’s story on his connection to “The Lion King” to be particularly powerful. In some ways, it enhances the connected concert sequence, and might also enhance “The Lion King” movie itself. That says something because it is a spectacular film.
Additionally, the interviews also highlight fans’ perspectives. When we get to Zendaya’s interview, a much younger individual than Zimmer, she talks about her connection to the composer’s music and the films in which they are a part of. Again, going back to “The Lion King,” she highlights it is a film she enjoyed growing up. Zendaya also says that “Interstellar” is a movie she adores and the two get into what can be described as an apparent resurgence of one piece of music from that film that is used on TikTok on a regular basis. The movie reveals just how much of an impact Zimmer has had on the people who had the pleasure of listening to him over the years.
If you are not familiar with Hans Zimmer, I would still highly recommend checking out this film. As of this review, being able to do so is probably near impossible at this point. But if there is ever a legal way to do it, give it a chance. Because even if you do not know the name Hans Zimmer, you probably know some of his work like “Pirates of the Caribbean” or “Man of Steel” or “Gladiator.” The concert itself is a sight to behold. The camerawork both in and out of the arena is immaculate. The lighting onstage is downright jaw-dropping. There are some shots that go on so long yet feel so pristine and yet the film also treats its audience to some crystal clean editing that flies at supersonic speed. This film is an experience.
Even if you have not seen any of the films represented during the concert, this is still a great time. In fact, despite my film-watching experience, I am proof of this. I still have yet to see “Dark Phoenix.” Judging by what I have heard about the film, I might be better off for avoiding the film up until this point. But good movie or not, that score nevertheless made it into the setlist, and it is a straight-up frenzy of electronic mayhem. Though I will warn people, that part of the film contains a lot of colorful flashing lights. If that is not your thing, you may want to fast forward through that, close your eyes, or skip this film altogether because that is not the only flashy scene in the final cut. Though that one in particular stands out to me. That said, if you are like me and you know Hans Zimmer’s work, this film is almost like a dream. If you are less familiar with Hans Zimmer, still give it a shot anyway, because I think you will find something in it to enjoy. Going back to, again, the story he gave as to why he ended up embracing “The Lion King,” it might even make you appreciate certain movies he did a little more.
In the end, “Hans Zimmer & Friends: Diamond in the Desert” is a giant ball of euphoria. It is a near perfect experience. I found this movie to be equally as electrifying as one of Hans Zimmer’s scores. It sucks you in from the first minute and quickly becomes something totally over the top. The show is fantastic. The music videos are creative. The interviews are fun to watch. You might learn something new by the end of this two and a half hour thrillfest. If there is any legal way you are able to check this project out, I highly recommend doing so, because this is truly something special. I am going to give “Hans Zimmer & Friends: Diamond in the Desert” a 9/10.
“Hans Zimmer & Friends: Diamond in the Desert” is unfortunately not playing anywhere as of posting this review. There is no information available on a home release date at this time.
Thanks for reading this review! Turns out, my next review is going to be for a film that I also admittedly have been fanboying over simply based on the concept. If you know me in real life, you know I love game shows. And if you are aware of the true story behind this film, you would have to imagine the utter excitement I have been feeling for “The Luckiest Man in America.” Also stay tuned for my thoughts on “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft 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 “Hans Zimmer & Friends: Diamond in the Desert?” What did you think about it? Or, what is your favorite Hans Zimmer score? Let me know down below! Scene Before is your click to the flicks!
“Locked” is directed by David Yarovesky (Nightbooks, Brightburn) and stars Bill Skarsgård (IT, Boy Kills World) and Anthony Hopkins (Thor, The Silence of the Lambs) in a film where a carjacker gets trapped inside of a luxury SUV owned by a mysterious man who wants to teach him a lesson about his lifestyle.
It has been hard to find time to go to the cinema in March, so any opportunity I can get to do so, I will take in a heartbeat.
Well, except for “Snow White.” I am honestly not interested in any more Disney live-action remakes for the time being. Additional apologies to “Lilo & Stitch” as well. I think I will be giving my money to the new “Mission: Impossible” the weekend that film comes out.
Thankfully, in March’s second half, the trailer for “Locked” sold me and got me to buy a ticket shortly afterwards.
Not only does “Locked” have solid talent on display like Bill Skarsgård and Anthony Hopkins, but the film looked like it would have fun with its simple concept. Essentially, a man named Eddie enters someone else’s unlocked car, and when he tries to get out, he is stuck and must deal with the unfamiliar surroundings as well as the virtual presence of an utterly hilarious geezer named William. Sounds simple, right? It might. Yet the film goes balls to the wall with its execution between a couple of powerhouse lead performances, and its implementations of one obstacle after another, no matter how convenient or absurd.
I did some research while writing this review and found out that “Locked” is the latest adaptation of a 2019 Argentinian film called “4×4.” I did see that title during the credits, but I was surprised to know that this was the fourth iteration of a film that was finished less than a decade ago. Apparently the film also has a Brazilian remake, as well as another in the Telugu language. To be fair, the premise works in several environments.
For the record, “Locked” was technically shot in Canada, but the English-language film has done much of its marketing in the United States, and uses well known Hollywood stars. Therefore, when connecting this movie to the United States, it works perfectly not only because we are a car-centric country. Not only because we sometimes put significant value on cars. But in regard to this movie’s deeper meaning, it also helps that the United States may be one of the most individualistic countries on the planet. While the movie is about someone being trapped in a car, if you look deeper, the movie is a dive into humanity’s selfishness.
Take Eddie for example. The movie taps into some addiction complications Eddie has. Early on, we see he does not have enough cash to pay for an important vehicle repair. Granted, cars can be pricey to maintain, but we also see that some of his other investments such as drugs and gambling could be getting in the way of more important aspects of his life. Additionally, he has a daughter who he seems to care about, but is not perfect when it comes to supporting her or being there for her. I do not have kids, but in one of my favorite movies, “Interstellar,” there is a line from Cooper that I think about sometimes where he suggests the reason why he is still around is to be a memory to his children. In comparison to Cooper, Eddie is not a role model by any means. He is far from a perfect protagonist, but I like him as a character despite his issues, he clearly loves the people in his life. That is despite him showing barriers that keep him from showing that love.
At the same time, we see Eddie questioning William, and how he got to live a luxury lifestyle. After all, Eddie entered a clearly expensive vehicle, so it is not surprising to see him ask William if he had a head start of some kind. Meanwhile, the film reveals that the two have different educational backgrounds. William has book smarts, Eddie has street smarts. William spent time in the classroom, Eddie was self taught. There is clearly a sense of snobbery when we dig deeper into William’s point of view. The movie shows that entitlement, a quality that both of these characters possess, does not necessarily come from having it all. Entitlement is not specific towards one class of people. Humans, at their core, want everything. And at the point where we do have everything, we do not necessarily have the urge to settle down.
The film mainly takes place in a car that is almost always in park. Yet pacing-wise, the narrative gets into gear to the point where several cops would be following it in a high speed chase. “Locked” is heavy on language, and by the midpoint, violence. This movie dials things up to an 11 by that point. Every random gag, no matter how unnecessary, landed for me. I do not want to reveal every single one, but there is one constant back and forth that had me dying in the beginning where William would call out Eddie for his vulgarity and lack of manners. When it comes to his delivery, Anthony Hopkins at first sounds like a sweet, reserved old man. As the film progresses, we see further hints of aggressiveness within his character. The more of a loose cannon Anthony Hopkins becomes, the more fun the film gets.
The film is quite a short watch. Granted if I had another positive to add, it is that every minute of the runtime is either essential to the story, or at the very least, downright entertaining. On that note, I will say the film does end somewhat abruptly. Is it a fitting ending? Sure. Is it a satisfying ending? One could say that. But I think the movie would have benefitted from being a minute longer and letting the actual end scene play out just a little. Even so, the film does end on a decent note and fulfills all the important arcs. That is perhaps my one gripe with an otherwise near-perfect film.
In the end, “Locked” is an exhilarating joyride. Even when the movie stays in the same place, the overall pace is fast and furious. Unsurprisingly, Anthony Hopkins is on fire with his role. The same can also be said for the film’s lead, Bill Skarsgård, which is also not surprising because that whole family is loaded with talent. I have been impressed with Skarsgard’s script choices lately. Sure he has done mainstream titles like “IT,” which was fantastic. The sequel, not as much, but it was still enjoyable. But he has had an impressive run in recent years with smaller films like “Barbarian” and “Boy Kills World.” “Locked” is yet another small wonder for this talented actor. I hope he continues to land roles as captivating as this one. The film made laugh, and then think. It is a great time overall. I am going to give “Locked” a 9/10.
“Locked” is now available for preorder on VOD and will be available to stream starting April 22nd.
Thanks for reading this review! If you enjoyed this review, I have plenty more on the way! My next review is going to be a first for me. For the first time in Scene Before history, I will be sharing my thoughts on a concert movie, specifically “Hans Zimmer & Friends: Diamond in the Desert.” I very rarely watch concert movies, but I love Hans Zimmer’s scores, so I jumped at the chance to check this film out in theaters last month. Also, stay tuned for my thoughts on “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft 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 “Locked?” What did you think about it? Or, have you ever been trapped somewhere? If you dare, let me know your crazy stories down below! Scene Before is your click to the flicks!
“Mickey 17” is directed by Bong Joon Ho (Parasite, Okja) and stars Robert Pattinson (The Batman, Tenet), Naomi Ackie (Star Wars: The Rise of Skywalker, Master of None), Steven Yeun (The Walking Dead, Minari), Toni Collette (Knives Out, Hereditary), and Mark Ruffalo (The Avengers, Dark Waters). This film is set during a group’s mission to colonize a planet and mainly follows the journey of a disposable employee who we see living his 17th life.
I have waited desperately for the day I could watch “Mickey 17.” As a science fiction fanatic, this film looked like my jam. It had a clever concept, intriguing cast, and it was helmed by Bong Joon Ho, whose previous film became the Academy’s first Best Picture recipient not made specifically in the United States. I have a feeling that if this film were in the hands of, say a first time director, it might still sell me, but Bong Joon Ho’s involvement basically put me over the edge.
Is “Mickey 17” likely going to follow in the footsteps of “Parasite” and win Best Picture next year? It is still too early to say, but I would assume that to be a “no.” Although if the Academy Awards were tomorrow, I could see the film at least being nominated. That said, it is not for everyone. The film has heavy commentary, but also happens to cross a line to where it can be silly. If Bong Joon Ho did not direct this movie, I would have been convinced that this was a Taika Waititi film in the style of “Jojo Rabbit,” which seamlessly blends comedy and drama despite the movie sometimes falling into an extreme on one side or the other.
The movie has Robert Pattinson playing a character who we get to see repeatedly die, sometimes in brutal ways. That is something to put on the more comedic side of the spectrum. Yet on the dramatic side, the movie uses this disposable character as a foundation for highlighting the human condition.
Going back to comedy, this movie also has Mark Ruffalo and Toni Collette playing a couple who tend to be more concerned with blood spilling on their carpet as opposed to having someone die on said carpet. At the same time, on the dramatic end, the narrative also shows how people with prominence or power can affect the way people think.
There are multiple adjectives I could use to describe “Mickey 17.” Fun, brisk, grand, ambitious… I was not expecting “horny” to be one of those adjectives. At times, the vibe of this film reminded me of the 2021 flick “Voyagers,” which like this film, is mainly set in a spaceship with a decent amount of characters. The films have their differences, one of them being that “Mickey 17” is much more watchable. Although one similarity the two movies have is that they feature characters or storylines that have something to do with sexuality and urges. The movie features a sizzling connection between Robert Pattinson’s Mickey variants and a security agent named Nasha (Ackie) for example. This movie is about a group’s journey to colonize a new planet, and the individual at the forefront of this mission is politician Kenneth Marshall (Ruffalo) who early on, gives this dramatic speech to an audience encouraging them to “spread their seed” upon their arrival.
This is Bong Joon Ho’s first feature film following the Oscar Best Picture winner “Parasite.” While the film itself is not on the same level as “Parasite,” there are some scenes from “Mickey 17” that made me shake in the same way I did watching the former. “Mickey 17” has a halfway decent amount of unpredictability, but nothing as out of left field as “Parasite.” The structure of the film feels familiar, but it is done in a way where certain moments feel fresh or one of a kind. Much like “Parasite,” “Mickey 17” does a good job at handling commentary. Sometimes it is a little on the nose, but it is still decently delivered. For example, there is a scene early on where we notice a massive sea of supporters for Kenneth Marshall, a politician this movie clearly paints as the antagonist, and a fair amount of those supporters are wearing red hats. Sound familiar? If not, then maybe this movie will have to try harder and make commentary great again.
I can get by the not so subtle commentary because despite it being played up, it does feel reminiscent of current times. In fact, it only feels more on the nose by coincidence considering who was elected President in the U.S. before this film came out. The true test however is to see how the film ages with the world’s political landscapes. That said, society is not perfect. So odds are this film could age decently.
Tonally, “Mickey 17” is an enigma. It is certainly unconventional, but I kind of love it. That said, I could see some people comparing this film to a Saturday morning cartoon at certain points. Aside from that, there is not a ton else that bothers me in the film aside from the fact that some of the effects look fake. The exterior of the spaceship looks like something out of a TV series. That bothered me in the marketing for this movie. When I saw that spaceship for the first time, I thought I was watching an animation. That gripe remains in the final product. Many of the effects in this film look okay, but that spaceship stood out to me. I will not doubt that a lot of work was put into the CGI, but the film’s budget is at least $118 million. It could definitely be more expensive, but for that much money, I sometimes expected something a little more polished.
I am curious to know how this film will do with general audiences. For science fiction nerds like myself, this film is a complete and total blast. I think some casual moviegoers will be riveted by the film’s spectacle, and they will also enjoy seeing Robert Pattinson give it his all in two roles. Bong Joon Ho has had a prominent boost in the past number of years, and “Mickey 17” will likely garner certain people’s attention in my country, the U.S., since the film is in English, unlike his previous outing. But I am not sure if this film is going to have the spark to bring everyone together. Plus, again, I will mention that Mark Ruffalo is essentially playing a Donald Trump wannabe. Should word of that spread around just enough, I can imagine more people wanting to give their hard earned money to something else that will feel more like an escape. Although if I am being honest with you, this film is kind of an escape. The film took me to space, and I found it to be a fine journey. I give the movie a recommendation.
In the end, “Mickey 17” is an experience that is going to stick with me for a long time. This movie is grounded yet wonderfully odd. It is full of tiny, admirable quirks. The performances are to die for. Everyone is great in this film. Mark Ruffalo, Robert Pattinson of course. But if I had to name a favorite, I would have to say Toni Collette takes the cake. By the end of the film, I loved her simply because of how fiendish this film makes her out to be. She is very well directed. “Mickey 17” is another win for Bong Joon Ho and I am going to give it a 7/10.
“Mickey 17” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! I keep beating a dead horse, but I apologize if I am behind on my reviews. The truth is, I am most definitely behind. I have been busy. I am still catching up on posting about the movies I watched while making the 7th Annual Jack Awards. A ceremony which by the way, you should totally check out. Here are some of the reviews you can expect going forward, and I have seen all these movies by the way. Coming soon, you can read my thoughts on “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft Movie.”
I cannot wait for you to see my reviews on all these movies. No, seriously. I have been putting these off for quite some time so I cannot wait any longer. And you can be notified about these reviews as soon as they drop. Please follow Scene Before either with an email or WordPress account, and be sure to check out the official Facebook page! I want to know, did you see “Mickey 17?” What did you think about it? Or, what is your favorite Bong Joon Ho film? Let me know down below! Scene Before is your click to the flicks!
“Nickel Boys” is directed by RaMell Moss (Hale Country This Morning, This Evening, Easter Snap) and stars Ethan Herisse (When They See Us, The American Society of Magical Negroes), Brandon Wilson (Murmur, The Way Back), Hamish Linklater (The Big Short, Battleship), Fred Hechinger (The White Lotus, Thelma), Daveed Diggs (Wonder, The Little Mermaid), Jimmie Fails (Pieces of a Woman, The Last Black Man in San Francisco), and Aunjanue Ellis-Taylor (King Richard, Ray). This film is set mostly during the Jim Crow era and is about the friendship between two African-American men who meet an abusive reform school.
I love when filmmakers experiment and try to insert unique concepts or tricks in their films. In the case of “Nickel Boys,” the film mainly uses a first person perspective to tell its story. If you watch a lot of movies, you will notice that while they do have main characters, the camera, more often than not, acts as a third person. I think a first person point of view is a clever idea for telling a story like this. It could put you in the mindset of someone who lived unfathomable events. I wish I could tell you I was riveted by this concept, but I cannot. The honest truth is, I found “Nickel Boys” to be gimmicky.
Going back to what I said about that first person perspective… Notice how I said it “mainly” uses that perspective. Because the film tends to switch perspectives from time to time, and these transitions tend to come off as distracting. There is a decent story that engages conversation in “Nickel Boys” somewhere. In fact, this story takes inspiration from a book based on unfortunate but true events. But the impact of that story is diminished by unusual tricks that do not stick the landing.
I should note this is not the first time I have seen a film done primarily in a first person view. One of my first reviews on Scene Before, where my writing abilities were definitely not as up to par, was for the action film “Hardcore Henry,” which I thought was okay but ended on a weird, abrupt note. While the movie is not perfect, I thought for the most part, the first person perspective added to the experience of that film. It reminded me of a first-person shooter like “Call of Duty.” I did not feel as immersed or closer to the scene when watching “Nickel Boys.” If anything it sometimes gave the illusion that I was watching life. Granted, this film does have a slice of life feel to it. You might think, “If something is so lifelike, does that not make it immersive?” Technically two and two can go together, but what I am getting at is that there was nothing about this film’s first person perspective that made me escape my reality and enter someone else’s, no matter how hard the filmmakers tried.
There are shining moments of “Nickel Boys” despite its flaws. The acting in this film is excellent. While I meant it as a diss earlier, this film is like watching life. In the sense of everyone’s acting abilities on screen, that is technically a compliment because all the performances are lifelike. While I wish I were more riveted by the relationship between Elwood and Turner, I will not deny that both of their respective performers, Ethan Herisse (above) and Brandon Wilson, knock their performances out of the park. These two seem like genuine friends and part of me wishes I could have been a fly on the wall if they were ever given a chemistry test.
The film does a really good job at establishing the connection between the main character, Elwood (Herisse), and his grandmother, Hattie (Ellis-Taylor). This is best established by what happens when they are separated. There is a scene where we see Hattie talking with Turner, and she reveals her displeasure for how the school would not allow her and Elwood to see each other. The scene even ends on a comforting note. Despite my previous complaints for the way the movie was produced, I thought that moment enhanced the first-person perspective. It is a moment that I thought could have worked in a more conventional manner, but it was made a smidge better since it was done in a first person view.
If I am going to be honest with you, I am going to remember this film mostly for its experimental vision that I imagine could sit well with some viewers, but not so much for yours truly. I think this film’s narrative is only going to become increasingly forgettable over time. I know this is a deep narrative, I just wish I were more compelled by it. The film will undoubtedly have an audience, some of whom will likely revisit it over the years. I just do not know if I will be a part of the crowd that ends up watching the movie more than once. As I watched the film I found myself a bit underwhelmed. I knew in advance about all the accolades and praise this film received from others. There is always at least one film nominated for Best Picture every year at the Oscars that begs me to question or disagree with the majority of viewers in regards to liking it. Last year, it was “Killers of the Flower Moon.” The year before that, it was “Elvis.” This season, it is “Nickel Boys.”
I hate to say this, because I was genuinely was looking forward to this film. By the halfway mark, I was bored. As of writing this, the film is streaming on MGM+, a streaming service whose slogan must be “The streaming service to buy when you finished buying all the other ones.” I watched “Nickel Boys” in a theater, but if I were streaming, I would probably turn it off and watch something else around the halfway point. My time is much too valuable and this would not have been the best use of it. I wish I were more compelled by the story, the characters, and unfortunately I was not. I think others will be. I am likely in the minority. Maybe a second viewing would help. But I do not think that is going to happen anytime soon.
In the end, “Nickel Boys” one of the biggest disappointments of the past year. It is not a broken movie, it is just one that I wish I could have appreciated more. I have seen all of the Academy Award Best Picture nominees from 2024, minus “Emilia Perez.” I would have to say “Nickel Boys” is my least favorite of them all. This was not an easy movie for me to sit through. Other than a couple decent scenes, “Nickel Boys” does not have a lot for me to write home about. The narrative dives into poignant moments that should keep me riveted. Maybe they are better represented in the book that this film is based on. “Nickel Boys” was a one time watch for me. I would watch it a second time to see if it is better, but if I were alone on a Friday night and were looking for something to watch, I would want it to have a better pace than what this movie delivered. I am going to give “Nickel Boys” a 4/10.
“Nickel Boys” is now available to stream on MGM+ for all subscribers.
Thanks for reading this review! Once again, apologies if my posts have been slow lately. I am still catching up on reviews after finishing the 7th Annual Jack Awards. And I have plenty in the pipeline. Soon I will be reviewing “Mickey 17,” “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” and “The Ballad of Wallis Island.” 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 “Nickel Boys?” What did you think about it? Or, what is your favorite of the 2024 Academy Award Best Picture nominees? It is an easy pick for me, and I am very glad this movie won. I would have to say “Anora.” That was an experience if there ever was one. Let me know your pick down below! Scene Before is your click to the flicks!
“Riff Raff” is directed by Dito Montiel (Empire State, The Son of No One) and stars Jennifer Coolidge (American Pie, The White Lotus), Ed Harris (The Truman Show, Apollo 13), Gabrielle Union (America’s Got Talent, Bring it On), Lewis Pullman (Top Gun: Maverick, Bad Times at the El Royale), Miles J. Harvey (Supercool, The Babysitter), Emanuela Postacchini (The Seven Faces of Jane, Who is America?), Michael Angelo Covino (Keep in Touch, The Climb), Pete Davidson (Saturday Night Live, The King of Staten Island), and Bill Murray (Ghostbusters, Stripes). This film is set during a family reunion when a criminal’s life is suddenly turned upside down.
February is typically a dumping ground for movies. Although in recent years, the month has had a few attractive titles at the box office that would bring in a vast audience. In fact, this year we had “Captain America: Brave New World” as the month’s hot ticket. I am not going to pretend that “Riff Raff” had anywhere close to the box office potential of Marvel’s latest film, but if you look at the film’s cast, it would, in theory, bring some unlikely viewers in the door.
With the film’s cast being the biggest selling point, I am not surprised to say that they collectively end up being the highlight. Each individual brings their A-game and they all have decent material to work with. Is the material award-winning? No. Will the material go down in the history books? Probably not. But if you are looking for an hour and a half to kill, this might do. Perhaps just barely.
If you like the vibes of Rian Johnson’s “Knives Out” combined with a bunch of Quentin Tarantino’s filmography, then “Riff Raff” is for you. This film features a peculiar family who all come together at the same place. Even families whose members vowed to never speak to each other after that one time they discussed politics at Thanksgiving can tell you that this is clearly not a typical family gettogether. On top of that, the film is violent, bloody, and visceral. It is not the most grotesque picture of all time, but it is rather dark.
You may have noticed in the last couple paragraphs that I refused to take select thoughts I had on the film to an extreme. This is a consistency I have noticed regarding the film as I write this review. “Riff Raff” is a film that lacks standouts, both positive and negative. Sometimes I wonder if that is worse than a straight up bad movie. Because at least you can remember a bad movie. It is an experience you want to forget, but it often stays with you for a reason. This movie, while it has its moments, feels kind of disposable in the long run.
That said, there are some standouts in this film, one of which is Jennifer Coolidge as Ruth. She is funny, charming, and brings a respectable energy to her role to the point where I can only see Coolidge playing this particular character. There are certain portions of the film where you can clearly see the nerves coming out of Ruth to the point where she even tries to defend said nerves by suggesting they turn her on.
When you put Jennifer Coolidge in the same room as Bill Murray, Pete Davidson, and Ed Harris for example, such a concept sounds promising. In fact, all of these actors do a great job with their roles and have solid chemistry with one another. If I had to be honest, if you have a cast this promising, I wish the script were pinched up a little more to make the experience of watching all of these people at the same time just a bit better. Going back to “Knives Out,” the great thing about the movie, and even its 2022 follow-up, is that the gangbusters ensemble casts of both projects had great screenplays to back up their performances. I am not going to pretend that the screenplay for “Riff Raff” is broken. It works, it functions. Again, just barely. When I look back at this movie however, if I were to recommend it to somebody, I would recommend it on the idea of watching all of these big name actors come together as opposed to selling them on what kind of ride they are in for. The actors seem to offer more to the film, and as a result, the experience, than the writer does.
For the record, this film is solely written by John Pollono, who co-wrote one of my favorite films of the past decade that I did not review, “Stronger,” which is about a guy who was injured in the 2013 Boston Marathon Bombing. If I were to put these films side by side, I would easily choose to watch “Stronger” every single time. Although this is not to say “Riff Raff” is a heaping pile of malarkey. Pollono does a good job with “Riff Raff” by balancing humor with occasional drama. He also brings halfway decent stakes to the table.
I watched the film alongside my grandma as well as my mom. These two are not usually the target audience when it comes to bloody, violent films. Unsurprisingly, these two did not seem to walk out of the film thinking it was their favorite. But I would say in a way, the film seemed to do its job because it definitely generated a reaction out of them. The film has its hints of shock value, and there are some tense scenes where serious injury or bloody death seems imminent.
The film has some hilarious moments. There is one sequence past the halfway point featuring Pete Davidson and Bill Murray’s characters that had me in stitches. The sequence presents them with a neverending obstacle, and it was executed fantastically. “Riff Raff” is not the easiest film to identify within a certain genre. It is a little bit of an action flick. It is a little bit of a drama. It is a little bit of a crime story. It is a little bit of a comedy. When it comes to the comedy, it does not always hit, but when it does hit, it is sometimes a bullseye.
In fact, going back to those genres, one problem with this film is that it leans into being multiple genres at a time to the point where it never finds its footing and excels at one thing. It is like a more mature “Red One.” Although in this case, some of those genres perhaps barely surpass the “it’s fine” mark.
In the end, “Riff Raff” is neither great or horrible. It is the Little Caesars Pizza of crime movies. It delivers some enjoyment in the moment, but by no means is it going to sit in the hall of fame. Is “Riff Riff” going to end up being the year’s most memorable movie? No. In fact, it will likely be far from it. But there are also way worse options out there for your viewing displeasure. This is kind of in the middle of the road. It has been some time since I sat down and watched the movie so I am bound to forget some things, but truth be told, the more that time passes, the more I realize how forgettable “Riff Raff” becomes. The film has some decent moments that could squeeze it into a territory where I would say it is worth at least one watch, but I am nevertheless going to give “Riff Raff” a 5/10.
“Riff Raff” is now available to rent or buy on VOD.
Thanks for reading this review! I am sorry I have not posted a review for awhile. I have been busy with life, hobbies, as well as crafting the 7th Annual Jack Awards, which you totally should check out! It is available now for your enjoyment! That said, I do have more reviews coming including ones for “Nickel Boys,” “Mickey 17,” “Locked,” “The Luckiest Man in America,” “The Penguin Lessons,” and there is one film I saw recently that I have been debating as to whether I am going to review it or not, I just saw “Hans Zimmer & Friends: Diamond in the Desert.” It is a concert film, and I do not have a ton of experience with reviewing, or even watching those kinds of movies. That said, it was a great moviegoing experience and I would love to talk about it at some point. If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Riff Raff?” What did you think about it? Or, what is a movie with a solid cast that you think could have been better? Let me know down below! Scene Before is your click to the flicks!
WARNING: This post is over 11,000 words long. So, let’s keep this warning short. Period. End of sentence. Exclamation mark. Bippety boppity boo. Enjoy the show!
Hello and welcome to the 7th Annual Jack Awards! The show where we celebrate the movies of 2024! I am your host and entitled moron Jack Drees. I am back by unpopular demand. Much like the past years of the Jack Awards, there are no celebrity guests. Adrien Brody was invited to participate in this year’s show, but last I checked, he still has not finished his acceptance speech at the Oscars.
We have a great show ahead where we recognize the films that came out this year, make some of the people behind those films feel superior to others for brief moments, and announce the Best Picture of the year! For those who have never seen the Jacks before, this is a legit awards show… Probably. Two weeks ago, I announced the nominations and categories that will be represented during today’s show. These categories include just about every aspect of moviemaking you can think of like Best Visual Effects, Best Supporting Actor, and Best Film Editing just to name a few. And while all these categories represent the best of something, we are truly saving the best for last. That my friends, is the category of Best Picture. Each category will contain five nominees, with Best Picture being the one exception. That category contains 10.
Couple things to know… The movies being recognized today are all theatrically released. No straight to streaming. No straight to cable. No straight to DVD. That is basically television. Also, I have seen every movie represented during today’s show. But unfortunately, I have not had time to watch certain films that came out during the year. If there is a movie missing from the show, chances are I skipped it. For each category, all of the winners are based on my own opinion, except for one, Best Picture. While the nominees are based on my top 10 BEST movies of 2024, I decided to let the people choose which movie they think should win. The votes have been tallied, and the winner will be revealed as the show comes to a close.
One more thing before we begin. Many of the films we are celebrating tonight are from California. Whether they originate from what some might call Hollywood, Universal City, Burbank, or anywhere within the realm of Los Angeles… I want to acknowledge a large group of people during today’s show. I would like to shout out the people of Los Angeles and its surrounding communities… In addition to the first responders who helped fight the California Wildfires this winter. The film industry would not be what it is if it were not for Los Angeles, and I want to send my deepest thanks to every firefighter. Every kind citizen. Every medical worker. Everyone on the scene engaging in acts of kindness or saving lives. You are the real heroes and I want to thank you all for your efforts.
We love LA!
With that said, it is time for a little monologue. It is time for Jack Drees Tells Jokes to Nobody in Order to Please Himself!
Since there is no live audience listening to this monologue, there shall be no laughs. That said, if you are entertaining yourself in front of your screen, feel free to chuckle as much as you like. Your imaginary host would certainly appreciate it. So now, it is time to focus on the movies… Or as Netflix calls them, a really expensive project you watch on your phone.
Today we are celebrating movies like “Joker: Folie a Deux” as well the many cinematic achievements released over the past year loved by critics and fans.
There was no shortage of sequels this year. In fact, 2024 brought a box office milestone that has not been seen in at least 50 years. At one point in November, the top 10 movies at the box office for the year were all sequels. Yeah, if you look at the rundown, it lists ten films, and before you get to 11 it says “To be continued!”
In fact, one of those sequels is being celebrated tonight! “Dune: Part Two” is nominated for 10 awards, including Best Picture. In honor of splitting things into multiple parts, we’ll find out if the movie wins in the 8th Jack Awards.
Like the past number of years, Hollywood is not short on legacy sequels. “Beetlejuice Beetlejuice” was a huge success. Between Michael Keaton’s appearance in this movie and his outing as Batman in “The Flash” in 2023, he’s becoming the next Harrison Ford. He’s at that phase of his career where he’s revisiting a lot of his past roles. What’s next? Anybody remember Chick Hicks? Is Michael Keaton gonna do a “Cars” sequel where Chick Hicks does his daily laps around a retirement home? Is he gonna do a “Birdman” sequel where Riggan discovers what comic book movie fatigue is?
2024 also saw the releases of two R-rated comic book movies. On the Marvel side, you have “Deadpool and Wolverine.” And on the DC side, you have “Joker Folie à Deux.” Regardless of whether you prefer Marvel or DC, I am sure many of you will agree that these movies have helped us establish two kinds of parents. You have the cool parents who took their underage children to see these movies, and then you have the ruiners of all things fun.
We’ve also had a fair share of clever original movies as well. But I will not lie. There is some franchise potential with certain original titles released this year. For instance, “Juror #2” could be the sequel to “Juror #1.” “Saturday Night” could be a follow-up to “Friday Evening.” And “IF” might as well lead into a sequel called “THEN.”
“Saturday Night” is nominated for 3 awards including Best Picture. The film is a comedy dedicated to the events leading up to the first episode of “Saturday Night Live.” You know, that Chevy Chase kid in the movie – he looks like he’s got a bright future ahead of him. I wonder where he is now.
…If I had to guess, probably on vacation.
Nicole Kidman is nominated for Best Actress for her role in “Babygirl!” The tagline of the movie is, “Got milk?”
Sebastian Stan is nominated for his performance as Donald Trump in “The Apprentice!” And to prepare for his role, Sebastian Stan fired his agent.
If this were any other awards show, the host would be making a joke about Donald Trump as a politician. But I made a vow to leave political issues out of the Jack Awards. Even so, in a way, the Jack Awards is like the U.S. government. The Best Picture is decided by a popular vote. This monologue can sometimes feel as long as the President’s speeches. And much like a number of politicians, the host is a fraud, a liar, a cheater, an utterly entitled fu– WHOA WHOA WHOA WHOA! Who wrote this?! I’m not finishing that sentence! Next!
One film not only nominated for Best Picture, but also Best Animated Feature, is “The Wild Robot.” It is the third time a DreamWorks Animation made the Best Picture lineup. “The Wild Robot” is also the spinoff to DreamWorks’ hit movie, “The Bot Baby.”
Another candidate for Best Animated Feature is “Flow,” which is the first Latvian film nominated for a Jack Award. The movie had so many great lines, like “Meow!”
…
“Woof!”
…
“Caw caw!”
Remember “The LEGO Movie” installments with Chris Pratt? Those aren’t getting made anymore, but LEGO is still alive and well at the cinema. This year, the Pharrell Williams biographical documentary comedy “Piece by Piece” was the first LEGO-style animated film released since Universal was given the rights to make movies using the LEGO brand. Nominated for Best Animated Feature, the film truly opens the floodgates as to the kind of movies that could be done with LEGO. Maybe we’ll get more arthouse films with LEGO. They’re the perfect stories for all kinds of pretentious bricks.
Also, not to encourage piracy, but here is a fun fact about “Piece by Piece,” no matter which site you plan to use to watch the movie, chances are it is blocked in your country.
While the film was not nominated for Best Animated Feature this year, as well as any other award tonight, I do want to recognize the achievement that is “Inside Out 2.” The film is Pixar’s most successful yet, not to mention the highest-grossing animated picture of all time. Meanwhile Anger is chiming in and saying, “ONLY ANIMATED?! What gives?!”
This was the year of companies joining forces to create streaming bundles. Disney+, Hulu, and Max introduced a bundle plan in August that costs $29.99 a month with no ads, and $16.99 a month with ads. The bundle gives you access to so many movies. “Star Wars,” “The Lion King” “Lord of the Rings,” “Batgirl–” wait, no, never mind! Forget that one!
Meanwhile Comcast introduced its own streaming bundle which released in May that comes with Netflix, Apple TV+, and Peacock. The bundle is called “Streamsaver,” which is a word you totally want to use in the same sentence as PEACOCK. Thanks, Comcast!
Remember “Barbenheimer” from 2023? Well, 2024 also has a number of double features for audiences to enjoy. There was “Glicked,” which combines “Gladiator II” and “Wicked.” There was “Mufonic,” which combines “Mufasa: The Lion King” and “Sonic the Hedgehog 3.” And if you are a perverted and sick human being, there was also “Babyratu,” which combines “Nosferatu” and “Babygirl.” Yes, “Babyratu” is a real thing. And feel free to ditch the traditional popcorn and soda, because that last double feature goes perfect with milk and a hearty serving of blood!
Does everyone have their eyes wide shut? Time to open them, here’s a light question…
Did anybody see “Wicked” this year?
Yeah, of course you did. Even schlubs like me who had never seen a Broadway show went to see “Wicked.”
Like the movie or not, you have to admit. “Wicked” fever was EVERYWHERE. Even in the commercials! On top of the movie’s trailers, companies like Starbucks, Google, Xfinity, and Target pushed this film hard this year through advertising. There was so much green commercialism around the time “Wicked” came out that McDonald’s was offering the Shamrock Shake in November!
Jeff Goldblum starred in “Wicked” as the Wizard… Turns out he has a knack for spells that can change your apartment! I hear it changes the world!
Before “Wicked” came out, AMC Theatres made a new “Silence is Golden” campaign themed around the movie. It was even voiced by Jeff Goldblum! In addition to the traditional “no talking,” “no texting” rules, They had a reminder to the audience that there was to be “no singing.” Wait! You mean to tell me, that the audience DOESN’T? SING? AT BROADWAY SHOWS? What is this mayhem?!
…So that’s why they kicked me out of “Hamilton!”
For those of you who have been to an AMC Theatres location to see a movie this year, there is a chance that you got to see a “Silence is Golden” PSA themed around a film coming to or already in theaters. “Wicked” is one example. Another movie, “Dune: Part Two,” released around the time the “Silence is Golden” slogan was revived, but the movie never got a themed video. I thought it would be fun to share a conceptual “Silence is Golden” PSA featuring footage from “Dune: Part Two.” Here now is a look at that video.
And now to our feature presentation! It is time to hand out some awards, starting with Best Animated Feature!
Best Animated Feature honors some of the most imaginative films of the year. Films that have taken audiences to places they have only dreamed of. LEGO music videos… Cybertron… Japan… That last one is a real place, but believe me, I do dream of going to Japan. And one of these films took me there. Now it is time to take one of these films through the golden gates of victory. Here are the nominees for Best Animated Feature.
Flow (Gints Zilbalodis, Matīss Kaža, Ron Dyens, Gregory Zalcman)
Transformers: One (Josh Cooley, Aaron Dem, Lorenzo di Bonaventura, Mark Vahradian)
The Wild Robot (Chris Sanders, Jeff Hermann)
And the Jack goes to…
Kiyotaka Oshiyama and Kazuto Matsumura for “Look Back!”
This is going to be an interesting Jack Awards indeed… First off, history has been made! “Look Back” has become the first animated movie produced specifically outside the United States, to win Best Animated Feature! It is also the shortest film in Jacks history to win an award, clocking in at 58 minutes. The film is also one of the two animated flicks nominated for this category and Best Picture. The other one is “The Wild Robot.” Both have a chance to win the top prize at the end of the show. My vote does not lock “Look Back,” it is merely an endorsement. I endorse this movie as an artist, as a creative, as someone who was inspired to continue creating my own work. On top of that, the film is a showcase of two unlikely people getting together, becoming friends, and bettering each other’s lives. The film shows the positives of their friendship, as well as the negatives. Around the halfway mark, this film makes a tonal shift you have to see to believe. You will smile, you will cry, you will be taken aback by the beauty of this film’s animation styles as well as the narrative. Some may look at this film’s short runtime and think that this film could be a breeze. But it packs so much emotion in such a short span of minutes. If you are looking for this year’s Best Animated Feature, look ahead to “Look Back.”
Moving onto Best Visual Effects, this category is dedicated to the people who made us believe that the world could contain talking hedgehogs, sandworms, giant monsters, portals, and imaginary friends. This category is dedicated to the wizards responsible for bringing sights that dazzle the eyes. Here are the nominees for Best Visual Effects.
BEST VISUAL EFFECTS
Deadpool & Wolverine
Dune: Part Two
Godzilla X Kong: The New Empire
IF
Sonic the Hedgehog 3
And the award goes to…
“Dune: Part Two!”
This is the first win of potentially many “Dune: Part Two” could rack up tonight. The film is nominated for 10 Jack Awards, including Best Picture, making it the frontrunner. And it is making quite a sandworm-like entrance. The ground is shaking, the spices are flowing, and it looks like the trophies may be coming! So far, the “Dune” franchise is two for two in the visual effects categories. The original won the visual effects honor in the 4th Jack Awards, and the effects have only gotten better. This time around, not only do you get to see a sandworm, you have the bonus of seeing multiple sandworms at once, as well as shots of people riding them, where you get to inspect their ever so mighty crevices. What makes “Dune: Part Two” so visually appetizing is that every shot makes you feel as if you are part of the world. Every shot feels real. And I say that realizing that much of what is on screen is not. My brain says they are real, but in actuality, my mind is playing tricks on me. “Dune: Part Two” has more than 2,000 VFX shots. Just saying that is jaw-dropping. This film took me to Arrakis, and I was very sad to leave. But I am also happy to say that “Dune: Part Two” is deserving of its win and maybe it will be the start of an epic night for the movie.
It is now time to introduce one of the Best Picture nominees. Throughout the show, we will be naming each Best Picture nominee at various times. We will say what the film is about, how many nominations it has, and provide a trailer for the film below. With that said, here is one of the ten nominees… Just a warning for this first one, the trailer contains content that may be inappropriate for some younger viewers.
Our first Best Picture is a crossover years in the making. It is the culmination of two popular characters’ journeys all the while serving as their debut in the long-running juggernaut that is the Marvel Cinematic Universe. With mile a minute humor, gratuitous violence, and strong language that far exceeds any other MCU movie, there is no shortage of entertainment value through every frame this film has to offer. As an installment in one of these characters’ respective trilogies, it is undoubtedly their biggest adventure yet. As an MCU movie, it is a nice tonal shift into a more adult, yet wonderfully juvenile cinematic experience. Director Shawn Levy reunites with two actors with whom he has previously collaborated, Ryan Reynolds and Hugh Jackman. Together, they create an emotionally thrilling story with plenty of visually stunning action sequences. Nominated for 4 Jack Awards, this is “Deadpool & Wolverine.”
It is now time for the sound categories. We are starting, as usual, with Best Sound Editing, and then concluding with Best Sound Mixing. E comes before M, not only in the alphabet, but in the filmmaking process. These are the movies with sound that shook auditoriums, chilled ears, and dropped jaws. Here are the nominees for Best Sound Editing.
BEST SOUND EDITING
Civil War
Deadpool & Wolverine
Dune: Part Two
Godzilla X Kong: The New Empire
A Quiet Place: Day One
And the Jack goes to…
“Dune: Part Two!”
And “Dune: Part Two” is two for two! I had a feeling this movie was going to win this category just from the moment I saw the scene where Paul rides a sandworm for the first time. I got to see it as part of a five minute preview of the film before it came out and the entire place was shaking nonstop. Many of the great sounds of the first film make a return in this one between the the whirring of the ornithopters, the clinging and clanging of blades, and plenty of satisfying explosions. “Dune: Part Two” is an experience made for the big screen and brings some chilling sound effects along with it. Congratulations!
And now, here are the nominees for Best Sound Mixing.
BEST SOUND MIXING
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
A Quiet Place: Day One
Twisters
And the award goes to…
“Dune: Part Two!”
We are only four awards in, and so far, “Dune” is having a field day. Three awards so far! Not only does “Dune: Part Two” have cool concepts for sound, but when put together, the mix makes for something special. It is riveting to realize that as these characters are running through battle, riding sandworms, and navigating through the air, you ever so often get the sense that sand could potentially fly in your face. The only way that the sound in “Dune: Part Two” could be more immersive is if sand flew out of the speaker holes. The characters of “Dune” may be in an everlasting state of conflict, but the experience of watching them, and in this case, hearing them, in said conflict is unlike any other. “Dune: Part Two” takes both sound categories. That is the way things are “DUNE.”
Our second Best Picture is a lighthearted story set in a dark environment. The film sees a group of people preparing for their next play. The kicker, they are all doing the preparations while in prison. The film has an incredible cast, many of whom end up playing themselves. The film is about a large group dealing with their individual problems and the one thing that brings them all together to make them forget troubles for just a little while. The movie has its heart-wrenching moments, but these gut punches are balanced out by a story that recognizes the importance of creativity. Nominated for 6 Jack Awards, this is “Sing Sing.”
Next up we are tackling some design categories, beginning with Best Costume Design. This category honors five individuals with a passion for fashion. Showcasing their excellence in designing apocalyptic gear, pinstripe suits, and ballerina dresses for example, these designers wear their enthusiasm for craft on the sleeve, while also giving something for the talent to wear as well. Here are the nominees for Best Costume Design.
Something has changed within the Jack Awards! Paul Tazewell picks up the first win for “Wicked” tonight. This is Tazewell’s first win, as well as his second Jack nomination. His first was during the 4th Jack Awards for “West Side Story.” Not only do the costumes in “Wicked” tend to look similar to what fans of Oz lore have come to know over the years, as well as the Broadway play this story is named after, but they match the film’s attempt at realism. Each costume not only looks like it belongs on each character, but they feel like a part of Oz itself. It puts a sense of verisimilitude in what is ultimately a fantasy flick. One of the film’s core characters, Glinda, rocks multiple outfits throughout the picture, ranging in various degrees of complexity. When Elphaba finally puts on the hat, “Wicked” sometimes turns into a literal escape. Some other standouts in the film include Shiz University’s uniforms, Madame Morrible’s various choices of apparel, and the Wizard’s green suit. Congratulations to “Wicked” on its first win!
This next category is dedicated to production designers and set decorators. Whether they are recreating something that already exists like 19th century Germany, or something much more imaginative and fantastical like the lands of Oz and Arrakis, these designers created places that may be behind the screen, but nevertheless maintain a sense of tangibility. Here are the nominees for Best Production Design!
BEST PRODUCTION DESIGN
Beetlejuice Beetlejuice (Lori Mazuer, David Morison, Mark Scruton)
Dune: Part Two (Shane Vieau, Patrice Vermette)
Joker: Folie à Deux (Mark Friedberg, Karen O’Hara)
“Wicked” may not be nominated for Best Picture, but the film is likely going to have an epic night. If Dorothy could see what Nathan Crowley and Lee Sandales came up with for Jon M. Chu’s fantasy film, she would say that this is not a dream, it is a place. Turns out, in regards to 2024 cinema, Oz was the place to be. Not only is it grand… Not only is it dream-like… Not only does it come with a pinch of awe… It is the place where at one moment, you are at one of the most magical schools imaginable, and in another, you are at a ball beyond your wildest visions. Then all of a sudden, you are in a lair as chilling as can be, face to face with a giant man’s… Well, face. Let’s face the facts. The grandeur of “Wicked’s” production is essentially unmatched. “Wicked” takes the Production Design award, and its second win of the night.
Our third Best Picture is an animated movie from DreamWorks. Based on a book series, the film follows a robot who is tasked with raising a young gosling. Featuring a talented voice cast led by Lupita Nyong’o, this film showcases the work and rewarding feeling that can come with being a parent. It is a film that shows that parenting is a skill that is not easily taught. It is not something that can be done by the book. There are several elements that make such a task as unpredictable as can be. Packed with unique animation, humor, and moments that can make a grown man shed a tear, it is easy to see what all the hype is about. Musically, the film wows. Both in terms of its booming score and moving soundtrack. Nominated for 4 Jack Awards, this is “The Wild Robot.”
Now if you are familiar with the business practices of fast food chains, you would know that they will offer smaller, less caloric food options often catered towards children. One of the most popular cases of this is the McDonald’s Happy Meal, which not only provides a serving of food, but also comes with a toy. Typically, these toys are for kid-friendly properties. But I am about to show you an ad that I found for the McDonald’s Happy Meal, showing off what might be their weirdest cross-promotion yet. I do not think the parents are going to be “happy” with this one. Take a look.
Ladies and gentlemen, it is time for the first acting award of the night! We are starting with ladies first, so the category this time around is going to be Best Supporting Actress. This year’s set of supporting actresses come from various backgrounds and ages, all the while performing to the best of their abilities in films whose genres range from horror to drama to fantasy. Here are the nominees for Best Supporting Actress.
“Wicked” is arguably pulling off an upset! The film has won three awards, despite my initial 5/10 score for the film. That score still stands by the way. But it does not change the fact that I could not stop thinking about Grande’s magical outing ever since seeing this movie. She is far and away the highlight. Grande is tasked with so much in one role. Between maintaining a hyperactive personality, uttering dialogue that sounds like they come out of like a Willy Wonka-centered story from the mind of J.R.R. Tolkien, not to mention singing and dancing, there is no debate here. Grande is Glinda. Like “Wicked” or not, it is easy to admit that one can be sucked into the world of Oz, and Grande plays a huge part in that. Despite being a supporting performance, she has a commanding presence in the film from the first scene. She literally invites you into the story and ends up stealing every scene of said story. Ariana Grande has stated she has wanted to play Glinda ever since she was a child, and it is easy to see why. Every year during the Jack Awards, the winner has the privilege of having one of their clips played during the ceremony. Unfortunately there are not a whole ton of shorter clips available, but here is one from the film’s opening number, featuring Ariana Grande’s character of Glinda. Take a look.
Onto Best Supporting Actor… Of these five gentlemen, all of whom broke a leg in their respective films, four of them transformed into riveting characters, and another one became their truest, most genuine self. Whether they are playing someone else entirely or staying true to their personality, they all successfully entertained and compelled the many viewers who had the privilege of checking out their work in the past year. Here are the nominees for Best Supporting Actor.
BEST SUPPORTING ACTOR
Michael Keaton (Beetlejuice Beetlejuice)
Chris Hemsworth (Furiosa: A Mad Max Saga)
Denzel Washington (Gladiator II)
Kiernan Culkin (A Real Pain)
Clarence Maclin (Sing Sing)
And the award goes to…
Kieran Culkin for “A Real Pain!”
Kieran Culkin’s outing puts the word “real” in “A Real Pain.” One can watch this performance and easily attach this to their own lives. Whether it is through someone they know, someone they have seen, or maybe some part of themselves. Culkin dives heavily into the complexities of his character, Benji. In one moment, the character gives the impression that he barely leaves his house and does not have much of a life. Then in the next moment, he breaks out of his shell. Then in the next, he just breaks period. It makes for one of the most energetic and unique performances of the year, and when Culkin is put next to film’s star, Jesse Eisenberg, it makes for an odd couple unlike any other. “A Real Pain” is a film that is packed with tons of emotion, and perfectly balances comedy and drama. Culkin’s performance matches the movie’s tone to the max. Here is a clip of Culkin’s exceptional performance.
Just a warning, there is some language in the video that may be inappropriate for younger viewers.
Our fourth Best Picture showcases the impact of art and friendship. It follows two girls who despite their many differences, have one thing in common. They both love to make manga. The two join forces to let their visions come to life, all the while learning lessons about each other and themselves. The film is dynamic, creatively animated, and features incredible music. The film starts off as a relatable journey but quickly develops into something much bigger and bolder. The story may leave you in tears, but it is equally likely to leave you wanting to go after your dreams. The film may be under an hour, but it delivers so much in so little time. Nominated for 5 Jack Awards, this is “Look Back.”
Every year on the Jack Awards, we give away two Lifetime Achievement Awards. There is the Roger Deakins Award, which is given to a significant individual in the film industry who is still alive. And we will also give away the Stan Lee Award to someone in the industry who is just as significant, but no longer with us. Without further ado, it is time for this year’s issuing of the Roger Deakins Award.
The Roger Deakins Award is given to people who have built an extraordinary presence in cinema. Past winners include cinematographer Roger Deakins, actor Bill Murray, director Steven Spielberg, composer John Williams, actor John Goodman, and director Hayao Miyazaki. The recipient is also one of this year’s nominees. He is a composer known for his work on films from a variety of acclaimed directors including Tony Scott, Ridley Scott, Ron Howard, Christopher Nolan, and Denis Villeneuve just to name a few. Born in 1957 in Frankfurt, Germany, this man has always had a knack for creating iconic film scores, many of which combine electronic and orchestral instruments. He has been active in the industry since 1977. Throughout his decades of work, he won two Academy awards, a BAFTA, and five Grammys. His first Oscar win was for Disney’s “The Lion King,” released in 1994. The score, like the movie itself, was met with endless praise to the point where it is no surprise that its maestro came back to do the score for the 2019 remake. His Disney legacy does not stop there as he also helped craft the music for the “Pirates of the Caribbean” franchise. His second Oscar was won for 2021’s “Dune,” Denis Villenuve’s adaptation of the famous sci-fi novel. He is the head of the film music division at DreamWorks Pictures and DreamWorks Animation studios. He contributed to the animation giant’s many properties including “The Prince of Egypt,” “Spirit,” “Shark Tale,” “Madagascar,” “Kung Fu Panda,” “Megamind,” and “The Boss Baby.” While he may not have superpowers, his music heard in several comic book movies have only enhanced the quests of our heroes. Characters like Batman, Superman, Wonder Woman, Spider-Man, and the X-Men. He has collaborated with composers like John Powell, James Newton Howard, Junkie XL, and Benjamin Wallfisch. Hockey fans may be familiar with his theme music for the NHL team, the Seattle Kraken. Today he has his own film score company, Remote Control Productions, formerly Media Ventures. He has taken his material and presented it on tour multiple times for audiences around the world. And if you must ask, I had the privilege of attending the Boston show during his tour last year, and it is extraordinary. It is my extreme honor to bestow this year’s Roger Deakins Award to Hans Zimmer.
Hans Zimmer has become a household name in film composition. He has many extravagant pieces, booming scores, and excellent films under his belt. Each score of his is about as exciting and inviting as the one that came before. His contributions to film music will forever be cherished and listened to by many for years to come. Congratulations to Hans Zimmer for being this year’s recipient of the Roger Deakins Award.
You may remember during the 5th Jack Awards, I did a vlog of the grand opening for what was then a new location of one of my favorite stores, Bull Moose. I fell in love with the store ever since I first visited its Salem, New Hampshire spot. But unfortunately, that location is now closed, and has relocated to a nearby town. That said, it is time to relive a memory from the now closed store, all the way back in January 2024, not long after they started buying back t-shirts. I thought I would bring in some of my own shirts and see what would happen, take a look.
A word of warning about this next film, the trailer contains some language that may be inappropriate for younger viewers.
Our fifth Best Picture is the story of some “not ready for primetime players” getting to work. Inspired by the true events leading up to the first episode of “Saturday Night Live,” this movie centers around the show’s creator, Lorne Michaels, played by Gabriel LaBelle. The man tries to make the best show he can, all the while confronting his most daunting threat – a rerun of a talk show. Featuring a star-studded cast including Rachel Sennott, Cory Michael Smith, Kaia Gerber, Willem Dafoe, J.K. Simmons, and Finn Wolfhard, the film shows what happens when a bunch of nobodies try to make a TV show that would defy the expectations of a studio, its executives, and local affiliates. It may sound boring, but with one problem after another, the film moves at a breakneck pace that can easily trigger a sense of anxiety. Nominated for 3 Jack Awards, this is “Saturday Night.”
Our next category is Best Makeup & Hairstyling. If you look at some of this year’s nominees for this category, you would notice many of the movies link to the horror genre in some way. But despite being horrifying, these films, along with their lighter, more action-based competitors, have some of the most attractive wigs, prosthetics, face paint, and beards on screen this year. Here are the nominees for Best Makeup & Hairstyling.
The Substance (Pierre Olivier Persin, Stéphanie Guillon, Marilyne Scarselli)
Wicked (Frances Hannon, Laura Blount, Sarah Nuth)
And the award goes to…
Pierre Olivier Persin, Stéphanie Guillon, and Marilyne Scarselli for “The Substance!”
If you watched “The Substance” this year, you would come to notice the excessive amount of closeups, sometimes of people simply eating food. Also, please, for your own mental state, DO! NOT! EAT! WHILE! WATCHING! THIS! MOVIE! You will thank me later. But sometimes, these closeups allow you to take in every crevice of detail of each character’s looks. Whether it is Margaret Qualley’s variety of hairstyles, her lipstick, the work done to her eyes. And when the camera is a bit further back, we are also privileged with a multitude of shots of select characters donning the film’s heavily detailed and sometimes disturbing prosthetics. If you are not busy gazing into the film’s depiction of ageless beauty with Margaret Qualley, quite literally pumping things up, you may be busy staring at the unhinged designs given to Demi Moore. The talent has a lot of looks to work with on screen, and they ace every one of them with their excellent acting abilities. “The Substance” is one of the most disturbing films of the year, and it is certainly true that a film this off-putting can also look so fantastic. It is a ridiculously beautiful enigma. Perhaps one that is difficult to fully describe. Congratulations to the hair and makeup artists of “The Substance!”
Now it is time to face the music. We are moving onto Best Original Score. This category is dedicated the maestros who brought us atmospheric, moving, or at times, monumentally epic compositions. Each one of these composers brought us ever so closer to Arrakis, to the Catholic Church, to our very own imaginations. Here are the nominees for Best Original Score.
BEST ORIGINAL SCORE
Conclave (Volker Bertelmann)
Dune: Part Two (Hans Zimmer)
IF (Michael Giacchino)
Look Back (Haruka Nakamura)
Saturday Night (Jon Batiste)
And the Jack goes to…
Hans Zimmer for “Dune: Part Two!”
And “Dune: Part Two” breaks its tie with “Wicked!” It is leading tonight’s nominees with four wins so far! As for Hans Zimmer, this is not his first rodeo at the Jack Awards. Of course, he won the Roger Deakins Award tonight. But also, this is second time winning Best Original Score. His first was during the 4th Jack Awards for his work on “Dune.” Now he comes back with plenty of the material that made the first film so easy on the ears, but also sprinkles in some new banger themes as well. As many sequels do, “Dune: Part Two” goes bigger in scale than its predecessor, but I had no idea how Hans Zimmer could do such a thing with the music. Turns out, his score here, is just as, if not more stuck in my head than what we got in the first film. One of the film’s characters, Chani, says Arrakis is so beautiful when the sun is low. That may be true, but I would argue that Hans Zimmer is just as breathtaking whether in brightest day or darkest night. Click the link below to listen to one of the tracks from Hans Zimmer’s award-winning efforts.
Word of warning, this next trailer contains content and language that may be inappropriate for younger viewers.
Our sixth Best Picture is a movie about a bunch of people confronting a young girl who may be cute, but not cuddly. This is the second project nominated for Best Picture from Tyler Gillett and Matt Bettinelli-Olpin, the same filmmakers behind “Ready or Not.” Much like that film, this picture is mostly set in one location and features a group all dealing with the same task. They must brace themselves for any and all twists and turns as they keep a young girl from prompting any and all havoc. They come to realize this young girl is a vampire. Oh, and she is also very good at ballet. So that is fun. The titular character is played by Alisha Weir. Her resume may be small, but this movie proves her talent to be enormous. The film features a recognizable cast including Melissa Berrera, Kathryn Newton, Giancarlo Esposito, Dan Stevens, and one actor taken way too soon… Angus Cloud in his final role. Together, they deliver one of the most scary fun films of the year. Nominated for 3 Jack Awards, this is “Abigail.”
Our next two categories are dedicated to screenplays. Best Adapated Screenplay, and Best Original Screenplay.
Art comes from everywhere you look. As for these next five nominees, their art came from novels, well-known franchises, children’s books, manga, and written pieces based on true stories. No matter where these stories came from, they all became something much bigger than anyone can imagine. Here are the nominees for Best Adapted Screenplay.
BEST ADAPTED SCREENPLAY
Conclave (Peter Straughn)
Look Back (Kiyotaka Oshiyama)
A Quiet Place: Day One (Michael Sarnoski, John Krasinski)
Sing Sing (Clint Bentley, Greg Kwedar)
The Wild Robot (Chris Sanders)
And the Jack goes to…
Chris Sanders for “The Wild Robot!”
THIS. WAS. TOUGH. I could make an argument for every nominee listed. But I had to pick one, and I did so by the slightest of margins. My goodness. I picked “The Wild Robot” because it does a great job at showcasing not just an entertaining narrative about its title character, but also its deeper dives into the struggles of parenting. Every parent’s journey is different, but “The Wild Robot” works so well because it highlights the many common obstacles that parents face. From making sure that their child learns certain things at a particular time in their life, to wondering if they would be successful on their own, dealing with another parent who may come from a different background, or different teachings. But one of the great lines of “The Wild Robot” comes from Roz herself, saying “Sometimes to survive, we must become more than we are programmed to be.” That line not only sums up her journey, but the journey of anyone who has a child. It is something that cannot be explained or shown verbatim. There is no one right way to raise a child. It is just something that comes naturally, and sometimes it takes everything you have for that journey to be successful. Am I a parent? No. But as someone who is not a parent, this movie makes me appreciate everything parents do for their children. On that note, thank you to Chris Sanders for making an excellent film, and thank you to the world’s parents, including my own, for everything you have done to allow your children to grow, mature, and become the people they were meant to be. The work you do is unbelievable. Cheers!
Moving onto Best Original Screenplay. As I just said moments earlier, art comes from everywhere you look. Chances are, if you looked inside the minds of these five screenwriters, you could find these ideas floating in there somewhere. These are the ideas that became scripts. These are the scripts that became moving images. These are the moving images that became success stories. These are the success stories that became the nominees for Best Original Screenplay.
BEST ORIGINAL SCREENPLAY
Anora (Sean Baker)
Daddio (Christy Hall)
Juror #2 (Jonathan A. Abrams)
My Old Ass (Megan Park)
A Real Pain (Jesse Eisenberg)
And the Jack goes to…
Jesse Eisenberg for “A Real Pain!”
This is the second win for “A Real Pain” tonight, following in the footsteps of Kieran Culkin’s victory in the Best Supporting Actor category. Jesse Eisenberg tells one of the most personal stories of the year. The film is about an odd pair of Jewish cousins who visit Poland to see Holocaust-related sites as well as the home of their late grandmother. The movie is an entertaining ride far from both of its leads’ homes, but also a depressing narrative that highlights the worst of humanity. On the surface, it is a film that should be sad, but also knows when to be funny. It knows when to be charming. It has fun with the spontaneity and unexpected nature of its characters. It features people who are more than meets the eye. The screenplay taps into the moments of bliss in a life that may seem unlived, while also unveiling the personal wants of someone who may seem to have it all. The film packs a lot of substance into a short runtime, and every minute results in something as thought-provoking as it is entertaining. Congratulations to Jesse Eisenberg! If I may add, Eisenberg also stars in the film. He is not nominated for Best Actor today, but if we could add one or two nominees to the list, I think he could be a could be a contender. He did such a fantastic job in the lead role.
This next film has all the hallmarks of a Best Picture nominee. The seventh film on the rundown features strippers, spoiled brats, oligarchs, and several people trying to stop a marriage. Racking up credits as a director, writer, and editor, Sean Baker puts his heart and soul into a project unlike any other. The film interjects a perfect balance between comedy and drama, but never once do the tones clash. Delivered at a breakneck pace, this film is chock-full of memorable scenes and laugh-inducing moments that rival many pure comedies. The titular character is played by Mikey Madison, and she kills her commanding role throughout this unpredictable ride. Nominated for 5 Jack Awards, this is “Anora.”
This category features five films that totally make the cut. Or in this case, the cuts. The nominees for these films had a hand in cutting wild pursuits through the New York metro area, exciting action sequences in different timelines, well-choreographed fights on imaginary planets, one chaotic hour and half shared by a TV crew, and a horrific journey of two bodies tasked with respecting the balance. Here are the nominees for Best Film Editing.
BEST FILM EDITING
Anora (Sean Baker)
Deadpool & Wolverine (Dean Zimmerman, Shane Reid)
Dune: Part Two (Joe Walker)
Saturday Night (Nathan Orloff, Shane Reid)
The Substance (Coralie Fargeat, Jérôme Eltabet, Valentin Feron)
And the Jack goes to…
Coralie Fargeat, Jérôme Eltabet, Valentin Feron for “The Substance!”
“The Substance” takes its second win of the night, on top of its previous win for Best Makeup & Hairstyling. All of these five films are deserving of the nomination. But what solidifies “The Substance” as the winner is the film’s individualistic approach to detail. Like the rest of these films, “The Substance” implements a variety of close-ups. But the way the film interjects extreme close-ups at various points of the runtime make for a film that truly stands on its own. “The Substance” is creepy and definitely not for everyone. But that is also why it is tonight’s winner. It is the film’s most horrifying combinations of shots that bring it ever so slightly to glory. When the film suddenly cuts to extreme close-ups of Dennis Quaid eating shrimp, it elicits an unpleasant feeling, but it is also something that gives “The Substance” an identity. In fact, when you implement Raffertie’s excellent score into scenes of people simply walking, it makes for something simple present itself as something larger than life. Congratulations to the editors of “The Substance!”
One common saying associated with filmmaking is “lights, camera, action.” Our next five nominees used lights and cameras to spoil audiences with some action-packed cinema throughout the year. Using techniques to present movies in IMAX, VistaVision, and digital, these masterminds unleashed spectacles that took us to deserts, churches, Gotham, and 20th century America. Here are the nominees for Best Cinematography.
BEST CINEMATOGRAPHY
The Brutalist (Lol Crawley)
Conclave (Stéphane Fontaine)
Dune: Part Two (Greig Fraser)
Furiosa: A Mad Max Saga (Simon Duggan)
Joker: Folie à Deux (Lawrence Sher)
And the Jack goes to…
Greig Fraser for “Dune: Part Two!”
This is an accolade I have been looking forward to giving all year long. “Dune: Part Two” is an experience. Such a sentiment cannot be stated enough, even after the movie has taken its fifth win tonight. I have talked about the sandworm scene time and time again, particularly the one where Paul learns to ride one. That scene is superbly shot and magnificently put together, placing you in the middle of the action. Yet that is argubaly not even the most immersive moment in this film featuring a sandworm. Because later on, we see an epic action sequence where all of a sudden, three sandworms pop out and say hello to some teeny tiny little friends. Just when the scene could not get any more exciting, we cut to a first-person view of the sandworm leaping through the air. For just a brief moment, you quite literally become the sandworm. That alone, should solidify the price of admission for “Dune: Part Two,” especially in IMAX. When it comes to the IMAX experience, just about every scene is expanded for the IMAX screen, including some in the true 1.43:1 aspect ratio used in the films that won this category during the previous two Jack Awards. Jordan Peele’s “Nope” and Christopher Nolan’s “Oppenheimer,” both of which were shot by Hoyte van Hoytema. Now, using all digital cameras instead of film, Greig Fraser steps up to the plate with his first Jack win and second nomination. The first nomination, by the way, was the previous “Dune” installment. These breathtaking shots are part of a jaw-dropper of a science fiction flick that by the end, leads you to paradise. Congratulations to Greig Fraser, and the crew of “Dune: Part Two” on five wins so far. It only needs two more to tie “Everything Everywhere All at Once” and “Oppenheimer” as the winningest film in Jacks history. It is a feat that can be done. The film is nominated in two more categories, Best Director and Best Picture. We will see what happens when we get to that point.
Our eighth Best Picture is a prequel to two mainstream horror titles from the mind of John Krasinski. This time around, directing duties are given to Michael Sarnoski. He delivers an epic kickstarter that has more to say than ever in a franchise known for minimal dialogue. Starring Lupita Nyong’o as Samira, the film’s cast of characters learn that to survive against alien creatures roaming around the loudest city, they must adapt to total silence… All the while fulfilling a hunger for pizza. The story is as simple as can be, but executed beautifully between its solid characters and exciting survival sequences. Nominated for 4 Jack Awards, this is “A Quiet Place: Day One.”
They say no film is perfect. And to that I say, whoever “they” happens to be, “they” are on the money. For instance, the “Fast & Furious” movies do not spend a lot of time on the characters’ anger issues. Despite being called “Jurassic Park,” never once do the dinosaurs fight over parking spaces. Oh yeah, and there are also some movies that fail to feature the line “He was in the Amazon with my mom while she was researching spiders right before she died.”
Look… We are here to celebrate movies. But I already bashed the “Joker” sequel so I gotta play it fair to both sides. Marvel’s “Madame Web” is getting a beating too.
Nevertheless, no film is perfect. But why not make them better? That is exactly what I tried to do in this year’s edition of “Film Improvements.”
Like a good movie, a good song can really set the mood for a great time. The people who made the following songs managed to set the mood with their songs while combining their talents with those of filmmakers tasked of making the best movie possible. These five songs managed to elicit emotions, get stuck in people’s heads, and remind people of the power of music in film. Here are the nominees for Best Original Song.
BEST ORIGINAL SONG
Light song – Urara, Haruka Nakamura (Look Back)
Piece by Piece – Pharrell Williams (Piece by Piece)
Like a Bird – Abraham Alexander, Adrian Quesada (Sing Sing)
Out of Oklahoma – Lainey Wilson, Shane McAnally, Luke Dick (Twisters)
Kiss the Sky – Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi (The Wild Robot)
And the Jack goes to…
Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack, and Ali Tampsoi for “Kiss the Sky” featured in “The Wild Robot!”
This is the second win for “The Wild Robot!” The film could also take a third, as it is nominated for Best Picture. What makes “Kiss the Sky” so fantastic is that it is an excellent tune on its own, commanded by moving lyrics and Maren Morris’ exceptional singing voice. But when you place it in the movie, alongside a training montage, it is a perfectly balanced relationship. The song enhances the scene, and in return, the scene enhances the song. Despite what the title could make one think, “The Wild Robot” dives into what it means to have a soul. The song channels that spirit, quite literally to the sky. The lyrics tap into the joys and challenges of parenthood, as well as those faced by the children on the receiving end. If you need a song to motivate you and fill you with life, then “Kiss the Sky” is a perfect option. For your listening pleasure, here now is Maren Morris’ song, “Kiss the Sky.”
We are down to the final four… Best Director, Best Actor, Best Actress, and to top things off, Best Picture. The real March Madness is upon us.
Four men… One woman… Five excellent films. Our next five nominees have paved the pathways to creating their own masterpieces. Whether it is a cinderella story, a thought-provoking drama, a spectacular sequel, a tale shining light in the darkest of places, or an ageless narrative diving into the constant struggle of time, these five visionaries reinvented the cinematic wheel with their own series of shots, scenes, and imaginations. Here are the nominees for Best Director.
BEST DIRECTOR
Sean Baker (Anora)
Edward Berger (Conclave)
Denis Villeneuve (Dune: Part Two)
Greg Kwedar (Sing Sing)
Coralie Fargeat (The Substance)
And the Jack goes to…
Sean Baker for “Anora!”
“Anora” is nominated in five categories, and it has just received its first win! The film is also nominated in two upcoming categories, Best Actress and Best Picture. Indie darling Sean Baker earns his flowers for letting a one of kind story like this one come to life. “Anora” is a gigantic, in your face ball of energy that is catalyzed from the opening scene. The film has many aspects of a well-directed effort between well-timed dialogue, realistic chemistry, and well cast actors who give really good performances. That said, the little choices sprinkled through the film are what make this win possible. Little things like Vayna’s slide when giving Ani a drink… The vertical chucking of a baseball bat on the boardwalk… The many choices made behind the scenes to humanize Ani despite the knowledge that she is a stripper. The film is a chaotic, unexpectedly hilarious tale of forbidden love, that also dives into classism. Sean Baker is a mastermind and this is a film you should check out at least once. Congratulations to Sean Baker!
Our ninth Best Picture comes from John Krasinski. Known for his comedic talents as well as his mastery of suspense, his latest directorial effort is a family friendly feature about a concept many of us attach ourselves to as children. The film shows that as we age, we might need that concept more than ever. Packed with stars including Ryan Reynolds, Steve Carrell, Phoebe Waller-Bridge, and Emily Blunt, the film is as imaginative as can be and offers emotional pinches of nostalgia. Add in Michael Giacchino’s grand, booming score, then you have a recipe for an incredible family film. Nominated for 3 Jack awards, this is “IF.”
The following five nominees embrace their craft so much to the point where they appear to break their legs for hours upon hours. Or in the case of Adrien Brody, to the point where they go onto break their legs, let the crowd watching leave the room for ten to fifteen minutes, and watch him break his arms. All of these men have something in common. They are actors. Another thing they have in common is their ability to astoundingly transform themselves before the audience’s eyes. These are five of the most stunning transformations of the year. Here are the nominees for Best Actor.
BEST ACTOR
Sebastian Stan (The Apprentice)
Adrien Brody (The Brutalist)
Timothée Chalamet (A Complete Unknown)
Ralph Fiennes (Conclave)
Colman Domingo (Sing Sing)
And the Jack goes to…
Timothée Chalamet for “A Complete Unknown!”
Earlier this awards season, during his win at the SAG Awards, Timothée Chalamet said he wanted to be “one of the greats.” Well, maybe this Jack win will give him a head start. Chalamet is one of the finest young talents working today. I should also honorably mention his monumental efforts brought to the screen in another great film from this year, “Dune: Part Two.” But as for “A Complete Unknown,” Timothée Chalamet is the complete package. Not only does he handle the dialogue to a tee, but he sings Bob Dylan’s discography with his own voice. He also learned how to play guitar for this movie. This role proves Chalamet to be quite the multitalented individual. Chalamet follows in the footsteps of actors like Rami Malek and Austin Butler in previous years on the Jacks for acing the role of a well-known musician and winning the award for playing them as a result. Given Chalamet’s abilities, it is easy to see why. Here is a look at Chalamet’s range in “A Complete Unknown.”
We have come to a crucial moment during the show. We are now at the last category featuring five nominees, Best Actress. And this category features some powerhouse performances. The actresses nominated were so terrific, that part of me wishes I could honor six people instead of five. Unfortunately, rules are rules. Coincidentally, all five of these performances definitely rule. One of the individuals may be from the movie “Challengers,” but my goodness, all five of these women have risen to the challenge and became highlights of their own projects. Here are the nominees for Best Actress.
BEST ACTRESS
Mikey Madison (Anora)
Nicole Kidman (Babygirl)
Zendaya (Challengers)
Naomi Scott (Smile 2)
Cynthia Erivo (Wicked)
And the award goes to…
Mikey Madison for “Anora!”
And it is a fairytale ending for Mikey Madison! This is the actress’s first ever Jack nomination and win. It is also “Anora’s” second win of the show. “Anora” is a movie that one can easily remember for its occasional outlandish script choices and absurdities, but Mikey Madison is a heart and soul in this crazy ride that brings things down to earth. Yes, like the movie itself, she is energetic and full of personality. But in a movie showcasing tons of people featuring some connection to oligarchy, Madison’s Ani stands out for her human portrayal of a sex worker and her representation of the working class. We see Ani chase love, money, and fight even harder when she comes to realize both of those things could be whisked away from her in just a hint of time. Madison goes as heavy on the Brooklyn accent as her character does to a life of happiness. Here is a clip of Madison’s kinetic performance.
It is now time for the second Lifetime Achievement Award of the night, the Stan Lee award.
The Stan Lee Award is given to individuals who are no longer with us, but will maintain a legacy for years to come. Past winners include comic book creator and cameo regular Stan Lee, neo-futurist concept artist Syd Mead, composer Ennio Morricone, actress Betty White, visual effects maestro Douglas Trumbull, and actor Alan Arkin. This year’s winner is yet again, an actor, and one who stayed relevant through several decades through multiple iconic films and franchises. Born in 1931 in Arkabutla, Mississippi., This man came a long way from the Jim Crow era, living with a childhood stutter, to become known for his work on Broadway, film, television, and several “Shakespeare in the Park” productions. Before his legacy was built, he was a US Army officer in the Korean War, and earned his way to a degree at the University of Michigan. Receiving a series of high honors through his life, he is one of a few people to ever achieve the EGOT. That is someone who has won an Emmy, a Golden Globe, an Oscar, as well as a Tony. Some of his many film projects include “The Lion King,” “The Sandlot,” “Coming to America,” “Conan the Barbarian,” “Field of Dreams,” and “The Hunt for Red October.” His most well known work is, without debate, providing the voice for Darth Vader in the “Star Wars” franchise. While the character was physically portrayed by other people, this man was always the one who got inside the character’s head. His iconic deep voice is as recognizable as anything and as compelling as can be. He helped create one of the most legendary villains of all time in 1977’s “Star Wars” and continued to thrill audiences, even if they were rooting against him, all the way to 2022 when he played the character for the last time in the Disney+ series “Obi-Wan Kenobi.” Vader is not the only character he played multiple times, as he came back to play Mufasa in the 2019 remake of Disney’s “The Lion King.” He also played Mr. Mertle for a second time in “The Sandlot 2,” a televised sequel to the classic baseball movie. In 2021, he came back for a second outing as King Jaffe Joffer in “Coming 2 America,” the followup to the similarly named 1988 comedy. He also lent his voice to the news channel, CNN, with their often used tagline, “This is CNN.” And while that network was busy focusing on the world’s top stories, people continued to embrace this man’s list of tales as far as the eye can see. I am proud to present this year’s Stan Lee Award to one of the most powerful voices in movies… James Earl Jones.
James Earl Jones has racked up an enormous, prominent resume of roles over the years. Sometimes he would revisit those roles with a similar sense of commitment that he delivered in a previous outing. Many of his roles have been delivered with a presence as commanding as can be. Jones’s voice is one for the ages, and so is his career. Congratulations!
Our tenth and final Best Picture is the latest film from Denis Villeneuve. It is his second film based on Frank Herbert’s “Dune” book series. Picking things up right where they left off, the film is a spectacle-fueled masterpiece that sees the return of previous stars including Timothée Chalamet and Zendaya while also bringing on new, talented cast members such as Christoph Waltz, Florence Pugh, and Austin Butler. The film expands lore and includes epic sequences ranging from sandworm rides to large battles to one on one duels with exquisitely crafted choreography. On the technical side, composer Hans Zimmer and cinematographer Greig Fraser are back for seconds to unleash a bombastic score and a jaw-dropping set of shots. Science fiction does not get bigger or better than this. Nominated for 10 Jack awards, this is “Dune: Part Two.”
Ladies and gentlemen, we are reaching the end of the show. By the way, if you started reading this at the same time a screening began at AMC, they are just a quarter of the way through the trailers. It is time to crown this year’s Best Picture. The same rules apply as always. The nominees, like those in all the other categories, were chosen in advance of today’s show. The difference – the public has the power. The public gets to choose this year’s Best Picture winner. There are 10 Best Picture nominees, but only one will exit good as gold. Couple things to keep in mind… If “Deadpool & Wolverine” wins, that is the second MCU movie to win Best Picture. If “Dune: Part Two” wins, that is the second “Dune” film to win Best Picture, as well as the second Denis Villeneuve film to win Best Picture. And if I open a card that says “La La Land” in it, then this year’s show is gonna be on the news for the next month. With that in mind, let’s introduce the nominees one more time!
BEST PICUTRE
Abigail (William Sherak and Chad Villella)
Anora (Alex Coco, Samantha Quan and Sean Baker)
Deadpool & Wolverine (Kevin Feige, Shawn Levy and Ryan Reynolds)
Dune: Part Two (Mary Parent, Cale Boyter, Tanya Lapointe and Denis Villeneuve)
IF (Allyson Seeger, John Krasinski, Andrew Form and Ryan Reynolds)
Look Back (Kazuto Matsumura)
A Quiet Place: Day One (Michael Bay, Andrew Form, Brad Fuller and John Krasinski)
Saturday Night (Jason Blumenfeld, Peter Rice, Jason Reitman and Gil Kenan)
Sing Sing (Clint Bentley, Greg Kwedar and Monique Walton)
The Wild Robot (Jeff Hermann)
And the Jack goes to…
“The Wild Robot!”
This is the third win for “The Wild Robot.” The film also won for Best Adapted Screenplay and Best Original Song. The film was also nominated for Best Animated Feature. This is the first fully animated movie to win Best Picture and the second consecutive win in this category for a Universal Pictures release.
One film has become more than it was programmed to be! “The Wild Robot” makes history at the Jack Awards! The film did not win Best Animated Feature through my personal pick. Though if am being honest, it came very close. This is however a monumental achievement, because “The Wild Robot” is the first animated movie to win the Best Picture category!
And what a picture it is! It provides a unique look at the common journey of parenting, as well as the complexities and obstacles that come with it. The film may be made for families, but it is brutally honest about the hardships that come with a raising a child. This is a film that children can enjoy, but parents will appreciate because it interjects humor about situations in which they may find themselves on a regular basis. Chris Sanders makes the most of his animation background developed through multiple directorial and screenplay credits through movies like “Lilo & Stitch,” “How to Train Your Dragon,” and “The Croods.” Sanders brings us a film that is as joyful as it is funny, and as easy on the ears as it is on the eyes. The moment the robot turns on for the first time, it sucks you in as she makes her way through the picturesque dangers of the woods.
That robot by the way, is voiced with such power by Lupita Nyong’o, who gives an incredibly human portrayal of someone who can only emote herself so much. Joining her is an all star cast of actors who deliver on comedy as well as the feels. From big name stars like Pedro Pascal to rising talents Kit Connor. On top of the film’s parent-centered journey, the film offers commentary on the environment, climate change, and working together despite your differences. The film does a great job at encapsulating what may as well be years of a parent’s journey with their child in less than a couple hours, yet delivers a similar level of emotion that a parent could experience in real time. By the end of this film, a grown man could shed a tear. It is that powerful. Adding on top of it is the film’s music choices. Everything from the magnificent score from Kris Bowers to originals sung by Maren Morris like “Even When I’m Not” and “Kiss the Sky.”
“The Wild Robot” has become a critical and box office success, maintaining a Certified Fresh status on Rotten Tomatoes and earning $333 million on a $78 million budget. Last year, Chris Sanders confirmed a sequel is in development at DreamWorks Animation. As for the book series that inspired this film, a new entry is due to come out this June. There is truly no stopping “The Wild Robot.” I want to personally congratulate everyone involved with the film from the cast and crew to DreamWorks to Universal to producer Jeff Harmann, executive producer Dean DeBlois, and co-producer Heather Lanza. A round of applause is deserved for Chris Sanders, the writer and director of this masterpiece. “The Wild Robot!” …Making history at the Jack Awards as the first animated Best Picture winner!
And that is all for this year’s Jack Awards! Special congratulations to all of tonight’s winners! To everyone who voted for Best Picture, thank you for your assistance. Thank you for making your voices heard. Congratulations to “The Wild Robot” for winning Best Picture, as well as two other awards! Congratulations to “Dune: Part Two” for taking home five trophies! And congrats to all the other winners today as well! I want to thank all my viewers for tuning in for another great show celebrating an equally great group of movies! This show has become an annual tradition, and the way things are looking, we will be doing it again next year. As I said at the top of the show, I want to shout out to the people of Los Angeles, as well as the many first responders who fought the California Wildfires. We see you, and we love you!
For those sticking around, I have plenty of reviews on the way including “Riff Raff,” “Nickel Boys,” “Mickey 17,” and “Locked!” Be sure to follow Scene Before to stay tuned for these reviews and more exciting posts along the way! Also, check out the official Facebook page! Scene Before is your click to the flicks!
“I’m Still Here” is directed by Walter Salles (Central Station, The Motorcycle Diaries) and stars Fernanda Torres (Love Me Forever or Never, The House of Sand), Selton Mello (A Dog’s Will, Lisbela and the Prisoner), and Fernanda Montenegro (Sweet Mother, Central Station). This film is based on a memoir of the same name and is about a mother who deals with the forced disappearance of her husband, former politician Rubens Paiva, who opposed Brazil’s military dictatorship.
In an effort to catch all of this year’s Best Picture nominees before the Oscars, I had to find a way to check “I’m Still Here” off my list. One key difference when it comes to this nominee in particular compared to say “Anora” or “Wicked” or “Dune: Part Two” is that I went into this film knowing nothing about it. All that I really knew was that it was a Brazilian movie, the characters speak Portuguese, and it was getting a lot of critical acclaim. I went in completely blind, having barely come across as much as a poster. Safe to say, I did not know what to expect.
Thankfully, I came out of this movie feeling satisfied.
“I’m Still Here” is not an easy watch. Some of my audience might think I say such a thing because this is a film not made in the United States or a film where English is not the primary language used in the dialogue.. That is not my point. Though I can see why those two things could turn some people off upon a first impression. Instead, this film deals with a serious subject matter that I imagine would be tough for some viewers. The film is dramatic, yet grounded at the same time. It is perfectly balanced in its attempt to be both an inviting slice of life story and an engaging political thriller. The film is like life itself. It has its happy moments. It has its sad moments. And in the long run, it is worth seeking out.
One of my favorite things about this film is how it handles the importance of family, especially when you consider the protagonist’s point of view, as well as the many obstacles she must face just to be with them, or do what is best for them. We see her trying to protect them under their respective political landscape, as well as do anything and everything she can to uncover her husband’s whereabouts. The film shows what it means to stay connected even in the darkest of times.
The family itself is well written and decently cast. There is not a single person on the lineup I found to be out of place, and I thought everyone’s personality shone through. Honestly, the entire cast of the film serves their purpose and does a good job. I cannot name a bad apple on the tree. But Fernanda Torres is on another level with her performance here.
There is a reason why Fernanda Torres was nominated for an Academy Award. She is the film’s soul and I cannot see anyone else playing her. Every moment, every line, every facial expression, she sold me. Torres is commanding in every scene. The movie gives her a lot to do and she handles all of her material very well. I have been doing some research online to see what everyone is saying about this film, and just about every other person I am coming across is losing their mind over Torres. I may not be adding anything new to the conversation that has not already been said, but she is easily the best part of the movie.
This film is based on true events. On that note, the story features real life politician Rubens Paiva (left). I do not know a ton about the real events that inspired this film, but I did some research on Paiva following the film and I have to say kudos to whoever cast Selton Mello, because he looks the part. Granted, acting ability is arguably more important, and thankfully, he has that in spades.
One of the reasons why I have come to realize “I’m Still Here” has some of the best collective acting in 2024 cinema is likely because of the way the film was shot. If you know how movie productions tend to work, not every project is shot in chronological order. “I’m Still Here” is an exception to the rule. I think this move paid off, because it allowed the talent to experience the sense of immersion in their story that viewers like I did while watching it unfold.
On that note, “I’m Still Here” is quite an immersive movie. “I’m Still Here” has more in common with a slice of life tale than a large scale epic, but the movie sometimes feels as large as life itself. Whether I was at a family gathering, the beach, or the inside of a home, I felt like I was a part of this film’s world. Such a sentiment is also true for a prison, which does not emit the most pleasant feeling, but every scene in this film, like it or not, had a sense of verisimilitude. The film takes time to showcase the beauty of life, but also keeps things real by reminding people of the extreme obstacles our characters constantly encounter.
At times, this movie is the definition of the idea that life goes on. An integral part of your life may cease to exist, but as long as you are still around, it is up to you to decide how to navigate things going forward. You could remember your past, run from it, choose to reinvent yourself. Sometimes that integral part may leave you in a literal sense, but deep down, it will always be with you.
The movie ends on a satisfying note. The final scene is exquisitely acted and well directed. It also goes to show the power of silence. Filmmaking is a visual medium, and any opportunity that can be taken to let the visuals do the talking allows for great scenes like this one. I will leave the details undisclosed for now and let you see the proper craftsmanship for yourself.
In the end, “I’m Still Here” was kind of a last minute purchase for me. I probably would not have seen this film if it were not for the word of mouth it racked up during this awards season. And I am happy to have added to it. This film is full of great performances, gripping scenes, and solid chemistry amongst its cast. Of course, Fernanda Torres is the standout, but the supporting actors also add quite a bit to the final product. It is not an easy watch, but I think if you can handle the material, this movie could be worth your time. I am going to give “I’m Still Here” a 7/10.
“I’m Still Here” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! I have reviews on the way for “Riff Raff,” “Nickel Boys,” “Mickey 17,” and “Locked.” Stay tuned!
And coming on March 30th, look forward to the 7th Annual Jack Awards! The most important awards show in the history of movie blogs! Why? Because I said so! This is a reminder that you have the power to vote for this year’s Best Picture! You can do so by clicking this link and choosing one of the ten nominees. And click this link if you want to know what films are nominated for this year’s ceremony! Unfortunately, “I’m Still Here” was not nominated for any awards this year, but if I were to add a sixth candidate for Best Actress, Fernanda Torres would probably earn that spot. It was a very close call. But rules are rules. I did see this movie before announcing the nominations last week, but Torres’ honestly goes to show how great acting has been across the board for several performers over the past year. If you want to see this upcoming show 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 “I’m Still Here?” What did you think about it? Or, what is the saddest film you saw in the past year? Let me know down below! Scene Before is your click to the flicks!
“The Brutalist” is directed by Brady Corbet (The Childhood of a Leader, Vox Lux) and stars Adrien Brody (King Kong, The Pianist), Felicity Jones (Rogue One: A Star Wars Story, On the Basis of Sex), Guy Pearce (Memento, Iron Man 3), Joe Alwyn (The Favourite, Billy Lynn’s Long Halftime Walk), Raffey Cassidy (Tomorrowland, Vox Lux), Stacy Martin (Vox Lux, All the Money in the World), Emma Laird (Mayor of Kingstown, A Haunting in Venice), Isaach de Bankolé (24, Black Panther), and Alessandro Nivola (Jurassic Park III, Amsterdam). This film is about a Hungarian-Jewish Holocaust survivor’s struggle to achieve the American dream.
“The Brutalist” was a movie that I have been trying to get to for nearly a couple months at this point. Unfortunately, I just never had the time to sit down for three and a half hours and commit to it. Thankfully, an opportunity opened up recently, and I went out of my way to a theater further away from home, because I wanted to get this movie under my belt before the Academy Awards. After all, despite the body’s questionable practices and relevancy, the film did win Best Picture – Drama at another awards show, the Golden Globes. Well that, and quite frankly, I was in much more of a rush to watch “The Brutalist,” instead of “Emilia Perez,” which won Best Picture – Musical or Comedy in the same show. That movie seems to have gotten a lot of praise during the 2024-2025 awards season. However, I have not seen as many people outside the core voting bodies share the kindest words about the film.
When you make a commitment to any movie, it has to be worth your money and time. That last part is extremely emphasized with a more sizable runtime. Thankfully, “The Brutalist” is worth both of those things.
Most of the movies I have reviewed on Scene Before are from the 2010s or 2020s, therefore I have not had the opportunity to talk about many titles that include intermissions. “The Brutalist,” released at the end of 2024, is one exception. An intermission itself is not a core part of a movie experience if you break it down, but in this case I thought it added to a nice, throwback feel.
That said, having an intermission introduces a problem that stood out to me, which is that if I had to pick one half of the movie to watch over the other, I would pick the second half almost every time. Granted, I understand why the first half exists. Without it, the movie would not work the way it does. But I found the second half to be better-paced. I found the characters to be at their most compelling. I thought the acting and atmosphere was upped a notch. I felt more passive watching the first half and more active in the second.
The movie was shot on 35mm, which for the record, is still a format used in modern movies. Last year’s “Twisters” is one such example. The film also used VistaVision, which I arguably did not experience to the fullest given how I watched the movie on digital projection. But the film itself, kind of like another Adrien Brody project, “The Artist,” has all these little touches of older cinema. The movie had all sorts of imperfections from frame to frame.
This movie also makes great use of color, or lack thereof in some cases. The film is not necessarily the most vivid, but despite the film’s grainy, dusty look, there are certain colorful objects in the film that stood out to me. There is a shot where two characters are hugging in front of a green bus that pops. This film also has really effective use of beige. There are some shots inside of a home where that color stands out. It is the little things that catch my attention in this picture. Speaking of shots, the opening of this film is one of the trippiest I remember seeing in recent memory, where we see an upside down shot of Lady Liberty. That part of the movie is ingrained in my memory not only for its unconventional yet immersive shot choice, but it is just the start of what “The Brutalist” stands for as a work of art.
When you break down “The Brutalist,” it is a representation of one’s journey and struggle to achieve the American dream. The movie starts off with a staple of that dream with the main character, László Tóth, a holocaust survivor and an architect, coming into Ellis Island, set for a better life. His journey comes with obstacles, such as leaving people he knows behind or sometimes taking jobs one can consider painstaking or filth-inducing.
I also find it interesting how the film is set in the 1940s to the 1980s. I did not see this at a festival or a special screening, but if I had a chance to talk to the film’s writers, Brady Corbet and Mona Fastvold, I would want to know if they think the idea of “the American dream” is still alive. This film does represent the continued aspirations of the American dream in regard to seeking a better life, but it begs the question as to whether the American dream is a thing of the past, or if it is still obtainable in the 2020s.
Pacing-wise, this film sometimes reminded me of “Blade Runner.” The film is very much a slow-burn. Combine that with a three and a half hour runtime, you have a recipe for a movie that I imagine will turn off a fair amount of the general audience upon their first impression. I say this because there are a lot of pauses between the characters’ utterances of dialogue. Very rarely do the characters actively respond to another individual right away. I thought this direction choice sometimes worked and tied into the film’s atmosphere, but at other times, was a bit distracting.
I liked Felicity Jones before watching “The Brutalist,” but she is a different kind of great in this film. She is not in the entire movie. But she ends up taking the spotlight in every scene towards the end. As the film culminates, she unleashes the most unhinged supporting performance I have seen in a 2024 film. I have not seen “Emilia Perez” so I cannot comment on Zoe Saldana’s performance. I am aware Saldana won the Best Supporting Actress category at the Oscars, but if I had to cast a vote, it would be for Felicity Jones because of not only how she represents her own pain, but also her urgency to relieve the pain of those around her. By the end of this film, I left thinking that I would do anything to avoid a screaming match with this individual. I did not know Jones had that kind of power in her.
In the end, “The Brutalist” is not my favorite movie of 2024, but it is one of the more well-crafted films of that year. Part of it has to do with the production design, but also the solid direction from Brady Corbet that has also led to excellent performances from actors like Adrien Brody and Felicity Jones. Breaking this film down, I found the film to pick up a bit in the second half compared to the first, but I still found the film as a whole to be worth watching. I know an Adrien Brody-led three and a half hour movie with an intermission set decades prior to its release shot on VistaVision sounds like the most pretentious movie that has ever pretentiated in the history of pretentiousness. Trust me, if you give it your time, you might enjoy it. The acting is great. The directing is even better. The story is one I think many people, especially those living in the United States, can relate to. I am going to give “The Brutalist” a 7/10.
“The Brutalist” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! Coming soon, I will be sharing my thoughts on “I’m Still Here,” “Riff Raff,” “Nickel Boys,” and “Mickey 17.” 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 Brutalist?” What did you think about it? Or, should more movies coming out today have intermissions? Let me know down below! Scene Before is your click to the flicks!
Scene Before 