Comedy

Marcel the Shell with Shoes On (2021): Even the Most Hyper-Masculine Will Buy the Adorableness This Movie Shells

Posted on by Jack Drees

“Marcel the Shell with Shoes On” is directed by Dean Fleischer Camp, and this is his feature-length debut. This film stars Jenny Slate (Parks and Recreation, Bob’s Burgers), Rosa Salazar (Parenthood, Alita: Battle Angel), Thomas Mann (Kong: Skull Island, Halloween Kills), Isabella Rossellini (Blue Velvet, Crime of the Century), Dean Fleischer Camp, and Lesley Stahl (60 Minutes). The film is based on a short and book series of the same name. In this feature-length take on a preestablished character, the story centers around Marcel, who spends his days with his grandmother, Connie. Throughout the film Marcel is interviewed as he unveils everything about being an anthropomorphic shell in a big house.

I have seen the trailer for “Marcel the Shell with Shoes On” during my couple ventures to see “Everything Everywhere All at Once.” After all, it only makes sense as both films are from A24. I know a bit about A24 as a distributor. They have marvelous originals like “Eighth Grade,” some wonderful adaptations like “Room,” and even when a film from them is bad, they still have my respect. Because I always get the sense that an A24 film is typically bad in a way that makes me think, “Maybe that was not for me.” This is especially true with a movie like “Midsommar.” I appreciated “Midsommar” from a visual standpoint, but felt genuinely annoyed whenever it attempted anything along the lines of horror.

“Marcel the Shell” is a complete drift from “Midsommar.” There were families at my screening for crying out loud. If I were given the option to pick out a movie without having seen it, kind of in the sense that I am doing a blind buy, and those were my options, I’d lean towards “Midsommar.” On the surface, it would seem like my kind of movie. I was sold on “Marcel the Shell” when seeing the trailer, but between Ari Aster’s name being attached in addition to the concept, “Midsommar” would have sold me harder.

Now that I have seen both movies, I can confirm that both tell oddball, offbeat stories. “Marcel the Shell” personally tells its story to a greater ability.

Between “Everything Everywhere All at Once” and “Marcel the Shell,” A24 is having a heck of a year, and I hope they continue to flourish.

“Marcel the Shell” has origins that go back some years ago. While Jenny Slate may also be known for her work on mainstream concepts like “Parks and Recreation,” she has dedicated her time, alongside other people, to creating “Marcel the Shell.” If her passion for the property has not been erased all these years later, Slate excels in revealing such a notion, because she gives it her all to deliver possibly the cutest voicework I have heard since maybe Young Dory in “Finding Dory.”

Although I cannot give Slate’s voice all the credit, because part of what makes “Marcel the Shell” so clever and palpable is how child-like the character is written. I do not mean immature. This movie has the maturity of a great Pixar story if you ask me. However, some of the lines in this film, not to mention the overall vibes, very much felt like watching a child grow up. I do not have kids, so this may not be the best analogy, but as someone who was a kid and as someone who knows parents, I imagine this is a good comparison.

One thing I remember from my childhood, either through growing up or seeing my sister grow up, is how often children mix up their words to say something that sounds similar to what they are trying to say. There is a great line in the film given by Marcel. He gives the famous quote, “You miss 100% of the shots you don’t take,” which traces back to the famous hockey player Wayne Gretzky. But after acing this quote, Marcel is taking all the time in the world to come up with a ton of similar sounding names, but none of them are Wayne Gretzky.

The closest he comes to being right is Whale Jetski. …This is the most adorable movie ever created.

Not only is Whale Jetski a cute-sounding name, but it goes to show how hilarious the movie is. This film is presented in a mockumentary style, which was never my thing. While a lot of my friends tend to enjoy “The Office,” and as much as I think some of the people behind the show are talented, the show’s mockumentary format never sat well with me. That is not the case with “Marcel the Shell,” as the mockumentary format not only lends to some unique concepts, neat editing tricks, and kneeslap-worthy jokes, but some occasional great fourth wall breaks, if you can call them that, from the character of Dean. His main purpose is to videograph the goings on of Marcel, which fits into the mockumentary aspect of the film. After all, it is revealed that he is filming a documentary, which Marcel and his shell community happen to be in on.

“Marcel the Shell with Shoes On” proves that the creative floodgates have a wider opening than some might think. In a world where we are inundated with sequels, reboots, comic book movies, or flashy action adventures, we still have a desire for telling and seeing stories like this. “Marcel the Shell” has the simplicity of a show like “Mister Rogers’ Neighborhood” and the creativity of a movie like “Toy Story.” I have truly never seen anything like “Marcel the Shell with Shoes On.” It is not the first story with the character, but it feels new to me.

For a movie that truly is small, much like its titular character, it packs such a raw punch when delivering emotion at times. I already talked about the humor, but I can guarantee you that this movie will make New England Patriots head coach Bill Belichick smile. Maybe he’ll shed a tear, who knows? I am not saying that everyone will walk out of this movie with a tear out of their eye, happy or sad. But I am saying that if you do not walk out of “Marcel the Shell with Shoes On” with a smile, I would argue that you hate all things awesome. Things like swimming pools, or French fries, or redwood trees, or space. How the hell can one hate SPACE?!

There is not much I find wrong with “Marcel the Shell.” I do think I became more invested in the shell community as opposed to the humans they expose through flashbacks, which is not a terrible thing, because the movie knows what it is about. Other than that, I think “Marcel the Shell” is one of the best films of the year, and if you miss it, then you are skipping possibly one of the most adorable films in cinematic history. I mean it.

In the end, “Marcel the Shell” lacks the grand scale many movies tend to have nowadays, but that is also what makes it a unique and entertaining production. This is a movie about a shell who spends his days with his grandma and happens to bond over things like “60 Minutes.” Yes, THAT “60 Minutes.” The one on CBS every Sunday. It sounds weird. And in ways, it is. But that is also why you should give it a chance. This is great for adults, this is great for kids, therefore it is great for everybody. I guarantee that you will grin at least once by the time those end credits show up. If you don’t, then color me shocked. I am going to give “Marcel the Shell with Shoes On” a 9/10.

“Marcel the Shell with Shoes On” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! I want to apologize for not getting this out earlier. I have been somewhat busy recently and I am happy to announce that I am likely going to be taking on more movie-related writing outside of Scene Before. Those of you who have been here since the start would know that Scene Before, AKA Flicknerd.com, is independently operated by me, Jack Drees. But if all aligns properly, I will be writing for a particular outlet that some of you might know. I am not going to say which one as I am not officially onboard, but if I have more information, I will share it with you.

That said, if you like this review, be on the lookout for more coming soon! This week I will be sharing my thoughts on “Nope,” the new Jordan Peele film where a brother-sister duo confront a strange event around their horse ranch. Also, stay tuned for my thoughts on “DC League of Super Pets,” the new animated superhero film that focuses on Superman’s dog, Krypto, and a set of other superpowered animals. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Marcel the Shell with Shoes On?” What did you think about it? Or, if you could make a documentary on something, what it be about, and why? Let me know down below! Scene Before is your click to the flicks!

Paws of Fury: The Legend of Hank (2022): A Catastrophically Legendary Failure That Will Make You Hate Cats and Dogs

Posted on by Jack Drees

“Paws of Fury: The Legend of Hank” is directed by Rob Minkoff (Stuart Little, The Lion King), Mark Koetsier (Kung Fu Panda, Big Hero 6), and Chris Bailey (X2: X-Men United, Kim Possible) and stars Michael Cera (Scott Pilgrim vs. the World, The LEGO Batman Movie), Ricky Gervais (Night at the Museum, The Office), Mel Brooks (Blazing Saddles, Spaceballs), George Takei (Star Trek, Kubo and the Two Strings), Aasif Mandvi (The Daily Show, The Brink), Gabriel Iglesias (Magic Mike, Space Jam: A New Legacy), Djimon Hounsou (Guardians of the Galaxy, Shazam!), Michelle Yeoh (Crazy Rich Asians, Everything Everywhere All at Once), and Samuel L. Jackson (The Avengers, Pulp Fiction). This film centers around Hank, a dog who aspires to become a samurai. Once given the first glimmer of this goal, Hank is taken under the wing of Jimbo, a once great samurai, as he aspires to fulfill his destiny.

I am going to start off this review by stating something that may piss off some of my readers. I have never seen “Blazing Saddles.” I just have not had the time. In fact, as I started doing this review and refreshed myself through the cast on Wikipedia, I found out that this film is a loose adaptation of Mel Brooks’s well-known western comedy. To add to the similiarities, Mel Brooks even has a role in this film as The Shogun. I cannot confirm how many similarities and differences there are between this film and “Blazing Saddles.” Sure, there are some obvious ones I could make without having seen both films.

“Paws of Fury” is animated while “Blazing Saddles” is live-action. That’s the obvious difference. “Paws of Fury” is more focused on samurai whereas “Blazing Saddles” takes a more wild west approach with its story. In a way, this is almost a reversal of what “The Magnificent Seven” did as a redo of “Seven Samurai.” Because there is a solid chance that “The Magnificent Seven” would not be what it is if it were not for Akira Kurosawa’s creation. There is also a consensus that “Blazing Saddles” would not be made today due to the current climate and there being a greater strive to be politically correct in comedy. Obviously, this movie is mostly meant for families and children.

But children, mostly.

God help us all.

Some make the claim that “Blazing Saddles” is a movie that can not, and maybe should not be made today. They’re right. That is, if you are going to make it into something like this. “Paws of Fury” is the worst animation of the year.

I should not be too surprised that this movie is lacking in any and all luster. Because in my animation reviews, I often talk about Pixar as the gold standard on how you make an animated movie. Literally, this year, they released “Turning Red,” which slaps. And they followed that up with “Lightyear,” which is inferior by Pixar standards, but better than many movies could ever hope to be. They are a tough act to follow, but one thing that often separates Pixar from the competition is the studio’s ability to tell mature stories that do not rely heavily on cheap comedy gags that appear as if they were written for infants.

This movie is from Nickelodeon Studios. I have some nostalgia for Nickelodeon as “SpongeBob SquarePants” was my goto cartoon when I was younger. As I look back on the series, the early seasons had great writing, gutbusting comedy that ages like a fine wine. However, as we get through seasons 4, 5, 6, and so on, all of that trickles down. Every other joke is disposable, some character motivations and feelings come off as over the top, and they sometimes rely on sight gags that go too far. Similarly, this movie is no stranger to toilet humor. You want to know how much this movie relies on toilet humor? The main villain’s motivation literally involves the use of a super-sized toilet. I wish I were making this up. I’ll remind you, there is literally an animated movie called “FLUSHED AWAY,” which literally involves the use of toilets to further the plot, that takes itself more seriously than this when it comes to humor and writing. I think that toilet humor can be funny in doses and depending on the execution. As an adult, it is a bit hard to take it seriously however. Part of it is because it feels like the cop out of comedy. Fart noises can get a laugh, but fart-related jokes are so easy to write. All it takes is one noise. There’s very little effort involved. This movie tries to get creative with fart jokes by the end, but it did not change the fact that the whole concept of the joke felt lazy and forced. As much flack as they get, I think puns have more thought put into them than fart jokes. You might as well say that fart jokes can sometimes be… A pain in the butt.

I’ll see myself out. I have two working eyes.

Overall, “Paws of Fury” is very much that typical hero’s journey structure we’ve seen many times before. The potential hero is an unlikely one, but for whatever reason, the hero will do whatever he can to achieve his goals. On the surface, “Paws of Fury” feels like “Kung Fu Panda” if it were more samurai-based as opposed to martial arts-based. Except that “Kung Fu Panda,” while I remember it having maybe one joke that felt kiddy, did not treat its audience like morons. I already talked about the fart jokes, but this movie also has meta humor infused at times, part of which includes the notion that the flick “is only 85 minutes long.” I noticed over the years that there is a tendency amongst some people, and I include myself in this on occasion, to watch a film on the shorter side. It’s a time-saver, it helps with the attention span, and if you have extra time on your hands, it means you can possibly bang out a couple movies in a single Friday night. Given the frequency in which it appears, I am assuming that meta humor was always the intention from the film’s writers. But when I heard the “85 minutes long” joke, it only made me assume that the writers wanted to rush the project to its end. Like, okay, here’s a throwaway line! Let’s get to that pristine runtime!

This film has a stacked cast ranging from Michael Cera to Samuel L. Jackson to Ricky Gervais to even Michelle Yeoh. This film is not short on big names, and it’s almost as if they prioritized these names to get butts in seats over the story. Don’t get me wrong, just about every cast member plays their part to the best of their ability. Samuel L. Jackson does his best not to get in trouble with the parents who will be dragged by their kids to see this movie. Michael Cera is convincing enough to play a lanky dog hero who kind of sounds like a dork. Ricky Gervais does his best channeling his inner annoyed Golden Globes host personality as Ika Chu, a feline who wants to rid of a nearby impoverished town. Overall, the cast does their best with the stiff and sometimes lazy writing. But it does not change the fact that they are in a movie whose characters are mostly given stiff and sometimes lazy writing. This movie is not offensive, but it is almost uninspired. It feels crazy to say because it has an awesome opening sequence that had joyful Saturday morning cartoon vibes. After that, it’s all downhill. It goes to show that even when you have the competent direction and animation, it is not enough to hide a terrible script.

The one positive I can give this film is that it somewhat reminded me of something I learned in school. It may as well be the film’s takeaway for its younger viewers. There are films out there that unveil unlikely heroes, and this one is no exception. It’s the whole expect the unexpected cliché, but there was a scene that reminded me of a picture where a bunch of animals are given an examination to “climb that tree.” Of course, the monkey is the only one in the group who seems enthused by this order. The penguin, the elephant, the fish, the seal, and the canine are noticeably more hesitant. This idea could be applied to the entire film because it is about a dog who is assigned to watch over a town of cats. The dog is also trained by a cat to become a samurai. This leads to a particular moment in the training montage where we literally see a climbing course. I won’t say much more, but this scene is executed in a way that reminded me of “climb that tree.” It goes to show that there is more than one way to teach or learn something. Although for everything else in the movie, it pales in comparison. The movie is not funny, some of the characters are occasionally annoying, and it is full of clichés that have been done better. Do not waste your time. I have seen other animated movies this year that are better than this one.

In the end, “Paws of Fury: The Legend of Hank” is certainly legendary. More specifically, a legendary failure. Will kids like this movie? Yes, they probably will. And fortunately, as far as kids movies go, this is better for them than “Tom & Jerry” given how the protagonist is probably a more positive influence on younger minds. But I found myself more annoyed by this movie than anything else. I do not have kids, just to be clear, but would I let my kid watch this movie? Maybe. But I might have to leave the room because I can only take so much. But at the same time, I would worry, because given the movie’s script, it might only dumb down my kid should they keep watching it. Maybe they will grow up with the film, but not watch it past say their teen years. I did not know going in that this was an adaptation of “Blazing Saddles,” but I do know that I am going to give “Paws of Fury: The Legend of Hank” a 3/10.

“Paws of Fury: The Legend of Hank” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have another one coming soon! Be sure to stay tuned for my thoughts on “The Gray Man!” If you want to see this and more from Scene Before, follow the blog either with an email or a WordPress account! Also, check out the official Facebook page! I want to know, did you see “Paws of Fury: The Legend of Hank?” What did you think about it? Or, did you see “Blazing Saddles?” What did you think about that? Let me know down below! Scene Before is your click to the flicks!

Thor: Love and Thunder (2022): Taika Waititi’s Second, and Slightly Less Worthy, Thor Outing

Posted on by Jack Drees

“Thor: Love and Thunder” is directed by Taika Waititi, who also directed the franchise’s previous installment, “Thor: Ragnarok.” This film stars Chris Hemsworth (Men in Black: International, Rush), Christian Bale (Ford v Ferrari, Batman Begins), Tessa Thompson (Men in Black: International, Annihilation), Jaimie Alexander (Nurse Jackie, Blindspot), Taika Waititi, Russell Crowe (Gladiator, Cinderella Man), and Natalie Portman (Star Wars Episode I: The Phantom Menace, V For Vendetta). This is the fourth installment to the “Thor” franchise, the 29th movie in the Marvel Cinematic Universe, and the first instance where a character in said universe gets a fourth standalone movie. In this… THORth installment, Thor reunites with Jane Foster, who is now worthy. The two join forces with Valkyrie and Korg to defeat Gorr the God Butcher, a white being whose aspiration is literally in his namesake, the widespread elimination of all gods.

MCU phase 4 is like having a demanding girlfriend. You love her, but you also want to get away from her. Although when you think you are about to leave, you just keep coming back because you cannot see yourself attached to something else. I am not saying I hate the MCU right now. I thoroughly enjoy the MCU, but as I’ve said in my reviews for “Black Widow” and “Doctor Strange in the Multiverse of Madness,” the whole universe, while still entertaining, is almost homework in disguise. When I was watching “Doctor Strange in the Multiverse of Madness,” I had fun, but I felt like I was being tested on how much I remembered “WandaVision.” You could almost make an argument that “Spider-Man: No Way Home” tests your memory on seven different “Spider-Man” movies at once across three different universes. To be fair though, I am not of this demographic, but I would imagine the general audience would not need to watch all of those other shows and movies in order to understand what comes after. However, their experience would only be enhanced if they did.

There is a notable audience that tends to enjoy “Thor: Ragnarok.” I consider myself a fan of the film after a couple watches. It is not up there with the original “Thor,” but anything is better than “Thor: The Dark World.” If you liked “Thor: Ragnarok,” there is a solid chance you might find joy in “Thor: Love and Thunder.” This should not come as a surprise, as Taika Waititi helmed both pictures.

Waititi may be most responsible for Thor’s current success. If we did not have “Ragnarok,” his arc in followup “Avengers” titles “Infinity War” and “Endgame” may have slightly less meaning. But the best thing about his storytelling abilities is his tendency to perfectly balance light and darkness. I saw “Thor: Love and Thunder” with my dad. When we walked out of the theater, he affirmed, grinningly, that the movie had “something for everyone.” He may be right. After all, this film has comedy, action, drama, and even horror. Without going into specifics, Christian Bale is, on occasion, utterly terrifying as Gorr the God Butcher. The MCU is often criticized for its lackluster antagonists, and phase 4 is no exception to the rule with Taskmaster from “Black Widow” being a prime example of how movies are only as good as their villains. Gorr the God Butcher is not quite Thanos, and if we are judging “Thor” villains, I even think I have a softer spot for Hela in “Ragnarok.” But when you take a character like Christian Bale’s Gorr the God Butcher and place him in a story where Zeus strips gods in public and threatens others by not allowing them to come to an orgy, it is an odd combination. But somehow they make it work.

Speaking of things that work, let’s talk about Chris Hemsworth as Thor. While it took awhile for me to warm up to Thor kind of being the butt of a joke sometimes, I have come to learn that Chris Hemsworth has tremendous comedic chops. Even when the script does him no favors like in “Ghostbusters” (2016), he still manages to give the performance his all. He will practically do anything to make the character of Thor come off as fun. It’s almost like what they are trying to do with Aquaman in the DCEU where he has a somewhat godly presence, but at the end of the day, you might want to flock to the bar with him. It is why I consider Party Thor to be one of the standout characters in the Disney+ series “What If…?”. At the same time though, this movie can be used as an example in regard to jokes going too far. And I do not mean offensive, I mean the joke tries too hard or it goes on longer than it should.

This movie has some weird, but also simultaneously hypnotizing comedy gags. Thor literally talks to his weapons. There’s even a love triangle between them. Not what I would have written but… Okay. Jane Foster spends a portion of the film trying to come up with an epic one-liner that was somewhat hit or miss. There are these goats in the film that feel less like an attempt at comedy and more so a homage to outdated Internet memes. Sure, when they were first introduced, I laughed. But as the movie went along, they became progressively less funny.

One of the biggest surprises in “Thor: Love and Thunder” prior to its release was the return of the recently mentioned Jane Foster. Natalie Portman is a great actress between her work in movies like “Black Swan” and “Annihilation.” Despite the shortcomings of the dialogue, she also did her best in the “Star Wars” prequels. Speaking of shortcomings, one of the flaws of the first two “Thor” films is that her character did not have a ton to do. I liked her better than Kat Dennings’s character, most specifically in “Thor: The Dark World,” but nevertheless. Mostly, she was almost just there to be the love interest, and that was the character’s biggest service to the story. This time, she is an equal to Thor, or Mighty Thor, as she calls herself. That is, if Thor really is the Thor he once was in say “Thor: Ragnarok” or “Avengers: Infinity War,” because he has evolved, slowly but surely, into one of the MCU’s goto gags in recent years. When he was not fighting in “Avengers: Endgame,” the movie focuses on him in a dad bod, playing “Fortnite,” and drinking heavily. That movie’s humor adds substance to its story, much like some of the jokes in “Thor: Love and Thunder.” It is weird to think how much this character has tonally evolved since 2011.

“Thor: Love and Thunder” has some good humor here and there, but I think of all the Marvel Studios films so far, this is the one I think feels the most kiddy out of them all. It is weird to say because the film has a butt shot of Chris Hemsworth and an ongoing orgy-related threat, but this was one of the first times I can remember watching an MCU film and having it feel this much like a Saturday morning cartoon. I am not saying I did not experience Saturday morning cartoon vibes in the MCU before. “Thor: Ragnarok,” the “Spider-Man” movies, and “Guardians of the Galaxy” are all great examples of this vibe. But in the case of those films, the Saturday morning cartoon vibe, minus say “Guardians of the Galaxy Vol. 2,” was presented more effectively, perhaps more maturely.

While this fourth “Thor” movie flashes back to its predecessors and revisits multiple characters across various stories, I can say that a notable positive I can give to “Thor: Love and Thunder” is that it does not require any prerequisites. You can go into this movie not having seen a single “Thor,” “Avengers,” or MCU installment and have a good time. Yes, the Guardians of the Galaxy show up, but it is not like they are going to test you on the complexities of Groot’s language or something. This is a contained story from start to finish and while it may be referenced later in the MCU, it does not come off as a tale told by gatekeepers. Ultimately, “Thor: Love and Thunder” may be the most stupid fun movie the MCU has given us so far.

If have to be real though, despite this movie being stupid fun, it kind of comes with a caveat. Before “Thor: Ragnarok” came out, the “Thor” movies were comparatively serious. They had their jokey moments. The first film is a fish out of water story that lends itself to tons of humor, and it worked. The second movie had many comedy attempts, but I can only recall one or two that stuck the landing. With “Ragnarok” and now “Love and Thunder,” we have Taika Waititi’s zany touch. I was not particularly fond of the humor in “Ragnarok” when I first saw it, but after rewatching the film, I warmed up to it. Therefore, during this movie, I was looking forward to seeing what the attempts at humor could be. Compared to “Ragnarok,” they’re a bit flat. Once again, some work, but the ones that do not happen to stand out. The goats were funny the first time, but maybe not the fifth or sixth time.

When I think of “Ragnarok,” certain hysterical moments come to mind. “Get help” is one of the funniest gags in recent action movies. The chemistry between Thor and Banner, Hulked up or not, is worthy of my attention. Stan Lee’s cameo where he cuts Thor’s hair is not only crucial to the plot, but gutbusting. So, what does Taika have in mind for this movie? A rock n’ roll-infused opening action sequence where Thor, almost egomaniacally, saves the day. There’s literally a moment where he stops two vehicles from running into him by doing a split. The image is still in my mind. In the moment, I thought that split was hilarious. But it also makes me realize how dramatic of a shift these movies have taken over the years. The first two movies are mature, with the original almost successfully capturing Shakespearean drama vibes. “Thor: Ragnarok,” while still having maturity in it, contains many comedy gags that nearly conflict with some of the movie’s darker moments. The same can be said for “Love and Thunder,” but the comedy is a bigger star than before.

Note how I said bigger, not better. There’s a difference.

“Thor: Love and Thunder” reminds me of “The Fate of the Furious.” I say so because like “Love and Thunder,” I had fun with “The Fate of the Furious,” but there is a certain amount of absurdity in that film that feels more leveled up than say “Fast Five” which jumped the shark, but was comparatively believable. “Thor: Ragnarok” was a ridiculous fun time with great humor and some logic-defying, but still entertaining moments. As the saying in Hollywood goes, bigger is better. Or is it? Because if you liked “Thor: Ragnarok,” chances are that this movie has twice the silliness. While laughter is the best medicine, this movie shows that comedic overdoses may be possible.

Before we dive into the final verdict, I want to talk about the visual effects of “Thor: Love and Thunder.” I am not going to dive into the recent news regarding visual effects employees struggling to work for Marvel. That is another issue, perhaps for another time. But on the surface, most of the visual effects in this film matches the recently mentioned Saturday morning cartoon vibe. Everything is bright, colorful, vivid, and sometimes gargantuan. I do want to note though that there have been some concerns about Marvel’s visual effects as of late in movies like “Black Widow.” I think if you are in the general audience, you might not care. I will admit, it has been awhile since I have seen “Black Widow” to give a detailed comment. However, I remember some of the effects in that film are surprisingly inferior to say “Captain America: Civil War,” which came out five years before. “Thor: Love and Thunder,” for the most part, looks great. But as far as “Thor” movies go, it might be the worst looking one yet if you pinpoint select shots.

While I said I will not dive too deep into the struggles of working in visual effects, I think we are seeing a sign that the MCU is becoming too crowded and overstuffed with content. I am enjoying phase 4 of the MCU. I have yet to see a completely terrible film. One or two series were hit or miss, but others were good. “WandaVision” was a fantastic debut for the MCU on Disney+, and “Ms. Marvel” was also really charming. The MCU has so many shows and movies now that it also has so many deadlines to consider. This year we have already seen two shows that ran for six-episodes and a couple movies. That is a lot of work, and it is not over yet because “She-Hulk” quickly approaching to Disney+ and “Black Panther: Wakanda Forever” is scheduled to hit theaters this fall. I had fun with “Thor: Love and Thunder,” but by the standards of the MCU, this is not as good as I would hope for. Although the MCU has its occasional off day with movies like “Guardians of the Galaxy Vol. 2” or “Ant-Man and the Wasp.” I just hope this is a slight bump in the road. But the MCU also did not have this much content going on at once at those times. I know some would disagree, but I would happily sacrifice all the upcoming Disney+ shows if it meant we were going to get a few consistently great MCU movies. I am sure Marvel has a plan, but is it too big of a plan? I hope not. But my worry is that the further along we go down the MCU timeline, the more signs we will get that this whole conveyer belt will unveil itself. Let’s hope that this does not happen.

In the end, “Thor: Love and Thunder” was good, but it is also my least favorite film of MCU’s phase 4. While not the worst of the “Thor” films, “Love and Thunder” nevertheless fails on arguably the same mission in which “Ragnarok” succeeded. Sure, there were a couple laughs here and there, and as far as “summer blockbusters” go, you could do far worse. Just look at “Jurassic World: Dominion.” Although “Love and Thunder” has quite a few negatives that stand out significantly. Natalie Portman was badass enough that I might want to buy a Mighty Thor Hot Toy. But I just wish I could see more of her. I wish I could have seen more of Gorr the God Butcher. This is one of the shortest Marvel movies yet, which could be beneficial to your bladder, but that’s were the benefits stop. Overall, the film feels rushed. I heard they shot some extra footage that never made it into the film, and Taika Waititi does not want to make an alternate cut with said footage, but for all I know, that could give some much needed fleshing out to certain aspects of the story. I would never want to put pressure on a filmmaker into making something they do not want to make, but as a viewer, I would be intrigued to see some of what I originally couldn’t see in some fashion. Maybe as a Blu-ray bonus feature. I am going to give “Thor: Love and Thunder” a 6/10.

“Thor: Love and Thunder” is now playing in theaters including large formats like IMAX and Dolby Cinema. Tickets are available now.

Thanks for reading this review! If you enjoyed my review for “Thor: Love and Thunder,” then be on the lookout because I have more reviews coming soon! Stay tuned for my thoughts on “Paws of Fury: The Legend of Hank” and “The Gray Man.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Thor: Love and Thunder?” What did you think about it? Or, what is your favorite of the “Thor” movies? I’m a purist, I would have to go with the 2011 “Thor” directed by Kenneth Branagh. Leave your opinions down below! Scene Before is your click to the flicks!

Brian and Charles (2022): A Delightfully Inventive, Robotic Comedy

Posted on by Jack Drees

“Brian and Charles” is directed by Jim Archer (Down in London, The Young Offenders) and stars the film’s writers, David Earl and Chris Hayward, as the titular man and robot duo. This film centers around an inventor named Brian. He has a history of inventing, building, crafting, and assembling whatever he can find either in his sights or his mind. It has practically become his life. One day, Brian decides to build a robot. Once the robot is built, the two develop an unlikely bond, allowing Brian to have someone close in his mostly isolated life.

First off, I want to apologize for not posting in awhile. This is the longest I have gone in years without making a new post after a previous one. I usually do at least one post every seven days, but that has been broken. I cannot promise whether or not this could happen again, but just know I am still invested in Scene Before. It has been a busy couple weeks, and I cannot say my non-blog related productivity will come to an end this week. Either way, I am finally glad to be able to talk about this movie because I love you, my viewers, the ones who stick around. And also, spoiler, this is a good movie. I am happy to give it some promotion.

I happened to flock to “Brian and Charles” on a whim. I already saw a couple movies earlier in the week, and I probably would not have gone to “Brian and Charles” if it were not for my AMC A-List membership. I was going to see this film at a press screening, but my plans to see “Lightyear” conflicted with that, so I passed on it. Speaking of passing, time passed long enough for me to watch the trailer for “Brian and Charles” on a Saturday afternoon. Next thing I knew, forty minutes later, I was in the cinema. Unlike “Lightyear,” which I eagerly awaited for months, “Brian and Charles” sort of came out of nowhere for me, but the little marketing I saw in advance intrigued me. It felt like an intimate spin on our relationship with technology.

Having walked out of “Brian and Charles,” there is definitely an intimate relationship. Although it is not necessarily with technology despite what the movie visualizes. The best way I can describe “Brian and Charles” is that it is a fun, entertaining parody on particular relationships between a parent and their child. Now, Brian never developed or adopted a human child in this movie. Sorry if this minute, irrelevant detail is a spoiler, there is nothing I can do about it. In a way, Charles, the robot Brian builds and attaches himself to, is heavily personified. It is not so much a robot as it is some sort of equivalent to Brian’s son. It is weird to think about, but the weirdness of this film is also what makes it work, it makes it charming.

To enhance a point in this review I would like to harken back to one of the films I reviewed last year. An animated feature by the name of “Ron’s Gone Wrong.” That film does something in its script that becomes a notable character trait. If you have seen that movie, you’d know that the defective B-bot played by Zach Galifinakis speaks in complete sentences, but as some robots tend to do, he says his words in a particularly similar pattern from start to finish and certain words are repeated throughout the film in the exact same tone. As much as I like Zach Galifinakis, his portrayal of the B-Bot became annoying throughout the film. But that also may have to do with the writing, the directing, and the post production so Galifankis is not necessarily the one to blame. My point is, this is a tactic that is similarly realized with Charles the robot in “Brian and Charles.” Although in this case, unlike Galifinakis’s human-like voice being featured in a defective piece of technology, this movie allows us to hear the voice of Chris Hayward, who from scene one emits Stephen Hawking vibes. Not only does the voice sound robotic, the way it shifts from word to word is incredible. Every pronunciation feels singular and I imagine much like “Ron’s Gone Wrong,” a lot of intensive editing, whether it was on camera or in post, went into making this voice believable.

Despite this accurately robotic voice, the human-like components within Charles are clear. This movie ended up subverting my expectations a bit because if you watch the trailer, I thought of the relationship between Brian and Charles to be that of close friends. At times, it does feel like that, but again, it also feels like Brian is Charles’s dad, allowing for some scenes where Brian is pictured as the bigger man and Charles as the one who has to listen to his master.

Despite being the bigger man, Brian is not the only character with a major goal throughout the film. There is a saying that kids grow up fast. And as I grow up, I realize more and more that I want to go out into the world, see some things I have never seen before. I want to tread my own path, whether it is through a career, education, or in the case that this movie presents, travel. This movie has an entertaining plot thread where Charles finds out about Honolulu, Hawaii. For the record, this movie is set in rural Wales, meaning that a trip to Hawaii is not only expensive, but far. These are two factors that many people would consider before traveling. Not Charles. Without going into much detail, this is not only entertaining and hilarious, but it enhances the movie’s metaphor about growing up, evolving as a child or parent for that matter. No matter who you are you have to sometimes take risks. They could be for one’s own good, they could build character. It also shows how little of a concept children have of time and money. When I went to on vacation in the White Mountains or Orlando when I was younger, money was not the first thing that came to mind. My initial thoughts were in regard to the attractions or a game plan. The moment Charles saw Honolulu on the television, he had an endless desire to go. It reminded me of a toddler who sees a store they know or a toy they recognize and they will do anything to either go in the store or have their parents buy said toy.

This story is a special case amongst movies featuring robots. There are a lot of movies out there like “The Terminator” or “2001: A Space Odyssey” where they have the same clear lesson. Don’t trust technology, don’t trust A.I.. This movie does not have that lesson. And like a vast number of the movies I would put in the same category as those two, there really is not much action or futuristic elements involved. It was nice to see a movie with robots that felt more down to earth than others. Even “Interstellar,” or the recent animation “Lightyear” which have friendly A.I. characters, are galactic adventures. Those movies are not 100% down to earth. Aside from being a cute odd couple comedy, “Brian and Charles” excels by not always relying on all the cliches, even if the movie has predictable moments, which it does. Nevertheless, I do recommend the movie. It is different, but if you like different, you might like the film.

In the end, “Brian and Charles” is not my favorite movie of the year, but its unique charm is enough to make it one of 2022’s most delightful surprises. I am in my early twenties and for the past few years I have seen certain movies that reminded me of a certain time in my life, part of this movie did that in regard to my present. A good movie can entertain you, while a really good movie can enhance or remind you of who you are. This one did both of those things. Despite my recent recommendation, this is definitely not a movie for everyone, but it is a movie for me. Maybe it will be for you too. I am going to give “Brian and Charles” a 7/10.

“Brian and Charles” is now playing in theatres, that is if it is still in theatres, I cannot find any showtimes… That said, if it is not playing at a theatre near you, please check out the film when it hits streaming services and DVD shelves. It is worth a watch. It is quirky, fun, and an all round delight. Give it a go.

Thanks for reading this review! My next review is going to be for “The Black Phone” directed by Scott Derrickson. I just saw the movie a week and a half ago and I cannot wait to share my thoughts on it. I have some things to say. Also, this week is the release of “Thor: Love and Thunder!” I will be seeing the movie Thursday night, so I will be trying my best to get a review out as quick as I can. And per usual, like every other movie I review, including Marvel titles, I will do my best to avoid spoilers. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Brian and Charles?” What did you think about it? Or, what is a place you have been dying to see in your travels? Internationally, I think London, certain parts of New Zealand, and Tokyo are close to the top of my list. List your picks down below! Scene Before is your click to the flicks!

Everything Everywhere All at Once (2022): A Bloated, Mind-Melting, Exciting Ride Through the Multiverse

Posted on by Jack Drees

“Everything Everywhere All at Once” is directed by Daniels, the same team behind the 2016 film “Swiss Army Man” featuring Daniel Radcliffe as a dead body who communicates by farting. And if you think that is weird, you are not ready for “Everything Everywhere All at Once,” possibly the greatest title in film history. That said, “Everything Everywhere All at Once” stars Michelle Yeoh (Shang-Chi and the Legend of the Ten Rings, Crazy Rich Asians), Stephanie Hsu (The Path, The Marvelous Mrs. Maisel), Ke Hey Quan (Indiana Jones and the Temple of Doom, The Goonies), Jenny Slate (The Secret Life of Pets, Gifted), Harry Shum Jr. (Glee, Shadowhunters), James Hong (Revenge of the Nerds II: Nerds in Paradise, Blade Runner), and Jamie Lee Curtis (Halloween, Knives Out). This film, or in a case like the one we are dealing with, this drug trip, centers around the character of Evelyn Quan Wang, a Chinese immigrant who owns a laundromat with her husband. When financial stability becomes an issue for Wang, she suddenly finds herself on a journey through the multiverse where she learns about the many lives she could have lived. She uses this newfound knowledge to hopefully save her own universe, along with several others, from a cataclysm.

I want to start off this review by reminding you that I waited a couple months to see this movie. I knew what it was. I knew the plot. I knew that a lot of people liked it. But due to other commitments, other movies, not to mention planning to see it once or twice only to have my plans scrapped, I had to wait on “Everything Everywhere All at Once” like I was in line at comic con. Fun fact, I am at a time of my life where I typically enjoy going to the movies by myself. I have nothing against going with friends, but there are many cases where I would prefer going to the cinema alone because as a reviewer, this allows me to concentrate harder on what’s on screen. But one reason why I waited so long to see “Everything Everywhere All at Once” is because if I wanted to go see this movie by myself, I could have. I would have probably had a good time. That said, this looked like a movie I had to see with someone else. So I invited my dad, told him I think he would like the film, and we were going to hopefully have a ball.

Without giving much detail, I think my previous sentiment is one to keep in mind, should you decide to watch “Everything Everywhere All at Once,” because it is a movie that is watchable on your own, but the more people you have around you, the better the experience will probably end up being. It is the same reason why comedy shows are better with sold out crowds. The laughter is that much more contagious.

Also I will remind you, this is a multiverse-spanning movie. The previous two Marvel Cinematic Universe movies have brought audiences into the multiverse in their own ways and have done ridiculous numbers in terms of the box office. Unlike those films, “Everything Everywhere All at Once” is an original idea. Of those two previously indicated unoriginal ideas, one of them literally has the words “Multiverse of Madness” in the title. That said, “Everything Everywhere All at Once,” is THE REAL MULTIVERSE OF MADNESS. Eat your heart out, Doctor Strange! I contend that “Everything Everywhere All at Once” could end up permanently owning the crown for the greatest multiverse-centric movie of all time. It is that good.

If you have been following me this year, I have talked about a specific idea within certain films. “CODA” and “Belle” are prime examples of this. That theme is a perfect bridging between extraordinary and ordinary. While those films showcase this idea to excellent degrees with a non-deaf, music-obsessed child living in a deaf family and a shy, rural-housed teenage girl entering a social media paradise where she becomes a star, these are not new ideas. Heroes always start off ordinary and then find ways to become extraordinary throughout their adventure. If they stayed ordinary, they would be one-dimensional or boring. But if you break down “Everything Everywhere All at Once,” it is not necessarily a film about saving the multiverse as much as it is about keeping a family together, keeping each other from going bizzerk. Because within the confines of alternate realities, mastering kung fu, superstardom, the main family of the film has to deal with the potential closure of their business, potential divorce, and as far as the parents are concerned, potential rebellion from the daughter.

Speaking of potential, I think “Everything Everywhere All at Once” had a ton of potential, and that potential was perfectly realized within this film’s small budget. For comparison, another recent multiverse-centric story, “Doctor Strange in the Multiverse of Madness,” had a budget of $200 million. “Everything Everywhere All at Once” on the other hand… A non-sequel, original idea not based on any preexisting intellectual property, not set in a cinematic universe whatsoever, cost $25 million to make. That is nothing to sweat at by any means. $25 million is a lot of money. Plus, there are movies that came out this year that cost less to make. “Hustle,” the last movie I reviewed, was less expensive. But to be fair, it was more limited in its theatrical release. That said, “Everything Everywhere All at Once” supports the notion that smaller can be better. The more time you spend on crafting a compelling story and the less time you spend on the spectacle and paying Patrick Stewart to play Professor X again, the better the payoff.

Through her portrayal of Evelyn, Michelle Yeoh encapsulates what it is like to be a normal human being with financial issues. We see her trek through the film while her ordinary life continues to go down the crapper. Changes come in every which way and it is not only affecting her, but the people she knows. This movie plays around with the idea of one person seeing not only other versions of themselves, but their jealousy towards the lives the alternate selves tend to enjoy. Evelyn sees versions of herself that excel at kung fu or acting. If I saw myself in other universes living as say a successful singer or a baseball player, I would definitely consider rethinking my life choices or finding a way to embody my other selves.

Throughout the film’s runtime, we are heavily exposed to other members of the Wang family. Those who appear alongside Evelyn are her husband, Waymond (Ke Huy Quan), her daughter, Joy (Stephanie Hsu), and her father, Gong Gong (James Hong). Each character has their own individualities and quirks that make the film worthwhile. There is an incredible element of the film where we see the supposed differences between Evelyn and Joy in terms of how they live their lives, how they view the world. It makes for some entertaining moments of the film while also effectively progressing each character arc.

I also have to give a major shoutout to Jamie Lee Curtis, who gives an incredible performance as Deirdre Beaubeirdre, an IRS inspector who takes no nonsense whatsoever. I admire Jamie Lee Curtis as an actress, so I hope this is not taken the wrong way, but her character does such a great job at appearing so boring and yet so fiendish. She looks like she could ruin someone’s life in a snap. Of the film’s supporting characters, she is arguably the highlight.

“Everything Everywhere All at Once” is an arguable contender to be the strangest and yet most ambitious film I have watched in my life. One of my biggest compliments I gave to “Doctor Strange in the Multiverse of Madness” is how they handled Benedict Cumberbatch’s variants from a looks perspective. When it comes to Evelyn in “Everything Everywhere All at Once,” I would say a similar assessment applies. But the script and direction of “Everything Everywhere All at Once” gives Michelle Yeoh a greater excuse to provide a more solid, perhaps down to earth performance than the one Cumberbatch gave in his multiversal feature. There is so much that happens in this movie, not only in terms of the story, but the overall scope of… everything… At various points, the movie hinges to a precipice where things are almost completely out of control. There is a moment in this movie where I could see a lot of people thinking it is crazy enough, only to shock themselves in a matter of minutes with what comes up afterwards. If you are looking for a predictable movie, you have come to the wrong place. “Everything Everywhere All at Once” is probably the most unpredictable movie I have seen since “Parasite.”

If you have not watched it yet, you need to check this movie out, and as much as I could go on about it, I am going to let you see for yourself, because if you are anything like my dad when he sat next to me in the theater, taking every single scene in… I think you should prepare to drop some unexpected f-bombs at the screen the moment you witness some of the wondrous sights this one of a kind feature seals within its doors.

In the end, “Everything Everywhere All at Once” is one of the best movies I have ever seen. A24 is a crazy distributor. I either truly like a movie from them, which was the case with say “Eighth Grade” or “The Disaster Artist.” Or I attempt to make a case as to why some of their films are atrociously awful like “Midsommar” or “Zola.” There never feels like there is an between at times. And even if there is, I still have something supposedly notable or passionate to say about their films. Even “The Last Movie Star,” starring Burt Reynolds, which I thought was the definition of mediocre, elicited a passionate reaction out of me as to why I did not particularly think that film was the best. “Everything Everywhere All at Once,” which is certainly above mediocre, is no exception to letting me bring out the passion. Oddly enough, I have a feeling I could somehow end up appreciating it more with a second viewing. If the jump after a second viewing is anything like the one I had for “Belle” recently, it could potentially be in the conversation for my top 5 movies of all time. If there is one movie that you should see by the end of the year, it is this one. I am going to give “Everything Everywhere All at Once” a 10/10.

“Everything Everywhere All at Once” is now playing in theaters and is available to watch on VOD.

Thanks for reading this review! Stay tuned for my next reviews, which are for the brand new blockbusters, “Jurassic World: Dominion” and “Lightyear!” I watched both movies this week and I am excited to share my thoughts! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Everything Everywhere All at Once?” What did you think about it? Or, what is your favorite movie that you saw this year? New or old, doesn’t matter. Let me know down below! Scene Before is your click to the flicks!

The Unbearable Weight of Massive Talent (2022): A National Treasure of Comedy and Action

Posted on by Jack Drees

“The Unbearable Weight of Massive Talent” is directed by Tom Gormican (Ghosted, That Awkward Moment) and stars Nicolas Cage (Con Air, The Croods) as himself, kind of. Joining the Academy Award-winning thespian are stars including Pedro Pascal (The Mandalorian, Wonder Woman 1984), Sharon Horgan (Everyone’s Talking About Jamie, Game Night) Tiffany Haddish (Girls Trip, Uncle Drew), Ike Barinholtz (Snatched, Blockers), Alessandra Mastronardi (To Rome with Love, Master of None), Jacob Scipio (Bad Boys for Life, Without Remorse), and Neil Patrick Harris (How I Met Your Mother, The Smurfs). This film follows Nicolas Cage, or Nick Cage if you want to be more technical, as he hits a bit of a rough patch career-wise. When a high-paying opportunity arrives to meet with a superfan, Nick Cage is in for the role of a lifetime, working for the CIA.

When it comes to actors, Nicolas Cage is the definition of an enigma. He won an Oscar for “Leaving Las Vegas” and received another nomination for his work in “Adaptation” years later, so he is not short on talent, nor is he short on resume-worthy credits. But he also has a history of being an Internet meme. For example, one of my favorite YouTube movie critics, Chris Stuckmann, does a series of reviews by the name of “Hilariocities,” and the intro to each episode is centered around Nicolas Cage because of his tendency to take certain roles that make him look over the top and zany, sometimes not in the right ways. Cage has a history of choosing movies that are not remembered, movies that have gone straight to DVD, movies that occasionally make me wonder if he even reads the script before he signs on. One of my first positives of “The Unbearable Weight of Massive Talent” is its tendency to be effectively tongue and chic regarding Nicolas Cage. Or in some cases, the way society, especially on the Internet, paints a picture of him.

I think putting Cage in the center of this film was a brilliant idea, because while I know Cage has done some prolific work in recent years like “Spider-Man into the Spider-Verse” and “The Croods 2,” he is an actor I would think of these days when it comes to, “X actor needs to pay bills, therefore X actor stars in Y movie without hesitation.” But even with that in mind, Cage commits every time, no matter how unrealistic the script. And for this movie, a lack of realism is perhaps no exception. If I invited Nicolas Cage to my birthday bash this year, he would likely tell me to screw off. At least this is what my head tells me, because actors are not always in the business of entertaining for parties or other related events. But the moments that arguably lack verisimilitude make “The Unbearable Weight of Massive Talent” worth watching.

The bond between Cage and Pascal is a highlight of the film. I like both actors by themselves, but if you put them together, that is a recipe for greatness. Much of the movie involves Nicolas Cage being tasked by a couple people affiliated with the CIA to stay and keep an eye on Javi, who to his surprise, becomes his newfound companion. This takes a toll on Cage as he came into this situation with partial hesitancy and now that he is here, he now has a sense of trust with his new pal. The duo literally bonded over “Paddington 2!” I have never seen “Paddington 2,” mainly because I have not seen “Paddington 1” from the mid-2010s, but I will give this film credit where it is due, it has made me want to check out “Paddington 2.” But this movie is not just about Cage finding out he likes “Paddington 2,” or trying to get people he knows to watch “The Cabinet of Caligari,” this film can also qualify as a tribute to Cage’s career and legacy. Fans of his previous movies will probably rejoice as to how one particular aspect of this movie unfolds, as it is one gigantic callback to his cinematic library.

This film also knocks its portrayal of celebrity culture out of the park. Obviously, given how this is a Nicolas Cage film, it would be wise to realize how his fans see him on screen. But there is a great moment in the film that reminds me of how ballsy it is as a fan to stop a celebrity in the street. Because the reality is, celebrities have lives. They have places to be. That is a good reason you should not stop them in the street. But at the same time, getting to meet them presents itself as a once in a lifetime opportunity, making it that much more palatable to stop them and ask for a picture. This is why events like comic con exist. That way the celebrity guests are in one place and possibly there almost solely to make the fan’s day while also making a profit. But I will be real, if someone stopped me in the street to compliment that one review I did, I would be thankful and happy enough to take a second out of my day to talk to them. But the way this movie presents a case like that shows how unexpected such a moment can be. Nicolas Cage came off as the kind of guy who would not mind taking a selfie with a fan, but I also noticed how quick this scene was handled, showing that one person or the other had things to do. Entertainers are amongst an interesting profession because they are perhaps more likely than others to be stopped. Imagine if you were working in a landscaping company and someone came up to you and screamed, “Wow! I love what you did with my neighbor’s yard! All my friends are talking about it!” You don’t usually see that as much with people in such a profession.

This film, genre-wise, is part buddy comedy, part crime investigation, part action adventure. All in all, I have to say it is one of the most delightfully charming, exciting movies I have watched in the past few months. Cage and Pascal are ridiculously funny together, and I totally buy their out of nowhere friendship. I think their chemistry is more prominent to me at this point however compared to the CIA plot, which is not a bad entry to the script by any means. I enjoyed what I saw. But Cage and Pascal’s scenes together grabbed my attention so much that it made a good portion of the film feel rather forgettable, and I think that is its biggest weakness. Although at the same time, one thing I did not forget is how the film seemingly takes jabs at today’s somewhat cookie cutter approach to storytelling, where you have basic ideas regurgitated over and over and fewer adult-centric tales out there for people to consume. The way “The Unbearable Weight of Massive Talent” handles such an idea is not only entertaining, but also increasingly relevant in a studio system that is often dominated by blockbusters and franchises of “things people remember.” And as much as I love movies like “Free Guy,” I can see why people find them uninteresting or out of line with what they find watchable.

In the end, “The Unbearable Weight of Massive Talent” will leave you laughing, it will leave you smiling, it will make you want to befriend Nicolas Cage yourself. Not to take away from Nicolas Cage, but the supporting cast is also likable and charismatic. You have some great actors like Tiffany Haddish, Ike Barinholtz, and Neil Patrick Harris. All of them have an attractive screen presence. When it comes to movies about stars playing themselves, I prefer “The Big Sick,” starring the hilarious Kumail Nanjiani, but “The Unbearable Weight of Massive Talent” is still worth watching. I recommend it. I am going to give “The Unbearable Weight of Massive Talent” a 7/10.

“The Unbearable Weight of Massive Talent” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for one of the biggest movies of 2022, the latest entry to the Marvel Cinematic Universe, “Doctor Strange in the Multiverse of Madness!” Expect that review sometime soon! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Unbearable Weight of Massive Talent?” What did you think about it? Or, what is your favorite movie where an actor plays themselves? Don’t you dare say “Space Jam…” Or the sequel, for that matter. Both are atrocities. Scene Before is your click to the flicks!

The Bad Guys (2022): A Nonsensical, But Surprisingly Entertaining Heist Animation

Posted on by Jack Drees

“The Bad Guys” is directed by Pierre Perifel, who has helped animate several DreamWorks films including “Monsters vs. Aliens,” “Shrek Forever After,” and “Rise of the Guardians.” This film stars Sam Rockwell (Three Billboards Outside Ebbing, Missouri, Moon), Marc Maron (GLOW, Joker), Awkwafina (Raya and the Last Dragon, Awkwafina Is Nora from Queens), Craig Robinson (The Cleveland Show, The Office), Anthony Ramos (A Star is Born, In the Heights), Richard Ayoade (The IT Crowd, The Watch), Zazie Beatz (Atlanta, Deadpool 2), Alex Borstein (Family Guy, The Marvelous Mrs. Maisel), and Lilly Singh (A Little Late with Lilly Singh, Bad Moms). This film is based on a children’s graphic novel series by Aaron Blabey and follows a group of varying creatures who all commit crimes together. In an attempt to successfully continue their criminal activities and complete their mission, they attempt to become “good,” which given their long status of being hated or feared, is a bit of challenge on a number of ends.

I first saw a trailer for “The Bad Guys” back towards the tail end of 2021, and I thought it looked like another example of why people often stereotype animated movies as “kid movies,” because this movie did not look like it was made for me. Maybe if I were eight, I would have been sold. Not today. That said, I did go see this film given how there was a free screening for it over Easter weekend. So I did have time to watch it. But I cannot say I had the motivation.

Now, I want to make something clear, one of my least favorite critiques regarding family films is that the movie at hand is dumb, there are moments that do not add up, but “the kids will like it.” While that MAY be true, I also want to note that as I look back on my childhood, there are select movies that I STILL watch to this day that were intended for the family demographic because of how they have treated me like I was intelligent back then and continue to do so today. Pixar is honestly the king of this classification with films like “The Incredibles” and “Up.” I will add that “Lightyear” looks like it is going to continue that tradition when it releases in June. There are a few DreamWorks films from my childhood like “Kung Fu Panda” or “How to Train Your Dragon” that manage to maintain a childlike spirit but I also would not mind popping in again as an adult if I get the chance. Although I will say I have probably watched “Bee Movie” more than some would like to admit as a kid and have not done so since I was 13. Even for the memes. “The Bad Guys” came off as a disposable family film with cheap comedy gags. I did not think I would particularly like it.

Now that I have seen the film, it is kind of that… Except that I did walk out thinking that I saw something that technically qualified as… Well, good!

In addition to some cheap comedy attempts that the trailer seems to promise, there are some hints of cleverness in between. This movie has one of the funniest lines I have heard from a children’s film in recent memory. I won’t quote it verbatim, but one of the best moments of the film is when we see the Big Bad Wolf and Mr. Snake talking to each other, when all of sudden, Snake spits out a clock, and reminds Wolf of the time, saying that it is “the moment our friendship died.” I imagine this was written as a throwaway line, but for some reason it just hit me the right way.

The voice cast is actually rather impressive from Sam Rockwell as Wolf, Marc Maron as Snake, Awkwafina as Tarantula… Yeah, some of these names are QUITE generic… But ya know. It is not entirely the movie’s fault. It is based on a book. If anything, blame the book. I dunno… But still, generic names! Either way, each actor finds a way to swimmingly match their voice to each role. I almost cannot see anyone else voicing Wolf at this point. The only other voice I could see is maybe Matthew McConaughey, but given how he’s already got a major role in “Sing” and a bit of an accent, I think that Rockwell is a better choice. Awkwafina has a swagger to her voice that is perfectly sprinkled into her role of Tarantula, and to my surprise, Craig Robinson had an over the top attitude to the character of Shark that was finely executed. Anthony Ramos mixed okay with his character of Piranha, but I think he is an element of the film that relies on tired gags maybe a little too much.

My favorite voices of the film come from characters who are not quite in the forefront. First off, we have an over the top police chief who goes by the name Misty Luggins. Her aspirations are to capture the Bad Guys for good. As the movie progresses she becomes funnier and funnier, her one-dimensionality is honestly her strength. If anything, she kind of reminded me of the old lady from the “Madagascar” movies who refers to Alex the Lion as a “bad kitty,” only in this case, Luggins seems a tad more civilized. She just seems so passionate about reaching her goals, and even though she technically was on what this movie refers to as its antagonistic side, part of me could not help but root for her. I was also delighted to find out that she was voiced by Alex Borstein of “Family Guy” fame.

Also joining the cast is British comedian Richard Ayoade, who in this film plays a character by the name of Professor Marmalade. I love this character. Professor Marmalade is pretty much everything that the Bad Guys are not. While the Bad Guys are busy hacking, robbing, taking from innocent people, Marmalade on the other hand is quite benevolent, rather charitable. He has a history of guinea pig philanthropy and every moment of his presence is one to savor. Ayoade is perfect casting for this role because of the pure distinctness of his voice that has the right amount of innocence, kindness, possibly even geekiness. At first I thought this was Daniel Radcliffe, because when I first heard Professor Marmalade talk I was getting Harry Potter vibes. But I heard his voice more and more, and one, recognized it, and two, adored it. If Sam Rockwell was solid casting for Wolf, then Richard Ayoade is gargantuanly perfect casting for Professor Marmalade. Two thumbs up.

“The Bad Guys” is a well-voiced, not to mention well-animated little film. This film has a distinct, quick, almost comic book-like style that works for it. That said, here is my big problem. Humans.

Humans are a problem. War, global warming, lust, capitalism. Humans are a disaster and I have no problem in saying that. Humans are not perfect, and speaking of imperfections, there are so many humans in this film that it makes me, the Movie Reviewing Moron, wonder… HOW ARE THESE BAD GUYS GETTING AWAY WITH ALL THIS STUFF?!

Genuine question. How many sharks are there in this universe? Also, how many of them speak English?! This movie establishes that Mr. Shark is a master of disguise. How on earth do more people not catch him committing crimes or pulling off heists? I don’t buy any of this! This universe almost establishes that these talking animals are almost one of a kind. I would like to know how they continue to blend in a world that is implied to be dominated by humans, kind of like ours. Yeah, there are other creatures too, but they supposedly are few and far between unless maybe you’re a guinea pig. I think if you want a more practical universe, I would not say to take the humans out entirely. But maybe replace some of the ordinary citizens with other animal types. Maybe apes or tigers or cheetahs. If this movie looked something more like “Zootopia” or “Sing,” I’d buy it more. But it’s less believable because it sort of traces back to our reality despite some slight changes here and there.

This goes back to what I said about kids movies treating its audience like they’re intelligent. Now, I am in my 20s, so therefore I do not have the brain of a child, even though I do admittedly sometimes act like one. But the movie still entertained me despite its noticeable flaws, therefore even though I think this is something that should have been fixed before release, it does not exactly take away from the fun I had watching this movie. I get why they made the main characters different creatures. It helps by highlighting their distinctiveness, and may make the movie more attractive and marketable for younger viewers. But if you are gonna go this way, you might as well go all the way. Keep all of the main creatures as they are, but add a few other altering creatures into the background for a change. Just a suggestion. It’s a pretty big suggestion, not afraid to admit it, but nevertheless. Say what you want about all these superhero movies from Marvel and DC having characters with impractical abilities. Here’s the thing about Spider-Man. Let’s use Tobey Maguire’s Spider-Man as an example. Sure, maybe in reality there is no one out there that can shoot webs out of their wrists. But the movie’s environment, vibe, characters, actions, everything within that first “Spider-Man” movie from 2002 felt like it was carefully constructed to make me believe that a teenager could live a life swinging around New York City. “The Bad Guys” fails on that goal because of the characters and environment that surround the ones in the title. Am I nitpicking? You could make the argument that I am. But I only say this because I have to be honest in my thoughts and remind those who I am sharing my thoughts with that I am trying to help. I am making suggestions based on my experience. That said, I liked the movie. I’d still give it a watch.

In the end, “The Bad Guys” is a good time even though I have a tendency to rip it apart somewhat. Would I want a sequel to this movie? I don’t think so, but I think this a fine hour and a half to turn off your brain, or if you are me, almost turn off your brain. This is not going to win Best Animated Feature at the Oscars, in fact I think if you want a better family movie to watch with the kids, “Turning Red” would be better for certain audiences. I think if you have younger kids “The Bad Guys” might be better, but it’s not a better movie. But as an adult, I DID laugh quite a bit, and I clapped at the end. There’s also some cool action, look forward to it if that’s your thing. I’m going to give “The Bad Guys” a somewhat generous 6/10.

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

Thanks for reading this review! I’ve got a few reviews coming soon between “The Northman,” “The Unbearable Weight of Massive Talent,” and “Doctor Strange in the Multiverse of Madness.” Look forward to those! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Bad Guys?” What did you think about it? Or, what is a movie that you enjoyed as a kid that does not hold up as an adult? For me, that would have to be the live-action “Alvin and the Chipmunks” films. What about you? Let me know down below! Scene Before is your click to the flicks!

CODA (2021): An Audibly Triumphant Story With Every Emotion Ever Conceived

Posted on by Jack Drees

“CODA” is directed by Sian Heder (Orange is the New Black, Little America) and stars Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin in a film about a young girl who is born into a deaf family. She is the only one in the family who has hearing, and finds herself struggling to balance school, her family fishing business, college admissions, and an interest in music.

Despite the notability of this film’s recent Best Picture win at the Academy Awards, not to mention seeing this film in the theater recently, the latter of which almost causes a case for an automatic film review every time, I nearly decided to not review this film at all. But that is until I saw it. And we’ll get to my thoughts in a sec, but I want to note that “CODA” was a film I have looked forward to ever since I first saw the advertising. The reviews looked insane, and it came off as a wonderfully intimate tale about someone who is special and I would not know personally. But for various reasons, I missed the film when it first came to theaters, and I never got around to watching it on Apple TV+. But due to the film’s recent success at the Academy Awards, Apple decided to release the film again with open captions. Given this film’s subject matter, that is a great idea. They released it in several theaters around me, so I decided instead of suffering through “Morbius” a second time, I would take my dad to go see something that won’t make you rip your hair out.

We agreed on “CODA.” Hopefully our choice would be wise.

But of course, there are several movies that exist that have a hype train, only to have said train lose a little steam once it comes out. This happened to me last year with “Soul,” which Peter Travers of ABC News called “the year’s peak achievement in animation,” Josh Wilding of ComicBookMovie.com referred to as “one of Pixar’s most beautiful, poignant films,” and Bob Chipman of Moviebob Central claimed was “among the year’s loveliest, most poignant and moving pieces of work animated or otherwise.” Those are ridiculously positive, star-shooting thoughts.

I mean, I LIKED “Soul,” but at the time it also became my least favorite Pixar movie, so there is that.

Now with “CODA,” we have another insanely praised movie revolving around music. Adam Graham of Detroit News says “CODA” is “a big hug of a movie.” Pete Hammond of Deadline Hollywood suggests “CODA is more than “a moving story of what it means to be in a family, but also one about becoming your own person and following a dream.” For the record, despite this film’s wider release in August, it originally played at Sundance, so I think this notion from Esther Zuckerman at Thrillist should not be ignored.

“‘CODA’ is the kind of movie that you can imagine getting a standing ovation at Sundance, if this were a year where people were allowed to gather in a stuffy Park City auditorium.”

It’s been over a year since this film’s Sundance premiere. It’s been only a little time since this film’s recent collecting of Academy Awards. Is this movie the greatest thing since sliced bread or the next “Soul?”

Neither. There’s sliced bread, there’s better than sliced bread, and then there’s sliced bread with mounds of butter!

If there is any reason that you should spend a few bucks for Apple TV+, “CODA” makes an absolutely compelling argument. My dad walked out of the auditorium saying that this was one of the best movies he has seen in years, and I could definitely see why. I have gathered that he is fairly easy to impress as a moviegoer, but when he REALLY likes a film, I have found it to be obvious. And it is not just him who is yelling out a car window to everyone on the streets to go see this movie, because I for one think that this is one of the best coming of age stories of our time. Does it have some familiar elements or clichés? Perhaps. But it doesn’t always matter if a movie has clichés as long as they are utilized well.

At the end of the day, this is a genius narrative about a girl whose normality makes her abnormal. I have taken a screenwriting class in my sophomore year of college, and one of the things I have taken from that class is that when I write a character who is “ordinary,” that I understand that there still should be specific qualities about such an ordinary character that stand out. When it comes to this film’s character of Ruby Rossi, perfectly played by Emilia Jones, this is exactly what my professor would want me to shoot for. She is in a deaf family, but she is the only one who has hearing. Brilliant. And it is not just a great concept, it has stellar execution. Because this film is completely relatable to someone like me, who was at an age range she previously experienced. Now, unlike Ruby, I knew what I wanted to do the moment I got out of high school, but the problem for me was taking that next step and actually moving on with my life, and I am sort of experiencing the same thing with my soon to be post-undergrad years. That by itself made me connect to Ruby, but when Ruby finds something she is passionate about, it is, almost perhaps understandably, the biggest shock and disappointment she can give to her parents who are having trouble hearing. That passion being music, which you have to HEAR to fully understand. Not only is she passionate about it, she wants to study it, which in addition, requires money… Oh boy.

I grew up in a family of two adults who had their own occupations and ran their own company at some point in their lives. Despite this, I consider myself lucky to have never felt the pressure to attach myself to a family business had I failed to express any interest. I have been given the opportunity to attach myself if I choose, but my main priority right now is film, it’s media, it’s communications, it’s entertainment. I felt for the protagonist because they have to choose between family and herself, and this is really the time of her life when she should be thinking about herself, what she wants to do, and the parents should allow her to do such a thing. They may not like the choice, and again, understandably so, but this is not their life, it is Ruby’s. But we also get a look at the lives the parents have, and there comes a point where Ruby leaving could mean that they have to rethink how they live their lives, and as this movie shows, conduct their own business. Not to mention, when you have to look at your current financial status, that also brings up a question as to what life you can provide for yourself and those you care about. On that note, the main family is perfectly cast. They have phenomenal chemistry. The deaf characters are actually played by deaf actors. Sian Heder brings us a wonderfully conceived screenplay and brings her artistry to the table while telling a story about an aspiring artist. Heder has not done a ton of notable work yet in her career, but I think “CODA” is going to put her on the map as a filmmaker around this time, like “Lady Bird” put Greta Gerwig on the map when she directed that film.

I know a lot of people, and I’m close with quite a few of them. None of them are deaf. So I cannot speak to the accuracy or authenticity of certain aspects of this film, but as for the entertainment value with everyone on screen, regardless of their ability to hear or speak in sign language, that was not short whatsoever. Although on that note, if I think if there were any way to improve “CODA,” there are honestly few things I can think of to begin with. But if I had to come up with something, there is one story element in the movie that admittedly becomes a bit predictable. My dad and I were watching, and we both knew, “Okay, this is where the movie’s going.” Usually I am not a fan of predictable storytelling, partially because when you watch a lot of media, the more repetitive it is, the more likely I am to tune out, but I also think when it comes to how “CODA” handles such a predictable moment, it achieves its goal of making you relate to or feel bad for the protagonist.

“CODA” has such a way of playing with your heartstrings that feels larger than life despite it being one of the most intimate stories I have ever seen, and part of it is because it relies on a lack of sound and written words to carry everything through. It really is film as it was meant to be. Visual storytelling. It does not tell, it only shows. There is a sequence at the end of this film that almost made me cry, and that is not only because the subject matter is incredibly compelling and ties everything together in a nice little bow, but as an editor, I was watching this and admired its ability to tell everything in a fast-paced, eye-popping montage that gave a sweet moment for every second on screen. Very few movies nowadays connect me in such an emotional way, and “CODA” is one of the lucky gems that just happened to knock on my door.

And don’t just take all the sappy comments I stated and put them in a box with this film set next to it, because this film has just about every emotion I could think of. I was figuratively biting my nails. I was jumping for joy. I was getting tears in my eyes. I was occasionally even laughing crazily. The film is surprisingly comedic, and there are a few moments where my dad and I were audibly laughing. One reason why I recommend going to see this in the theater if it is near you is because depending on your level of hearing, even when you hear nothing on the screen, you can still bask in the laughter of an audience, which is one of the most uniquely satisfying feelings I have gathered in my recent film experiences.

In the end, “CODA” is one of the best movies I have seen in recent memory. It won a couple of the big Best Picture awards, including the one that matters the most, the Academy Award for Best Picture, and obviously that warranted Apple to put the film out in as many theaters as it can the next weekend to get some money. I went to go see it the Tuesday after, but I have had my occasional ounce of disappointment here and there when it comes to certain projects. I did not see “Moonlight” until the weekend following its kinda sorta Best Picture win at the Oscars, and I was underwhelmed. Although the following year, “The Shape of Water” won Best Picture. It took me awhile to watch that film, and it turned out to be a stunning and enchanting film with a great cast of characters, so anything can happen. “CODA” truly felt like it was made with the goal to win Best Picture, and it absolutely deserved it. I can barely think of any real problems in this film. Maybe if you don’t like tearjerkers, this may not be my first recommendation for you, but that is a claim leaning along the lines of subjectivity. Plus, even if you don’t like crying during movies I still recommend it, because I left the film feeling whole. I felt happy. It reminded me of my journey as an artist, but also immersed me into a world with people and situations that I do not come across in everyday life. Once again, Ruby Rossi is an ordinary protagonist, but this movie excels by reminding the audience of the extraordinary life she finds herself living every day. And this extraordinary life, made an extraordinary movie. I am going to give “CODA” a 10/10! If I had the chance to redo my top 10 list for 2021, this would easily belong in the top 3 or 4. I would not call it my favorite movie of the year, that honor still goes to “The Suicide Squad,” but it certainly comes close.

“CODA” is now playing in theatres and is available to watch on Apple TV+.

Thanks for reading this review! My next review is going to be for “Sonic the Hedgehog 2!” I saw the film a couple weeks ago, and I have plenty to say about it. I liked the first film, so who knows how the sequel will pan out… Following that review, I will be sharing my thoughts on the new DreamWorks animated film, “The Bad Guys,” which is in theaters as of this weekend. Also, coming soon, I will have my review for “Everything Everywhere All at Once,” the all new A24 film starring Michelle Yeoh and directed by Daniels, the same minds who brought us “Swiss Army Man.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “CODA?” What did you think about it? Or, what is your favorite film that has won Best Picture at the Academy Awards? Not just nominated, but they also have to be the winner. This film is definitely a contender, I’ll say that much. Let me know your pick down below! Scene Before is your click to the flicks!

Turning Red (2022): Pixar’s Latest, and Best, Direct to Disney+ Feature

Posted on by Jack Drees

“Turning Red” is directed by Domee Shi, who also directed “Bao,” one of the more memorable Pixar shorts. This film stars Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, Tristan Allerick Chen, and James Hong in a film about a young girl named Meilin Lee whose life and connection with those around her begins to turn upside down as soon as she transforms into a giant red panda.

Pixar is one of the best studios ever created, and I am honestly saddened to see what is becoming of them. And it is not the studio’s fault, it is instead the faults of Disney themselves, who happen to be putting their movies straight to Disney+. I could kind of understand it for “Soul,” because it was a good way to boost subscribers, it was free, unlike “Mulan,” and COVID-19 was incredibly rampant. “Luca” suffered the same fate months later for similar reasons, although I honestly think it would have done semi-decently in theaters if marketed well enough. After all, Pixar movies usually end up being some of the bigger hits of the summer. So I was disappointed to see that one go straight to streaming as well, even if it ended up being my least favorite movie from the studio. I was optimistic that Disney would not do the same for “Turning Red,” whose trailers I saw in theaters, and have enjoyed. …In theaters. Turns out, that’s not the case.

So I went to California to go see this film in a theater. That was not the main intention of why I went there, but that was something I happened to do while I was visiting. I look back on “Soul,” which to me, is an inferior Pixar title, and think it would have been cool to see it in theaters because the music would have sounded graceful through high-quality surround sound. Now that I HAVE seen “Turning Red” in a theater, part of me almost questions how this did not get a wider release. Because there are select parts that had my attention, especially at the end, that would have been nowhere near as enhanced had I watched this movie at home.

But as for the movie itself, I want to point out that the last two Pixar films, “Soul” and “Luca” are currently my least favorites they have done. Thankfully, “Turning Red” does not join those ranks. I would put it in the same caliber as maybe “Ratatouille,” a movie a really enjoyed, but also acknowledge is not maybe my favorite or least favorite. Again, Pixar is a great studio, and even with what I said about “Luca,” the film is still in the positive range for me. Their batting average is one of the best in regards to studios working today. It reminds me of Marvel Studios, except that they have a few movies that disappointed me and I would consider to be in the negative. When it comes to entertaining a massive amount of people, and not just giving the bare minimum when it comes to that, Pixar knows exactly what they’re doing. And getting Domee Shi to tell her story is a part of that.

One of my favorite Pixar movies is “Inside Out,” partially because of how emotionally satisfying it is by the end of it, but also partially because of how perfect of a metaphor it is for entering adolescence. Similar to “Inside Out,” “Turning Red” almost comes off as a metaphor for puberty, and I am kind of amazed that Pixar even decided to execute a movie like this because I think some adults will look at this and wonder if kids should even be watching it. Disney movies have sometimes been known for their dark turns in the story, especially when a member of the family dies. I will keep spoilers of “Turning Red” to a minimum, because I do recommend it, but the parts that may be the least kid-friendly are the moments that reflect the coming of age or growing up of our main character. If anything, I would say that this movie is almost a secret sequel to “Inside Out,” because if you remember that movie’s ending, it’s like we took one fraction from that film’s ending and made a feature-length story on what happens next.

This movie has a reference to “stripper music!” A kids movie!

The main characters of “Turning Red” make every other character in a Pixar film from Lightning McQueen to Mike Wazowski look completely silent and innocent. And by the main characters, I mean the teenage girls. Mei, Abby, Miriam, and Priya. I feel like watching them with their emphasized expressions and emotions not only highlight the chemistry they have with each other, but I felt like there were select scenes that highlight emotions from them that either would only reflect them at their current age or would highlight maybe the stereotyped awkwardness, perhaps even grossness, that comes with puberty. There are select facial expressions in this film that are off the wall cartoony to the point where there’s almost no real life replica for them.

In fact, not only does this film feature some of traditions of Pixar when it comes to their animation style with highly detailed, computerized 3D, which looks as impressive as usual. But there is also a bit of a Japanese anime style to this film as well, and it is fully embraced with FLASHY moments sprinkled every bit in between, poppy, bright colors, and I would even say the climax and its inner-workings feel like something out of an anime at times. But despite this film’s animated look, there is one moment, I will not say when, that something came onto the screen, and my jaw literally dropped at the sight of it because of how real it looked. Pixar is easily my favorite studio for animated movies, and part of it is not only because of their fun stories that bring joy and occasional tears, but also the effort that has been put into the film’s design. 2019’s “Toy Story 4” has one of the most surprisingly realistic looking shots I have seen of a cat in animation history. I think I just saw something equal to, if not greater than that.

“Turning Red” is Pixar doing what Pixar does best, because I often look at films from studios like Illumination and Dreamworks Animation and think to myself that despite their occasional enjoyability here and there, they almost dumb themselves down too much for the children who are inevitably going to be watching it because there are things happening on screen. Pixar does not do that. They feel like the wisest studio of them all. I almost feel like Pixar, when it comes to animation in the United States at least, is the thinking man’s animation studio. Disney Animation has a childlike spirit despite its darker themes. DreamWorks has its moments of maturity, but also resorts to immature jokes here and there. Illumination… My god. “Turning Red” seems to have a childlike spirit, but that is a compliment on the movie’s part because I feel like animation is, bar none, the perfect medium for something like this. I have seen images on the Internet of the film before it came out or just around release time regarding certain individuals refusing to watch this film because of the way it looked.

Okay. Now, film is subjective, not every movie is for everyone, but I will say if they did this film in live action, I think that they would have to change A LOT. Maybe some of the hyperactive writing could stay, but the expressions of the characters would not pop as much as it does here. I would love to see more of what Domee Shi does with her character and potentially what she can do with another directorial effort at Pixar. I think she and maybe Pete Docter (and Brad Bird should they make “Incredibles 3”) are the names I will await with eager anticipation in terms of when their next project arrives.

At the end of the day, this film is not just about someone who turns into a panda and lets all sorts of shenanigans unfold, it is about the struggles of growing up, the struggles of friendship, the struggles of family. At some point in these aspects, it is tough to maintain trust between one side and another. Sometimes you cannot please your parents because you want to please your friends. Sometimes you may not agree with everything your parents say, because maybe from their view, maybe they want the best for you. Their response could be somewhat justified, but in a case like this, the child may be significantly let down because they have wanted something so bad that it is all they think about. This took me back to a time when I was younger and I would ask my parents if I could play a slate of M rated video games. By the way, I played a ton of “Team Fortress 2” as a young teen. TURNED OUT FINE. The movie presents a similar case with 4 Town, a boy band who happens to be performing in Toronto. The girls want to go to the concert together, and the parents obviously want to interfere. From their point of view, they think the music is kind of ridiculous and think an event like this could be potentially harmful. But for the girls, this is practically their whole life. From the girls’ point of view, they almost see this as a part of growing up, which is part of what the movie’s about.

This film maintains a great lesson for children and adults. When I watch family movies or movies that are in the animated medium, I often note the lesson that they tend to provide for the children watching, it’s mainly intended for them. But I feel like a parent could watch this movie and take something from it too. It’s that good. It’s that effective. I highly recommend this movie to anyone and I wish it had a theatrical release.

The film also has a post-credits scene. For those who want to watch the movie, do not pause when the credits roll, there is more.

In the end, “Turning Red” is wonderful movie. It is not my favorite Pixar film, but it is funny, charming, and fast-paced. While there definitely are some moments in this film that try to go for the emotions, this may be a somewhat easier watch for some people than some of Pixar’s other fare in recent years like “Inside Out” or “Coco,” because films like those often seemingly attempt to make people cry. “Turning Red” starts off as cheerful fun and ends that way. If you want a joyful, happy go lucky film with some conflict, I highly recommend this picture. The main character of Mei is wonderful and brilliantly voiced by Rosalie Chiang. I would love to see more from the “Turning Red” property, and I am going to give it an 8/10.

Also, big shoutout to Sandra Oh. Her resume from an animation perspective has been fire lately. She was in “Over the Moon,” “Raya and the Last Dragon,” and now this. She is making some great choices lately.

“Turning Red” is now available on Disney+ for free as long as you are a subscriber.

Thanks for reading this review! Speaking of reading, if you like reading things for a very very long time, you will LOVE the 4th Annual Jackoff Awards! The awards were held on March 27th, but if you want to read the show now, here is an opportunity! Find out which 2021 films win’s Jacks awards! Should we do a fifth awards show, my next movie I am reviewing will probably not make it. Ladies and gentlemen, my next review… Is… Morbius.

Let’s get this overwith.

If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Turning Red?” What did you think about it? Or, which of the straight to Disney+ Pixar movies did you enjoy the most? Let me know down below! Scene Before is your click to the flicks!

The Adam Project (2022): Ryan Reynolds and Shawn Levy Team Up with Netflix to Deliver Another Excellent Collaboration

Posted on by Jack Drees

“The Adam Project” is directed by Shawn Levy (Night at the Museum, Real Steel) and stars Ryan Reynolds (Deadpool, The Hitman’s Bodyguard), Walker Scobell, Mark Ruffalo (Dark Waters, The Avengers), Jennifer Garner (Love, Simon, Peppermint), Catherine Keener (The Croods, Incredibles 2), and Zoe Saldana (Guardians of the Galaxy, Avatar) in a film where a man named Adam travels back in time and comes in contact with his 12-year-old self. Together, they join forces as they fight to protect time as they know it.

One of my favorite movies of the last year is “Free Guy,” directed by Shawn Levy. The director defined my childhood with the first two “Night at the Museum” movies so I owe him a debt of gratitude. And to know that Levy and Reynolds would be getting together for another teamup after their last totally epic, bonkers outing, was nothing short of exciting. I thought it was somewhat unfortunate that this outing would not be as big of a theatrical release given how this is a Netflix film, but I was still convinced to watch it. After all, I ended up earning a free link to watch “The Adam Project” over a week and a half before the film actually came out. So I watched it, gathered my thoughts, and now I am ready to share them with you all.

Let me just start off with this, “Free Guy” ended up being one of the most gutbusting and smile-inducing movies I watched in the past year. But I also recognize that it is probably not for everyone, even though it ended up being one of the rare action films my mom actually somehow ended up watching from start to finish. But even though these are two different movies, I think if you enjoyed some of the choices and styles represented in “Free Guy,” I think you are going to enjoy some of the choices and styles represented in “The Adam Project.” I do not think “The Adam Project” is going to win Best Picture, but it is a movie that for me, accomplished all of its goals it set out to acquire. It was action-packed, pretty, funny, and ended up having a little bit of heart. Basically, if you combined some of the bigger movies of the 1980s like “Back to the Future” and “Terminator 2: Judgment Day” with “Free Guy,” you basically get “The Adam Project.”

Think about it. All these properties have time travel, the protagonists have to save the timeline in addition to civilization and themselves, and the combo between young and older Adam kind of gives the same vibe I get when looking at the T-800 and young John Connor in “Terminator 2.” Basically, this is “Free Guy” without all the licensed crap attached, which may be a good or bad thing depending on how you look at it. I was extremely satisfied to see Ryan Reynolds holding a Captain America shield in “Free Guy,” but let’s just say I am glad that not every movie in existence is like that.

Ryan Reynolds does wield a lightsaber in this movie. …Kind of. So there’s that.

“The Adam Project” takes its time and sticks to its main characters, there are no humungous cameos, although there are plenty of notable actors in the film. For a film like this, I prefer that. In fact, there are one or two lines in here that I almost feel like are a dig on movie watchers in general, but also a select few that specifically target the stereotypical moviegoer who usually shells out a few bucks for the latest comic book movie, waits two months, shells out another few bucks for an even newer comic book movie, and so on. It’s all part of the lovable chemistry between these two Adams, and speaking of which, we are going to talk about one of them.

This movie is the acting debut of Walker Scobell, and for a first role, Scobell is given a lot to do. And he does all of it well. All of his lines feel authentic, he’s got the right level of hyperactivity for a role like this, I think as far as a young Ryan Reynolds interpretation goes, the hair’s an interesting choice, but we’ve all made altering choices in life. Scobell is an actor I want to keep my eye on, and “The Adam Project” is hopefully the start of a lively career. Ryan Reynolds is also a terrific addition to this dynamic duo. There is a really compelling scene when they first meet, I totally buy into their relationship from the getgo. I believe everything they’re saying. I believe they’re the same person. All I want is for them to stand together a bit longer.

One of the best and worst parts of “The Adam Project” is the visual effects. Like many modern science fiction movies, there are a ton of polished, crisp ships flying around everywhere. There’s a lot of computer generated detail that goes into a movie like this. So when there’s a battle in the air, that provides for an entertaining experience, and one that makes me envious of those who ultimately end up watching this film theatrically. On the other hand, there is a fair share of visuals that look like they belong in a video game. Now, I like video games. Video games are fun. But there is a clear difference between how things should look in a movie and how things should look in a video game. Some of the weaponry in this film looks like stereotypical sci-fi nonsense, and some of it works, but there’s also some that look like they would never exist in real life. They have colors that are almost invisible to the naked eye.

I think the big problem I have with “The Adam Project,” as nitpicky as it may sound, happens to be the scenes where the color palette is as bright as it can be. While this bright color grade matches the lighthearted fun the film has, it also makes the film look too clean and dream-like. It’s like every other scene has too much blue or too much green. Or the lens is permanently soaked in water. It kind of reminds me of what some people say about the “Star Wars” prequels compared to the originals, noting that the prequels are much cleaner than their original counterparts. I wonder if maybe the film changed the color grading a little, or maybe if they shot it in a different format, perhaps on film, that we would have a look that felt more believable. At times, the film reaches for the stars and goes for something that almost resembles a fantasy vibe, but I also want a tad of realism.

Although let’s end this review on a happy note. I am also delighted and surprised to confirm how emotionally charging this film is. I’ve talked about about the two Adams and their connection to each other. But the one thing that I should note to the parents or families reading this, I think the characters will resonate with you in one way or another because of their family dynamic. I’m not just talking about Walker Scobell and Ryan Reynolds, but Mark Ruffalo and Jennifer Garner play roles that feel occasionally nostalgic and charming to take in, especially when you have one or two of the Adams by their side. The end of the movie really got to me, especially as someone who may relate to the young Adam, but not in the way that he experiences life. Let’s just say that I did not go through a family tragedy in the way he did, but I empathize with him at his age for what happened AFTER said family tragedy. This movie is wonderful, watch it if you can.

In the end, “The Adam Project” is a film that feels like it was made in the 1980s, but with a 2022 flair. And I mean that in a good way, because the 1980s have brought some pretty kick-ass movies. I love the connection between young and old Adam, the supporting cast for the most part brought plenty of fun and charisma to the final product, and I had my eyes glued to the screen the whole time. Shawn Levy and Ryan Reynolds are supposedly making “Deadpool 3” together if all goes according to plan. You know what? If it is bound to be as good as the last two movies they made, sign me up! Because “Free Guy” was awesome and now, months after that movie came out, I’m going to give “The Adam Project” an 8/10!

“The Adam Project” is now available to watch anytime on Netflix for all subscribers.

Thanks for reading this review! If you enjoyed this review, be sure to stay tuned for my reviews of “The Batman” and “Turning Red,” coming soon! But before that, ON SUNDAY, MARCH 27TH! PREPARE FOR THE FOURTH EDITION OF THE LEAST MOST IMPORTANT AWARDS CEREMONY OF ALL TIME! THE 4TH ANNUAL JACKOFF AWARDS! Again, that’s SUNDAY, MARCH 27TH! It’s the same day as that other ceremony that refuses to present the entire Film Editing category. If you want to vote for Best Picture, vote here! That said, if you enjoyed this post, follow Scene Before either with an email or WordPress account and check out the official Facebook page! I want to know, did you see “The Adam Project?” What did you think about it? Or, what are your thoughts on “Free Guy?” Which of these two films do you like better? Let me know down below! Scene Before is your click to the flicks!