Drama

Glass Onion: A Knives Out Mystery (2022): And Then There Was Fun

Posted on by Jack Drees

“Glass Onion: A Knives Out Mystery” is directed by Rian Johnson (Star Wars: The Last Jedi, Looper) and once again stars Daniel Craig (Casino Royale, Logan Lucky) as Benoit Blanc. This time around he is surrounded by castmates like Edward Norton (The Incredible Hulk, Fight Club), Janelle Monae (Antebellum, Hidden Figures), Kathryn Hahn (WandaVision, Bad Moms), Leslie Odom Jr. (One Night in Miami, The Murder on the Orient Express), Jessica Henwick (The Matrix Resurrections, Game of Thrones), Madelyn Cline (Outer Banks, Stranger Things), with Kate Hudson (Almost Famous, Fool’s Gold), and Dave Bautista (Blade Runner 2049, My Spy). This film centers around a group of friends who gather together at the Glass Onion, owned by tech billionaire Miles Bron. Joining them is detective Benoit Blanc, a man who Bron admires.

I loved the first “Knives Out.” When I did my top 10 of 2019, the film ended up making the best list and eventually got a Best Picture nom during the 2nd Jackoff Awards. It appears I am not alone because the film ended up making over $300 million worldwide, which is nothing to sneeze at given how the film cost $40 million to make. Naturally, a sequel was inevitable. Lionsgate even greenlit a sequel in 2020.

The following year however, they sold the rights to two upcoming sequels to Netflix.

Now, I get it. Money talks. $469 million for the rights to make two sequels is great if you are a producer asking for such a price and such a demand is met. However, what worried me about this shift is that the films, since they are now in the hands of a streaming-first company, is that they will not be put in theaters, and the overall quality of the content is going to decrease. I am glad to report that I have underestimated my happiness with the verdicts on both matters. First off, this film did get a theatrical release. Albeit a limited engagement There is a good chance that if you did not see this film in theaters already, then that chance might be gone because it was scheduled to be in theaters for a week only. Second, I am happy to announce that “Glass Onion: A Knives Out Mystery” is a solid addition to the franchise.

Rian Johnson is a talented director. I was not a fan of “Star Wars: The Last Jedi.” But his direction was never the problem. From that film, to the previous “Knives Out,” and even this one, I have always been an admirer of Johnson’s filmmaking style from the intricate shot choices to the showcasing of vast environments. His movies always have a clean look to them, even if it revolves around murder like this one. This movie was shot in Greece. The location choices, one after the next, showcased hypnotic glimmers of beauty. And like any solid director, Johnson tells this story in such a fashion that could not be more entertaining.

To showcase how well-crafted this film is, I want to talk about a specific cliché in movies. The use of guns. I have seen a lot of movies in my life, and therefore, I have seen a lot of movies with guns. Whether they are used by the protagonist, antagonist, or a side character. This is the first time in ages that I watched a film in a theater and I jolted because a gun went off. As someone who has practically seen lots of jumpy moments, with some better than others, this satisfied me like you would not believe. You know how many movies have guns? They are practically a dime a dozen. I have not heard a gunshot utilized this effectively in a film in perhaps the longest time. Part of it is probably because of the gun’s limited use and how well written the characters were. I cared about each one. All of them have their moment and I did not leave feeling the need to diss on a single character or the actors who played them. They all did a great job.

Daniel Craig is back as Benoit Blanc. I have seen all the Daniel Craig “James Bond” movies from “Casino Royale” to “No Time to Die.” All due respect to Craig, and I know he has no plans to play Bond again. But if I had to choose who I would rather see Daniel Craig play for the rest of his life, I think Benoit Blanc would be my pick between those two. He’s quirky, he’s fun, and if Rian Johnson kept writing him, I think he would have me right where he wants me. Right in front of the screen.

Much like the previous “Knives Out,” the characters here often have an over the top vibe but in such a way that they still feel like real people. One such performance where this shows is Dave Bautista, who I will not unveil all the details about, but he comes off as someone who will do anything to protect his masculinity whether it means keeping his girl or his gun by his side. I thought Bautista was perfectly cast in this film and I am glad to see he is improving his acting abilities. I am glad to see he has more range than just Drax the Destroyer in “Guardians of the Galaxy.” Other standouts in the movie include Madelyn Cline as Whiskey, Leslie Odom Jr. as Lionel Toussaint, and Kathryn Hahn as Claire Debella, who in this universe is the governor of Connecticut.

“Glass Onion: A Knives Out Mystery” is stacked with comedy. Thankfully, a lot of it lands. At times, it is almost funnier than the original. The crowd, myself included, gave plenty of audible laughter throughout the runtime. If you ask me, this is a film that is both great to watch at the theater and at home. Netflix, if you read this, I am sorry, the theatrical experience, is, AND WILL ALWAYS BE, superior to anything you can get on your television. However I was watching this movie and there were several shots where certain things that were either plot-specific, character driven, or important to the film in some way, but I occasionally found myself distracted by looking at the background. This movie has its fair share of background jokes, blink you’ll miss it jokes, and other various attempts at humor. Either way, there were a lot of laughs.

Much like the previous “Knives Out,” this sequel came out at a perfect time. The film is appropriate for Thanksgiving because people are gathering with friends and family they have not seen in forever. Similar to what these two films have shown themselves. And when the film hits Netflix on December 23rd, it gives friends and family the opportunity to watch another group of friends and family hang out. The film also happens to be reflective of the times and reminds me of what being in some social groups must be like. For context, this film acknowledges the existence of the COVID-19 pandemic. We see people wearing masks, there’s uncertainty of whether or not people can be in such close contact, and we even see Kathryn Hahn’s character, Claire Debella, talking on the news as to how she plans to navigate her state through the current situation.

The movie is great, although I think the laughs were slightly less ache-inducing than the original, despite there being plenty. If I had any other problems with the film, the third act gets incredibly unhinged. I do not mind unhinged storytelling, but for most of the movie, like the original, the characters feel like slightly heightened versions of people that could exist in everyday life. As soon as we get to the third act, we see things that feel less down to earth and it takes the realism out of the movie that previously existed. The movie ended up being a fun time, but if I had to pick a movie to watch again between this film and the original, I would go with the original. I have heard from others that this film is as good, possibly better, than the original, and I can see why. Both are good movies, but if I had to choose one, the 2019 film is the one I would choose. That said, “Glass Onion” is a killer time and if you need something to watch this holiday season either by yourself or with family, you might not be underwhelmed.

In the end, “Glass Onion: A Knives Out Mystery” is a hilarious follow-up to the original with some of the best direction of the year, terrific writing, and an admirable ensemble cast. Much like the first film, I had the privilege of watching “Glass Onion: A Knives Out Mystery” in a crowded theater, and I love that I got to see the movie firsthand with a community. I laughed, I jittered, I locked my eyes with the screen like I was trying to win a staring contest. This is what movies are about. As much as I would have loved for this movie to receive a full fledged theatrical release, I am thankful Netflix put this in theaters at all. There are problems, including one that almost threw me off, but the positives outweighed the negatives. Rian Johnson and Daniel Craig have delivered a nicely done sequel. I am going to give “Glass Onion: A Knives Out Mystery” a 7/10.

“Glass Onion: A Knives Out Mystery” is finishing up its advertised theatrical run. Who knows? Maybe it will be playing at a festival somewhere in the future, maybe Landmark might do a special screening. I am just holding out hope that people get to see this in the best way possible. But for those who want to wait for the home viewing experience, “Glass Onion: A Knives Out Mystery” will be available on Netflix on December 23rd.

Thanks for reading this review! My next review is going to be for the all new Disney animated feature “Strange World.” The film just hit theaters last week, and I managed to catch a screening of the film over the weekend. I will share my thoughts soon. If you want to see this and more from Scene Before, follow the blog either wtih an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Glass Onion: A Knives Out Mystery?” What did you think about it? Or, which film did you like better? The original “Knives Out” or “Glass Onion?” Let me know down below! Scene Before is your click to the flicks!

The Fabelmans (2022): Why I Do What I Do

Posted on by Jack Drees

“The Fabelmans” is directed by Steven Spielberg and stars Michelle Williams (Venom, My Week with Marilyn), Paul Dano (The Batman, Love & Mercy), Seth Rogen (Neighbors, The Guilt Trip), Gabriel LaBelle (Love Shack, The Predator), and Judd Hirsch (Independence Day, Dear John). This film is slightly based on Steven Spielberg’s adolescence and is about a young boy who uses the power of movies to navigate himself through the ups and downs of life.

I love movies. Obviously, as someone who has written movie reviews for several years, this should not come as a surprise. But I love the process that goes into making them, the marketing, the theatrical experiences, the stories, the fandoms, the lessons we take away. Everything. I love movies. I love cinema. I love everything about it. When I hear Steven Spielberg is making a film, of course I have to pay attention just because his name is attached. But when I hear he is making a film that somewhat has to do with his passion for movies, I am all ears. It is the classic saying, write what you know. If there is anybody on this planet who knows movies, it is the guy who made “Jaws.” It is the guy who made “Raiders of the Lost Ark.” It is the guy who made “E.T. the Extra-Terrestrial.” It is the guy who made “The Post” and “Ready Player One” within months of each other. Safe to say, I was looking forward to this movie where we kind of get a semi-autobiographical tale on Steven Spielberg’s end.

“The Fabelmans” is a spectacular movie in every way. But should I really be surprised? Heck no.

Hollywood has a tendency to create self-indulgent stories where the script highlights the spotlight of the industry. Films like “La La Land” and “Once Upon a Time in Hollywood” have done this with excellence for different reasons. Given the context of the story and what it is about, this is not a movie where Hollywood celebrates Hollywood and instead, gives more of a shoutout to people who are just learning filmmaking or are perhaps working in smaller conditions, limited crews, or tinier budgets. Of course, as someone who has spent his years making productions since high school either for educational, fun, or work purposes, I can say that my experience must have been a lot different than Spielberg’s, and therefore, different than this film’s main character of Sammy Fabelman. Watching this movie made me realize how much easier I have it now with digital technology and editing tools that I did not have to buy a separate space-consuming machine for. Well, apart from the monthly subscription I have to give to Adobe, I realize how much easier I have it.

Above all, this movie is about dreams. Steven Spielberg has obviously accomplished his dream of making films, and he is one of the best to ever do it. Therefore it makes sense that Sammy spends the entire movie hoping to do the same thing. We see him watching movies, making films with his friends, and showing his work off to others. That is all part of the dream. We see Mitzi, played by Michelle Williams, show off some artistic talents of her own with the piano. While she still plays it as a hobby, we come to learn that maybe she could have done something more with it. The one in the family whose dreams are supposedly realized are those of Sammy’s father, Burt, played by Paul Dano. As the movie progresses, we see him talking about his job, moving to a bigger company, and he has found his place in STEM. I think STEM is important, and even though this movie is about an aspiring artist, one of the best things about it is that it does not necessarily come off as propaganda to disregard or ignore STEM. I say this as someone who wants to spend his life in the arts himself. What I took from “The Fabelmans” is that if you have a dream, you would be a fool not to see it all the way through. Unfortunately, sometimes the dreams of others can interfere with dreams of your own.

Apart from this, kind of like some other standout movies this year such as “Top Gun: Maverick” and “Everything Everywhere All at Once,” “The Fabelmans” is a win because it has everything in it. Drama. Comedy. Even a little action. Like those two films, “The Fabelmans” does not just check those boxes just to give something for everyone. It is giving something that the audience will be able to take away with them. I walked out of “The Fabelmans” with a dash of happiness because I got to spend two and a half hours feeling every emotion possible.

Spielberg is a name that is taken seriously nowadays, so you must be thinking, “‘The Fabelmans’ is perfect. Right?” I would not jump to that conclusion. As much as I enjoyed the movie, there were certain scenes that felt a bit extravagant or over the top for a story that mainly centers a round a family like this one. While this is a semi-autobiographical movie about a young boy growing up in a Jewish family, there is one aspect of the film, specifically the character of Monica (Chloe East), that felt like a poppy guest character in a sitcom. Monica is a Christian. She is also obsessed with Jesus, it is practically her defining character trait. I think people can be crazy fanatical over anyone, but the way her character was written and executed in this movie felt less down to earth than some of the movie’s other scenes. If Spielberg ever reflects on this movie and the character of Monica, and I find out she is based on someone he actually knew, my thoughts on this aspect of the film could possibly change. But in a film that stays in a lane between drama and comedy, this felt overly goofy.

For those of you who know me outside of Scene Before, you would know that I have a YouTube channel. One of the things I used to do on it for fun was record my trips on various elevators. I would take a small camera or a phone, go up, go down, maybe repeat the process to a varying degree. When I was visiting a particular elevator at a Macy’s one time with a friend, I ran into a mother and her son. The mother saw what I was doing and got super excited because she and her son apparently knew about these videos and watched them in the past. I do not do these videos anymore due to a lack of interest. You may wonder, why on earth would I be telling you this? It is because this movie reinforces why I did those videos and the backbone behind why I kept making content over time, even if they do not have elevators in them. I did it to entertain people. I did it so people can have an experience. I did it so people can be happy. Of course, like Sammy, I make art as a passion. To me, it is not a hobby, it is a lifestyle. But at the end of the day, art is all the more rewarding when you have people you can share it with. Even “Morbius,” as much as I hated that movie, generated a reaction out of me. The people who made that movie, regardless of how little or how much collective passion was put into it, had an end goal to get an audience’s attention. As for the audience themselves, it is up to them to decide whether “Morbius” did an excellent job at accomplishing its goals. I cannot say it did, but someone else on this planet might beg to differ. “The Fabelmans” starts with Mitzi telling young Sammy, “movies are dreams that you never forget.” “The Fabelmans” reminded me of my dreams and made me want to pursue them even more.

Time will tell how much this movie will hold up. Although if Spielberg’s track record shows anything, the likelihood of “The Fabelmans” holding up seems high. I do not say this a lot, and while “The Fabelmans” is not my favorite movie of the year, I think that this is a film I need right now. There is a moment towards the final 10 to 20 minutes where I saw myself in Sammy. Especially as a recent college grad. I think if even if you are not trying to pursue film, you will relate to Sammy in this moment. As someone who is, I would give the moment bonus points if possible. “The Fabelmans” reminds me of why I do what I do. Why I make videos, why I write, why I blog. I do it for you. At the end of the day, I am sometimes the one who calls the shots as to how something gets done or I make a decision that impacts an outcome. But all of that is for the audience to enjoy, or despise because art is subjective, and for people to think about amongst themselves. We all have a story, but it means more when there is an audience to take it all in. If the audience I sat alongside for “The Fabelmans” suggests anything, Spielberg made a story that gets their approval.

In the end, “The Fabelmans” is cinematic bliss. If you are still with family at the moment and need something to do, I implore you to get together, go to the cinema, and watch “The Fabelmans.” It is a movie that not only has something for everyone, but it is a story that delivers some of the best examples of those somethings. This year for movies, if you want me to be honest, while it has standouts, did not have many of them thus far compared to other years. “The Fabelmans” is one of standouts that I will carry with me to the end of the year where it is probably going to get a spot on my annual top 10s. This is a film that I would imagine is going to inspire young filmmakers, not to mention anyone who simply has a dream. Possibly those who have yet to find that dream, and it may come with this film. I am happy to say “The Fabelmans” is one of the best movies of 2022, and I am going to give it a 9/10.

Last but not least, this movie unsurprisingly once again proves that Steven Spielberg may be the GOAT of filmmaking. Meanwhile, I would suggest that it also supports the notion that John Williams may be the GOAT of film scoring. The music in this film, like a lot of movies he worked on, stands out. I cannot wait to listen to it in my own time.

“The Fabelmans” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! If you want to see more of my reviews on Steven Spielberg films, I want to remind you that I just recently did a Steven Spielberg Month on Scene Before! Last October, I reviewed “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial,” “The Post,” and “West Side Story.” Check out those reviews if you have a chance! Also, coming soon, I will be sharing my thoughts on “Glass Onion: A Knives Out Mystery.” The film is in theaters for one week, and hits Netflix on December 23rd. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Fabelmans?” What did you think about it? Or, which story inspired by glimmers of the director’s childhood is the superior film? “The Fabelmans?” or “Belfast?” Make your choices in the comments! Scene Before is your click to the flicks!

The Banshees of Inisherin (2022): Two Thumbs Up, with All Fingers Intact

Posted on by Jack Drees

“The Banshees of Inisherin” is directed by Martin McDonagh (In Bruges, Three Billboards Outside Ebbing, Missouri) and stars Colin Farrell (The Batman, Voyagers), Brendan Gleeson (The Tragedy of MacBeth, Assassin’s Creed), Kerry Condon (Three Billboards Outside Ebbing, Missouri, Better Call Saul), and Barry Keoghan (Eternals, Dunkirk) in a film where Pádraic Súilleabháin and Colm Doherty, two men connected through lifelong friendship, face individual consequences through ending said bond.

I did not see a ton of marketing for “The Banshees of Inisherin,” but I have been interested in the film since last month, when I started hearing about its many positive reviews. On Rotten Tomatoes, “The Banshees of Inisherin” is currently holding a 98% critic score. Thus far, this is higher than McDonagh’s previous outings like “In Bruges” and “Seven Psychopaths,” both of which also starred Colin Farrell. It is not surprising to see the actor come back to work alongside a director he has become close with. But it would help if the script he was given is strong. Thankfully, “The Banshees of Inisherin” is a script that belongs on the cover of a health magazine. This is one of my favorite movies of the year and another win for Colin Farrell just after he killed it in this year’s “The Batman.”

The concept of “The Banshees of Inisherin,” specifically the dissolving of a lifelong friendship, is intriguing. This is especially true considering that it is the backbone of its story. The ending of a relationship comes off more like side consequence a protagonist goes through somewhere past the halfway point in numerous stories. It is the classic case of taking a protagonist and having them fall to their lowest point. Only that is not the case with “The Banshees of Inisherin,” because as we see, the protagonist, Pádraic Súilleabháin (Farrell) in this case, makes such a big deal out of it that the point practically flies over his head. It is like going to a restaurant, ordering a small pizza, being told that they do not have the ingredients to make pizza, but then going ahead and asking for a large pizza.

Despite this movie being a tale of loss in more ways than one, it is surprisingly funny. There are a number of great lines from multiple characters. Early on in the movie we get one of Colm’s few reasons why he does not find his friendship with Pádraic stable and he references the time Pádraic was talking about what he found in his donkey’s fecal matter. Colm may be onto something, except Pádraic was not talking about that. Pádraic says he was talking about his pony’s fecal matter, which as he puts it, shows how little Colm was listening. One particular confession scene past the halfway mark is also comedic gold. Little things like those make this movie worth the price of admission.

There is more to this simple concept than meets the eye. Because if this movie were about two former friends with differing perspectives as to where their relationship should go, it is possible that the story could get boring fast. Instead, the movie adds a complexity to the breakup that only makes things harder for the individual who declared the friendship was over. For each time Pádraic bothers Colm, he cuts off one of his fingers. Because that is what normal human beings do. This brings stakes to a fairly minimalistic and intimate story that already happens to succeed as both a drama and a comedy. For one thing, nobody wants to lose their fingers. Another thing to consider, nobody wants to see a chopped finger. Therefore, this is a tough situation on both sides. How realistic is Colm’s finger-cutting situation? Hard to say. Plus if I had to give my biggest problem with this movie, why did Colm actually go through with this?

Let’s put it this way. One of the reasons why Colm cut Pádraic from his life is to focus on interests like playing the violin. Last time I checked, unless you live in that hot dog finger universe in “Everything Everywhere All at Once,” you might want your fingers for playing musical instruments such as the violin. Sure, this eventually brings a particularly compelling scene during the second half of the movie where Colm utilizes said instrument, but as far as getting the point across to Pádraic, I would imagine the point may have been just as clear had he cut off his toes. It would have been just as gross, and arguably less painful on Colm’s end depending on how you slice it.

…

…

…

..Ignore that last statement, no pun intended, let’s move on.

That said, the movie delivers a fantastic story with the use of chopped fingers so I can forgive this based on how well executed everything happens to be.

One of the great things about “The Banshees of Inisherin” is that even though the protagonist in this case is the one who is dumped, I see both sides in regards to the feelings of the dumper and the dumpee. Pádraic may consider Colm to be an important part of his life, but Colm equally as much shows reasons why he must cut Pádraic from his life. A good movie can get you to root for the protagonist to the end, but there is also a saying that a story is only as good as its villain. While Colm is not a villain, he definitely is not the hero. Given the story and circumstances, Colm is a fantastic antithesis to Pádraic. Yes, Colm has his various reasons why he does not want to be friends with Pádraic, but as the movie reveals, he wants to drift away to focus on certain interests. It reminds me of the scene in “Whiplash” where Andrew dumps his love interest to focus on drumming, except in this case that moment is expanded into a whole movie. It is one’s basic drive to follow their passion, and to do that, they have to trim out certain people from their life.

“The Banshees of Inisherin” reminded me of “The Lighthouse” if the main characters were SpongeBob SquarePants and Squidward Tentacles. In this case, Pádraic is SpongeBob. He is a hyperactive, larger than life individual who always seems to be in the moment. Colm on the other hand, is Squidward. He seems to want more out of life than what he has, and much like Squidward, he is musically talented. While this film has a higher count of locations and characters than “The Lighthouse,” I cannot recall a time I have seen two men descend into madness like the main duo in that film. The chemistry between Colin Farrell and Brendan Gleeson is some of the finest I have watched in recent memory. This should not be surprising given how the two previously worked together as the stars of another Martin McDonagh movie, “In Bruges.” Never would I have expected to enjoy two people who have such a disconnect spending an abundance of screen time together. Safe to say, I can put a finger as to why “The Banshees of Inisherin” is a great movie.

In the end, while I have seen movies where the main story pulls itself forward by the two main characters not always bonding with each other, “The Banshees of Inisherin” is one of the best stories I have seen in regards to such endless disconnection. It made me happy, sad, and everything in between. “The Banshees of Inisherin” goes to show that sometimes the simplest stories are the most effective. The film is also beautifully shot and has some of the most gorgeous-looking locations of any movie to come out in 2022. Awards season, during which this movie may be a talking point, is getting into swing. And speaking of swings, “The Banshees of Inisherin” is a home run, and a 9/10.

“The Banshees of Inisherin” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for the Netflix feature “Slumberland.” I went to a recent press screening for the all new movie which is playing in California, but also set to release on the Netflix platform on November 18th. Stay tuned for my thoughts. Also, once I am done with that review, I will be talking about another Searchlight Pictures production, “The Menu.” Almost every movie I have gone to recently, I saw the trailer for this film. Whether the spree of marketing paid off, is a question that will be answered in the review. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Banshees of Inisherin?” What did you think about it? Or, what is a movie that you are looking forward to that you think could be a talking point during the current awards season? Let me know down below! Scene Before is your click to the flicks!

Call Jane (2022): Elizabeth Banks Delivers a Stellar Performance in This Progressive-Centric Story

Posted on by Jack Drees

DISCLAIMER: Before we go any further in this review, I want to make an announcement. In all of my content that I have done on Scene Before, I have often tried to stray away from politics, especially in recent years. But “Call Jane” is a film that requires me to talk about certain issues that some would deem “political.” This is a movie about abortion after all, which can be defined as a human issue. But given the current climate, it is also political, not to mention religious. Therefore, if you decide to read on, you will hear certain thoughts I have on such an issue. I try to keep politics and entertainment separate, even during my yearly awards shows, but this is a case where I have little to no choice in this matter. With that said, enjoy my review of “Call Jane.”

“Call Jane” is directed by Phyllis Nagy, who also wrote “Carol,” in addition to scribing and directing a 2005 HBO film titled “Mrs. Harris.” This film stars Elizabeth Banks (The LEGO Movie, Pitch Perfect), Sigourney Weaver (Alien, Ghostbusters), Chris Messina (Birds of Prey, The Mindy Project), Kate Mara (Fantastic Four, The Martian), Wunmi Mosaku (Lovecraft Country, Loki), Cory Michael Smith (Camp X-Ray, Gotham), Grace Edwards (Schooled, Modern Love), and John Magaro (Orange Is the New Black, The Good Wife). This film follows a housewife in the 1960s who becomes pregnant and finds out said pregnancy could threaten her life. With few options available, she finds herself amongst the Janes, who despite certain laws being in place, perform abortion procedures. After finding out more about their efforts, she joins the Janes in their mission.

I did not hear much about this movie until a week or two before it came out. Although I was sold immediately upon seeing Elizabeth Banks’s name attached. She is easily one of my favorite actors, no, people working in Hollywood. She is easily the best game show host on television with her run on ABC’s “Press Your Luck.” I love her voiceover work in both of the “LEGO Movies.” Some of her physical roles like “Slither,” “Zack and Miri,” or even her supporting character in “Brightburn” stand out to me. The last movie I reviewed, specifically “Black Adam,” is no stranger to star power with box office behemoth Dwayne Johnson at the top of the cast. While Johnson may be a star, Banks is a thespian. Her talent knows no bounds. Even though I was not fan of her directorial effort in 2019’s “Charlie’s Angels,” I still have respect for her. In fact, she is directing another film set to come out soon, “Cocaine Bear,” a movie with a concept that is awesome as it sounds.

As for the film itself, this did not look like my type of movie, and to be frank, if I were not reviewing movies, I would have probably waited to watch this film when it came out for home viewing. That said, I went to go see this film in the theater a couple weekends ago. Was it worth the impromptu trip?

I guess you can say so.

If I have noticed anything about filmmakers and stars over the years, it is that they do projects that often align to certain values. Paul Feig, who once wrote an article suggesting “Why Men Aren’t Funny,” went on to direct a woman-centered “Ghostbusters” remake. Seth MacFarlane, who has often been vocal about his liberal opinions, has done a series of “Family Guy” episodes making fun of famous conservatives like Rush Limbaugh or Donald Trump. Regardless of whether how often people do projects aligning with what they think, I would say Elizabeth Banks, who happens to be the chair for the Center for Reproductive Rights Creative Council, was a solid choice to play the main character. Her experience with such matters in real life seem to translate with how effectively she plays Joy. To my lack of surprise, she is the highlight of the film.

While “Call Jane” does not have my favorite cast of the year, it does come with some great actors including the legendary Sigourney Weaver, Kate Mara, and Wunmi Mosaku. All of whom play their part very well. Each one feels representative of the time, and the dialogue occasionally did them favors.

Phyllis Nagy does not have a lot of directorial credits on her resume. Her only other one is a straight to premium cable film, therefore this is her first theatrically released directorial feature. “Call Jane” has one of my favorite early shots of any 2022 feature. I always enjoy when movies have extended takes and this movie is no stranger to that. It does such a thing beautifully. There are better directorial visions that came out this year, but this one stands out to me.

Unlike other films coming out this time of year, this movie is not going to win any notable awards. Partially because of its lack of marketing and the fact that there are supposedly better movies coming. That said, “Call Jane” is a movie that if it had a bigger budget and played in more cinemas, it would probably be in a larger conversation for Oscar contention. It is also a movie that makes its message clear, and knowing the Hollywood stereotype, there is often a tendency for the progressive voices to be heard or recognized when it comes to Hollywood filmmaking. Why do you think some of the more notable jokes during the Oscars in recent years were about Donald Trump or his colleagues?

“We don’t make films like ‘Call Me by Your Name’ for money. We make them to upset Mike Pence.” -Jimmy Kimmel (The Oscars, 2018)

There is a saying that not every movie is for everyone. That statement is often used to describe personal tastes. Even though I hated Tom Tykwer’s “Run Lola Run” because of its ridiculously fast-paced editing, I can see why people like it. Maybe that style appeals to people. My mom and I often have different tastes in movies. She often likes disposable comedies, I am more of an action junkie. Not everyone is going to like the same things. With “Call Jane,” this movie’s biggest weakness is that its viewers may automatically be turned off by its concept. I will iterate, I am pro choice, therefore I watched this movie with no opposition to some of the things happening on screen. But if you are pro life, there is a good chance that you might turn this movie off 20 minutes into it, possibly even before that.

Although at the same time, given the current political climate and the way things are, I think that this is a relevant story that was perfect to release this year, coincidental or not. “Call Jane” is a movie that I assume is going to resonate with individuals who have some sort of experience with unwanted pregnancy or abortion. But I do not know how many people this could convince to become more open-minded towards abortion whether it is for religious reasons, political reasons, or something else. This is a movie that to me, does not feel like propaganda, but could easily be interpreted as such depending on who you talk to. As for whether this movie does something to sway people in one direction or another in regards to abortion, that could take years to be answered. But unless this film becomes a big hit on streaming for some reason, the message of this film will likely not have as big of an impact some of its crew would probably want to achieve.

In the end, “Call Jane” is a difficult movie to judge because I think it ultimately depends on where one stands on abortion. That said, as a story, this was compelling and engaging. Therefore, I liked it. Elizabeth Banks is great as the lead, the supporting cast also shows their talent, including Chris Messina. He and Banks have one particular scene towards the end of the film that has not left my mind. This is a film that I would recommend, but only to certain people. This is the kind of movie that if you hear the concept, you might know right away whether or not it is worth your time. For me, it was. Maybe it will be for you, maybe it will not. We shall see. Despite my mixed recommendation, I do want to see what would happen if someone who is pro life watches this to the end. It could make for a fun experiment. Will the viewer see it as propaganda? Will they see it as just plain wrong? Could it change minds? Great movies have the power to offer new perspectives that people take with them and change who they are. I simply do not know if “Call Jane” is able to do that despite being a decent story. Given its decency, I am going to give “Call Jane” a 7/10.

“Call Jane” is seemingly finishing up its theatrical run. It is available for preorder on streaming platforms like Vudu.

Thanks for reading this review! My next review is going to be for the highly anticipated Marvel Cinematic Universe installment “Black Panther: Wakanda Forever.” While this may not be the movie I am not putting at the top of my hype list this year, it is the one releasing this year that I am mostly curious as to how it could possibly be pulled off. Between Chadwick Boseman’s death, rewriting the future of a cinematic universe, and the return of Ryan Coogler in the director’s chair, this could be something special. I will unveil my official verdict soon. I am seeing the movie tonight in IMAX 3D. 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 “Call Jane?” What did you think about it? Or, what is your favorite Elizabeth Banks movie? Let me know down below! Scene Before is your click to the flicks!

West Side Story (2021): Steven Spielberg Reinvents the Musical Genre Through This Compelling Adaptation

Posted on by Jack Drees

Hey everyone, Jack Drees here! Welcome to the final installment of Steven Spielberg Month! You know what that means? It is time for shameless self-promotion! If you are interested in checking out more of my Steven Spielberg-related reviews for the month, this is your opportunity to read up on my thoughts regarding “Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial,” and “The Post.” With that out of the way, it is time to introduce the last review of the themed event. It is one of Spielberg’s most recent outings, “West Side Story.” I would have reviewed this film last year if I had the time to. Unfortunately, I could not make it happen. Although I am glad to finally be able to give myself an opportunity to release my thoughts on it, and for you to finally find them out. Ladies and gentlemen, here is my review of “West Side Story.”

“West Side Story” is directed by Steven Spielberg (Lincoln, Ready Player One) and is based on a 1957 play by Jerome Robbins. The film stars Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, and Rachel Zegler as Maria, a young Puerto Rican girl who falls in love with New York native Tony (Elgort). These two are caught in the middle of rivaling gangs, conflicting sides, and altering identities. While these two may be star-crossed, the turmoil beyond their relationship heats up.

I saw this movie on December 6th, 2021 during a free IMAX fan event screening in Boston. The screening took place days before the film’s wide release. This was my first time seeing anything related to “West Side Story.” Prior to rewatching this film for review purposes, not to mention after, I still have not watched the 1961 “West Side Story” adaptation, despite its acclaim. The film won ten Oscars, including Best Picture. In recent months, Steven Spielberg’s “West Side Story” sort of followed in its footsteps. The 2021 remake won an Oscar for Best Supporting Actress in addition to earning other categorical nominations. One such nomination was Best Picture, which the film lost to “CODA,” which I have no problem with as that film was brilliant.

Having rewatched “West Side Story,” it honestly was more fun than it was the first time around. And that says something because that first viewing was a great time. Did I mention that my most recent watch of the film is not my second, but my third time? I went to go see the film in theaters twice, and both times it knocked my socks off. Therefore, it should be no surprise that I am handing the film this much praise.

I am so glad to finally get to talk about “West Side Story” after being busy during the tail end of 2021, partially because it is my favorite musical movie of that year. I had fun with “In the Heights” and I admired “Tick, Tick… BOOM!”, but “West Side Story” takes the cake as the most serotonin-emitting of these films. When I first heard about a remake for “West Side Story,” I had mixed thoughts, and slight indifference as I had not seen the original film. When you announce that you are about to remake something iconic or highly acclaimed as this, it begs the question as to how you can make something that is on par with what the prior material provided. Again, I did not see the 1961 movie, so I cannot compare and contrast these two films together. Although as a standalone movie, “West Side Story” 2021 is one of the most finely crafted creations of the decade thus far. The decade has only started, but if things continue to go in a certain direction, “West Side Story” could end up in my top 50, maybe even top 25 films of the 2020s by the time the ten year span ends.

The cast of “West Side Story” could not be better. Every actor is perfectly placed in their role, they feel at home, and they play their part to the best of their ability. Rachel Zegler is a goldmine of adorableness as Maria. Not only is Zegler a ridiculously talented singer, which is an ability that is somewhat expected in a film like this, but she is also unspeakably beautiful. Every time I glance at Zegler in this movie, I can sense that not only is Zegler happy to be in the movie, I can sense her character is always in the moment. Even during an occasional sense of hardship, every time I look at Rachel, I am, assumingly, as happy as her. She is always either upbeat or expressive, which for a musical, is an appropriate set of emotions. Part of the recently mentioned adorableness not only has to do with Rachel Zegler herself, her character, or her acting ability, but also the costume design.

The costumes in this film are designed by Paul Tazewell, who also designed costumes for the musical “Hamilton.” Tazewell’s designs feel straight out of the 1950s. To go along with the extravagant, larger than life feel of a story like this, some of the costumes feel attractively glitzy. Again, Zegler’s costumes, such as her white dress from the first act, are standouts. All the costumes from the dance in the gym are easy on the eyes. Another one of my favorites is Anita’s yellow outfit that she wears during the “America” scene. It goes well with the atmosphere and the time of day. Everything feels intricately planned.

Speaking of Ariana DeBose, she and Zegler pretty much tie for the greatest performance in the film. DeBose won a Best Supporting Actress Oscar for her performance as Anita, which is undoubtedly deserved. Everything from her physicality to her line delivery to her overall charisma makes for one of the best performances I have ever seen in musical film. The past couple times I watched “West Side Story,” every line out of DeBose’s mouth, even minor ones, made me smile. There is a saying about movies providing escapes for audiences. Anita in “West Side Story” is synonymous with such a philosophy. Every time she spoke, I instantly transported to another world. I am going to continuously debate as to whether Zegler or DeBose gave my favorite performance in the film, but as far as non-lead roles go, DeBose may have given the greatest of them all in 2021.

Despite having story in its name, the story of “West Side Story” is not the most original when you break it down. Not just because it is remaking a 1961 movie based on a 1957 play. If anything it is a spin on the “Romeo and Juliet” formula with different characters and dance fighting. If anything, this latest iteration of the musical is a fantastic spin, and even saying that is arguably an understatement. As I have said before, you can always supply a cliché story, or a story that has been done in the past. What matters is the execution. If you deliver something great with familiar elements, then job well done. This is exactly what Steven Spielberg did, I was on the edge of my seat during scenes that could have potentially come off as goofy. Dance fighting is a concept that to my surprise, successfully highlighted much of the tension between characters. Not only that, but the music used as a backdrop sounded great. It kept my attention.

This movie is shot by Janusz Kaminski, a brilliant cinematographer who has worked with Spielberg for years. The wides in this film are beautiful. The opening sequence is one of the most intriguing of the year based on the camera movements alone. The scope of the film would not be as massive if it were not for some of Kaminski’s long takes. One of my favorite shots of the film is when we get into the gymnasium and see everyone dancing. The camera swoops around the entire place non-stop until we arrive on our core characters like Anita, Bernardo, and Rachel. Looking back on it and what that one moment was able to capture, is jaw-dropping to say the least. Also, if you ever watch the scene, note the use of color. There is a sense of consistency between the colors of various outfits throughout the shot. It almost comes off like a painting. Again, credit goes to Paul Tazewell for how well he handled the film’s costume design.

Musicals, including this one, often thrive based on the spectacle. “West Side Story” has a ton of poppy moments where the cinematography and musical numbers keep my eyes on the screen. That is despite there being a sense of danger throughout the movie. “West Side Story,” at its core, centers around two star-crossed lovers. Although this film effectively encapsulates how their connection affects the people around them. The rivalry between the Jets and Sharks was already heading for trouble, but as soon as we see Rachel and Tony together for the first time, we also begin to see how various supporting characters handle this matter. Even though it should barely affect them on paper, it ends up resulting in increased calamity. As for said calamity, it made for a great movie.

If you ask me, based on everything I presented so far from the costumes to the shot selection to the editing to the acting, this is a sign that Steven Spielberg has brought together one of the greatest directorial efforts of his career. Or, as some might call it, just another Tuesday. “West Side Story” is apparently a part of Spielberg’s childhood, and it shows. The numbers are handled with grace, the characters are well realized, and the aesthetic of the film has a perfect blend between lighter and darker moments in addition to tones. There is no surprise that a sense of passion was present in every scene.

Aside from the cliché elements and familiar story treads, there are not many noticeable flaws with “West Side Story.” This might not be my favorite Steven Spielberg movie, but I cannot help but recognize how massively bonkers and fun this movie is. At the same time, it also successfully hits emotional beats. Performances from Rachel Zegler and Ariana DeBose highlight this. One of my favorite elements of the film, as someone who watched it perhaps the way Spielberg intended, is that when the characters speak in Spanish, they do not provide subtitles to aid in regard to what they are saying. I have taken a screenwriting class in college, and one thing my professor noted is that dialogue does not always matter. Sure, movies can have great lines that enhance the experience. Whether they are funny, dramatic, or emotionally charging. Although what makes “West Side Story” great is its tendency to use Spanish, a language which I do not understand, without subtitles, and nevertheless compel me into the scenes in which such a language is spoken. Given select moments and the supposed attitudes of various audiences, this sounds like a big risk. As someone who dropped out of Spanish class in high school for Sociology, I have been moved by this choice and its execution.

Big risk, big reward.

One might as well make the conclusion that this is what the whole movie sounded like from the beginning. A big risk. Sure, when you have Steven Spielberg in the chair, he makes everything look easy. Sure, name recognition is definitely a selling point in modern media. The film did not do well at the box office for various reasons. COVID-19, competition with other movies, and controversy with Ansel Elgort are contributing factors. However, this film is now available to watch at home and if you ask me what movie in the musical genre you should watch nowadays, this is one of the first I can think at the top of my head. It is that good. I do not know if Spielberg will make another musical, but if he does, I wonder how the heck he could top this one.

In the end, “West Side Story” is one of the best musical films of this century. Why should I be surprised that this movie is as solid as it is? Steven Spielberg is at the helm. Then again, maybe I should be surprised. After his many previous monumental successes, Spielberg has yet to create a film in the musical genre. He has done a variety of genres prior to “West Side Story” like science fiction (Close Encounters of the Third Kind), period pieces (Lincoln), adventure (Raiders of the Lost Ark), war (Saving Private Ryan), drama (The Post), and you could even argue that “Jaws” would be considered a horror film. By today’s standards, it is not the most terrifying option on the table, but it has its eerie moments. The man has done everything, and yet he continues to pump out gold. For some filmmakers, this would be an achievement. But I cannot call it that for Spielberg after watching “West Side Story.” As far as Spielberg is concerned, his efforts have amounted to another day at the office. That is how effective of a filmmaker he continues to be. Spielberg could have ended his career at say “Jurassic Park” and have an endlessly celebrated library of films. But that is not the case. His adaptations of songs like “Somewhere,” “Cool,” and “America” have stayed in my memory for a long time, and will likely continue to do so. The look of the film is stunning, the shots are beautiful, and the cast is incredible. Again, I have yet to see the 1961 film, so I cannot confirm if this is better or worse, but I can hardly think of a single problem I have with Steven Spielberg’s “West Side Story.” So much so, that the film is worthy of a 10/10.

Musicals are not my genre, but this is a film that I liked the first time, adored the second time, and found myself eating up by the third time. I am floored by this film’s craft and how extravagantly immersive it is, even when watching it at home. I feel bad for skipping this review last year, but I am more than happy to have gotten my thoughts out by now. Although some of you reading this might not be that surprised that I liked the movie so much, because I ended up nominating it in a few categories during the 4th Annual Jackoff Awards. If you want to see what the film did or did not win, check out the post!

“West Side Story” is now available on DVD, Blu-ray, and 4K Blu-ray. The film is also available to rent or buy on VOD. For those who have the services, it is also available to watch on Disney+ and HBO Max.

Thanks for reading this review! This is officially the end of Steven Spielberg Month! But this November, we will be seeing the latest addition to Spielberg’s neverending library. That my friends, is “The Fabelmans.” The film is loosely based on Spielberg’s childhood, and the trailer looks phenomenal. Between this and Damien Chazelle’s “Babylon,” this awards season is likely going to have lots of talk about Hollywood’s self-indulgence. Whether such self-indulgence will be successfully utilized, is a question waiting to be answered.

Also, my next review is going to be for the all DC film “Black Adam.” Be sure to stay tuned for the nine-millionth superhero movie I will be reviewing in my blogging journey. 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 “West Side Story?” What did you think about it? Or, did you see the 1961 “West Side Story?” What did you think of that? How would you compare the two movies? Let me know down below! Scene Before is your click to the flicks!

The Post (2017): Streep and Hanks Spread the News and Define History in This Spielberg Flick

Posted on by Jack Drees

Hey everyone, Jack Drees here! It is time for the third installment of this ongoing Steven Spielberg Month, where I will be reviewing four of the many movies Spielberg has created over the span of his career. Spielberg has created films with action like “Raiders of the Ark” and “Minority Report,” but today, we are doing a reverse Elvis Presley. A little less action, a little more conversation. That is because we are tackling one of Spielberg’s most recent outings, “The Post.” Nominated for two Oscars, this film was met with acclaim. Let us hope that the Movie Reviewing Moron will have something to say to add to this film’s endless stream of positivity. Here we go.

“The Post” is directed by Steven Spielberg (Lincoln, The BFG) and stars Meryl Streep (The Giver, The Iron Lady), Tom Hanks (Toy Story, Cast Away), Sarah Paulson (Studio 60 on Sunset Strip, Game Change), Bob Odenkirk (Breaking Bad, Nebraska), Tracy Letts (Lady Bird, Wiener-Dog), Bradley Whitford (The West Wing, The Handmaid’s Tale), Bruce Greenwood (Star Trek, Young Justice), and Matthew Rhys (Brothers & Sisters, The Americans). This film is about the first woman newspaper publisher and her editor as they uncover a history changing revelation that had been hidden for four presidencies.

I started Scene Before in 2016. Therefore, I have reviewed a lot of movies since then. Despite seeing previews, I have never gotten around to reviewing, or even watching, “The Post.” The film had a lot of potential from one of the most acclaimed actors and one of the most acclaimed actresses coming together to lead the picture. In addition, Steven Spielberg is behind the camera. Despite the potential, I skipped this film. I was excited to finally give it a watch at home since I had a used copy of the 4K Blu-ray on standby. Physical media forever.

Safe to say, the film is quite good. Streep and Hanks, unsurprisingly, make for a marvelous on-screen pair as Katharine Graham and Ben Bradlee respectively. Cast members who are not quite at the level of top billing like Jesse Plemons and Will Denton also have moments to shine as well. Steven Spielberg delivers another win for his career on top of his many others. The screenplay, which was written by Liz Hannah and Josh Singer is undoubtedly compelling. I should not be surprised that the screenplay is as solid as it is, as Singer has previous experience in writing excellent journalism-centered storytelling. In addition to “The Post,” Singer also wrote “Spotlight,” for which he won two Academy Awards, specifically Best Original Screenplay and Best Picture. Having seen that film, I am not terribly shocked. I am also not terribly shocked that not long after those wins, Singer would once again utilize his creativity to effectively craft “The Post.”

Despite being a serious movie, it flies by. Honestly, despite being a couple hours, it felt like an hour and a half at times. It is that good. Pacing-wise, this is one of the better movies I have seen recently. Kind of like “The Post,” “Spotlight” came out as another one of these awards season darlings. I think both movies are equal in terms of entertainment value, a term I use lightly given both of these movies’ subject matters. Although as for which one I like better, I think it depends on where you look. “The Post” feels a bit more theatrical than “Spotlight.” Therefore, when it comes to technicality, that is one aspect where this movie dazzles. The costumes are rugged and transportive enough to make me feel like I am traveling back in time. A lot of the locations look extravagant and beautiful. To add to the antique touch, this movie was entirely shot on film, whereas “Spotlight” used the digital Arri Alexa XT.

Steven Spielberg is no stranger to starting off his movies with a compelling hook.

No pun intended.

In “Jaws,” you have the intro with the infamous music that continues to build whenever the shark is present. After that, you have that scene on the beach where the shark bites a girl in the water. Total intrigue. In “Jurassic Park,” the opening scene between the humans and the dinosaur shows off the menacing vibe these creatures can deliver. In “The Post,” we start off with soldiers fighting in Vietnam. I was not alive during the Vietnam War. In regards to history, I was still a baby when 9-11 happened. Although based on what I have learned in school, I know enough about the Vietnam War to recognize how significant and unfortunate it is from a U.S. perspective. I thought starting off here provided for an effective reminder of not only what the Vietnam War put a militaristic group through, but also what it did to the people of the country they were tasked with defending and honoring.

Now, this is not an action movie, it is not a war movie. War and politics are two defining traits within the story, but if you are looking for a war film in 2017, “Dunkirk” is probably your friend. That said, this one glimpse of action during the Vietnam War set the stage for what was to come. It took something so big to make something much smaller in scale appear more attractive.

This film dazzles from a technical perspective. Again, the costumes and locations look stunning. Speaking of stunning, the intricacies that go into how this movie was made are mind-boggling. The camerawork in this film occasionally felt so immersive that it highlighted some of the best direction of the year. The movie has a few long takes that felt perfectly planned and put me right in the room. There was a scene where I felt as if I was walking around the office of The Washington Post. It is like if Google Maps Street View theatrically transformed itself. Janusz Kaminski, a longtime collaborator with Steven Spielberg, worked on the cinematography for this film. While it was not nominated for an Academy Award, I think it is some of the finest of 2017 alongside Roger Deakins’s work in “Blade Runner 2049” and Hoyte van Hoytema’s craft in “Dunkirk.”

I often try to avoid politics on Scene Before. However, this is one of those cases where it must come into play. I say so because one of the notable aspects of “The Post” was its time of release. This film came out around the tail end of 2017, when Donald Trump was President of the United States. “The Post” almost comes as a tell as to whether history could repeat itself, because this movie reveals a lack of trust or full connection between the news and the government. At the same time, Donald Trump would consistently sideline or mock various news outlets and pick his favorites. This is an action he would continue to do even by the time he left office. If I saw this movie years ago, I would probably leave the theater thinking it is a relevant title and connect it to the importance of the 1st Amendment. This film has an ending that profiles such a thing beautifully.

Speaking of U.S. Presidents, Richard Nixon makes an appearance in this movie. There is a scene towards the end of the movie where we see a suited Nixon. We never see his face, it is almost like looking at The Banker from “Deal or No Deal” at times. Since this movie is based on true events, one touch that I thought was nice was the use of Nixon’s actual voice . The addition of Nixon’s real voice illustrated a specific scene’s point and perhaps delivered an emotional attachment that I would not have felt otherwise. Curzon Dobell is barely in the movie as Richard Nixon, but for the short time he is in it, he makes the performance a standout.

The story feels kind of Hollywoodized and some of the supporting characters do not stand out as much as others, but the film overall is worth a watch. The only other critique I can come up with is that this is one of John Williams’s lesser scores. The man is a genius, and his music during the movie works. But when it comes to his library, this is a score I am not going to remember as much as others.

In the end, “The Post” is a stellar look at how the United States changed journalism, and in turn, how journalism changed the United States. There is no surprise that a film like this could work. Coincidental or not, the timing of this story could not have been better. You have Meryl Streep, Tom Hanks, and Steven Spielberg working together. On paper, this sounds like an absolute win. In execution, it is an absolute win. In other news, water is wet. While “Spotlight” may be a slightly better journalism-centered story, “The Post” is another example of how well journalism can be used as the centerpiece of a cinematic experience when given the right tools and context. If Josh Singer wants to do another movie about journalism I am there on day one. I think he is one of the best screenwriters working today. His work on the film with then newbie Liz Hannah, who would go on to co-write the funny political comedy, “Long Shot,” is superb. I am going to give “The Post” an 8/10.

Speaking of history, one thing I love about Steven Spielberg is his ability to successfully manage a couple feature-length directorial efforts in such short time. In 1993 he released both “Jurassic Park” and “Schindler’s List” within months of each other. Before making “The Post,” Spielberg directed one of my favorite films from him, “Ready Player One,” and he ended up shooting “The Post” while “Ready Player One” was in post-production. “Ready Player One” ended up coming out after “The Post,” but it goes to show that Spielberg is committed to his craft. When one door closes, another one opens. Sometimes he opens the other door back up after a while. There is a reason why I am doing a Steven Spielberg Month, and this is one of them. He is one of the best minds in the film industry today.

“The Post” is now available to rent or buy on VOD and is also available on DVD, Blu-ray, and 4K Blu-ray.

Thanks for reading this review! My next and final installment to Steven Spielberg Month is coming next Friday, October 28th, and it will be a review for Spielberg’s latest movie to have a wide release, “West Side Story!” I have seen the film twice and will watch it once more for review purposes. I am excited to finally talk about this movie given how I did see it in December 2021, but due to time constraints, I never got around to reviewing it. If you want to see my other reviews through Steven Spielberg Month, check out my thoughts on “Close Encounters of the Third Kind” and “E.T. the Extra-Terrestrial.” If you want to see this and more from Scene Before, follow the blog with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Post?” What did you think about it? Or, did you see “Spotlight?” Tell me your thoughts on that movie! Do you like “The Post” or “Spotlight” more? Let me know down below! Scene Before is your click to the flicks!

Amsterdam (2022): David O. Russell’s Latest Fast-Paced, Star-Filled, Forgettable Time

Posted on by Jack Drees

“Amsterdam” is directed by David O. Russell (Silver Linings Playbook, American Hustle) and stars Christian Bale (The Dark Knight, Ford v. Ferrari), Margot Robbie (Suicide Squad, I, Tonya), John David Washington (BlacKkKlansman, Tenet), Chris Rock (Madagascar, Grown Ups), Anya Taylor-Joy (The Queen’s Gambit, Last Night in Soho), Zoe Saldaña (Avatar, Guardians of the Galaxy), Mike Myers (Shrek, Bohemian Rhapsody), Michael Shannon (Revolutionary Road, Nocturnal Animals), Timothy Olyphant (Once Upon a Time in Hollywood, The Mandalorian), Andrea Riseborough (Bloodline, Battle of the Sexes), Taylor Swift (The Lorax, Cats), Matthias Schoenaerts (The Danish Girl, Red Sparrow), Alessandro Nivola (American Hustle, Selma), Rami Malek (Night at the Museum, The Little Things), and Robert De Niro (Raging Bull, Meet the Parents). This film is mainly set in the 1930s, and centers around three people who are framed for murder. Together, this trio uncovers a plot that will change the course of history.

I have not seen all of David O. Russell’s films. I have seen “American Hustle,” which I was not a fan of. I have mostly forgotten it by now. I saw “Joy,” which I thought was cute. The acting was great, especially on Jennifer Lawrence’s part, but it was not my favorite movie of the year. I also saw “Silver Linings Playbook,” which, while not one of my favorite movies ever, is probably the best attempt at a feature Russell has ever given. I still have yet to see films like “Flirting with Disaster,” “Three Kings,” and “I Heart Huckabees.” I am mostly familiar with David O. Russell’s recent work. That said, he has built quite a name for himself as a filmmaker and it is no surprise that names like the ones listed happen to be working with him.

When you have this many Academy Award-nominated or winning actors and actresses in your film, it builds promise. It builds interest. It reminded me of when I saw “The Circle” back in 2017. You had all these culturally relevant or critically acclaimed performers like Tom Hanks, Emma Watson, John Boyega, Patton Oswalt, and Bill Paxton. Given their resumes, I was excited to see what they could do. Unfortunately, their collaborative efforts could not escape them from this misfire. “Amsterdam,” while definitely more satisfying than “The Circle,” is in the same boat.

The best way I can describe “Amsterdam” is to say that the film is all over the place. There is a lot that goes down in just a span of two hours that I felt like I had to take some notes. The film is not wholly incompetent by any means, but it begs me to keep up with its quick pacing. I like quick pacing, but at times, the movie goes too quick. There are a lot of characters and interwoven storylines that there is a good chance that I will have forgotten a couple of them by the next couple weeks. I think this is a film that could warrant a second viewing, but I am not sure yet if it has the replay value. At times, the pacing of this movie reminded me of Guy Ritchie’s “The Gentlemen,” which I know some people like, but for whatever reason I just could not get into. One moment we’re here, one moment we’re there, and in the next my brain, which has escaped from my body, might as well have traveled to the end of the universe.

If there is any saving grace in “Amsterdam,” it would have to be Margot Robbie as Valerie Voze. I thought she had the best moments in the movie. I thought the casting matched the character and the way she was written and directed. This performance solidifies Robbie as one of my favorite actors working today. Her chemistry with Christian Bale and John David Washington is solid, and as much effort as those two put into their performances, Robbie feels like the clear winner here.

Speaking of Christian Bale, if you want me to be completely honest, I think he had a more memorable performance in “Thor: Love and Thunder” of all things. I am not saying that Christian Bale gave a terrible performance in “Amsterdam.” If anything, it was stellar. But I think when combining acting with overall characterization, Bale’s attempt at playing Gorr the God Butcher was somehow more convincing and compelling despite a movie like “Amsterdam” appearing to be more along the lines of Bale’s forte.

It is crystal clear that the story of “Amsterdam” is not the highlight of the movie. If you ask me, it had its moments. There was a specific moment that intrigued me at the beginning where our main characters find themselves in an unspeakable situation. Unfortunately, as soon as we dive away from that, the quality of the movie lessens.

If I had to look in advance at 2022 in film and predict any Best Ensemble nominees at the SAG Awards, “Amsterdam” would have been a contender based on name recognition. However, much like Garry Marshall’s unwatchable holiday-based movies like “New Year’s Eve” and “Mother’s Day,” the movie’s cast is the one glimmer of hope within what can simply be referred to as a hot mess. At least on paper. I never thought I would see the day where we have Margot Robbie, Anya Taylor-Joy, and Robert De Niro in the same movie. I just hope when that unpredictable day came along, there was good script for them all to bring to the screen.

As for other positives, the movie is attractively colorful. Not quite as glitzy and glossy as say “Elvis,” which in some ways might happen to be a good thing if you ask me. However, the look of the film is sometimes easy on the eyes. In addition to having a stacked, recognizable cast, a lot of them are wearing stunning outfits, some look handsome or sexy. If this were a silent film, this might be okay depending on what you put for text. The sets at times look presentable, elaborate, and occasionally have a vintage feel to them.

There is a saying that looks are not everything, and this movie is exhibit A as to why that saying exists. Yes, some of my favorite actors are put in the forefront. Yes, some of the costumes and sets look dazzling. Yes, the movie has an occasional feeling of immersion. Although this cannot save the film itself from providing what could be one of the sloppiest stories of the decade, and that is despite this movie claiming “A LOT OF THIS ACTUALLY HAPPENED.” Just because a story is true, does not make it entertaining. You want to know a true story? I woke up today and wrote this review. Imagine if I tried to sell that as a movie. The distributor would probably go out of business!

Here is a fun fact. Christian Bale, who has worked with David O. Russell in the past, signed on to do “Amsterdam” before a script was written. I get the notion of wanting to work with a big name director. Especially one you supposedly have a decent relationship with. Heck, if I were an actor and I hear the name Christopher Nolan or Jordan Peele I automatically think “business partnership.” I hope while these two high-profile industry insiders were thinking about how great it would be to work with each other, they took a moment to think of the quality of what they were going to make. Because despite the quantity of big names, quality seems to be sacrificed when it comes to the final product of “Amsterdam.”

In the end, “Amsterdam” has occasional glimmers of enjoyment, with some extreme emphasis on the word “occasional.” The film has an okay start, but the film itself never finds a way to be as compelling or entertaining as its first ten or fifteen minutes. I liked “Silver Linings Playbook,” but I cannot say the same for “Amsterdam.” I am going to give the forgettable and dull “Amsterdam” a 4/10.

“Amsterdam” is now playing in theatres everywhere, tickets are available now.

Thanks for reading this review! If you enjoyed this review, I have more coming! I will soon unveil my thoughts on a couple of horror movies I watched recently, specifically “Smile” and “Halloween Ends.” Also, if you want to see more reviews from me, check out my thoughts on “See How They Run.” 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 “Amsterdam?” What did you think about it? Or, what is a movie with a stacked cast whose script could not justify its star power? Let me know down below! Scene Before is your click to the flicks!

Close Encounters of the Third Kind (1977): My First Contact with Steven Spielberg’s Sci-fi Classic

Posted on by Jack Drees

Hey everyone, Jack Drees here! Last year on Scene Before, in honor of the fifth anniversary, I promised everyone that I would spend months focusing on several themed review periods. This has lead to series including “Mortal Kombat: Finish the Reviews,” where I reviewed the 1995 “Mortal Kombat” film and its sequel, “Mortal Kombat: Annihilation.” I also did “Revenge of the Nerds Month,” where I reviewed all the movies in its respective franchise. Starting with “Revenge of the Nerds,” to “Nerds in Paradise,” followed by “The Next Generation,” and finally, “Nerds in Love.” I capped this charade off with “The Matrix Reviewed,” where I talked about “The Matrix,” “The Matrix Reloaded,” and “The Matrix Revolutions.” That was last year.

This year however, I have yet to review any older movies, or do any particular theme. Well, that changes. On November 11th, Steven Spielberg will release his latest film, the highly anticipated loosely based on true events tale, “The Fabelmans.” In honor of his latest film and his significant career, I figured it would be time to do a “Steven Spielberg Month.” For this review, we will be starting with “Close Encounters of the Third Kind.” It was my first time watching the film, and here are my initial thoughts.

“Close Encounters of the Third Kind” is directed by Steven Spielberg and stars Richard Dreyfuss, Teri Garr, Melinda Dillon, and François Truffaut in a film about Roy Neary, an electric lineman who encounters a UFO. This incident enhances his curiosity as to the events this may lead to, which causes him to go cross-country to find out more.

For those who beg to ask, I am basing my review on the theatrical version of the film, which is the only cut I have seen. This review is based on my first contact, my initial close encounter, with “Close Encounters of the Third Kind.” I am sort of surprised it took me 22 years to watch this film, as I am a bit of a science fiction nut. In fact, just this year, the moviegoing masses received the latest film from Jordan Peele, “Nope,” which speaking of Spielberg, I compared to “Jaws” based on my experience with both films. “Nope” is not as good as “Jaws,” but content-wise, the two feel similar. If I watched “Close Encounters of the Third Kind” before seeing “Nope,” which I did not, I probably would have used that film as a device to compare to as well. After all, both films prominently feature aliens and if you read my review for “Nope,” I referenced that film “as the closest I think a director has come in some time to providing a Spielberg-like experience without the use of the actual Steven Spielberg.”

When it comes to “Close Encounters of the Third Kind,” I was kind of expecting some variation of “Jaws” but with aliens, as if an alien were to be a primal focus of the screen time. After all, again, Steven Spielberg directed both films. What I got out of “Close Encounters of the Third Kind” felt deeper, it felt more character-driven. This is not a diss on “Jaws” because that is a great film and the characters have likable personalities. But at the end of the day, when it comes to “Jaws,” I am mostly there to watch the shark do shark things while the humans deal with it. Obviously they have admirable backstories, but it goes to show how much I rooted for and related to the main character of Roy Neary. I am not an electric lineman, nor I do live in the midwest. That said, I found the character’s motivations aligning with mine and I felt for him throughout various occasions of the film, even if he is designed to look crazy.

After all, if I tweeted to the entire world, picture included or not, that I saw a UFO, it would generate a ton of reactions, at least one of which would involve someone calling me insane. I have watched stories where people faced alien life, the supernatural, or other similar concepts where the movie’s supporting cast to some degree might grow suspicious of the main character and think they are cuckoo. Only thing is, I know that as a third party observer, they are not. If anything this leads to this film’s biggest strength. Even though I am rooting for Roy Neary, there are one or two moments in this movie where he can come off as crazy. But much like a mad scientist potentially discovering the latest integration that could potentially be used for time travel, this craziness could also be marked as obsessiveness, which is why I find Roy Neary likable. He may come off as weird, but he is passionate about accomplishing his goal. I want the latter to be true for just about any protagonist.

For good reason, this movie is about Roy Neary, but one of my favorite aspects of how this story is told is how they use a three year old boy as a curiosity mine. This is a perfect utilization. Children, perhaps stereotypically, are more curious than adults. Therefore it makes sense to have as much of a focus on three year old Barry as much as a grown adult like Roy. While “Close Encounters of the Third Kind” is more of a science fiction tale than a horror flick, Barry’s perspective brought hints of the latter genre to the table. There is a particular moment midway through the film that had me caught me slightly off guard not because of what I saw, but because of what I could not see. Film is a visual medium. Therefore, it is often expected for sight to be the most important and heightened sense within each edition of said medium. In today’s cinematic landscape where VFX-heavy films dominate, it is nice to see a film with an occasional sense of minimalism.

At the same time though, this should not take away from “Close Encounters of the Third Kind” as a visual spectacle. Partially because the film looks beautiful, even if there is another 1977 science fiction film that somehow surpasses it, specifically “Star Wars.” I watched this film on 4K Blu-ray, so therefore I also got to see the HDR transfer. Even though there are several scenes that take place at night, this film is not short on vibrant, visible color. The mothership in particular is one of the more awe-inspiring crafts in the entire science fiction genre. The variety of lit colors on the ship emit a poppy vibe even though it looks like the last thing you will ever see.

I should not be surprised that film looks as good as it does. The standard for shooting movies at this time was 35mm film, which has occasionally been used today for productions like “Once Upon a Time in Hollywood” and “The Northman.” Although I was delighted to know that this movie’s visual effects sequences were shot using 70mm film. The cinematography from Vilmos Zsigmond is clear and wide enough to pick up all the fine details. “Close Encounters” has a specialty where it is one the more rugged-looking sci-fi movies, but that makes it all the more beautiful. The movie relies on practical effects instead of computers, which is a smart choice. Forty-five years later, the movie’s appearance has aged like a fine wine.

I do not know when I plan on watching “Close Encounters of the Third Kind” again. It is not a bad film by any means, but I did not find it as memorable as other films in the sci-fi genre. At the same time though, this film feels like an achievement for the genre in the same way that “Star Wars” was in the same year. Technically speaking, it is breathtaking. Characteristically speaking, I admired just about everyone on screen. I would say if you have never seen the film, give it a watch sometime.

In the end, “Close Encounters of the Third Kind” is a solid movie that feels like a semi-realistic interpretation of what could happen if mankind ever encountered alien life. Some of us would be curious. Some of us would run. Some of us would want to get authorities involved. It all sounds legit. Kind of like the shark in “Jaws,” I came to “Close Encounters of the Third Kind” to see how it uses aliens in its story. Although I stayed to see human characters like Roy deal with an unfamiliar situation. The stay was certainly worth it. I am going to give “Close Encounters of the Third Kind” a 7/10.

“Close Encounters of the Third Kind” is now available in formats including VHS, Laserdisc, DVD, Blu-ray, and 4K Blu-ray. You can also rent or buy the film through Video On Demand or on various streaming services.

Thanks for reading this review! If you like this review, why not check out some of my other ones? Like my review for the most expensive Czech film of all time, “Medieval!” Also, be sure to check out my review for the brand new comedy, “Clerks III!”

My next review for the ongoing Steven Spielberg Month, which shall be posted on Friday, October 14th, is going to be for “E.T. the Extra-Terrestrial.” I have not watched this film in many years, so I feel like I am going in with a fresh perspective. I hope I am not disappointed. Also, stay tuned for my reviews for “The Post” and the 2021 remake of “West Side Story!” 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 “Close Encounters of the Third Kind?” What did you think about it? Or, since it is related, did you see “Nope?” Tell me your thoughts! Let me know down below! Scene Before is your click to the flicks!

Don’t Worry Darling (2022): Olivia Wilde Delivers a Dose of Harry Styles Over Any and All Substance

Posted on by Jack Drees

“Don’t Worry Darling” is directed by Olivia Wilde (Booksmart, Tron: Legacy), who also stars in the film as Bunny. This film also stars Florence Pugh (Midsommar, Black Widow), Harry Styles (Dunkirk, Eternals), Gemma Chan (Eternals, Raya and the Last Dragon), KiKi Layne (If Beale Street Could Talk, The Old Guard), Nick Kroll (Big Mouth, Sausage Party), and Chris Pine (Wonder Woman, Star Trek). “Don’t Worry Darling” follows a 1950s housewife who becomes worried about her loving husband, or more specifically, his company, that could hiding disturbing secrets.

“Don’t Worry Darling” is Olivia Wilde’s sophomore outing as a feature director. Wilde previously directed “Booksmart,” which in addition to receiving positive feedback from moviegoers and critics, did a fine job at the box office with a $25 million return against a $6 million budget. Wilde showcased her ability to make a laugh-inducing comedy while not breaking the bank. As for my thoughts on the movie, I liked it. I do not think it is the funniest movie of its respective year, but it gave me some decent laughs. Based on her experience of making a funny movie, it made me curious as to what she could do next.

Now that the next thing is here, I cannot stop thinking about it. It bogs my mind like I would not believe!

No, not the movie! The press for the movie! Why is everyone so hyped up about it? Well, everyone likes drama. If reality television and gossip has continued to prove it over the years, people like drama. And the buildup to “Don’t Worry Darling” has provided plenty of it. Between Shia LeBeouf once being attached to the movie, Florence Pugh not promoting the film, and a whole charade between Harry Styles and Chris Pine over spit, “Don’t Worry Darling” was shaping up to be this year’s most entertaining story. Except it was not the story written for the screen. Regardless, I planned on seeing this movie. The marketing was creepy yet interesting enough to keep my attention. The cinematography looked really good. And for the most part, the cast was good. Florence Pugh, Chris Pine, Nick Kroll. There are some good names in here.

As for my thoughts on “Don’t Worry Darling,” the first two acts are delightfully charming and kept me intrigued throughout. Harry Styles has a ways to go as an actor, but it is a great setup for this movie’s world.

Then the turd– Sorry, THIRD act happened.

I cannot fully go into why I despise the third act and how this movie concludes because I would ultimately be spoiling the movie. That said, how these things go down are ridiculous to say the least. Does it involve something that could potentially be out of left field? You could say that. Was that the point? Perhaps. Does it change the fact that what happened felt ridiculous? Absolutely not. I do not mind out of left field scenarios if said scenario is executed well. This one is the exact opposite. Around the 60 to 90 minute mark, this movie went in one direction, and that is down.

This movie is like ordering a pizza that you will never eat. The first act is like opening up Uber Eats and getting excited over the pizza you want for dinner. Solid setup, this may be going somewhere swell… The second act is the equivalent of placing your order. You’re intrigued, you’re excited, what could go wrong? Except for absolutely everything! Because we get to the third act, where something completely unexpected happens! The restaurant blew up, and now you have no pizza! Only disappointment and frustration.

“Don’t Worry Darling” is certainly one of the better looking films of the year. The color palette of the 1950s suburban setting is poppy and felt like a pure escape. I thought the cinematography would look good based on the trailer and I would say I was not disappointed. Matthew Libatique deserves a pat on the back at the least. Everything from the costumes to the sets to the overall aesthetic of the film is top notch. It felt like another world at times. While this movie nails its looks, its story leaves much to be desired.

The cast of “Don’t Worry Darling” all deliver solid performances. This should not come as a surprise as the movie contains a fair number of big name actors, and Olivia Wilde even does a good job as her respective character. The only actor who I think struggled in terms of how seriously I could take him is Harry Styles (left). Maybe it is because of his recognizability in pop culture, regardless of how little I care for his music. Styles is not the worst actor of all time. If last year’s “Space Jam: A New Legacy” showcases anything, he is better than LeBron James. Plus he once had a supporting role in Christopher Nolan’s “Dunkirk” that served its purpose. Although every scene he is in, I would hear a line out of someone like Florence Pugh or Chris Pine, I feel like they are in the moment, whereas Styles is trying to keep up but he does not quite have it. When it comes to recognizable actors giving corny performances, Styles is thankfully less infuriating than say Tom Hanks as Tom Parker in “Elvis,” a laughable, yet terrifyingly annoying performance I have still yet to get out of my head. Speaking of “Elvis,” “Don’t Worry Darling” feels like another version of that film. Both are from Warner Bros., both are released in 2022, and both have a lead actor that could almost be considered the saving grace.

Whereas Harry Styles may not be the hot ticket this awards season, Florence Pugh is certainly a contender for the upcoming mounds of gold. Given this movie’s controversy, who knows what will happen? But if the Oscars were tomorrow, I would debatably cast a vote for Pugh. I liked her previously in movies like “Black Widow,” “Little Women,” and the significantly underappreciated “Fighting with My Family,” but “Don’t Worry Darling” may be the best performance of Pugh’s career so far. Pugh is still young, so there is a good chance she could eventually deliver an even better performance than this one, but to have this great of a performance now is incredible, especially when I am thinking about it more than almost any other one I have seen this year.

“Don’t Worry Darling” comes with a fairly unique setting and cast of characters, and its concept is certainly one of the quirkier I have seen in a movie this year. Although as I watched this movie and heard certain lines and witnessed particular happenings, it weirdly, of all things, reminded me of Disney+’s “WandaVision.” This feels weird to say, but when it comes to this type of plot, a Marvel miniseries somehow did this better. It had its flaws, but unlike “Don’t Worry Darling,” the positives outweighed the negatives.

Much like “Morbius,” and “Jurassic World: Dominion,” if you go on the Rotten Tomatoes page for “Don’t Worry Darling,” you will notice a humungous divide between the critic and audience scores. Also much like “Morbius” and “Jurassic World: Dominion,” as I watched “Don’t Worry Darling,” I felt myself leaning towards the side of the critics. But unlike those other two films, I felt like there was a recipe for something grand when the movie started. Again, if Harry Styles were not in this movie, I would have taken it a tad more seriously. Although when the movie started, I reminisced over the low Rotten Tomatoes score I recall this movie having, and I thought, “Are these critics on drugs?!”. Despite everything I said about Harry Styles, I should not underestimate his fanbase, because my theater had plenty of young women inside. Unfortunately though, this movie is not that great, and by the third act, it is ultimately a case of Harry Styles over substance.

In the end, “Don’t Worry Darling” is quite worrisome. For those of you who have not seen “Booksmart,” I do recommend you give it a watch at some point. It is funny, raunchy, but also heartfelt. Kaitlyn Dever and Beanie Feldstein play a likable duo. If you want a showcase of what Olivia Wilde could bring to the table as a filmmaker, “Booksmart” is a better case of her talent. I do not have plans to watch “Don’t Worry Darling” a second time. This movie is like a slot machine. Two reels spin and land on the bonus symbol, there’s a big tease for the third reel to land a bonus, only to land on a 7. Florence Pugh gives an Oscar-worthy performance that made me look forward to her future roles as an actress. The film looks pretty and there clever concepts in it, but they were not well executed. For these reasons, in addition to having the one of the most jaw-droppingly bewildering and unsatisfying endings of the year, I am going to give “Don’t Worry Darling” a 4/10.

Although before we move on, the public drama behind “Don’t Worry Darling” and its crew seems to work in the film’s favor, whether Warner Bros. or Olivia Wilde chooses to admit it or not. Because at my screening, I sat next to two older women. When the movie ended, the woman next to me said she came to this movie with someone else because of the drama surrounding it. The drama had her curiosity, and now the movie had her attention. So, for Warner Bros., this could be a happy accident. It is unfortunate that this movie, at least when it first releases, will likely be associated with said drama regardless of its quality. The question is, how will it be viewed years from now? That remains a mystery.

“Don’t Worry Darling” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, stay tuned because I have more coming! Pretty soon I will be sharing my thoughts on the brand new murder mystery, “See How They Run!” Stay tuned for that, and also stay tuned for the movies I will be reviewing for my official Steven Spielberg Month! This week we will be talking about “Close Encounters of the Third Kind!” 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 “Don’t Worry Darling?” What did you think about it? Or, did you see “Booksmart?” Tell me your thoughts on that! Let me know down below! Scene Before is your click to the flicks!

Medieval (2022): A God-Tier Borefest with Gory, But Sloppy Action Scenes

Posted on by Jack Drees

“Medieval” is directed by Petr Jákl (Kajínek, Ghoul) and stars Ben Foster (Warcraft, Hell or High Water), Michael Caine (Interstellar, Batman Begins), Til Schweiger (New Year’s Eve, Inglourious Basterds), William Moseley (The Royals, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe), Matthew Goode (The Good Wife, Chasing Liberty), and Sophie Lowe (Once Upon a Time in Wonderland, Adore). This film is about Jan Zizka, a prominent figure in Czech history who fought for freedom against the Holy Roman Empire and the Teutonic Order.

Similar to my recent review for the expensive Bollywood film “Brahmāstra: Part One – Shiva,” this is a Scene Before first. I did not know this going in, but “Medieval” is the first Czech film I am reviewing.

I was looking forward to “Medieval.” Some of you reading this may have never heard of this film, and I am not surprised. If I remember correctly, the earliest I have heard about “Medieval” may have been a month or two ago when the first trailer dropped. But I have always had an appreciation for large scale epics. “Medieval” is not the largest of its kind, but it certainly packs an immense feel at times. On the surface, if you want to associate a movie with large scale, “Medieval” makes a compelling argument as to why you should, mainly depending on which market you refer to. The film was produced in the Czech Republic for a budget of KČ500 million, which is $20.3 million in U.S. currency. While the U.S. has produced plenty of films this year for more than $20.3 million like “The Gray Man” and “Thor: Love and Thunder,” “Medieval” currently stands as the most expensive Czech film of all time.

While “The Woman King” may be the latest historical epic doing okay at the box office, its success has swept another historical epic under the rug, that being this one. Of course, having mostly positive reviews from critics definitely helps. I have not seen “The Woman King,” therefore I cannot give my thoughts on it, but statistics are statistics. On the other hand, “Medieval” is faring worse with critics with a 36%. Although audiences are clearly liking the film as they have given it a 72%.

Now that I have seen “Medieval,” I am appreciative of the fact that this much effort and money was supposedly put into a film. But it does not make the film good. If anything, “Morbius” has competition for the worst movie of the year.

“Medieval” is a film that tries to come off as dramatic, but only conveys itself as a dreary soap opera-like platter of occasional fight sequences and rivalries. In my history of doing this blog, I have never been so close to falling asleep during a movie. Not even the caffeine in my large Diet Coke could save me. Without research, I would barely be able to tell you anything that happened in this movie. I could tell you some people who are in it. But who does not love Michael Caine? That said, he was not even a highlight in this movie. How bad does your movie have to be for Michael Caine to come off as dull?

As I have mentioned, this film is a large scale epic. Both in terms of atmosphere and budget. Much of the film is shot on location. And there are one or two locations that stood out. I have no desire to travel to those locations after seeing this movie unlike the many New Zealand destinations in “Lord of the Rings,” but nevertheless. The other thing that is supposedly big in a movie like this is the action. When you have a movie where all these people are duking it out, rivaling, trying to defend themselves, you expect the action to be solid. To be honest, I have seen better. The action in “Medieval” barely kept me interested, and there is not much flair to it. Some of the sequences are flimsy and felt surprisingly lifeless as they went on. Although if I could give one notable positive in regard to the action, similar to the one or two neat locations, there are one or two neat deaths. This film is rated R, therefore some gore is expected. I think “Medieval” contained a couple deaths that felt reminiscent of the 2021 “Mortal Kombat” reboot if you were going for a more realistic story and approach.

Is “Medieval” competently filmed? You can say that. The film at least looks presentable. The problem is that I felt my soul was sucked out from scene one. You know how this film is based on historical events? I have read history textbooks with more life and intrigue than what “Medieval” brings to the table. Every time I looked at the screen, it made me tired. It made me drowsy. It made me think I lost my soul. How appropriate, considering the soullessness of the movie. The color grading in “Medieval” reminds me of the 2015 “Point Break” remake. It is washed out and lacks flair. Does it match the dreariness of the film? Sure. Although it also matches the fact that this film lacks flair.

If anything, “Medieval” reminds me of particular history lessons I learned in school, because they are spewed out on a whim, and sometimes delivered in an inconceivably boring manner. Despite having a decent memory, I do not remember much of everything I learned in history class. Similarly, I do not remember much of everything I watched in this movie. Let’s just say the director were to meet with me tomorrow and hand me a pop quiz, I would be begging for a word bank.

“Medieval” is not exactly a happy story. There is war, there is politics, there is gore. I do not mind having an occasional sad or depressing movie every once in a while. But with the case of “Medieval,” its dreariness failed to immerse me into its world. One of my favorite films of last year is Ridley Scott’s “The Last Duel,” because despite it being a somewhat dark and depressing story, it had fascinating characters with decent performances to back everything up. Especially from Jodie Comer. “Medieval” did not have any of that. As far as specific period battle movies go, “Medieval” had the dreariness of “The Last Duel” and the lifelessness of “The Great Wall.” Remember that movie that Matt Damon starred in for some reason?

It is honestly saddening to judge a film this harshly under any circumstance, but when this much money is put into it, it is worse. Because the bigger the budget, the more likely it is that a bad movie is going to lose money. Again, I know Hollywood typically spends more, but bear with me. Speaking of making money, here is a fun fact before we move onto my final verdict…

If you want clarification for how well this film is doing, let me give you some background. I saw this film on Thursday, September 22nd. If I am not mistaken, I was literally at the last screening this movie ever did in Lowell, Massachusetts. The movie only came out on September 9th, less than a month ago. My specific metropolitan area, Boston, did not have any times listed for last week, nor do they have any times listed for this week. You might ask, is “Medieval” playing elsewhere? Like Los Angeles? Well, last week I found out it was playing in one location in Westminster, California. But after Googling the showtimes once again, there’s no screenings there whatsoever for this week. If you think you are going to get a chance to watch this film theatrically in the United States, if you actually are that desperate, then I have a bridge in Brooklyn to sell you.

I am sure that an entertaining, thrilling, emotionally investing, and life-changing story on Jan Zizka exists. Unfortunately, it was not in the screenplay for “Medieval.” Perhaps this could have grabbed my attention more as a documentary. Maybe a different crew could have handled this movie better. On the surface, it is intriguing to know that a military commander could have a history like the one presented here. I just wish it were written and directed better.

In the end, “Medieval” is one of the most boring, tiresome, sickeningly forgettable movies of 2022. I have seen a number of bad movies this year. Although if you look at a particular title like “Elvis,” I at least felt emotion while watching that movie. In addition to boredom, I felt frustrated while watching “Elvis.” While “Medieval” is an unspeakable chore to get through, kind of like some history classes, I wish I at least felt one emotion during the movie. I did not have any emotional attachment to the characters, even core ones. At the same time, I never had any specific feeling of happiness, sadness, or as I felt during “Elvis,” frustration. If you liked “Medieval,” I congratulate you for being able to sit through something like this. I could never watch this movie again even if you paid me a ridiculous amount of money. I am going to give “Medieval” a 2/10.

“Medieval” is now playing absolutely nowhere in the United States. If there are showtimes near you, you might as well be joking. However, it is available for preorder on streaming services like Prime Video and Vudu.

Thanks for reading this review! If you like this review, why not check out some of my other ones? Check out my latest review for “Clerks III,” which given the reputation of Kevin Smith as a creator, I am surprised to say is more watchable than “Medieval.” Also, if you want to read a review for something else of large scale, check out my review for “Nope,” directed by Jordan Peele. 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 “Medieval?” What did you think about it? Or, for those of you who have seen movies from the Czech Republic, which ones do you recommend? Let me know down below! Scene Before is your click to the flicks!