Comedy

Drive-Away Dolls (2024): Margaret Qualley and Geraldine Viswanathan Sparkle in a Quickly Paced, Splendidly Realized Thriller

Posted on by Jack Drees

“Drive-Away Dolls” is directed by Ethan Coen (The Big Lebowski, No Country for Old Men) and stars Margaret Qualley (Once Upon a Time in Hollywood, Fosse/Verdon), Geraldine Viswanathan (Blockers, Miracle Workers) Beanie Feldstein (Booksmart, Neighbors 2: Sorority Rising), Colman Domingo (Ma Rainey’s Black Bottom, Rustin), Pedro Pascal (The Mandalorian, The Last of Us), Bill Camp (The Queen’s Gambit, The Night of), and Matt Damon (Oppenheimer, The Martian). This film centers around two women who find themselves intertwined with crime-riddled shenanigans during their last minute road trip to Tallahassee, Florida.

So far, February has not been kind to yours truly. At least in terms of the movies we are getting. Shoutout to “Madame Web” for literally slapping me across the face, kicking me in the shin, and gouging out my eyeballs. Then again, it’s February. I should not be surprised that we are getting some underwhelming sacks of crap. But even over the past decade there is often at least one film in February that not only stands out, but ends up being a contender for best film of the year. In 2014 there was “The LEGO Movie.” In 2016 there was “Deadpool.” In 2019 there was “How to Train Your Dragon: The Hidden World.” But in this instance, it seems that February is back to its usual shenanigans of destroying any chances of good times at the movies unless the movie you’re seeing came out in the previous year.

Well, “Dune Part Two” happened, but that’s another story for another time.

Speaking of “Dune Part Two,” I have to say of all the movies coming out in February this year, “Drive-Away Dolls” takes my second place position for my most anticipated title of the month. That is one spot below “Dune Part Two,” so at least I had something to look forward to the week before that one came out.

And thankfully, I would have to say “Drive-Away Dolls” is a delight. It contains two likable leads, a well-rounded supporting cast, and plenty of intriguing moments that are accentuated by good characters. Many of the film’s wins perhaps would not be possible if it were not for Ethan Coen’s vision. I have not seen all of the Coen Brothers’ movies, regardless if they are solo or together. That said, this one works because it successfully delivers a big bang in such a short runtime. The scenes fly by partially because of fast-paced dialogue and fairly tight editing. There are moments to breathe, but I will not deny that the movie gives quite a bit in just 84 minutes including credits.

Technically speaking, this is one of the most vibrant films I have watched in recent memory. This film is colorful, bright, and polished. One film I watched earlier this month was “Lisa Frankenstein,” and in that review I say the film “looks like something from another world.” When I look back at that movie and compare it to “Drive-Away Dolls,” they sometimes feel similar from a looks perspective. Both offer spectacular lighting that offers a bit of variety from scene to scene. Some of the costumes in both projects stand out. And there are moments where even the sets are easy on the eyes. There is a particular hotel in “Drive-Away Dolls” that not only looks exquisite, but beautifully fits the tone of the movie. Every moment we spend in this hotel with our two leads is worthwhile.

Speaking of the two leads, not only do Margaret Qualley and Geraldine Viswanathan give solid performances that allow the duo to be as dynamic as possible, but I cannot see anyone else playing them. I have respect for both of these actresses. I have not had a ton of experience with Margaret Qualley, but I thought she shined like the sun in “Once Upon a Time in Hollywood,” one of my favorite Quentin Tarantino flicks. I noticed some of her mannerisms from that movie seem to make their way into her role of Jamie as well. And while I would not specifically call “Drive-Away Dolls” a comedy per se, there are plenty of comedic elements. There is a natural goofiness, if that is even the correct term to use, to the main duo that is incredibly palpable. The movie does a good job at fleshing this duo out and authenticating them. They feel like they belong in a world like the one this movie presents.

And of course, Geraldine Viswanathan plays the other leading lady, Marian. Sticking with the comedy aspect, I think Viswanathan also does a good job at playing up some of the more comedic parts of the film. I should not be surprised though given her background. She was in one of my favorite comedies of 2018, “Blockers.” She was also a regular in TBS’s “Miracle Workers,” which is a fantastic show. Viswanathan is a natural when it comes to matching her personality with the movie’s tone.

But just because there are comedic moments in the film, does not mean the it refuses to get serious for a moment or two. Multiple tones intertwine beautifully and in no way feel inconsistent. That said, knowing what this movie is about, how the events progress, and the way everything unfolds, of course comedy is to be expected out of something like this. I do not want to give any spoilers as to certain things that happen in the movie as the marketing shrouds some things in secrecy and I was admittedly surprised when certain things come up, but this movie gets wild.

On top of Qualley and Viswanathan, you have an amazing group of supporting actors. Need any more proof this film scores big in the comedy department? Watch Beanie Feldstein play Sukie the cop. Perfect is a word I wish to use sparingly in life, but Feldstein’s performance comes close to perfection. Bill Camp as Curlie has a notable presence throughout the picture. And Matt Damon easily makes the most of his screen time. Similarly, I think I made the most of my time watching this film. I would give it a thumbs up.

In the end, “Drive-Away Dolls” is quite good! In fact, sometimes, it delivers a flair only a movie of its kind can bring to the table. Great acting. Great directing. Eye-popping aesthetics. What more could you want? “Drive-Away Dolls” is not the most surprising movie of all time, and when it comes to quality I have to admit there are better movies from the Coens, not to mention in general, but if you want a good movie that could make for a decent one time watch, “Drive-Away Dolls” is an entertaining ride. I am going to give “Drive-Away Dolls” a 7/10.

“Drive-Away Dolls” is now available to rent or buy on VOD.

Thanks for reading this review! If you liked this review, I have more coming! Stay tuned for my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” “Kung Fu Panda 4,” and “Ghostbusters: Frozen Empire.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Drive-Away Dolls?” What did you think about it? Or, what are some good road trip movies that come to mind? Let me know down below! Scene Before is your click to the flicks!

Lisa Frankenstein (2024): Kathryn Newton Shines in a Forgettable John Hughes-Esque Coming of Age Story with an Edge

Posted on by Jack Drees

“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.

When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.

You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.

This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.

Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”

Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.

The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.

For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.

Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.

In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.

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

Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!

American Fiction (2023): Cord Jefferson’s Directorial Debut Balances Humor and Emotion with Excellence

Posted on by Jack Drees

“American Fiction” is directed by Cord Jefferson and this is his directorial debut. The film stars Jeffrey Wright (Asteroid City, What If…?), Tracee Ellis Ross (Black-ish, The High Note), John Ortiz (Fast & Furious, Clyde Goes Boating), Erika Alexander (The Cosby Show, Living Single), Leslie Uggams (Roots, Deadpool), Adam Brody (Shazam!, Ready or Not), Issa Rae (Barbie, Spider-Man: Across the Spider-Verse), and Sterling K. Brown (This Is Us, Army Wives). This film is about an author who creates a satirical book under a pen name that becomes bigger than anyone, even he, could have imagined.

As we approach the end of the 2023 film awards season, it is time to discuss a movie that may not be a frontrunner to win all the Oscars this year, but one that has had a respectable share of spotlight. I knew about a lot of movies coming out towards the year’s end, but “American Fiction” was one that kind of came out of nowhere for me. It took me a couple trailer watches, mentions from social circles, and online pundits to drill the title in my head, but the whole idea of the film was something that I could get behind. It looked funny, well-acted, and well-written. Thankfully, when it comes to my expectations, this film hits all three of those checkmarks. The humor is great. The acting is great. The screenplay is great. And what makes all of this even better is that the director of this film, Cord Jefferson, is making this picture his debut.

According to his IMDb page, Cord Jefferson has never once directed anything else before “American Fiction.” This includes other features. This includes shorts. This includes television. Up until now, Jefferson has had a hand in television producing and writing. His resume includes “Master of None,” “Watchmen,” and “The Good Place,” the latter of which I have watched and find quite hilarious. It got me through my recovery after getting my wisdom teeth removed so I feel like I owe something to the people who made that show. And now Jefferson his taking his TV talents and using them to deliver one of 2023’s funniest films.

The ensemble for “American Fiction” can do no wrong. From the commanding, but not quite in your face presence of Jeffrey Wright, to the quality charisma of Tracee Ellis Ross to the flamboyant glory of Issa Rae, the latter of whom makes me imagine that she could eventually become one of my favorite performers in the near future. I thought Rae was a standout in “Barbie.” But she is a different kind of great here. Honestly, I almost cannot see anyone else playing her character. She does a great job not only having a hypnotic presence from scene one, but when we see her read her book, she does a great job at immersing me into the scene and feeling as if I am not only getting to hear the book, but maybe also getting some speck of imagination to the point where I would be mistaken to believe the events of the book are actually playing out in front of me.

As I have grown older, one of things I continue to appreciate about movies is the very idea of how people can take something and deliver a primarily visual experience, but if you have to ask me, “American Fiction’s” greatest asset has to be its dialogue. There are several lines from this film that are contenders to be some of the year’s best. I don’t think any of them will have as monumental of an impact as “Oppenheimer‘s” final line, “I believe we did,” but when it comes to individual lines, there is one quote from the main character that is funny, not only because of its delivery, but because regardless of its context, the more I think about it, the more I feel it applies to some aspects of modern society. Specifically, “The dumber I behave, the richer I get.” In fact, some would say this line even links to how entertainment works nowadays. There seems to be a consensus that we keep making entertainment, whether it is through movies, television, or in this movie’s case, books, arguably for the lowest common denominator. In fact, that falls in line with the main protagonist’s goal as well, because the film follows his journey as an author who cares about and finds passion in what he does, even though he does not have the widest audience. But the more he panders to a demographic or lie about himself, the more successful he becomes.

As for other standouts, the film itself looks beautiful. This film is shot by Cristina Dunlap. Cinematography-wise, it is not the top dog of the year, but it is sometimes enchanting to look at. The film is packed with a variety of eye-popping exterior shots. I may be biased because I am from Massachusetts and this movie is set around various areas I have been to around the state, but I can say that when it comes to showcasing those areas on camera, I will not deny that the showcase itself is rather pleasing. But the film is not just easy on the eyes, but also the ears. Laura Karpman’s score is quite good. It fits every scene well.

While this film may not win Best Picture at the Oscars this year, that said, you never know, it could pull an upset… I will say when it comes to this year’s slate, particularly the movies that are going for the heavy-hitting awards, this film gets some things right that I would say “Barbie” also gets right. Specifically the vibes and tone, mixed together with the overall look of the film. In some sense, “American Fiction” is a down to earth story about people you could probably find in our society, but it also comes off with this slight sense of fantasy. It is hard to describe, but I appreciated it.

I also must note that when I remember this film, I will remember it well for the laughs I had. The smiles I had. But it is a pretty balanced movie in terms of emotion. When we get to know Thelonious’s family, we also get to know his mother, who we find out has Alzheimer’s. While I will affirm the film is not quite as memorable as “Everything Everywhere All at Once,” when you take the main idea of “American Fiction” and combine it with this Alzheimer’s subplot, the two films feel similar tonally. Because “Everything Everywhere All at Once” had tons of multiversal shenanigans, but you also have an intriguing subplot that is more down to earth like the turmoil between multiple family relationships. As for the subplot itself, I thought it was handled with grace and it unleashed a great performance out of Leslie Uggams (right). In terms of story and characters, what “American Fiction” provides on the surface, is intriguing. That said, there is more to it that paints a pretty picture.

In the end, “American Fiction” is unpredictable, exciting, and hilarious. When it comes to commentary, this is one of 2023’s finest works. But it also does something equally as important. Entertain. Once again, this is the first film from Cord Jefferson, and I honestly cannot wait to see what he does next. It is not just a good time, it is a great time. And I think you will have a great time should you decide to watch this film. Not the best of 2023, but it gets a lot of things right. When it comes to flaws, they do exist. I will remember some aspects of this film more than others. Some scenes feel a tad abrupt in terms of flow. But there’s nothing game-breaking. As for my score, I am going to give “American Fiction” a high 7/10, and honestly if I were to watch it a second time, it could go up.

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

Thanks for reading this review! If you enjoyed this review, I have more where that came from! Pretty soon I am going to have reviews for “Lisa Frankenstein,” “Madame Web,” “Bob Marley: One Love,” “Drive-Away Dolls” and my most anticipated movie this year, “Dune Part Two.” Also, if you have a lot of time on your hands and you want to find what films defined the art form in 2023, check out the 6th Annual Jack Awards, possibly the biggest waste of time in your entire life. Who knows? If you want to see more great content like this, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “American Fiction?” What did you think about it? Or, what is your favorite directorial debut? I don’t have a concrete answer, but I recently rewatched “Deadpool” over Valentine’s Day, because what other movie would I watch?! That was Tim Miller’s first feature film and it ended up being one of the funniest I have ever seen. If you have an answer of your own, say it down below! Scene Before is your click to the flicks!

Anyone But You (2023): Sydney Sweeney and Glen Powell Star in a Romantic Comedy That Neither Feels Romantic or Funny

Posted on by Jack Drees

“Anyone But You” is directed by Will Gluck (Friends with Benefits, Peter Rabbit) and stars Sydney Sweeney (Euphoria, The Handmaid’s Tale), Glen Powell (Hidden Figures, Top Gun: Maverick), Alexandra Shipp (X-Men: Apocalypse, Barbie), GaTa (Good Mourning, Dave), Hadley Robinson (Utopia, Winning Time: The Rise of the Lakers Dynasty), Michelle Hurd (Star Trek: Picard, Law & Order: Special Victims Unit), Dermont Mulroney (The Wedding Date, About Schmidt), Darren Barnet (Never Have I Ever, Gran Turismo), Bryan Brown (Cocktail, The Thorn Birds), and Rachel Griffiths (The King’s Daughter, Hacksaw Ridge). This film is about man and a woman who meet in a coffee shop, hit it off romantically, only to have everything fall apart the next day. Some time later, the two reunite at a destination wedding in Australia all the while pretending to be a couple.

During many of my horror movie reviews, I would point out that horror is one of my weaker genres. When I started Scene Before, and even before I started, I tended to avoid horror because many of the movies coming out in said genre either looked identical or uninteresting. Thankfully, having explored more of the genre over the years, I have welcomed quite a few fascinating titles into my life. Similarly, romcoms are another type of film that usually slip under the radar for me. They’re just not my kind of movie. I’ve watched romcoms in the past. In 2019 I saw and reviewed “Long Shot” and “Isn’t It Romantic?,” which offered two completely different experiences for me. In 2022 I reviewed “Ticket to Paradise,” which ultimately got a thumbs up from me despite some problems that came up throughout the runtime. Last year, I reviewed “No Hard Feelings,” which I called a romcom in my review, though looking back it probably would be more accurate to call it a sex comedy than a romantic comedy. When it comes to this blog I have some experience with the genre. But compared to some other types of films, I am a bit of a novice here.

That said, this film is directed by Will Gluck, whose resume as a writer and director is kind of iffy. He previously did the recent “Peter Rabbit” movies, both of which I skipped because they looked like wastes of time. He did “Friends with Benefits,” which I thought was kind of cute. He also did the 2014 edition of “Annie,” which I watched once when it was on Starz. I did not see all of it, but I saw enough of to say I would rather devote my time to something more valuable. Gluck did not write this film, but he also directed “Easy A,” which thanks to some brilliant pacing, a great story, snappy editing, and a marvelous lead performance by Emma Stone, ended up being one of the more memorable coming of age stories of the 2010s.

So, going into “Anyone But You,” I cannot say I was stoked. But I would say I had generously moderate expectations.

Even with those expectations in mind, I was still let down.

This film is dumb. And I can tell it is dumb on purpose. But it is the kind of dumb I cannot appreciate. There is a difference between dumb fun and just dumb. This is the latter. Maybe it is because it is more in line with the films I usually like to seek out, I found a film like “Godzilla vs. Kong” to be an excellent example of dumb fun because even with the wooden characters and oddly structured storyline, the film has some of the best action I had seen in some time upon its release. It was a technical beast. The score was incredible. The special effects were really good. There was a lot to appreciate visually that kept the movie from being bad, unlike its 2019 predecessor, “Godzilla: King of the Monsters.” On the other hand, there are plenty of times in “Anyone But You” where visual gags popped up that either did not generate a reaction out of me, or if they did generate one, it was one that I don’t think the movie would have been going for.

Much of the humor in “Anyone But You,” most notably in the first half, are visual gags that either have to do with private parts or showing off ironclad bodies, sometimes both. It’s the same joke over and over again. If the joke is not funny the first time. Then it is not funny the second, third, fourth, and fifth time. The joke was old when it started, and it was basically on its deathbed by the film’s halfway mark.

My favorite joke in the movie though is one that involves a koala. Of course, Australia, koalas. What a pair. But there are a couple moments in the movie where we see a koala, and those made for my most notable reactions of the film. The jokes are so simple and quick, but that’s part of what makes them great.

And speaking of Australia, one joke that got old really fast was how much this movie utilized the character of Beau. The actor who portrays him, Joe Davidson, said in a press release, “Beau is what you get when you mix all the Australian islands and icons all into one character.” I have lived in the Boston area all my life, and I have seen a number of movies where the characters in said area will have noticeably played up accents. Movies like “The Departed” and “Good Will Hunting,” both of which I enjoyed. But the accents in both of them are definitely over the top, I’d say particularly more so in the former at times but I’d have to watch both films again to compare and contrast. And sometimes when the accents, and in the case of “Anyone But You,” the stereotypes, happen to be this played up, it is distracting. It is almost annoying. Beau is a living, breathing caricature of what some people would perhaps interpret as a hunky, Hemsworth-like Australian. And of course, they make a Hemsworth joke in the movie. Totally didn’t see that coming at all… It reminded me, as a Bostonian, when I saw “80 for Brady” and we would cut to the commentators and they would spew out the most asinine, ear-destroying Boston accents I remember hearing in film history. Safe to say, they were wicked awful. I am not saying there is anything wrong with Australia, their traditions, and what people think of them. I just think the jokes here range somewhere between lazy and overdone.

But how are the two leads of the film? I mean, they’re okay I guess. Sydney Sweeney does an alright job in her role and the material given to her, but there is not as much an oomph in her character or performance compared to what I would have liked to see. But I have to say, Glen Powell is a powerhouse in this film. I honestly forgot how charming he is. I thought Powell was one of the highlights of “Top Gun: Maverick,” and I am glad he is bringing the same appeal to this movie. While I did not love the movie, the material, the jokes, basically a ton of things in it, my biggest positive of the film is that I cannot see anyone other than Glen Powell playing his respective role. The movie is not funny, but Powell makes the most of what is in front of him and he is clearly trying. I just wish he were written better.

One of the more prominent problems I have with “Anyone But You” is that it ultimately feels like two different movies. Yes, I know it is a romantic comedy, which basically promises a romantic movie and a comedic movie all in one package, but the movie as a whole seems to lack a sense of consistency. The first half is a plethora of failed attempts at comedy, and the movie seems to dive into something more serious by the end of it that quite frankly did not keep me hooked. Part of that is because I never found myself completely invested with the characters in the first half. And the weird part is, despite noticing more obvious comedic attempts in the first half of the film, I am looking back at the film and would say I found the second half to be funnier.

As the film continues, it becomes cliche-riddled, bore-inducing, and tiresome. Is the movie offensively bad? I would not go that far. But it is far from the first pick I would make on a Friday movie night. Again, romcoms are not my genre, but I have come to a point in my life where I am practically okay watching any kind of movie regardless of the genre or what it is advertised to be. That said, I also heard enough about this film have some hesitancy towards it, and I felt as if I was right on those reservations. The film is not funny, overly cheesy, not romantic, and kind of forgettable. There are so many other options in theaters right now that I think you would be doing yourself a favor if you check out something else instead.

In the end, “Anyone But You” did not work for me. This is a romantic comedy that is neither romantic or funny. The jokes not only sometimes feel been there done that, but even the more clever ones fell flat because they felt as if they were repeating an earlier comedic attempt. Going forward, I am probably not going to remember a single character’s name from this film, maybe except Bea, partially because she is the lead, but the film somewhat reminded me of “Titanic” because of how many times I had to hear the names “Jack” and “Rose” in its extended runtime. I felt as if I had a similar experience hearing Bea’s name throughout the film. This movie is stupid and I feel dumber for having wasted my time on it. I would rather watch anything but this film if you ask me. I am going to give “Anyone But You” a 4/10.

“Anyone But You” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Happy New Year, everyone! And it is time to celebrate with some end of the year countdowns! Pretty soon I am going to be sharing my lists for my best and worst movies of 2023! Stay tuned! If you want to see these lists and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Anyone But You?” What did you think about it? Or, what is your least favorite movie genre? Let me know down below! Scene Before is your click to the flicks!

Poor Things (2023): Emma Stone Delivers a Career-Best Performance in This Wildly Entertaining Mish Mash of Genres

Posted on by Jack Drees

“Poor Things” is directed by Yorgos Lanthimos (The Favourite, The Lobster) and stars Emma Stone (The Favourite, The Amazing Spider-Man), Mark Ruffalo (Spotlight, The Avengers), Willem Dafoe (Spider-Man, The Lighthouse), Ramy Youssef (Ramy, Mr. Robot), Christopher Abbott (Sanctuary, Girls), and Jerrod Carmichael (The Carmichael Show, Lucas Bros Moving Co.). This film is based on a book by Alasdair Gray and it is about Bella Baxter, a woman whose body just so happens to be revived as a result of a scientific experiment conducted by the eccentric Dr. Godwin Baxter.

I cannot explain this film’s concept justice. It is not that I do not know what it is about. But even before going to see it, I knew certain things about it that would have made for awkward conversation or have ruined the somewhat vague nature of the film’s marketing. On the surface, the film seems to give enough away. Basically, a woman who happens to be brought to life through science experiences her definition of what it means to live. I think that is a great way to describe this movie without being too detailed, or in some cases, overly graphic. The concept is interesting to say the least. But as far as I am concerned, it was being helmed by someone who I did not completely trust.

One of my least favorite films of 2018 was “The Favourite.” Of that year’s slate of Academy Award Best Picture nominees, that movie was by far the one I considered to be the worst. That film was directed by Yorgos Lanthimos. Other than the fact that I found the film to be a uniquely boring waste of time, it gave me a bad impression of the director to the point where I neglected visiting some of his earlier films. I have heard decent things about “The Lobster” and “The Killing of a Sacred Deer.” But I refused to watch those because I was so turned off by “The Favourite.” As I have said previously on Scene Before, first impressions matter. But I watched the trailer for “Poor Things” and found myself hypnotized, but also with a sense of hesitancy in the back of my mind. But I thought “Poor Things” was worth checking out because much like “The Favourite” five years ago, “Poor Things” has been receiving tons of positive word of mouth. Plus, if Emma Stone continues to trust Lanthimos, maybe I should too.

So, how was the movie? I am very pleased to say that this is a banger of a film. It is not in my top 10 of the year, but it is excellent. I am immensely pleased and surprised by how this film turned out. It is wacky, it is weird, it is a feast for the eyes and ears. Yorgos Lanthimos undoubtedly has a unique style to his filmmaking. But in some ways, this kind of reminded me of a Wes Anderson film. Its color palette is particularly striking, the production design is a perfect blend between reality and fantasy, and the dialogue is almost like an enhancement on everyday life. I might not come across people talking the way these characters do sometimes, but I assure you it makes complete sense within the context of the movie and its universe.

One of the reasons why this film failed to reach the mark of being in my top 10 films of the year is because it starts kind of rough. It takes a bit for the movie to get going, despite inklings of intrigue. There are a couple of moments that I found to be an eyesore. In a movie full of eye candy, there are moments where I found something in the frame quite disgusting to the point where I could not help but wince or look away. It is a bit of a balancing act, really.

Part of the movie is in black and white, and then there is a portion of it that is in color. There were some mixed bags when it came to the black and white scenes. Once we get to the color scenes, that is when the movie unleashes its best material. It is creative, insane, and even with its strange tendencies, everything makes sense. I found every single thing in this film convincing. That said, there are times where the pacing is a tad uneven. It is not a huge dealbreaker, but it is noticeable.

The ensemble of the film is honestly a contender for the best of 2023. To me, it is up there with “Barbie,” “Oppenheimer,” “Killers of the Flower Moon,” and “The Holdovers” in terms of being a fine mix between star power, acting ability, and instant charm from everyone involved. Mark Ruffalo has a number of shining scenes that could potentially warrant some extended talk this awards season. Willem Dafoe, per usual, gives everything his all here. During the latter half of the film, I was heavily entranced by Kathryn Hunter as Swiney. The entire cast in this movie is great, but the star of the show, literally and figuratively, is none other than Emma Stone.

Talk about a marvelous triumph of a performance! Emma Stone nails Bella Baxter throughout this entire film. I looked back at Emma Stone’s IMDb and was reminded of some of her career highlights. Of course as a comic book movie enthusiast, I know she played Gwen Stacy in “The Amazing Spider-Man” and its sequel. She did a good job in those films despite them not being up to snuff. She also did one of the better coming of age films of the 2010s, “Easy A,” where she was funny and charming. I liked her in the “Zombieland” movies. Of course she was great in “La La Land.” I even liked her in “The Favourite” despite my negative thoughts on the movie. Given time to marinate, I have to say Stone’s performance in “Poor Things” trumps all of her past work that I have seen. I honestly cannot think of a performance of hers I liked more. “La La Land” comes close, but Stone’s performance in “Poor Things” is comparatively transformative, it is otherworldly. It something that I could have never imagined seeing in my entire life, especially from someone like her. I am not saying Stone is not a talented actress. There is a reason why she has an Oscar on her mantle. But this is a performance that takes what I know about Emma Stone as a person, as an actress, as someone who has seen her in certain movies, and completely subverts my expectations. As I watch this movie, I of course know it is Emma Stone in front of the camera. Her face has become rather recognizable over the years. In fact, even though I have not seen the movie, Stone may come off as less recognizable in Disney’s “Cruella” based on what I have witnessed through images and marketing. But as I watch this movie, despite the low difficulty of realizing the talent in front of the camera happens to be Stone physically, it is a bit harder to conclude that it is her mentally.

Part of what makes her performance so riveting and exciting is how her character easily blends in to the world around her. The script is written in such a way that I would not call it fantasy, but it certainly is not a part of our reality either. The film, kind of like “Everything Everywhere All at Once” meshes so many genres and ideas together to the point where it practically forms a genre of its own. Bella Baxter is one of the most unique characters I have seen all year, and she comes from an equally one of a kind piece of art. And that is what this movie is. Art. I was transfixed by this in the same way some may be transfixed by the Mona Lisa. Again, this is not to say “Poor Things” is one of the year’s best movies, but it is certainly one of the boldest and brightest.

While Bella Baxter might not be my favorite character in a movie I have seen this year, I need some time to think on that front. Baxter is nevertheless in contention to be, idealistically, the most fascinating protagonist created for the screen this year. She has a sympathetic personality, but she also has the mind of a young child and a teenager all wrapped into one person. With those last two ideas, we see a bit of a transition between them, but they are still interlinked somehow as the movie goes. The film is an entertaining study on what happens if you put someone as eccentric as Bella Baxter into our society, or some variant of it. What would she do? How would she behave? This is basically a fish out of water story. And while the fish out of water idea has been done time and time again, I imagine stories like this one happen to factor into why the idea continues to be unleashed in several projects. It is a tried and true method of storytelling that may be familiar, but if you could your own spin on it, it may be worth seeking out. And speaking of things that are worth seeking out, if you have time on your hands and you have not seen “Poor Things” yet, make an effort to see it at some point. Not only is it a great movie, it is one of the most welcome, monumental surprises of 2023. I know a lot of people were looking forward to this film. I was not one of them. If anything, I almost rolled my eyes knowing it exists. But with one AMC A-List punch later, I can say this is one of the better movies of the year.

In the end, “Poor Things” is a great turnaround for Yorgos Lanthimos. This movie took me from resisting his past work to making me want to see more of it. Emma Stone is better than she has ever been. If she is not nominated for an Oscar this season my jaw will be on the floor. I do not know of any actress I could see beating her this year. This is a once in a lifetime performance as far as she is concerned. The film is very funny. There are a lot of stellar lines from various characters. Bella Baxter’s mannerisms and quirks are wonderfully distinguished and brilliantly written throughout the picture. The movie does a good job at splicing all sorts of ideas at the wall and having most of them stick. The pathos was off and on. I do not think I am going to remember “Poor Things” through much of an emotional connection, but again, the comedy worked quite a bit so that makes up for it. The sets are detailed and colorful. I could not take my eyes off of some pieces. And if it were not for some occasional roughness in the first act, this film would probably make my top 10 of the year. You never know though, I could change my mind. I just saw the film. That said, as far as I am concerned, I am glad I saw it. If Lanthimos and Stone reunite in the future, I cannot wait to see what these two do next. I am going to give “Poor Things” an 8/10.

“Poor Things” is now playing in theaters everywhere. Tickets are available now!

Thanks for reading this review! If you enjoyed this review, why not check out some of my other ones? Just recently I did reviews for “Aquaman and the Lost Kingdom,” “Migration,” and “Wonka.” Check those out when you have a chance! Also, I will soon be reviewing the new romcom “Anyone But You.” That will be up later this week. Also coming soon, I will be announcing my top 10 best and worst movies of 2023. 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 “Poor Things?” What did you think about it? Or, what is your favorite Yorgos Lanthimos movie? Let me know down below! Scene Before is your click to the flicks!

Wonka (2023): A Sweet But Tired Prequel Whose Strength Comes from Old Tricks

Posted on by Jack Drees

“Wonka” is directed by Paul King (Paddington, Space Force) and stars Timothée Chalamet (Dune, Call Me by Your Name), Calah Lane (This Is Us, Kidding), Keegan-Michael Key (Toy Story 4, Keanu), Paterson Joseph (Timeless, Peep Show), Matt Lucas (Come Fly with Me, Little Britain), Matthew Baynton (Ghosts, The Split), Sally Hawkins (Godzilla, The Shape of Water), Rowan Atkinson (Johnny English, The Lion King), Jim Carter (The Good Liar, Downton Abbey), Olivia Colman (The Favourite, The Mitchells vs. the Machines), and Hugh Grant (Four Weddings and a Funeral, Bridget Joneses Diary). This film is about a young Willy Wonka who tries to open a chocolate shop in the hopes of making his dreams a successful reality. He must also deal with the greed of a chocolate cartel that looms over him.

I absolutely adore “Willy Wonka and the Chocolate Factory.” When I was seven years old, I would watch that film almost every other night. I was equally as fascinated by some of Roald Dahl’s books, “Charlie and the Chocolate Factory” included. And if you all must know, I did watch the Tim Burton “Charlie and the Chocolate Factory” and while many of you will probably spew pitchforks at me, I do not just like the film, I kind of love it. It is simmered with the dark vibes of Wonka himself in every scene. Danny Elfman’s score is a banger. I really liked Freddie Highmore as Charlie. Johnny Depp as Willy Wonka leaves a little to be desired though, that’s the one big downside. Both films, especially the latter, make me want to stuff my face in chocolate. That’s how good those films are.

Thus far, we have had a couple of “Wonka” features that I tended to enjoy, so when I heard they were doing this new one with Timothée Chalamet, I was onboard. He is one of the best young talents working today. He has range. He has a natural look to him. So I was curious to see what he can do in a film like this. The great news is that Chalamet slays in his performance. As far as the Wonka character goes, he is significantly better than Johnny Depp. He is no Gene Wilder, but one thing to note about these two roles is that they are basically interconnected. This is set long before the events of the original “Chocolate Factory” story and the film does a decent job at making these two interpretations interlink. They don’t feel like the exact same character, but when it comes to a bridge in the gap between these two, it is filled exquisitely. Chalamet’s take on Willy Wonka matches his younger age, upbeat personality, and the dreams that clog his mind. Both Wonkas emit a sense of wonder and joy in their mannerisms, but as I watch Chalamet’s take and think about him, he seems to have more of a heart and significantly more patience than Wilder’s. Credit is due to Paul King as well for his stellar direction, as it felt not only distinctive, but effective enough to allow Chalamet to bring one of the year’s better performances.

Unfortunately, the film is not all pure imagination. In fact, the best parts of the movie to me, are mostly those in reference to nostalgia or things that came before in say “Willy Wonka and the Chocolate Factory.” Pretty much everything that is new feels like a far cry.

Much like “Willy Wonka and the Chocolate Factory,” “Wonka” is a musical. And there are callbacks to songs from the 1971 classic. The highlight of the film for me is the new take on the Oompa Loompa songs. They have new lyrics, new visuals, the whole nine yards. I thought those were well done, and it also helps that Hugh Grant sells the Oompa Loompa character to a tee.

The Hugh Grant Oompa Loompa might be my favorite character in the movie partially because of how Grant voices him. There is a certain snark factor to this character that I immediately welcomed. He also allowed for one of the better gags in the film during the second half. It is in the trailer, but having seen it in the film, it worked for me.

But with that Oompa Loompa bit aside, most of the musical numbers in this movie are some of the most forgettable and bland I have seen in ages. These are some of the most uninteresting musical numbers I have come across since 2021’s “Dear Evan Hansen.” As a movie, I liked “Wonka” better, but as a musical, this movie fails. Sure, there are rhymy timey lyrics, a lot of excuses for spectacles, all that jazz. That is what I come to expect in many musicals. But it is not a matter of it being in the movie, it is how it is done in the movie. I just wish the musical bits could have been done a little better.

The best way to describe “Wonka” to someone who has not seen the movie is that it is basically a Saturday morning cartoon come to life. Given the family friendly nature of the film and the musical aspect, that should not come as a surprise. In fact, Roald Dahl’s work, which this film is inspired by, has a very animated feel to it. Unfortunately though, if I were seven years old, I do not think I would be as transfixed by “Wonka” as I would hope to be. Maybe it would be one of those movies like “Attack of the Clones” that I like as a kid but grow up to realize it is not as good as I thought it was. To be honest, it is quite bland, it is a little boring at times. In fact, much like “Dear Evan Hansen,” I feel like the movie forces itself to be a musical at moments where it is better off staying closer to reality.

Sticking with the cartoony vibes, the antagonists of the film, specifically the chocolate cartel, feel rather mustache twirly. The movie does a terrible job at making these three look intimidating. The movie asks me to see them as bad people. And yes, objectively they are, but it is a matter of execution. There is almost no word I could use to describe this cartel other than unamusing. If anything, going back to the idea of “Wonka” basically being a live action cartoon, I theorize this film would be a lot better if they just went for the cartoon route and just animated it from start to finish. Heck, the musical scenes would pop more. The characters would come off as more appealing. In fact, many of the supporting characters like Bleacher (Tom Davis) and Mrs. Scrubbit (Olivia Colman) feel like they would lend themselves better to that style. If I had my way, I almost would want to see a 2D style animated movie set in this universe. I could imagine enormous potential with that concept. Unfortunately though, I don’t know how it would do at the box office, it would probably be a lot harder to market. But if word of mouth is good, maybe it would be worthwhile.

But if I have to be honest, the dialogue is unmemorable, the humor is metza metza, and the only performances in the movie I am going to fondly remember just so happen to be Timothee Chalamet as Willy Wonka and Calah Lane’s charming portrayal of Noodle. Both of those actors are the highlights of the film. They don’t always have the best chemistry, but going back to the dialogue, I am sure if I liked the dialogue better, maybe their chemistry would have worked better. Both actors seem to have done their best with the material handed to them. And as far as I am concerned, I have done my best on getting through this movie to call it one of the most average watches of the year.

In the end, “Wonka” was quite disappointing. The “Charlie and the Chocolate Factory” property was a big part of my childhood. Unfortunately this latest addition to it is nowhere near as magical or scrumdiddlyumptious. When I watched the 1971 and 2005 Roald Dahl book adaptations, it made me want to eat chocolate afterwards. I was a kid in a candy store. This latest prequel made me feel like an old man getting ready for my latest shouting event directed at a cloud. Paul King likely put his heart and soul into this project, but it unfortunately resulted in something that was poorly paced, uneven, and barely watchable. There are better movies to watch at the cinema this holiday season, or you can just stay at home and watch the other films this property has delivered over the years. I would recommend those over this one. I am going to give “Wonka” a 5/10.

Also, we have had two adaptations of “Charlie and the Chocolate Factory,” some other random takes on the property over the years, this prequel, and yet I have not seen a single “Charlie and the Great Glass Elevator” movie. Life is funny, isn’t it? Then again, having read both the “Charlie and the Chocolate Factory” books, the original appears more cinematic as it progresses, but that’s probably just the way I see it for now.

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

Thanks for reading this review! My next review is going to be for Illumination’s “Migration.” Also coming soon, I will have reviews for “Aquaman and the Lost Kingdom” and “Poor Things.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Wonka?” What did you think about it? Or, what is your favorite “Willy Wonka” or “Charlie and the Chocolate Factory” movie? Let me know down below! Scene Before is your click to the flicks!

Dream Scenario (2023): Unlike Dreams, This Film Will Be Hard to Forget

Posted on by Jack Drees

“Dream Scenario” is directed by Kristoffer Borgli (DRIB, Sick of Myself) and stars Nicolas Cage (The Unbearable Weight of Massive Talent, Raising Arizona), Julianne Nicholson (August: Osage County, Masters of Sex), Michael Cera (Scott Pilgrim vs. the World, Superbad), Tim Meadows (The Goldbergs, Saturday Night Live), Dylan Gelula (Unbreakable Kimmy Schmidt, Shameless), and Dylan Baker (Spider-Man 2, Kings). This film is about a professor at a Massachusetts college who for some reason starts showing up in all sorts of people’s dreams. Now this ordinary man must deal with extraordinary fame as the dreams, in addition to his life, take a nightmarish turn.

Who here likes Nicolas Cage? *raises hand*

Actually, better question, who doesn’t like Nicolas Cage? Okay, of course, he has done way too many projects for every single one to be an acclaimed masterpiece, but he has quite a prolific resume, he is a good actor, and he commits in every just about every role that is given to him. Nicolas Cage is one of those actors who will show up in any project and automatically turn it into gold. But I am going to be honest, when it comes to the concept of “Dream Scenario,” that alone is a golden idea. Basically, it is one guy showing up in people’s dreams and becoming a celebrity as a result. It is an idea that could potentially lend itself to decent comedy and tons of engaging consequences. But of course, if you put Nicolas Cage in the lead role, you are going from a golden nugget to a platinum gem. Literally. This might be because of meme culture and such, but when it comes to people’s faces, Nicolas Cage is one of those that I cannot get out of my head for some reason. Between those big eyes, expressive mouth, and crazy hair, it is impossible for that image to leave my noggin. In the case of “Dream Scenario,” Nicolas Cage’s character has a bit of a different look to him, but there is a vibe here that I have also managed to achieve from Cage’s other roles.

Of course, knowing what I just said, Nicolas Cage and the concept have clearly had me knocking on this movie’s door. But how was the execution? For the most part it was quite good, until it begins to falter by the film’s conclusion.

Per usual, Nicolas Cage is bringing his A-game here as the character of Paul Matthews. He has a natural and admirable presence throughout the film that made him come off as a standup gentleman. When it comes to the fame that is brought upon him in the movie, it turns out to be something he clearly never asked for. Fame can be fine and dandy, but it is clearly not for everyone. The movie dives into the downsides of being famous and the consequences that are more likely to ensue to those who achieve fame.

There are a good amount of characters in this movie, and there happen to be more than I expected at the forefront. But one of my favorite characters in the film just so happens to be Molly (right), played excellently by Dylan Gelula. I doubt she is going to be considered for an Oscar this awards season, but when it comes to the demands of her role, she basically checks every box and gets extra credit. Her character also adds a bit to the overall insanity of this film’s premise. She explains her part in the whole dream scenario, what Paul is doing in those dreams. To be honest, when she mentioned what that thing is, I honestly found it to be a bit predictable. I thought based on where the movie was going, I did not find the idea all that shocking, but it does necessarily mean it was stupid. It made sense and what the movie does with it is a highlight.

If anything, I will add that not only would I mind seeing Dylan Gelula in more stuff down the road, but I also would not mind seeing a movie where she and Nicolas Cage happen to be co-leads. Maybe a buddy cop movie or a father-daughter road trip adventure. Both actors do a really good job and unleash tremendous chemistry.

The film kind of goes back and forth between genres. Specifically horror and comedy. But never once does either genre overpower or jeopardize the other. They feel perfectly balanced. But when it comes to the horror aspects, I cannot say I was overly scared by “Dream Scenario.” Although I highly doubt that is what the film was going for. I think it was going more for hypnotizing chills than heart-stopping terror. But when it comes to comedy, I was surprised with how far the movie went. I wasn’t surprised it was funny. I was expecting that from the getgo. I was shocked with how funny it turned out to be. Now I don’t remember every joke in the movie, and when it comes to comedies this year, I think “Bottoms” and “Joy Ride” are better films overall. But there is one joke in this movie that had me laughing so hard to the point where I probably embarrassed my family members with whom I saw this movie. There is one particular joke in the middle of the film. I am not going to share too many details other than to note it was a fart joke. I find fart jokes to be a bit hit or miss, because they sometimes feel like copout jokes when there is nothing else that comes to mind. But here, it could not have been timed any better than it was. I was laughing so hard I almost died. That joke alone makes the movie worth seeing.

My biggest problem with “Dream Scenario” would have to be the climax. Because at this point, the movie almost decides to change course with its tone, vibe, and ideas, and deliver something different than what we have already seen. “Dream Scenario” very much feels like two different movies in one. There is a fairly enjoyable feature we see from the start, then there is some tacked on, rushed short film by the end. You can say the transition between these ideas makes logical sense, but you can also say they don’t belong in the same movie. Maybe the idea could be used in a sequel or spinoff to this film, but the climax takes a short amount of time to establish something we have not seen in the movie and quite honestly, barely even felt like we were building up to. If you had to ask me if “Dream Scenario” is a thumbs up or thumbs down, I would easily give it a thumbs up. But the climax made the film lose a point in my book. At the end of the day, I choose to look at the positives. The idea of the film is clever, and its cast from the lead to everyone else, turn things up to an 11. The movie is sometimes pretty funny. In fact, it probably delivered one of the biggest laughs I had watching any movie from this year. There is some fairly decent social commentary on cancel culture, fame, and how one bump in the road can jeopardize your life.

In the end, “Dream Scenario” is not the best film about dreams. Let me just remind everyone that “Inception” is a thing, but it is quite a good time and you would be doing yourself a favor if you watch it. “Dream Scenario” comes from A24, which is a rather polarizing distributor. A lot of their films are bangers, but there are also a notable few that are less than stellar. This is one of the better ones. And similar to even their bad or less notable films, I will be thinking about parts of this one for some time. I was pleasantly surprised that a movie diving deep into cancel culture and the consequences of fame may have had the best fart joke I have witnessed in a long time. Everyone is really good in this movie. The screenplay is fun, crazy, and wild. But if it were not for the third act, I probably would have liked this movie a little more. The positives heavily outweigh the negatives on this one, so I would have to give “Dream Scenario” a 7/10.

“Dream Scenario” is now playing in select theaters. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for Bradley Cooper’s “Maestro!” Stay tuned! Also coming soon, I will have reviews for “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Dream Scenario?” What did you think about it? Or, what is the wildest dream you remember having? Let me know down below! Scene Before is your click to the flicks!

The Holdovers (2023): A Hearty, Homey, Comforting Throwback to the 1970s

Posted on by Jack Drees

“The Holdovers” is directed by Alexander Payne (Sideways, The Descendants) and stars Paul Giamatti (Sideways, Billions), Da’Vine Joy Randolph (The Last O.G., High Fidelity), and Dominic Sessa in a film set in the 1970s where a cranky history teacher and a troubled student are forced to remain on a school campus together during the holidays.

I have been looking forward to “The Holdovers” for a very long time. Granted, I have some bias in this notion because I live not too far from where it was shot. In fact, one of the filming locations is about five minutes away from my house. More on that later. But of course, that sort of attachment should not be an indicator of whether the film is good or bad, but it is one of the reasons why I got in the door. But there are many other reasons why I got in the door as well. The film itself looked fairly wholesome and relatable. I have never attended a prep school, but I think many people regardless of where they have received education may have had a troubling connection with a teacher. And the same goes for teachers, I imagine just about every teacher had some trouble dealing with students for one reason or another, even if it is for a reason beyond their control. But even with the troubling dynamic, this just looked like a fascinating slice of life picture that would come out at a perfect time.

And that is exactly what it is.

I have said this phrase in the past, and I have heard other people say it too, but it needs to be said here. “The Holdovers” is the movie we need right now. I feel like ever since COVID-19 began I have always been finding myself in a need to go to a “happy place,” and I imagine a lot of other people reading this feel the same way. Ever since the virus began to spread, few movies have took me there like this one did. In fact, going back to the COVID-19 aspect, it sort of took me back to 2020 when the disease first got traction in the United States. This film coincidentally is set, mostly, in a singular location where our leads are basically in quarantine. Nobody’s sick, nobody’s spreading any infections, there’s not much on that front to worry about. But a good portion of the movie, specifically the first half, is set at this one prep school. When we get to the second half of the movie where our characters start venturing out, there is a feeling of joy and excitement in the air. It reminded me of when June 2020 rolled around and restaurants near me started opening up for outdoor dining. There was a sudden liberation in my veins when that opportunity arose.

But that does not mean the first half is uncomfortable. Although one of the lower points of the movie just so happens to be the relationships between the students. That said, it is not like the students have a ton of screen time. They ultimately serve their purpose. But when it comes to our three leads, we spend a ton of time with all them to the point where each one is adequately established. It also helps that I like all of them and when it comes to our core duo, specifically Paul Hunham and Angus Tully in a divided teacher/student relationship, their time dominating the screen makes for some incredible moments together. The movie brilliantly displays their strengths and weaknesses and uses them to make each one all the more likable. All the characters have phenomenal chemistry together, and I cannot imagine another soul in their shoes.

Sticking with the idea of isolation, this helped me appreciate the Angus Tully character. Because as someone who had to deal with the outside world closing off at the age of 20, I felt like any semblance of my life getting started was out of reach. As this movie progressed, I was watching this character deal with his personal issues and I could not help but feel bad for him partially because he was stuck somewhere he clearly did not want to be for an extended period of time. I understand that feeling because I lived through it. And much like me staying home in 2020, Tully stayed where he needed to stay for a reason, but I understood how agonizing it can get the longer you’re there.

I have not reviewed many Christmas or holiday movies on Scene Before, partially because I have not had much time to visit classics, and I feel like there is a shortage of them nowadays. Or at least a shortage of Christmas flicks that tend to stand out. Although I somehow managed to tackle a couple Christmas movies last year between “Violent Night” and “The Mean One.” “The Holdovers” is probably one of the best Christmas movies I have watched in the past number of years. And it is not exactly preachy to the point where everything is Christmas central. It is one those movies that takes place at Christmas but it can probably be an appropriate watch at any other point of the year. All due respect because the movie is entertaining, but I cannot remember the last time I wanted to watch “Elf” in the spring. It’s just not that kind of movie for me. “The Holdovers” is perfect for any time of year, and when it comes to 2023’s calendar, it is a standout of all the films I have seen this year.

One of the reasons why “The Holdovers” is as I describe in the title of this review, hearty and homey, is because of the progression we see with Paul Hunham. I am not going to spoil much for you, but the teacher does not emit the most pleasing vibe when it comes to dealing with his students. Part of that comes into play regarding the relationship between him and the main student in the film, Angus Tully. You have these two people who do not really see eye to eye on everything, but the more they are forced to deal with each other, the more they tend to find themselves having good times with each other. Both individuals, in their own ways, make the best of a bad situation. But they do so realizing maybe they could share a bond if they opened their eyes. Of course, when it comes to Hunham, it also helps that an actor with the caliber of Paul Giamatti just so happens to be portraying him, and it brings forth one of the best performances of the year. The character reminds me of, and I know this analogy may not be the most prominent because not a lot of people saw this movie, Alice from the 2020 movie “Summerland.” By the way, watch “Summerland.” It’s fantastic. But I use this as a comparison because both films have a main character who appears all tough and mean, but when she is placed together with someone younger with her for a period of time, we see more and more that she kind of has a heart.

The film does a great job at showcasing the flaws of these characters and having them come into play throughout the runtime. And when it comes to Hunham as a character, we see his flaws from the beginning, how they are adjusted to some degree, but his positives and negatives as an individual make him one of the most compelling characters of the year.

On a little sidenote, much like the George Clooney-directed “The Tender Bar,” which came out at the tail end of 2021, this film features my local candlepin bowling alley, Wakefield Bowladrome in a couple minutes of screentime. And unlike “The Tender Bar,” which is set in New York, it actually makes sense that it is in here because the film is set in Massachusetts, where candlepin bowling just so happens to exist. I think what they’ve done with the place is rather impressive and adds to the throwback feel of the movie itself. Though if I have one nitpick, there are occasional moments where I hear pins falling down, but the sound effects match the sound the pins would make in tenpin. But of course, this is why I put the “moron” in Movie Reviewing Moron.

In the end, “The Holdovers” is an utter delight of a film. Its main trio make the story worthwhile. The film is a sensational throwback to the 1970s that is as charming as it is inviting. The film is rated R, so I would not recommend watching it with younger viewers, but if you are with loved ones this holiday season, this could be a good watch. The characters are spectacular. The locations are beautiful. The set design is very well done. And I think Paul Giamatti could be in the running for an Oscar nomination. Also, one more thing, there is a particular scene in the film that includes “The Newlywed Game” where I was in a trance until the moment it was over. I have not watched that show a ton, but I have often watched clips of it on YouTube, and it is legendary. Bob Eubanks is a treasure. I am going to give “The Holdovers” an 8/10.

“The Holdovers” is now playing in theaters everywhere. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for the brand new historical epic, “Napoleon.” Also coming soon, I will have my thoughts on “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Holdovers?” What did you think about it? Or, what is your favorite Christmas movie? Yes, “Die Hard” counts. Let me know down below! Scene Before is your click to the flicks!

Next Goal Wins (2023): Taika Waititi Misses the Goal

Posted on by Jack Drees

“Next Goal Wins” is directed by Taika Waititi (Thor: Ragnarok, Jojo Rabbit) who also appears in the film as the character “American Samoa Priest.” The film also stars Michael Fassbender (Steve Jobs, X-Men: First Class), Oscar Kightley (Sione’s Wedding, Hunt for the Wilderpeople), Kaimana, David Fane (Sione’s Wedding, Love Birds), Rachel House (Moana, Soul), Beulah Koale (Hawaii-Five-0, Dual), Will Arnett (The LEGO Movie, Teenage Mutant Ninja Turtles), and Elisabeth Moss (The Invisible Man, Mad Men). Based on the 2014 documentary of the same name, this film is about what happens when an arrogant coach and one of the world’s worst soccer teams come together with the hopes of making the latter do something they are not necessarily known for doing. Scoring goals and winning.

Taika Waititi is one of those Hollywood personalities that I can respect, but I think he also has his moments of taking said personality too far. I think he has a knack for humor at times, even if I think his “Thor” movies are inferior to Kenneth Branagh’s 2011 MCU installment. In recent years, I thought “Jojo Rabbit” has proven he is both a great storyteller and just about as good of an actor. His portrayal of Adolf Hitler in that film was one of the best of the year. In 2021, one of my favorite films of the year, “Free Guy,” starred Waititi as Antwan, the greedy executive who serves as the film’s antagonist. No disrespect to Ryan Reynolds, there is an argument to make that Waititi stole every scene he was in. He had this swagger to him that I was not expecting out of a character of this nature. I cannot imagine anyone else playing the character. That’s how good Waititi was in the film.

His latest film prior to this one, “Thor: Love and Thunder” got a thumbs up from me, but perhaps just barely. I think the film did an alright job mixing comedy and drama together, but the comedy sometimes becomes too silly to the point where it almost tarnishes the more dramatic elements. I was also not a fan of when Waititi publicly and perhaps mockingly called out his distaste for how the VFX turned out. I am all for recognizing your own faults, but when you are trying to sell a movie, I don’t think mocking a great span of the people who made it is the best move. It would be like if I were a delivering a Domino’s pizza, handing it off to the customers, and leaving them off by saying I worked for Papa John’s and I think the people over there usually put more care into their pies. That’s why I went into “Next Goal Wins” with lukewarm expectations. How did the movie turn out? Well, I’ve seen worse this year. But the way I saw this movie is the way most of my country sees soccer. A snoozefest that makes me wish I were watching something else.

I appreciate the concept of “Next Goal Wins” because it is not just an underdog story, it is one that celebrates failure in a such in an embracing manner. It reminds me a bit of “The Disaster Artist,” one of my favorite A24 movies that goes into the making of “The Room.” Similarly, there was another sports film I saw last year called “The Phantom of the Open,” where an unlikely man participates in professional golf, much to the dismay of those involved with the sport. “Next Goal Wins” recognizes the lowest points of both its protagonist coach and the team he has to reluctantly oversee. Unfortunately, when the reluctant coach is put together with the below par group of athletes, the on-screen chemistry is iffy at best. There are certain matches between the coach and the team. Not to mention, there happen to be certain relationships throughout the film that are well developed, but the movie spends most of its time devoted to one tired comedy gag after another. The film may call itself a comedy, but it is subjective as anything deemed artistic. I failed to find it funny. Sure, maybe I had a couple laughs here and there during the film. But I would not be able to tell you what it that got me to laugh. Overall, I found a good portion of the film forgettable and that is not a word I was expecting to use out of a picture like this. If you know me in real life, perhaps one of my weaknesses, though I personally call it a strength, is my resistance to take some things seriously. Everything is a joke to me. That is almost the mentality that Waititi takes to heart throughout “Next Goal Wins,” and it only hurts the final product. Between “Thor: Love and Thunder” and now “Next Goal Wins,” Taika Waititi is practically overdoing his comedic efforts to the point where they feel in your face, and therefore unfunny.

This film is not going to win any Oscars. Does it look competent? Perhaps. Is the acting okay? Sure. Does the story make sense? Yes. But the movie is bombarded with negatives to the point where those stand out a lot more than the positives. It does get better as it goes along, because I started off this movie not liking anyone. I thought the coach was not a great center of the story as it started. I found the characters on team uninteresting. It was not an easy task latching onto this film’s ensemble. Michael Fassbender does an okay, albeit far from awards-worthy job with the material given to him, but it is not enough. If I had to guess, it ultimately comes down to direction, because almost every choice in the film comes off either as some semblance of a joke. “Next Goal Wins” is basically what happens when a joke is taken too far. Although in this case, the joke is never offensive, it just lingers much longer than it should to the point where it leaves a bad aftertaste.

I will give credit where it is due because despite the somewhat predictable structure of the film, there are some unexpected and unique creative choices brought to fruition in the film whether it is through writing, editing, or narration. I cannot say I was a fan of all these choices, but despite finding the movie dull, these choices kept some banality out of the final product. And that is kind of what this movie is in multiple ways. A series of halfway marks. I found the story boring, but great in concept. I found the characters to have personalities, but they just didn’t leap off the screen for me. I found the movie to be heartfelt, but it is sullied by bad humor.

But I must add, one of those creative choices becomes a driving force in the climax, and it honestly took whatever fun I was having in the movie, if any, and lessened it to such an unbelievable degree. It resulted in a conclusion that was not as satisfying as it could have been. When it comes to this vision, Taika Waititi is like a class clown, but in this case as I watch him, I am the teacher telling him to stop joking around and focus on his studies. “Next Goal Wins” is far from this year’s worst picture, but it is easily one of the most forgettable.

In the end, “Next Goal Wins,” much like the American Samoa national football team, fails to score any goals. It is not a travesty that will go down in history as one of the most awful pieces of crap Hollywood has ever produced, but I do not know if I will be thinking about this movie in about five years from now. I have not seen all of Taika Waititi’s work, but I think after watching this film, I cannot say I am looking forward to whatever feature film he does next as much as I previously expected. Hopefully he turns things around. I am going to give “Next Goal Wins” a 4/10.

Come to think of it, “Next Goal Wins” might not even the worst sports movie I have seen this year, because “80 for Brady” exists. So congratulations, Taika Waititi! Tom Brady and four elderly women just saved your butt! And yes, if you read that review, you’ll notice the score for “80 for Brady” is higher than what this film got. I wonder if I was too generous on that review. But at the end of the day, they’re just numbers. What can I say?

“Next Goal Wins” is now playing in theaters. Granted, none of them are near me at this point. But if you live in a certain market, it could be playing near you. Tickets are available now.

Thanks for reading this review! My next review is going to be for the brand new Alexander Payne-directed film, “The Holdovers!” I have been looking forward to this movie for quite some time, and having seen it, I cannot wait to share my thoughts with you all. Also coming soon, I will have my thoughts on “Napoleon,” “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” 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 “Next Goal Wins?” What did you think about it? Or, what is your favorite Taika Waititi movie? Let me know down below! Scene Before is your click to the flicks!

Wish (2023): The Stars Align in Disney’s Latest Animation

Posted on by Jack Drees

“Wish” is directed by Chris Buck (Frozen, Frozen II) and Fawn Veerasunthorn and stars Ariana DeBose (West Side Story, The Prom), Chris Pine (Star Trek, Dungeons & Dragons: Honor Among Thieves), Alan Tudyk (Wreck-It Ralph, Rogue One: A Star Wars Story), Angelique Cabral (Life in Pieces, Enlisted), Victor Garber (The Orville, Alias), Natasha Rothwell (Sonic the Hedgehog, The White Lotus), Jennifer Kumiyaya (The Sessions, Awkward), Harvey Guillén (Blue Beetle, Puss in Boots: The Last Wish), Evan Peters (X-Men: Days of Future Past, Kick-Ass), Ramy Youssef (Mr. Robot, Ramy), and Jon Rudnitsky (Catch-22, Saturday Night Live). This film is about a young girl named Asha who wishes upon a star only to have said wish unleash complete and utter chaos on her homeland.

My history with Disney is not as prolific as some others. Of course, as they have bought various properties over the years like “Star Wars” and Marvel, I became more inclined with the company as they produced more things I’d be predisposed to enjoying. But I was born in 1999, and as a kid, I was not as into Disney’s projects as some other people. I am male, and therefore was not inclined to embracing princess leads or royal stories. Television-wise, I was more of a Nickelodeon kid than a Disney kid if you had to ask which of the cable channels I’d be more likely to torture my parents with. And even as I aged, most of the movies in my growing collection would come from other studios for certain periods of time. I did watch “Power Rangers,” which for a time aired on Disney-owned channels and was owned by them. But when it comes to the more historic Disney properties, I never bothered with them as a kid. I still haven’t bothered with a lot of them now. I still have not watched “Aladdin,” as much as I try to. I still have not seen “The Little Mermaid.” I have not watched “Dumbo.” Despite Studio Chizu’s “Belle” being my favorite film of the decade so far, I still have not gone back to watch Disney’s “Beauty and the Beast.” Maybe I had these titles on in the background somewhere as a kid and just don’t remember it, but I can never say I watched any of these films and had the urgency to call it a core memory. They were just never my thing. I watched game shows as a kid. When I was young, I did not want to fly like “Peter Pan,” I wanted to buy vowels on “Wheel of Fortune.”

But Disney is now a hundred years old, and their newest animated title, “Wish,” comes with an ooze of specialty attached. It is practically a celebration of a century of Disney as a brand. Now, this is its own story that introduces new characters, new places, new ideas, even if it does take inspiration from other stories. Though as I watched this movie, one thing I will say, as someone who knew the significance of sorts regarding it, is that the movie is an appropriate title to release to commemorate such an occasion. The movie is about wishes and sort of represents an idea that Disney has represented for decades. Taking wishes and dreams and making them come to life. If I were in a pitch meeting for a movie celebrating such an occasion, this would be a foundation I would emphasize. But the movie has to be as good as its backbone, and thankfully, I had a good time with it.

“Wish” is not the best not best Disney movie of all time, but if you ask me, I like it better than their previous couple of animated outings. As much as “Encanto” dominated a certain sphere of pop culture in recent years, I have had no urges to go back to it after one viewing. As for “Strange World,” I would say that film did not even deserve one viewing. It was easily one of the biggest bores and wastes of time I had in that year of moviegoing. “Wish” is a film that works because of its characters, specifically its relationship between the protagonist and antagonist.

Asha wants to be the apprentice for King Magnifico, the most revered of her land’s people as he is able to grant wishes. I thought the way this movie starts off the relationship between these two, as they conduct an interview, unleashes some phenomenal chemistry between them. Ariana DeBose and Chris Pine work well together. But when their relationship goes awry, we continue to see a divide in their personalities and thoughts, which in the case of Chris Pine’s character, Magnifico, brings forth one of my favorite antagonists of the year. The reason why I love Magnifico as an antagonist is the same reason why as much as I rooted for the Avengers in “Infinity War” and “Endgame,” I understood, and sometimes agreed, with where Thanos was coming from in those movies. Magnifico, as mentioned, grants wishes. It’s his thing. But Magnifico refuses to grant every single wish that is given to him, including one given by Asha’s grandfather that I probably would have granted if I were in that kind of position. The reason he gives for not granting it, specifically its elusiveness, is not one I necessarily would side with, but that’s his choice. But the reality is, even though this, in addition to a sudden revelation, understandably enrages Asha, I am on Magnifico’s side when it comes to wish granting. What if someone wished for world domination? What if someone wished for the extinction of bees? What if someone wished for the resurrection of Adolf Hitler? These are outright dangerous or terrible things that most sane people who have a knowledge of how things are supposed to work would tend to avoid desiring. But at the same time, from Asha’s point of view, her grandfather’s wish, while Magnifico may see it one way, she sees it another way that can only be described as positive. I understand where she is coming from. But this also results in a mixed message of the film. Sure, you should be able to follow your dreams, but you better make sure that dream is a good one. It is a bit of a coin toss of a message when broken down.

“Wish,” like many Disney titles over the years, is a musical, and I have to say some of the songs in this film are quite good. Not all of them stand out, but I cannot name one that I outright thought couldn’t even achieve mediocrity. Whether it was the song itself or the visuals that accompanied it, everything had a place in the film. My favorite of the film is the one that was often used in the advertising, specifically “This Wish.” And I should not be surprised that I am giving this much praise to the song, because it is sung by Ariana DeBose, who has a musical background, including an Oscar-winning (and Jack Award-winning) role in Steven Spielberg’s “West Side Story.” Her singing power is marvelous and instantly emits classic Disney vibes. It is perfect. Speaking of incredible songs, my runner-up for this category would have to be the villain song, “This Is the Thanks I Get?!.” Not only does it encapsulate a particular spiral into madness Magnifico experiences, but Pine’s range in his voice throughout the song is a standout. This is not Pine’s first time singing in a Disney movie, as he previously did so in 2014’s “Into the Woods.” I have not seen “Into the Woods,” but I was delightfully surprised here at Pine’s singing abilities. He’s not the best I’ve heard, but he is much better than I could have imagined him being. But then again, having seen him in other roles, I often get the sense that Pine easily oozes charisma. So maybe I shouldn’t be surprised.

If I have to note one thing in the movie that is kind of hit or miss, it is the humor. Now, maybe if I were a kid it would land with me better, but there are jokes in this film that are probably going to hit more with younger viewers. That said, it is less insulting than some other jokes I have seen in some animated movies in recent years so it gets points there. There’s not much, if anything, that made me roll my eyes. Some jokes just stuck the landing better than others. Although my favorite exchange in the movie comes about thirty, forty minutes in where Asha explains the cause behind everything that is going on. She says “I wished upon a star.” In response, her friend, Gabo, asks, “What are you five?” Between the brief pause, the context of the scene, and the line delivery, this could not have been more perfect. I loved this moment. Speaking of voices, most of the cast of this film does a good job, but Alan Tudyk is a standout as Valentino the goat. I think his voice, no matter the role, is a thing of beauty. Here, he tends to use the same voice he uses as Clayface in Max’s “Harley Quinn” series, which if you have not watched, you absolutely should. Despite the similarity, the voice is appropriate for the character and adds a comedic edge for his lines. His lines are not laugh out loud funny, but they do deliver a chuckle here and there. I am not going to go into detail, but I have seen better, more satisfying climaxes out of Disney movies. Though if you recall certain details about this movie’s lesson I mentioned earlier, that is a partial reason why I find this climax to be inferior.

Sticking with the idea of Disney 100, this film’s animation style very much reflects the company’s history. It is a bit of a mish mash of what they have done over the years. The character designs reflect various eras of the company, and so do the minute little details surrounding the image. I do think there is an unfortunate shortage of 2D animated movies. If I had my way, we would more 2D animated movies, and fewer Disney live-action remakes. When it comes to this hybrid style, there are glimmers of beauty, but there is an obvious gimmicky feel to it. DreamWorks’s “Puss in Boots: The Last Wish,” which is much more 3D-esque than this movie on the surface, manages to pack a more palatable outlook when it tries to implement 2D tricks. It feels much more seamless. While there are a lot of good-looking shots in “Wish,” in fact there is one about 20 to 30 minutes in that is one of my favorite shots I have witnessed in any movie this year, the movie makes me think that the animation style should not be given any more attempts in the near future. But if I have to say one thing, between this, “The Mitchells vs. the Machines,” “Puss in Boots 2,” and the recent “Spider-Verse” movies, I am noticing more studios taking cracks at unique animation styles in recent years. I will give credit where it is due. I often say that having good animation is a requirement nowadays considering how much we have evolved over the years, but I am glad that when it comes to style, even if it emits inferior results, that we are seeing more unique projects being made.

In the end, “Wish” is not the brightest star of this year’s animated slate. But it comes packed with plenty of glowing qualities. “Wish” has the significance of doubling as a 100 year celebration of Disney, and I think it is a lovely tribute to the company, but it pales compared to a ton of their newer animated fare like “Wreck-it Ralph” and “Zootopia.” I am admittedly probably on an island of a lonely opinions because when I look back at Pixar’s release this year, “Elemental,” I think Disney proper’s “Wish” is the better of the two films. But if you look at Rotten Tomatoes, the scores for both critics and audiences are higher for “Elemental.” It goes to show the subjectivity of art. I think visually, the film works. Sound-wise, it packs a punch. The music puts its best foot forward. But what makes me want to go back to this movie despite its technical beauty is its two leads, because both of them are compelling. Earlier in this review, I said I never once had any urges to go back and watch “Encanto” a second time. I cannot say the same about “Wish.” I might even buy it on 4K Blu-ray if I had the chance. I am going to give “Wish” a 7/10.

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

Thanks for reading this review! My next review is going to be for Taika Waititi’s latest directorial effort, “Next Goal Wins.” Stay tuned! Also coming soon, I will have my thoughts on “The Holdovers,” “Napoleon,” “Godzilla Minus One,” and “Ferrari!” 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 “Wish?” What did you think about it? Or, what is your favorite Disney animation? Let me know down below! Scene Before is your click to the flicks!