Drama

Sense and Sensibility (2026): A Mishmash of a Jane Austen Adaptation

Posted on by Jack Drees

“Sense and Sensibility” is directed by Georgia Oakley (Bored, Blue Jean) and stars Daisy Edgar-Jones (Twisters, Normal People), Esmé Creed-Miles (Hanna, The Doll Factory), Caitríona Balfe (Ford v Ferrari, Outlander), Frank Dillane (Urchin, Fear the Walking Dead), Herbert Nordrum (The Worst Person in the World, The Hypnosis), George MacKay (Marrowbone, 1917), and Fiona Shaw (Ammonite, Harry Potter and the Philosopher’s Stone). This film is based on Jane Austen’s book of the same name and is about sisters Elinor and Marianne Dashwood as they are forced to leave their estate to live with a distant relative, while also taking on romantic and financial struggles.

Movies are more fun. Sorry, books!

Those of you who followed me a long time may have come across a post of mine where those exact words are mentioned. Based on the typing of this very phrase, this should likely hint that I do not have the greatest fanaticism for Jane Austen’s bibliography. In fact, I read “Pride and Prejudice” in high school, and became increasingly exhausted with it page after page. Austen’s style is not for me, nor is that particular genre of book. By extension, I have not checked out many of the Jane Austen film adaptations. That said, maybe I am not giving them the fairest shot. I did check out “Emma.” in 2020 and had a lot of fun with it. Maybe I was just in the right place at the right time, as I got to see the film at a press screening before it came out. In fact, at said screening, star Anya Taylor-Joy and director Autumn de Wilde happened to be there promoting the project. Plus, the place was crowded, and likely packed with Jane Austen diehards.

As for “Sense and Sensibility,” I saw this film during its official release. I had no one behind the scenes in the room who could potentially influence me to think a certain way. Though the theater was crowded. That is something these two screenings had in common.

Having now seen “Sense and Sensibility,” it is… Okay.

I do not have a girlfriend, but if I did have a girlfriend who wound up dragging me to this movie as I beg her to go with me to see “Primetime” instead, I would walk out of this movie saying, “That was good.” I would not be lying, nor would I be exaggerating. The movie is technically good. Not great, but good.

That said, if my imaginary girlfriend did successfully get me to go to this movie, our relationship would be on the verge of disaster for the first 30, 40 minutes or so. The pacing in this film is sometimes rough. There is a saying that you do not have a second chance to make a first impression. This film is quite slow at the beginning. It takes a long time for things to truly get into gear. To me, this is almost a reverse of Greta Gerwig’s “Little Women,” because both films, while not the exact same in terms of setting, offer fairly similar vibes. I found myself invested in “Little Women” at the beginning and it got progressively more boring. “Sense and Sensibility” is a movie that I initially found disengaging only for things to turn around in acts two and three.

As the movie went on, I was surprisingly into the drama at hand. I am not going to pretend this movie is an all-timer or that I will remember it for as long as I live, but in the moment, it was engaging. As someone who never read the book, I was amazed with how much material the film threw at the screen in just a matter of 132 minutes. It really keeps you on your toes. I know I said this movie was boring at the beginning, but the film’s commitment to quantity, on top of adapting a novel many readers have found to be quality, make for something watchable.

That said, while the film is not short on drama, it appears to have a slight identity crisis. I am not saying that you cannot have levity or comic relief in a drama. It can work if done right. But in the midst of this somewhat serious narrative, there are a couple characters who sound like they are in a sitcom. One of these characters include Mrs. Jennings (Shaw). Watching Mrs. Jennings interact with almost every other character in this film reminded me of what it felt like watching Jar Jar Binks interact with just about anyone else in “The Phantom Menace.” Granted, while she gave an odd vibe, she was not quite as annoying as Jar Jar. Though it does not change the fact that she came off as if she belonged in a different universe compared to those around her.

This is not to suggest that every performance in “Sense and Sensibility” doesn’t work. The ones that are perhaps most important to the story stand out in a positive light. George MacKay does a good job as Edward Ferrars. Caitríona Balfe plays Mrs. Dashwood with conviction. Perhaps most importantly, the chemistry between the two main sisters is on point. Daisy Edgar-Jones and Esmé Creed-Miles kill it as Elinor and Marianne Dashwood respectively.

Technically speaking, the film is not too bad looking. Arnaud Potier is responsible for the film’s cinematography, and he never misses on the framing. Each shot is full of detail and does as best it can to immerse me into the world. That said, the world itself is a bit questionable. The color palette of the film probably could have been punched up. It could have been given a little more life. Everything from the color grading to the costumes to maybe even some of the sets. Again, this is a drama. Perhaps the color matches the film’s somewhat serious vibe, but it lacks a certain personality. The work that went into the film’s costumes and production design clearly took a certain amount of effort, and it led to something that one can describe as consistent. I just think it needed a different flavor. This feels too depressing. It feels like what the Hot Topic version of this story would be.

Courtesy of Focus Features – © 2026 FOCUS FEATURES LLC. ALL RIGHTS RESERVED.

In the end, “Sense and Sensibility” is a bit of mishmash. I may sound like I am complaining about certain things in the film. But the reality is that the film does very well in certain regards, but lacks the same luster in others. I cannot compare this to Jane Austen’s book. Truth be told, this is not a book I would willingly read in my spare time. But if I happened to be in the shoes of someone who were to read this book in their spare time, part of me thinks I would most likely find this adaptation to work to a certain degree. Though I would probably also imagine myself saying the book is better. The movie mostly has good performances and an engaging back half. It is by no means the worst film of the year, but not the best either. I am going to give “Sense and Sensibility” a 6/10.

“Sense and Sensibility” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! For those looking forward to the next episode of Scene Before’s Movie Requests, I am happy to announce it is going to feature “Adam Ruins Everything” star Adam Conover! In addition, you know Conover from his comedy specials including “Unmedicated” and “Big Divorce Energy.” He is also known for his work on “The Crystal Maze,” “The G Word with Adam Conover,” as well as his podcast “Factually! with Adam Conover.” Click the video to watch the short promo, featuring Conover give a hint as to which film he suggested. That film will be revealed Monday, November 2nd here on Flicknerd.com and YouTube! As a reminder, please subscribe to my YouTube channel if you want to see new episodes of Movie Requests as soon as they drop!

My next review is going to be for “Whalefall.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wildwood,” “Clayface,” and “You Can See Everything.” 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 “Sense and Sensibility?” What did you think about it? How does this compare to other “Sense and Sensibility” adaptations, in addition to Jane Austen’s book? Let me know down below! Scene Before is your click to the flicks!

The Social Reckoning (2026): I Reckon You Should See Something Else

Posted on by Jack Drees

“The Social Reckoning” is written and directed by Aaron Sorkin (Molly’s Game, Being the Ricardos) and stars Mikey Madison (Anora, Once Upon a Time… in Hollywood), Jeremy Allen White (Star Wars: The Mandalorian and Grogu, The Bear), Wunmi Mosaku (Loki, Sinners), Betty Gilpin (Mrs. Davis, GLOW), Billy Magnussen (Game Night, Made for Love), Bill Burr (The King of Staten Island, F is for Family), and Jeremy Strong (The Apprentice, Succession). This film follows Facebook engineer Frances Haugen and Wall Street Journal reporter Jeff Horwitz as the two work together to blow the whistle on Facebook’s secrets.

As a film fan, it pains me to mention that I waited about 16 years to watch “The Social Network” after it came out in theaters. That is despite hearing rave reviews, seeing the film make some best film of the year and decade lists, and owning a really cool-looking Blu-ray copy of it since 2019. I finally put in that Blu-ray disc for a reason, and I am pleased to say that I was delighted with the movie. The story moves at a breakneck pace and comes packed with tons of technical nuggets including the fast editing, the stunning color palette, David Fincher’s shot choices, and Trent Reznor and Atticus Ross’s score. In front of the camera, each member of the cast does a fantastic job, most especially Andrew Garfield and Jesse Eisenberg.

Now… Let’s take everything that was great about that movie and toss it into the black void of space!

That is because a new sheriff is in town, and its name is “The Social Reckoning!” What a bore this movie was. Is it just me, or is October becoming the new January? I feel like we’ve had a hot streak of crap at the box office lately, and “The Social Reckoning” is just the latest example.

“The Social Reckoning” is one of those movies that when I first heard about it I thought, “Okay, that might work.” Did we need this movie? Not really, but in a world where every other fictional movie is getting a sequel, it is fascinating to see “The Social Network,” based on real life events get a companion piece. Facebook has changed a lot over the years, and so has Mark Zuckerberg. That said, this movie is, for the most part, not necessarily about him. Instead, it is about someone who works at Facebook and their connection to someone at the Wall Street Journal who is getting a story out of them. This has the bones to work. After all, recent years have shown that journalism-based stories like “Spotlight” or “The Post” have a tendency to get some attention during awards season, maybe this could follow in their footsteps.

It doesn’t even come close matching the positive experiences I had watching those movies.

I did not watch “The Social Network” when it came out, so while I did enjoy the film, I did not have the same attachment to it that maybe some people did early on. However, as someone who watched “The Social Reckoning” days following its release, I can say that this film is lacking in personality. There is a lot that feels cookie cutter including the shots, the color grading, the directorial choices… It does not have the oomph that “The Social Network” had. This is even noticeable in the performances. Despite this film casting Mikey Madison and Jeremy Allen White, who have proven themselves to be talented, the film does not have a single scene featuring either of them that stands out.

Arguably the most interesting performance in the film is Jeremy Strong as Mark Zuckerberg. Of all the characters in this film, he comes off as the most robotic, perhaps on purpose. Much like Eisenberg’s portrayal in 2010, Strong dives into Zuckerberg’s quirks. But these are much different quirks this time around. Eisenberg’s Zuckerberg was occasionally hyperactive and dynamic. He was energetic. Strong feels much flatter. Usually I list that as a critique, but not today. Strong gives a Sheldon Cooper vibe throughout the entire film. You could also argue this character is Sheldon Cooper if he dyed his hair orange. While Zuckerberg is by no means stupid, the movie dives into his social abnormalities. Other people are telling Zuckerberg how to talk and present himself.

Aaron Sorkin, much like “The Social Network,” takes a non-linear approach in the screenplay, but the material is not as engaging as what was given in 2010. That said, I could see this film being somewhat easier to follow than “The Social Network,” but I also left “The Social Network” compelled enough by its fast-paced narrative to think about giving it a second viewing. That is not the case with this 2026 follow-up.

Speaking of the screenplay, this material is not going to change anybody’s minds. First off, no one is buying tickets to “The Social Reckoning,” so there is that detail to keep in mind. Second, this movie takes a particular viewpoint, which there is nothing wrong with. Mankind’s greatest stories have a viewpoint. That said, if you are fond of President Trump, and happened to be fond of him for the past number of years, you might not like this movie. If you are on the opposite side of the spectrum, this movie is probably going to align with your preexisting beliefs.

Also, I cannot speak for every viewer, this film heavily dives into how Facebook (and by extension, Instagram), negatively affects its userbase. This movie would probably be more compelling if I were not aware of some of these things already. Maybe if I were not on social media I would enjoy this movie more. But I live in an age where I know enough about how the algorithm works, and some of the less than stellar ways the algorithm gets utilized. This movie seems to be going in with a swift punch, but it doesn’t hit that hard. I hate saying this next critique because movies typically take a long time to make, and I am sure “The Social Network” is no exception… But despite this movie being set in the 2020s, the subject matter already feels somewhat dated. When it comes to movies about tech, I have a strong feeling that another movie coming out this year, “Artificial,” is going to tackle A.I. in such a way that is relevant to today’s times. “The Social Reckoning” failed to do that with Facebook. I am not saying that this movie is not going to impact somebody, it just didn’t impact me.

In the end, “The Social Reckoning” is a bland, forgettable film that is probably not going to change the world in the way its crew imagined it would. Aaron Sorkin plays around with a good idea, and the fact that he is diving back into the world of Facebook rather than having someone else do the screenplay makes this film all the more intriguing, but the results left me disappointed. The characters have no pizazz. The direction is dull. The script feels like a step down from its predecessor, if you want to call it that. If it were not for Aaron Sorkin being involved, and perhaps the big names like Mikey Madison and Bill Burr, I would not be shocked if we lived in alternate reality where “The Social Reckoning” winds up going straight to streaming. Heck, the movie acknowledges the COVID-19 pandemic, so it would have been somewhat fitting to have “The Social Reckoning” wind up where almost every other film released in 2020 happened to go. I am going to give “The Social Reckoning” a 4/10.

“The Social Reckoning” is now playing in theaters everywhere. Tickets are available now!

Thanks for reading this review! I am happy to announce that the next episode of the Scene Before original series Movie Requests drops Monday, November 2nd! This episode is going to feature “Adam Ruins Everything” star Adam Conover! You may also know Conover from “The Crystal Maze,” “The G Word with Adam Conover,” as well as his podcast series “Factually! with Adam Conover.” His new comedy special “Big Divorce Energy” is available now on his YouTube channel, which you should totally subscribe to. He makes some excellent long-form videos, and I recommend watching them in your spare time. And you can catch the new episode of Movie Requests on MY YouTube channel, please subscribe now, that way you can stay alert for when said episode officially drops!

My next review is going to be for “Sense and Sensibility.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Whalefall,” “Wildwood,” “Clayface,” and “You Can See Everything.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, it feels weird saying this at this point in the review… I have a Facebook page and you should totally give it a follow! I want to know, did you see “The Social Reckoning?” What did you think about it? Or, did you see “The Social Network?” Tell me your thoughts about that movie! Which of the two “Social” movies do you prefer? Let me know down below! Scene Before is your click to the flicks!

Digger (2026): I Didn’t Dig It

Posted on by Jack Drees

“Digger” is directed by Alejandro González Iñárritu (The Revenant, Birdman) and stars Tom Cruise (Mission: Impossible, Top Gun), Riz Ahmed (Sound of Metal, Rogue One: A Star Wars Story), John Goodman (Revenge of the Nerds, The Big Lebowski), Sandra Hüller (Project Hail Mary, Anatomy of a Fall), Michael Stuhlbarg (Doctor Strange, Boardwalk Empire), and Jesse Plemons (Game Night, Civil War). This film is about a powerful man who must prove to mankind he is their savior before a disaster he’s unleashed destroys everything.

© Warner bros co.

When I go into a movie, I typically do so having watched at least one piece of marketing. Making a good marketing campaign for a movie is hard, because there is a line. You cannot reveal everything, but you have to show just enough to the point where you can communicate to the audience what it is you are selling. You have to set the tone. Maybe if you are doing a comedy, you need at least one joke, but not too many. If you are doing an action movie, you need to unveil the plot, if the movie is smart enough to provide one, while also utilizing some sick sequence cuts. I remember back when I was a teenager I often avoided watching horror movies when they came out. Not because I thought I would be too scared of them, but because they show a lot of scares in the trailer to the point I feel less creeped out by whatever film said scare is coming from.

Now… What does this have to do with “Digger?” Let’s just say that if there was ever a fine example of a bewildering marketing campaign, “Digger” is it. The film tries its best to give a sense of what it is about or what it is in it, but it is not entirely effective in doing so. There is a reason why “Digger,” a film that cost at least $125 million to make, only opened to $8 million domestically. The movie has been out for nearly three weeks as of this publication, and it has only made $42 million at the box office.

© Warner bros co.

This is not to say that “Digger’s” campaign did not have selling points. Tom Cruise is one of the most recognizable names in Hollywood. While not as well known as Christopher Nolan or Steven Spielberg, Alejandro González Iñárritu is a well-liked filmmaker, having done award-winning work including “Birdman” and “The Revenant.” With this actor-director combo at the forefront, it seemed like a winning pair to start the 2026-2027 awards season. Note the use of the word “seemed.”

“Digger” is not the most incompetent film of 2026. But it does not change the fact that at times it felt like watching paint dry. Though I would not say it was cheap paint. It would be some of the most exquisite, fine, pristine, and downright divine paint mankind has ever seen. Nothing about “Digger” looks cheap. Everything from the recognizable cast members to the articulate makeup work to the posh production design to the filmmaking techniques. Much like last year’s “One Battle After Another,” this film was shot on VistaVision. Both films utilize the technology well. I have very few, if any complaints about how this movie was framed. Almost every shot looked like it belonged in a snobby art museum. I also had the privilege of seeing this film at an IMAX GT Laser-equipped theater. The screen is just a smidge off of VistaVision’s aspect ratio. For nearly the entire movie, you could see the tiniest sliver of black bars.

I may be boasting about the film’s looks, but it does not mean I should forget about its personality. The film definitely has one. It is oftentimes energetic, even if most of it is just people walking or talking. The film comes off as a louder, less colorful Wes Anderson project. It is as if Wes Anderson had a baby with Rian Johnson. Iñárritu’s direction unveils a lot of attention to detail in each scene. There are a couple moments where the talent is doing extremely specific movements while sitting down, thus allowing for certain comedic sound effects or facial expressions… There is also a physical gag involving a shovel on the floor that, admittedly, got old fast, but I do appreciate the effort that was put into it.

While this is a film that did not amuse me, it is at least one that I can see particular audiences thinking it is a banger. I have talked to people since the movie came out and they seem to adore it. This is a film that I can see certain people really loving or absolutely despising. I am not saying there is no middle ground with “Digger,” but there is a pivotal moment in “Digger” that is getting some discussion amongst viewers, including myself. That is the moment where I went from being somewhat onboard with “Digger,” to thinking this film kind of went off the rails. Note the use of the phrase “kind of,” as this film was already giving an unhinged vibe from the start.

© Warner bros co.

This film does make sense. I would not go as far as to say it has any obvious, no pun intended, story holes, but it does not mean I was a fan of the way the story was executed. Two-thirds or three-quarters of the way through the story, the film, without specific spoilers, basically pulls a “Don’t Worry Darling.” For those who must know about my experience watching “Don’t Worry Darling,” I found the film to be somewhat intriguing for the first half, but there is a pivotal moment in the second half where I questioned if that first half even mattered. It felt like the stakes went from surfing on top of a giant wave to crashing head first into the sand. Was there perhaps a point to that first half? Sure. But because the stakes stooped to such a low at a certain point, it was difficult for me to get invested in anything that was going on for the remainder of the runtime. The final scene almost saved the film, but there was a moment prior where I just stopped caring.

I want to like every movie I see, but I especially wanted to like “Digger.” Not only is it an ambitious effort overseen by a revered filmmaker, but the lead is played by one of my favorite actors. Also, on its surface, it seems to serve a decent message about how much humans have screwed up the planet. And those who played a massive role in the planet’s destruction seem to know about it and refuse to care. There are great films that remind viewers about humanity’s less than stellar relationship with the environment. Heck, I rewatched “WALL-E” last month and it holds up tremendously. “Digger” on the other hand, looks like a well-oiled machine, but it did not quite stick the landing. The first two-thirds are, overall, above average. But by act three, it sinks like the Titanic. And it most definitely sinks like the Titanic, considering how the villain of this film is a gigantic chunk of ice.

© Warner bros co.

In the end, “Digger” is a project where people are clearly firing on all cylinders. From Alejandro González Iñárritu behind the camera to Tom Cruise in front of it. The film gets an A for effort, but sadly, those efforts feel like a waste. There are a fair slate of bad movies that I watched over the years that are so unappealing that I wind up forgetting them. “Digger” is probably not a film that I am going to forget, at least not in the immediate future. However, part of me wishes I could forget this experience, especially around act three where I went from being intrigued to frustrated to bored. I love Tom Cruise, and he definitely gives it his all, but I am not going to look back at this project as one of my favorites that he has done. I am going to give “Digger” a 3/10.

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

Thanks for reading this review! If you have not done so already, be sure to check out the latest episode of the Scene Before original series “Movie Requests,” which features special guest Joe Gatto of “Impractical Jokers!” Click the video to find out his film suggestion, “Gringo,” gets a thumbs up or if it is tonight’s big loser! If you enjoy the video, leave a like and subscribe to my YouTube channel! I will have more Movie Requests episodes coming soon, so stay tuned!

My next review is going to be for “Other Mommy.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Social Reckoning,” “Sense and Sensibility,” and “Whalefall.” 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 “Digger?” What did you think about it? Or, what is a film that you did a complete 180 on as you were watching it? What is a movie that you found enjoyable until a key moment later on where the wheels fell off the wagon? Let me know down below! Scene Before is your click to the flicks!

The Weight (2026): A Middle of the Road Quest for Gold

Posted on by Jack Drees

“The Weight” is directed by Padraic McKinley (Fightworld, The Good Lord Bird) and stars Ethan Hawke (First Reformed, Moon Knight), Russell Crowe (Gladiator, Unhinged), Julia Jones (The Twilight Saga: Eclipse, Dexter: New Blood), Austin Amelio (Everybody Wants Some!!, The Walking Dead), Avi Nash (Silo, The Walking Dead), Lucas Lynggaard Tønnesen (The Rain, 1899), George Burgess (Beast, Land of Bad), Cameron Brady (Sapphire, Quantum Quest), Avy Berry (Hollyoaks, A Quiet Place: Day One), Alec Newman (Frank Herbert’s Dune, Winne-the-Pooh: Blood and Honey 2), and Sam Hazeldine (Resurrection, The Innocents). This film is set during the Great Depression and follows a veteran who is hired to help smuggle a fortune in gold through the wilderness.

Before we begin my review of “The Weight,” I would like to shout out a good friend of mine, some of you from the Massachusetts-New Hampshire area would know his name, Brandon Gunnoe, an anchor at WHDH, also known as 7 News. I have the pleasure of working with Gunnoe several days a week. He is a fun person to talk to. The reason why I am shouting him out is because he twice suggested that I should watch “The Weight.” I heard about “The Weight” before he recommended it to me, but his recommendation encouraged me to check out the trailer, which I thought was decent. It promised a tense journey through the wilderness and made the movie look like fun, even with a somewhat serious tone. As I said before, I am proud to call Gunnoe a good friend. But that friendship was fun while it lasted. “The Weight” could have been better…

I kid of course, Gunnoe is still my friend. Though it does not change “The Weight” being a bit of a bore. The film has an intriguing hook to it. It stars Ethan Hawke as Samuel Murphy, an incarcerated man who is tasked with smuggling gold during the Great Depression. The film is also a bit more than that. While the two are not together the entire time, the film is very much a father-daughter story. I thought that aspect of the film was handled very well. Plus, Avy Berry does a great job portraying the daughter character, Penny. She is adorable. The moments the two spend together are joy-filled and smile-inducing.

For the most part, “The Weight” is quite slow. I do not mind a slow film. Slow does not necessarily mean bad. Though when it comes to “The Weight,” I wound up feeling, well, its weight. It is almost unfair of me to say this because “The Weight” does a decent job at providing tension in each scene. This is a man versus nature tale and most of the film’s obstacles have something to do with the elements. Everyone is outside, trying to make it from point A to point B. Whether the characters are trying to cross a bridge or find their way through a river, the film does a fantastic job at making me think about possibly biting my nails.

That said, while the film does a decent job at putting its characters in eerie situations, I wish I cared more about the cast. While I have seen one or two other people in the cast play roles in other projects, Ethan Hawke and Russell Crowe have the most star power. How do they do in this film? Fine. I am not complaining about their performances. This is far from Crowe’s worst outing, and it most certainly is not his best. If you like listening to a rugged man call Ethan Hawke “son” sometimes, then this is the movie for you. Hawke plays the most captivating character by far, which is good partially because he is the lead. The film is kind of on his shoulders. That said, the movie does not deliver any standout scenes from its cast that I could see being used down the line as part of a “for your consideration” montage. Hawke and Crowe are competent. Surprise surprise. But these are far from their greatest roles.

I have nothing against the actors who make up the film’s supporting cast. They all play their parts to the best of their abilities. That said, a lot of them utter dialogue that could perhaps best be described as cookie-cutter or overly stereotypical to their personalities. The characters do not feel that complicated or authentic. It feels like there is something missing to them as people. I cannot really put my finger on it. But there is something about these characters that makes them come off as somewhat thin. If anything, they come off as characters from a “Team Fortress” game, almost as if it were easier to refer to them by what they do rather than by their actual name. I get that the movie is not about these characters, but I think the movie would have benefited if they had more depth to said characters.

Although what this movie lacks in substance, it makes up for in style. On the surface, I was impressed with the film’s overall look. The framing and cinematography are sometimes gorgeous. It is not my favorite of the year. In fact, to be frank, I cannot really name a single thing from this movie that I would describe as my “favorite of the year,” but I was nevertheless impressed with Matteo Cocco’s variety of shots as well as their specific timing. The film starts and ends in a similar manner, which allowed for a kind of poetry with the framing as well as Padraic McKinley and Matthew Woolley’s editing. The color grading also pops in its own way. It reminded me a bit of “Train Dreams.” While definitely somewhat modern-looking, “The Weight” had a slight pinch that made the film feel like a throwback. The grass in almost every frame looked immaculate. The contrast most certainly stands out. The film was shot on location in Germany, and those particular locations did not disappoint.

The film has a vibe that, again, reminds me of “Train Dreams” with more action. But unlike “Train Dreams,” “The Weight” sometimes comes off as conventional and lacking in an oomph. On a paper, it sounds like a human story, but the execution of this film feels somewhat wooden and boring. The film comes close to sucking me into its atmosphere, but almost never achieves such immersion. Is “The Weight” awful? No. But it isn’t great either.

In the end, “The Weight” is dull and rather forgettable. It has a couple big stars, but if you want to watch Ethan Hawke or Russell Crowe, there are other projects I would recommend before this one. This is a good-looking film that would probably make for a halfway decent tech demo. It even looks better than some of the big studio franchise titles that came out earlier this year, like “The Mandalorian and Grogu” and “Supergirl.” But looks are not everything, this film tends to lack personality, which is arguably more important. So, if Brandon Gunnoe at 7 News reads this, thank you for the recommendation. Sorry we did not see eye to eye. We’re still friends. I am going to give “The Weight” a 5/10.

As of this posting, “The Weight” is neither available at home or in theaters.

Thanks for reading this review! If you enjoyed this written review, why not check out one I did on video? Last week I posted my latest episode of “Movie Requests,” featuring special guest Joe Gatto. He requested I should watch “Gringo,” a 2018 dark comedy! What did I think of it? Click the video above to find out! If you enjoy the video, do yourself and I a favor by subscribing to my YouTube channel so you can see more episodes as they drop!

My next review is going to be for “Digger!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Other Mommy,” “The Social Reckoning,” “Sense and Sensibility,” and “Whalefall!” 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 Weight?” What did you think about it? Or, what is a film that someone has begged you to watch that you disliked? Are you still friends with that person? Answer in the comments at your own risk! Scene Before is your click to the flicks!

Primetime (2026): Have a Seat… For This Enticing Thriller

Posted on by Jack Drees

“Primetime” is directed by Lance Oppenheim (Some Kind of Heaven, Ren Faire) and stars Robert Pattinson (The Drama, The Odyssey), Merritt Wever (Nurse Jackie, Godless), Skyler Gisondo (Vacation, Booksmart), and Phoebe Bridgers. This film dramatizes what happens when Chris Hansen’s show, “To Catch a Predator” is put on primetime television. The story shows what happens as Hansen works with the vigilante group Perverted Justice to curb child predators.

I am 26 years old. While I grew up the same time that Dateline NBC’s “To Catch a Predator” first aired on television, I never found myself watching it. On paper, it sounds intriguing, but keep in mind, I was 5 when the first episode aired. I do not think my parents would have been happy with me learning about sex crimes at that young of an age. Even when I heard this film was coming out, I never got around to putting it on television. Despite that, I was interested in “Primetime” for a number of reasons. On top of the general premise providing for a decent pitch, this is an A24 film, and as a distribution company, their track record is usually solid. Plus, Robert Pattinson is playing the lead. He’s had a hot year and his acting chops continue to demonstrate that he is one of the industry’s most talented people working today.

Speaking of A24, one of my favorite movies they have put out is “The Disaster Artist,” which is based on the making of “The Room.” I have shown that movie to people who knew nothing about “The Room” and they had a great time watching it. Similarly, as someone who has never seen an episode of “To Catch a Predator,” heck, I do not know if I have even seen a clip of “To Catch a Predator” prior to this film’s release, I nevertheless found myself engaged in what this film had to offer. “Primetime” is not my favorite film of the year. In fact, had I been more invested in “To Catch a Predator” and Chris Hansen, this movie maybe could have hit me a little bit more. Just a theory. But that does not mean “Primetime” is bad. It’s the exact opposite, actually! This is a solid thriller with a one of a kind vibe.

“Primetime” is such a fitting title for its respective film. Not just because it is about a man who suddenly sees his show on the primetime lineup, but because this year feels like a prime time for this film’s star, Robert Pattinson. On top of playing a couple secondary roles in “The Odyssey” and the yet to be released “Dune Part Three,” Pattinson is also the star of “The Drama” as well as this movie. I have seen both “The Drama” and “The Odyssey” and Pattinson is 2 for 2 thus far. Both movies are fantastic and his performances make each one worth the watch.

But I was not prepared for “Primetime.” This is likely going to go down as Pattinson’s best performance this year. Granted, as mentioned, “Dune Part Three” is coming. We could be in for something special. But so far, “Primetime” is probably Pattinson’s best.

Is Pattinson’s performance in “Primetime” the best I have seen through the entirety of 2026? No. Those honors still belong to Ryan Gosling for “Project Hail Mary” and Emily Blunt for “Disclosure Day” respectively. But “Primetime” gives slightly more spotlight to Pattinson than some of his recent projects, considering he played a co-starring role in “The Drama” alongside Zendaya and did not have the most screentime in “The Odyssey.” This is Pattinson’s film through and through, and the experience is all the better for it. It is almost difficult to imagine anyone else in this character’s shoes.

While Pattinson is definitely the film’s biggest star, there are a few other notable names in the cast like Alex Winter and Anna Faris, and while they do a fine job in the movie, there is one name that stood out almost as much as Pattinson.

Skyler Gisondo plays Dan Plum, and I was moved by this character. Gisondo very much channeled a working man’s spirit into his role as an aspiring actor who finds out that the job that he’s taken is a bit more than meets the eye. There was an admirable sense of humility given off by this character that made him infinitely likable. If anything, it brings a perfect balance to the film as Pattinson’s character is sometimes played up to be larger than life, at least to a certain degree… But Gisondo feels more down to earth. In no way do these tones clash at all. I was pleasantly surprised with how the film went about their individual characters and the chemistry they have on screen together.

The film’s pace is never breakneck nor sluggish. The movie finds a goldilocks zone in between, and for the most part, it works. It is hard to say that there is ever a point where I found the film boring. There are moments that are slower than others, but that did not necessarily mean that they did not have any entertainment value. For the most part, the film is tense and exciting. There is a lot to love about it.

The film’s cast has plenty of experience, but behind the scenes, “Primetime” is a story of firsts. This film is written by Ajon Singh, and it is his first screenplay to see a full release. As for the director, Lance Oppenheim, he has had some experience behind the scenes, but “Primetime” is my first foray into his filmography. In fact, this is the first feature narrative he’s directed, and I would say this is a solid start. These two make for an excellent team. Oppenheim takes Singh’s material and gives it a gritty flair. The movie’s cinematography is quite untraditional. For starters, it is shot in 1.50:1 and 4:3. It is nowhere near as wide as most movies nowadays. Also, the film, appropriately, is presented in such a way that evokes the feel of a show like “To Catch a Predator.” The film offers a weird, but intriguing sense of immersion throughout. The film’s color palette is also never completely consistent, but each frame is immaculate. There is a beautiful yet messy feel to each scene. This is the kind of movie that I could see myself randomly watching after 2 a.m.. It has a distinctive vibe that works best at that specific time of day. But no matter what time it is, it is a good time to watch “Primetime.”

In the end, “Primetime” is worth watching, even if you are not familiar with “To Catch a Predator.” I say this considering, well, again, I had not watched a single episode. Robert Pattinson kills it as Chris Hansen. If there is any reason you should be watching this movie, it is him. He is also joined by an excellent supporting cast, and Lance Oppenheim kills it as the film’s visionary. I am a new fan. I do not know for sure if I will be checking out “You Can See Everything,” which he also worked on. We shall see what time I have in the coming weeks or months given everything else that is coming out. Even so, I will be on the lookout for whatever he does next. I am going to give “Primetime” a 7/10.

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

Thanks for reading this review! Tomorrow, TUESDAY OCTOBER 13th… Although based on this post’s publication, tomorrow is not that far away, isn’t it?… I will be sharing a brand new episode of Movie Requests featuring “Impractical Jokers” star Joe Gatto! For those who do not know, Movie Requests is an original series where I ask celebrities what movies they think I should watch and talk about. This series is being done in honor of 10 years of Scene Before. To watch the promo for the episode, click the video above! The episode will be available tomorrow on Flicknerd.com and YouTube! Speaking of YouTube, please subscribe to my channel and hit the notification bell!

My next review is going to be for “The Weight.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Digger,” “Other Mommy,” and “The Social Reckoning.” 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 “Primetime?” What did you think about it? Or, did you ever watch “To Catch a Predator?” Tell me your thoughts about it down below! Scene Before is your click to the flicks!

The Uprising (2026): Death, Taxes, and Shaky Cam

Posted on by Jack Drees

“The Uprising” is directed by Paul Greengrass (News of the World, The Bourne Supremacy) and stars Andrew Garfield (The Amazing Spider-Man, Hacksaw Ridge), Jamie Bell (Fantastic Four, The Adventures of Tintin), Stephen Dillane (Game of Thrones, John Adams), Tom Hollander (Harley Quinn, Pirates of the Caribbean: Dead Man’s Chest), Cosmo Jarvis (The Alto Knights, Warfare), Thomasin McKenzie (Last Night in Soho, Fackham Hall), Jonny Lee Miller (Trainspotting, Hackers), Woody Norman (Cobweb, C’mon C’mon), and Katherine Waterson (Fantastic Beasts and Where to Find Them, Fackham Hall). Inspired by the 1381 Peasants’ Revolt, this film is about a group of people who rebel against King Richard II.

© Focus Features

To be real, there were not a ton of movies coming out in September that I was beyond excited to see. There were a couple titles that stood out to me, but when it comes to “The Uprising,” I felt like I was taking a chance on it. I knew little to nothing about the film other than listening to people talk about it online. I do not even recall if I watched a trailer for the movie prior to checking it out in theaters. That said, there are some promising things about the film at a glance, including star Andrew Garfield.

Andrew Garfield is a fantastic actor. I had iffy thoughts on his Spider-Man to a degree back in the day, but “No Way Home” gave him a bit of a boost for me. If anything, having seen that movie, I think part of that boost is because he was given much better material to work with than what was handed to him in the Marc Webb movies. But Garfield is more than Spidey. For example, he’s received Oscar nominations for “Hacksaw Ridge” and “Tick…Tick…BOOM!.” With each role, Garfield continues to prove he has chops and charisma. The same can be said for “The Uprising.” While Garfield himself is fairly recognizable in the role of a Ploughman, it does not change the fact that he does well as the story’s center. Is his performance the best of the year? No. But it is perhaps precisely what this movie needed due to Garfield’s range. Sometimes he is commanding. Other times he is a bit soft. It depends on the context of the scene, but Garfield plays his part well no matter what the role requires. Garfield is not the only actor who stands out. Others include Woody Norman as King Richard II, Jamie Bell as John Ball, and Thomasin McKenzie, the latter of whom has a particularly compelling backstory.

As for the film itself, it is quite good. The story is never boring and there is a healthy mix of engaging dialogue and thrilling action sequences to balance out the pace. Some might say the film is slow, which frankly, I kind of get, but do not wholly agree with. I prefer to call the film steady. It’s by no means a slog, but not a sprint either. It aims for the middle and does not miss.

© Focus Features

Despite being set in the 14th century, “The Uprising” is a fitting movie for today’s times. For the record, I live in the United States, and it is not like this is a problem that is exclusive to this part of the world, but in recent years, it has become noticeable that prices for just about everything have been going up. That’s not an unusual concept, but the rate at which it has been happening has been exorbitant. So, it feels like perfect timing to have a movie come out where its heroes are trying to confront the reality that on top of already struggling as they are, they now have to put up with more taxes.

“The Uprising” is directed by Paul Greengrass. I have not seen all of his movies, but I tend to like the ones that I did see. Although this movie has a bit in common with his 2020 outing, “News of the World.” In addition to both films being somewhat action-centric, they also deal with topics relevant to their time of release, even if the films themselves are set long before said period. “News of the World,” which is about a man who goes around reading newspapers to audiences, came out a few years after the term “fake news” popularized with certain people. This film features political controversy and complaints over taxes. Those two topics are arguably evergreen, but as someone living in the United States, it is not hard to notice them making the rounds today.

© 2026 – Focus Features

Much like Greengrass’s other projects, there is quite a bit of shaky cam in this film. If that is not your thing, you may be turned off by this film’s production elements. Frankly, sometimes it works, and other times it feels quite clunky. There are one or two battle sequences that I thought the shaky cam ended up blending perfectly with the chaos. That said, there are moments where I felt the handheld videography came off as a bit overdone. One could argue that this speaks more to my personal preferences as a viewer than anything else. Heck, to this day I have not watched a ton of “The Office” and yes, one of the reasons why is because I don’t find it funny. Sorry not sorry. But another, perhaps dumber reason is because all the camerawork is handheld and it throws me off. The handheld camerawork in “The Uprising” is by no means the worst thing I have ever seen, I can make out what is going on in just about every scene, but there are a lot of moments where it feels a bit unnatural. To be fair though, this is a dramatic narrative, and in some ways, the handheld nature of the film does contribute to said drama.

No spoilers for those who have not seen the movie, but I dug the ending. If anything, this film almost crosses a line to the point where it becomes something else entirely during this specific moment. In actuality, the ending is fitting given what the story is, but its delivery is perhaps intentionally linked to another famous character. The ending is well done and has some solid action to back it up. Look forward to it. Sadly, the film’s marketing does spoil this moment, so chances are some of you reading this already have an idea as to the connection I am talking about. But if you did miss the trailers somehow, the ending is a fitting, yet almost out of left field treat.

© 2026 – Focus Features

In the end, “The Uprising” is a good flick. Is it the most exciting film of 2026? Not even close. It is not even the most exciting movie to come out this month… More on that in the next review. But the film is nevertheless engaging in more ways than one. It features a solid lead performance by Andrew Garfield and is incredibly relevant for today’s audience despite being set in the late 14th century. This is not a film that is going to have massive replay value, at least from me. Maybe if I am scrolling channels and I come across it, I will put it on. But it is nevertheless beautifully made and executed. I am going to give “The Uprising” a 7/10.

“The Uprising” is now playing in select theatres and is available to rent or buy on VOD.

Thanks for reading this review! If you want to keep the party going, check out my latest episode of the Scene Before original series Movie Requests! In this episode, Rosario Dawson requests that I should talk about “Legend,” the fantasy film from 1985. To find out what I thought about it, click the video above!

Also, look forward to my next episode of Movie Requests, which will feature comedian Joe Gatto! You may know him from “Impractical Jokers” and “The Misery Index!” The official upload date is unclear at this time, but if you want to stay updated on that episode and others, please subscribe to my YouTube channel! And if you enjoy the last episode, please give it a like! It really helps out!

My next review is going to be for “Forgotten Island!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Primetime,” “The Weight,” and “Digger.” 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 Uprising?” What did you think about it? Or, what is your favorite Paul Greengrass movie? Let me know down below! Scene Before is your click to the flicks!

Coyote vs. Acme (2026): Don’t Walk, Roadrun.

Posted on by Jack Drees

“Coyote vs. Acme” is directed by Dave Green (Earth to Echo, Teenage Mutant Ninja Turtles: Out of the Shadows) and stars Will Forte (Scoob!, Saturday Night Live), Lana Condor (Ruby Gillman, Teenage Kraken, X-Men: Apocalypse), Tone Bell (Whitney, Little), Luis Guzmán (The Limey, Traffic), Martha Kelly (Euphoria, Baskets), P.J. Byrne (The Wolf of Wall Street, The Legend of Korra), Eric Bauza (Looney Tunes Cartoons, Buddy), Kenneth Choi (The People v. O.J. Simpson: American Crime Story, The Last Man on Earth), and John Cena (Blockers, The Suicide Squad). After many attempts of trying to catch the Roadrunner to no success, Wile E. Coyote has one thing to blame, Acme. Now fed up with the company’s defective products, Coyote decides to sue Acme for each of their products that kept him from catching the iconic blue bird. But winning the case will not be easy as Acme is a dominate corporate force, and Coyote teams up with a lawyer known for settling every case that comes his way.

I am not the biggest “Looney Tunes” guy. I did not grow up watching the property. Heck, even as someone who was born in the late 90s, I did not even watch the original “Space Jam” until I was 21. By the way, the movie is awful. Seriously… What was that? But even I was stoked for “Coyote vs. Acme.”

Even as a novice to the “Looney Tunes” brand, I am well aware, and sometimes amused, by the constant charade of Wile E. Coyote trying to catch the Roadrunner. Never in my life did I think we would ever get a movie where Coyote takes the company who makes his contraptions and gadgets to court. But as soon as I heard the pitch, I was all eyes and ears. This was a brilliant premise, and I really wanted to see it come to life. But Warner Bros. Discovery decided to go full Adam Conover and ruin everything.

Following in the footsteps of “Batgirl,” “Coyote vs. Acme” was fated to become Warner Bros. Discovery’s latest tax write-off. The film, while well-liked by people who worked on it as well as others outside the production, was not seen as a moneymaker to Warner Brothers Discovery, in addition to any potential buyers. Except for one. And that is Ketchup Entertainment, who also released another recent “Looney Tunes” project, “The Day the Earth Blew Up.” I did not see that one, but I was eager to check out this one.

I have now seen “Coyote vs. Acme,” and it is not just good. It is actually great. No… I take that back. This is one of the best films of the year.

This film, much like “Who Framed Roger Rabbit?”, is set in a world where people and cartoons co-exist. The Acme Corporation is a real company run by actual people, making animated products for cartoons like Coyote. We see that Coyote has had it. He has spent his whole life trying to catch the Roadrunner. He’s gotta eat! So, he gets an idea to sue Acme for each one of their products he got his hands on. None of them worked, and he wants to hit them where it hurts. So, he teams up with a lawyer named Kevin Avery (Forte) to get the job done. However, we find out that these two are opposites. Avery, and by extension, his firm, is known for settling. In fact, the firm has been involved in multiple cases against Acme and there has been a settlement for each one.

You have two core characters, each of whom want to get things done their own way. Coyote and Kevin make for an incredible odd duo. I was pleasantly surprised with not just how well Forte wound up doing in this film as a live-action performer blending in with cartoons, but the same can be said for how I felt about Coyote as a character.

The concept of watching Coyote trying to catch the Roadrunner by itself is fun on paper, but let’s be real. His goal is to end this bird’s life. He is kind of a fascinating character, because despite this movie being made for families, it centers around someone who is so dedicated to killing a bird that you cannot help but appreciate him. It is kind of like watching Mauser from “Marty Supreme,” who is a bit of a moron, but he has this drive that as I watched the film, I could not help but appreciate it. The film is, ironically, fantastic for younger people to watch. Because despite being about someone whose goal is to kill a bird, it also serves as a fine lesson for younger viewers to chase their dreams.

This lesson plays heavily not just into Coyote’s personal motivation, but also the relationship between him and Kevin. Coyote’s drive ends up inspiring Kevin to not just challenge himself to perhaps become a better lawyer, but it seems to instill him with a reason to keep on living.

As the film progresses, it becomes one of the most surprisingly heartfelt features I have seen in a long time. Heartfelt and “Looney Tunes” are two concepts that I did not think I would use in the same sentence, but here we are. I was almost convinced that I was watching a Pixar movie or something from Lord and Miller. A perfect execution of comedic gags that also manages to interweave moments that pull your heartstrings. I nearly cried at the end of this movie. When this movie nearly got scrapped for a tax write-off, I knew I wanted to see it. I did not know that it would be this compelling, this exciting, this moving.

The ending of this film is so satisfying. It is, in a way, a predictable ending, but it manages to pack in an element or two of unpredictability to get there. Regardless, the ending feels earned. It puts the film’s characters in a position that makes sense and overall, the final moments emit oodles of joy. This is a movie about underdogs, and it is perhaps only enhanced by the fact that getting the film to the big screen was a bit of an underdog story by itself.

Speaking of all the behind the scenes drama, one of my favorite things we see, not even in the film itself, but just before it starts, is the WB logo. This is a completely baseless assumption, but there is a subtitle in the opening logo that part of me wants to believe was put in as a response to the whole tax-write off saga. Moments into the title, we zoom in and we see a caption that reads “A wholly owned subsidiary of the Acme Corporation.” On one hand, it is kind of funny because it plays into the joke of Acme’s corporate dominance. But the joke may also have a double meaning. Much like how Acme is the villain of the movie, some people who wanted to see this film succeed saw Warner Bros. as a real life villain that kept this project from seeing the light of day.

…Or I could be overthinking this and the logo was designed before the tax-write off shenanigans even became a thing. I have to keep all possibilities open to avoid making a fool of myself.

Arguably the most notable physical standout in the film is John Cena, and not just from a looks perspective. He plays Buddy Crane, who is not only a lawyer for Acme, but just so happened to be Kevin’s rival while the two attended Harvard. Despite sometimes playing Crane up as this tough guy, and he is, he also manages to sometimes deliver a kind, calm aura. There is a balance to this character that Cena masters as a performer. Cena has proven in previous roles that he has a knack for comedy, and while this may not be his funniest role, he continues to prove that he has a fine presence on screen.

The movie also comes with plenty of fan service and fun Easter eggs. Sure, you have some classic footage and phrases that even casuals would recognize, but there are sometimes some nice small touches. There is a scene set in the middle of the film set to the DJ Shadow song “Nobody Speak,” which is a good song by itself, but the film adds a slight enhancement to the song and replaces a couple notes with the Roadrunner’s “meep meep.” I almost burst out laughing, but I wanted to avoid embarrassing myself in front of other people.

The film does come with some minor issues. For the most part, the blending of live-action with the animated elements works fantastically. It is actually kind of incredible how seamless everything is. But not all of it is consistent. Not everyone seems to be drawn in the same style. I do not have a problem with this as “Who Framed Roger Rabbit?” implements multiple styles, but I thought “Roger Rabbit” did a better job at blending those styles together than “Coyote.” While he is by no means an eyesore, the design for Foghorn Leghorn sometimes looks a little tacky when put next to live-action characters. He is not awful looking, but it is also true at the same time that he looks like a character during the main sequence of “The Simpsons Ride” at Universal Studios.

Even with some tiny issues, this film is not just a blast, it is a triumph. This is perhaps the greatest middle finger to corporate giants encapsulated via film since “WALL-E.” In fact, by happy accident, the film feels like it is throwing an extra middle finger to a real life corporate behemoth at the same time. I say this as someone who loves Warner Brothers as a studio. I am a massive fan of their movies. In fact, “Sinners” and “One Battle After Another” were two of my favorite films from last year. But they made a mistake by nearly axing this film. What one corporation sees as trash, is the audience’s treasure. Please go buy a ticket to this movie, because not only are you supporting a spectacular project, but you will be sending a message to the people who almost kept you from seeing it in the first place.

In the end, while I do not think “Coyote vs. Acme” is not going to get a Best Picture nomination from the Academy, it is one of those movies that you have to see at least once. This is a one-of-a-kind project that wound up being more than a pleasant surprise for me. I genuinely do not know when I am going to stop thinking about it. This film nearly broke me. It presents two completely admirable heroes who not only have fascinating goals, but make a great team. You do not have to be a “Looney Tunes” diehard to enjoy this film, and given the little history I have with this franchise, I am proof of that. Please go see this movie. It will make you laugh and cry. I am going to give “Coyote vs. Acme” a 9/10.

“Coyote vs. Acme” is now playing in theaters. Tickets are available now.

Thanks for reading this review! As a reminder, in honor of Scene Before’s 10th anniversary, I am working on a special video series, Movie Requests, which sees me reviewing movies suggested by celebrity guests. My latest episode features actress Melissa Barrera, who you may know from films like “Abigail” and “In the Heights.” In this episode, she suggests I should watch “Roma!” What did I think? Click the video above to find out! If you enjoy the video, please leave a like, subscribe to my YouTube channel, and hit the notification bell that way you can see more episodes as soon as possible!

My next review is going to be for “Idiots.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Don’t Move” and “The Uprising.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, be sure to check out the official Facebook page! I want to know, did you see “Coyote vs. Acme?” What did you think about it? Or, what is a movie that you wish you got to see that has never been released? For me, the answer is Sam Raimi’s “Spider-Man 4.” I remember that it was supposed to come out in the early 2010s, but it got scrapped in favor of “The Amazing Spider-Man.” No offense to Andrew Garfield, but I would give anything for another solo Tobey Maguire movie. Scene Before is your click to the flicks!

Tony (2026): Marty Supreme for Foodies

Posted on by Jack Drees

“Tony” is directed by Matt Johnson (BlackBerry, Nirvana the Band the Show the Movie) and stars Dominic Sessa (The Holdovers, Oh. What. Fun), Emilia Jones (CODA, Task), Dagmara Domińczyk (Priscilla, The Lost Daughter), Rich Sommer (Fair Play, BlackBerry), Stavros Halkias (Let’s Start a Cult, Bugonia), Leo Woodall (One Day, The White Lotus), and Antonio Banderas (Shrek 2, Babygirl). This film is about a young Anthony Bourdain who is aspiring to be a writer. It follows Bourdain’s time in Provincetown, Massachusetts as he takes a job at a restaurant, tries to impress a girl, and covers up a big lie to his family.

For those who read this blog in 2023, you may know that one of the movies I massively enjoyed was “The Holdovers.” Not only has the film quickly become a must watch for me around the holidays, but it has the bonus of being shot minutes away from my house. “Tony” is not shot as close, but nevertheless in my home state of Massachusetts. One thing those films have in common – Dominic Sessa stars in both of them. Another thing both films have in common – I enjoyed them very much.

No matter where this movie was shot, it did not change the fact that I witnessed one of the year’s most compelling films. While this film can probably best be described as a coming of age drama, it has a little bit of everything in it. It has humor. It has grit. It has romance. This is the kind of film that I can honestly see appealing to many different demographics. Not only does it implement all of these elements from the getgo, but utilizes each one to their full potential.

“Tony” is basically “Marty Supreme” for foodies. For those who remember my review of “Marty Supreme,” you may recall that when I described Marty Mauser, I said he was “by no means a role model.” I did not necessarily mean that as a negative. In fact, the way that film fleshes Marty out only accentuated his complication. He is a bit of a jerk, but he comes off as palatable. Anthony Bourdain, or at least this film’s interpretation of him, is kind of in the same boat. He is young, has a remarkable drive, but also comes off as cocky. Depending on the situation, he is not the most pleasant person to be around. This is something that the late Anthony Bourdain himself seems to have acknowledged at a certain point in his life. As a matter of fact, when the film starts, there is a title card with a quote from Bourdain himself. In the quote, Bourdain says that he was a “spoiled, miserable, narcissistic, self-destructive and thoughtless young lout.” That specific quote is taken from his memoir, “Kitchen Confidential,” which also inspired this movie.

I love that the movie started with this quote. Not only is it a compelling quote by itself, but this perfectly set the tone for what’s to come. While there are people who fondly remember Bourdain following his 2018 death, the film in more ways than one portrays him as a bit of a whiner and egomaniac. Is he smart? Perhaps. Is he driven? Sure. But it does not change the fact that he does come off as an occasional moron. I think many of us, in one way or another, would look at our younger selves and ask what the heck were we thinking at that age. If anything, this film is a raw look at a Bourdain’s young adulthood where his character flaws come to show.

Despite being a Bay Stater and finding out “Tony” was set in Provincetown, that did not turn out to be the sole big draw for me. Another big draw for me was the casting of Dominic Sessa as Anthony Bourdain. This is not necessarily because I thought Sessa would make a good Anthony Bourdain. I know as much about Anthony Bourdain as I do about professional cornhole. I have seen both of those things once or twice on a television screen, but that is about it. Though maybe I should take that back a little bit, because Sessa, who just so happened to have a major role in “The Holdovers” prior to this movie, has proven his talents. He is a sensational young actor and I can see him following in the footsteps of the greats. He had plenty to work with in “The Holdovers” alongside Paul Giamatti and now he has this movie to essentially call his own.

Although at the same time Sessa’s dynamic with Antonio Banderas felt like a remix of his dynamic with Paul Giamatti. It’s a mentor-mentee relationship where both sides have their clear differences. It’s a cliche that works in both of these movies, and much like “The Holdovers,” what really holds this relationship together is the chemistry between both actors in addition to their individual performances, which, by the way, to my lack of surprise, Antonio Banderas does an excellent job in the film as Chef José Vatel. No notes.

Another actor I am happy to see in this film is Emilia Jones. While she has been in other projects since, like “The Running Man,” I still adore Jones for her lead outing in “CODA.” That movie is so riveting. While Jones plays a supporting role as Nancy, Bourdain’s crush, instead of a leading role, she is still fun to watch on screen. She and Bourdain tend to have a rocky connection as characters sometimes, and both Jones and Sessa do a great job at capturing said rockiness.

Random segway, one of the best movies I watched over the years is “Chef.” I love the story, the characters, the performances… Everything about it. But one of my favorite things about the film is the fact that the food looked so good that it made me hungry. For the record, the food in “Tony” is not as good-looking as “Chef,” but it is still quite appetizing. I love a good restaurant that serves nothing but their interpretation of the American basics. When I saw the camera angle on the french fries in this film, I wanted to leap into the screen and take one for myself. This is one of those films that makes me want to go to a restaurant and soak in the atmosphere. Not necessarily a nice restaurant. In fact, regarding the eatery where Bourdain works, Nancy even refers to its cuisine as junk food at a particular point of the film. Look, the food may be unhealthy, but it does not mean the it looks off-putting. In fact, it is quite the opposite. This film’s food sometimes makes me want to chuck my popcorn towards the screen, dash out of the auditorium, and indulge in some hand-cut fries.

In the end, “Tony” impressed me. It is hard to come up with any flaws that I have with “Tony.” The film is perfectly paced, engaging, and as I said before, it has a fine balance in multiple genres. It has some cliches that you might see in coming of age stories like this, but cliches do not really break a movie if they work, and the cliches seem to work here. I cannot recommend this movie enough. I went into “Tony” mainly because it was new and I wanted to pay off my AMC A-List subscription for the month, I stayed because how much this film sucked me in. Oh, and it made me hungry. I want french fries! I am going to give “Tony” a 9/10.

“Tony” is now playing in theaters. Tickets are available now!

Thanks for reading this review! If you have not done so already, please be sure to check out the latest episode of the Scene Before original series, Movie Requests, which features actress Melissa Barrera! In this episode, she recommends the movie “Roma.” Click the video to find out my thoughts! And if you enjoy the video, remember to leave a like, subscribe to my YouTube channel, and click the notification bell if you want to see more episodes of Movie Requests coming soon!

My next review is going to be for “Spa Weekend.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Coyote vs. Acme,” “Idiots,” and “Don’t Move.” 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 “Tony?” What did you think about it? Or, in the spirit of “Marty Supreme,” have you seen that movie? Tell me your thoughts on it if you have seen it! Scene Before is your click to the flicks!

The Invite (2026): Olivia Wilde Swings for the Fences On and Off Camera in This Intimate, Fun Dramedy

Posted on by Jack Drees

“The Invite” is directed by Olivia Wilde (Booksmart, Don’t Worry Darling) who also stars in the film as Angela. Joining her is Seth Rogen (Sausage Party, The Super Mario Bros. Movie), Penélope Cruz (Pirates of the Caribbean: On Stranger Tides, Ferrari), and Edward Norton (The Incredible Hulk, American History X). This film is about a couple in a declining marriage who decide to invite their neighbors over for dinner, only for the night to go in an unexpected direction.

Olivia Wilde is one of those Hollywood insiders I respect, but I sometimes forget just how much of a footprint she has in the industry. When I found out about her directorial debut, “Booksmart,” in 2019, I was excited to see what skills she could bring behind the camera. And while I thought the film was not my favorite of the year, I found some parts quite funny, and the two leads were excellent.

Then came “Don’t Worry Darling…” It is a film that has quite a bit going for it in the first couple of acts, but topples like a house of cards by its conclusion. It was a frustrating film to watch, despite a sometimes great performance from Florence Pugh. It was not the worst film of 2022, but it nearly turned me off of seeing “The Invite,” a film that I wound up watching after hearing positive word of mouth.

I am proud to say that not only did I enjoy “The Invite,” but it is Olivia Wilde’s best directorial effort yet. It is a film that showcases a married couple’s drama as both sides do their best to play things cool in front of their neighbors. This is also perhaps Wilde’s most grounded film yet, even if it does involve a series of extreme scenarios faced by several characters.

While Olivia Wilde seems to be growing as a director, she has spent most of her career as an actress, and therefore it is no surprise that the performances in “The Invite” are perhaps the highlight of the film. Some highlights are shown through the sometimes funny, other times riveting relationship between Joe and Angela. Seth Rogen plays the former while the latter is played by Wilde herself. The cast in this film is quite small. The movie revolves around four characters and for the most part, is set in one location. The other two characters, Piña and Hawk, are played by Penélope Cruz and Edward Norton. What the film lacks in quantity it most certainly has in quality, which is by no means a bad thing.

The story is quite digestible, moves at a steady pace, and it is easy to buy each of the characters as individuals and as members of their particular relationships. Each actor plays off each other incredibly well and it also helps that they have such remarkable material to work with.

The more I reflect on the film, I do not necessarily think the story has one character that is a true protagonist or antagonist. The film feels more like an exciting game of two equally balanced teams or players. Each one has their strengths and weaknesses, and the movie finds a way to make you root for or appreciate each character in the cast.

Despite being a drama and mostly about a couple’s failing marriage, the film is surprisingly funny. I should not be that surprised considering how Rogen has a knack for comedy on camera, and Wilde has experience with directing good comedy through “Booksmart,” but comedy is all about timing, and it could not be better when it comes to how everything is executed in “The Invite.”

Speaking of timing, this is a film that truly takes its time. There is not a single scene that feels rushed, even if the characters find themselves in a fast-paced situation. “The Invite” does a phenomenal job at hinting at each character’s motivation and taking advantage of those motivations in future scenes. Plot-wise, this film starts as one thing and almost becomes something else entirely. I would not call “The Invite” the twistiest film of all time. In fact, I had a slight idea as to where things would go given how I have heard other viewers talk about the film’s vibe before I had a chance to check it out. But the film starts off as a conversational dramedy and morphs into something more complex and nearly bonkers. And while, again, this is not the twistiest movie I have ever seen, this film marks an improvement from Olivia Wilde’s last movie, “Don’t Worry Darling.” That film, much like this most recent one, was not written by Wilde. But when it comes to the films Wilde helmed, “Don’t Worry Darling” had a gargantuan twist, but bigger does not always mean better. If anything, it made that movie fall off a cliff. While “The Invite” definitely heightens its reality in the second half, it stays fairly consistent with the film’s grounded nature, and it is all thanks to a particular reveal that I will let you see for yourself.

Although it should be noted, while Will McCormick and Rashida Jones did in fact craft one of the best screenplays of the year, it is not an original idea, as this film is inspired by a 2020 Spanish picture called “The People Upstairs.” I have not seen that movie, nor have I heard of it prior to watching “The Invite,” but if anything, this film serves as the greatest piece of marketing “The People Upstairs” could ask for. “The Invite” serves as a piece of marketing to its predecessor in the same way that “The Departed,” a 2006 Hollywood film, was arguably the greatest piece of marketing for the 2002 Hong Kong film “Infernal Affairs.” “The Departed” was not only nominated for multiple Academy Awards, it won Best Picture. “Infernal Affairs” had less relevance in the United States, much like “The People Upstairs,” so it is no surprise that the Academy did not recognize either film. But I have a strong feeling that “The Invite” will be recognized for sure. Based on its top notch direction by Olivia Wilde, brilliant writing by McCormick and Jones, smart editing choices by Yorgos Mavropsaridis and Anthony Boys, and excellent performances by the four actors who command the screen in each scene, “The Invite” is one of the year’s finest movies.

In the end, “The Invite” is Olivia Wilde’s best work so far as a director. There is a saying that you are only as good as your last project, and that made me somewhat hesitant to check out this movie as I was not exactly fond of Wilde’s previous outing, “Don’t Worry Darling.” But not only is her latest film a vast improvement as far as I am concerned, but it makes me look forward to what she has up her sleeve next. This film is proof that big things come in small packages. The cast may be tiny, but the story packs a punch. Do not miss this one. I am going to give “The Invite” an 8/10.

“The Invite” is now playing in theaters and it is also available to rent or buy on VOD.

Thanks for reading this review! I am happy to announce that the next episode of Movie Requests officially drops Monday September 7th and it is going to feature Melissa Barrera! You may know her from movies like “Abigail” and “Your Monster,” as well as shows like “The Copenhagen Test” and “Keep Breathing.” You can also catch her on Broadway in the musical comedy “Titanique,” which I have seen twice and find to be an utter riot. Check out the episode when it drops Monday September 7th here on Flicknerd.com and YouTube! If you want to see the episode as soon as possible, please subscribe to my YouTube channel!

Also, be sure to check out my most recent episode of “Movie Requests,” featuring Amy Sedaris! In this episode, I talk about two of her favorite films, “The Elephant Man” and “Babe!” What did I think of them? Watch the video to find out.

My next review is going to be for “Cookie Queens!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Tony,” “Spa Weekend,” “Coyote vs. Acme,” and “Idiots.” 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 Invite?” What did you think about it? Or, what is a movie featuring a small cast that you enjoyed recently? Let me know down below! Scene Before is your click to the flicks!

I Want Your Sex (2026): A Wilde, Sexy Ride

Posted on by Jack Drees

“I Want Your Sex” is directed by Gregg Araki (13 Reasons Why, Now Apocalypse) and stars Olivia Wilde (Don’t Worry Darling, Tron: Legacy), Cooper Hoffman (The Long Walk, Licorice Pizza), Mason Gooding (Ballers, Love, Victor), Chase Sui Wonders (The Studio, Generation), Johnny Knoxville (Jackass, Action Point), Margaret Cho (30 Rock, All American Girl), Roxane Mesquida (Now Apocalypse, Gossip Girl), Charli XCX (The Moment, UglyDolls), and Daveed Diggs (Black-ish, The Boys). This film is about a man named Elliot who takes a job at a company specializing in erotic art. Soon after taking said job, he finds himself in a sexual relationship with his boss.

© 2026 – Magnolia Pictures

Sex sells. End of story. Well, unless your sex-centric movie comes out against “Spider-Man,” then that’s a different conversation entirely. As Tom Holland, Zendaya, and Jon Bernthal continue their box office domination with “Spider-Man: Brand New Day,” released just two weeks after their smash hit “The Odyssey,” a significantly smaller title is getting, unsurprisingly, nowhere near as much spotlight. That movie being “I Want Your Sex.”

The concept of this film is intriguing, as it places a 23 year old man with a much more experienced woman in a series of sexual situations. The kicker to this, the 23 year old man just so happens to be working for said woman at, amazingly enough, a company dedicated to erotic art.

Couple things to note… First off, my family does read this blog, and I have no problem with them knowing that I very much enjoyed this raunchy, sexy movie. I would like to shoutout one cool aunt who was confused as to why I recommended “Anora,” which she deemed “pornagraphic.” Auntie… That’s tame compared to what “I Want Your Sex” has to offer. You’ve been warned. Now for all the sick human beings who have not clicked away from this review, you are in for a good time.

© 2026 – Magnolia Pictures

The best thing about this movie is the cast, not necessarily because of anyone’s star status, although it does contain a few recognizable names including Cooper Hoffman and Olivia Wilde, whose chemistry together is electric. For those who have followed me for a while, you may be aware that I was not the biggest fan of another film in which Hoffaman stars, “Licorice Pizza.” It is not entirely his fault the movie did not work for me, Hoffman played his part as he was instructed to do so. But the dynamic between Hoffman and Wilde in this latest film reminded me a bit of the dynamic the former had with Alana Haim in “Licorice Pizza.” This is yet another case of a much younger man having feelings of some sort for a woman much older than him. While the relationship in “Licorice Pizza” felt uncomfortable, I actually found quite a bit of enjoyment in what “I Want Your Sex” had to offer. Partially because one, the relationship is… Well, legal… Also, whereas I found Hoffman’s character in “Licorice Pizza” to be a pervy creep, I found myself occasionally sympathizing with the one he plays in “I Want Your Sex…”

As for the opposite end of the dynamic, Olivia Wilde, she is a knockout. Erika is packed with all kinds of range. Every once in a while you can see Wilde portraying her as a stern conversationalist. Sometimes she enters boss mode. Other times she gloriously loses her temper. And then there are those moments where her actions speak louder than her words. Every scene between Erika and Elliot had my eyes glued to the screen because I genuinely had no idea where things were going to go with them at certain points. This movie is a rather unpredictable ride.

The surprise star of the film… Charlie XCX. I never cared for her music, but even I must admit that she is brilliant here. On top of everything that is going on between Hoffman and Wilde, the former also just so happens to be in a relationship with XCX’s character of Minerva. One would think that my favorite sex-centric moment of the movie is between Hoffman and Wilde, but it is actually between the former and Charlie XCX, because it says a lot about where both characters were in the relationship and further tapped into Hoffman’s sexual tendencies. The scene perfectly establishes Hoffman’s need for sex in order to stay sane, as opposed to Charlie XCX, who clearly could not give two craps about it in addition to the relationship itself. Of all the characters in the film, Charlie XCX’s seems to be the least expressive, perhaps on purpose. I have no problem with it. The character works.

On top of the awkward intimate moments shared between Minerva and Elliot, the film occasionally has a hint or two that highlights how, let’s just say, important sex is to the latter. Elliot’s roommate, Apple (Wonders), asks him if he has ever faked an orgasm, to which he responds, “Well, I’m a guy, so…” It also puts a spotlight on unrealistic standards people seem to have for sex, especially when one is so often exposed to it in parts of their daily life outside of the actual activity.

If anything, the film is a love letter to, and at the same time, a parody of Gen Z, which I happen to be a part of. There is a lot of media coverage suggesting that some members of this generation do not exactly have a complete interest in sex, or have fears about engaging in said activity. Granted some of these people are younger, so sex is probably not something they want to think about. But others, like myself, are in their twenties, which some would stereotype as a time where sex winds up playing some kind of role in one’s life.

At the same time, I wonder how accessible this film will wind up being to my generation, considering how part of said media coverage on Gen Z suggests they want to see less sex in film and television. That said, this film has a lot of sex, and just about every scene ends up contributing to the story in some way.

But this film is a lot more than just sex. It is often quite funny and dramatic. The film, in addition to being about a May-December sexual relationship, also interweaves an intriguing part of the story having to do with the Los Angeles art gallery scene. There is never a boring moment in “I Want Your Sex,” which if there were, would be shocking, as the film is only 90 minutes. Is this the best film I have seen this year? No. But in terms of pacing and messaging, it is top-notch. This is my first Gregg Araki film, and I can say I am a new fan. He has a knack for brisk storytelling. I would love to see him helm another feature down the line.

© 2026 – Magnolia Pictures

In the end, “I Want Your Sex” is wildly entertaining. The film combines comedy, drama, romance, and blends everything together in a neat package. This is not a film for everyone. It is also one that should be watched only with certain individuals. But it was certainly a film for me. Olivia Wilde and Cooper Hoffman have incredible chemistry as the leads, and the film’s supporting cast members are also by every means an asset to the production. I am not the biggest Charli XCX guy, but even I was surprised with her performance as Minerva. She was perfect. I am going to give “I Want Your Sex” a 7/10.

“I Want Your Sex” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! For those new here to Scene Before, in addition to written reviews, I also have recently been doing video reviews! Be sure to check out my latest episode of Movie Requests, the original series where I ask celebrities what movies they think I should talk about, and give my official thoughts! My latest episode features the very funny Amy Sedaris, who suggests I should review two of her favorite movies, “The Elephant Man” and “Babe.” To find out if I liked these movies as much as her, click the video above! And if you enjoy the video, please leave a like and subscribe to my YouTube channel. I have more episodes coming featuring celebrities including Adam Conover, Rosario Dawson, Joe Gatto, Michael Rooker, and Tessa Thompson,. The next episode, which will be released on a future undetermined date, will feature Melissa Barrera (Abigail, In the Heights). Be sure to look out for that when it drops!

My next review is going to be for “The Invite!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Cookie Queens,” “Tony,” “Spa Weekend,” and “Coyote vs. Acme.” 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 “I Want Your Sex?” What did you think about it? Or, what is your favorite film that you would think twice before watching with your family? Let me know down below! Scene Before is your click to the flicks!