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One Battle After Another (2025): Leonardo DiCaprio Delivers the Performance of a Lifetime in Paul Thomas Anderson’s Excellent Thriller

“One Battle After Another” is directed by Paul Thomas Anderson (Licorice Pizza, The Master) and stars Leonardo DiCaprio (Titanic, Inception), Sean Penn (Daddio, Licorice Pizza), Benicio del Toro (Guardians of the Galaxy, Sicario), Regina Hall (Think Like a Man, Scary Movie), Teyana Taylor (White Men Can’t Jump, Coming 2 America), and Chase Infiniti (Presumed Innocent). Inspired by Thomas Pynchon’s novel “Vineland,” this film is about an ex-revolutionary who must save his daughter from a corrupt military official.

As much as I beat a dead horse with this phrase, I only say it because it is true. To me, there are many cases where an artist can only be as good as their last project. Sure, Yorgos Lanthimos is a director with an admirable hustle, but after “Kinds of Forgettable–” err, I mean “Kinds of Kindness,” I am a little nervous about his latest project, “Bugonia.” Kind of like Lanthimos, I was nervous about what would be in store for “One Battle After Another” especially after the infuriating couple of hours I had watching “Licorice Pizza.” Is it a well made film? Sure, in certain regards. But in terms of characterization, plot, perhaps even pacing, I found the end result to be fairly off-putting. It is not to say that Paul Thomas Anderson is an incompetent director. While it has been years since I have seen “The Master,” I do remember it being beautifully made, so Anderson has his ups and downs.

I saw this film a week after it came out. Not because I wanted to stall on it, but because by complete coincidence, I happened to be staying in New York City for a weekend, and I wanted to see the movie in IMAX 70mm. Anytime you hear people say that they saw the next great masterpiece, it is a sentiment that you have to take with a grain of salt. I will only believe the hype when I see it. Plus, the marketing did not do a lot for me. It gave me an idea of the tone, but I thought there was no real oomph to what was on screen. The biggest selling point seemed to be the names Leonardo DiCaprio and Paul Thomas Anderson. I am not critiquing this. If you have talent, sell it. But as far as the movie itself, the marketing did not do it for me.

Photo Courtesy Warner Bros. Pictures – © Warner Bros. Pictures

Before this goes off the rails any further, I must say “One Battle After Another” is a magnificent piece of cinema. Is it my favorite film of the year? Not quite. But I am also having trouble coming up with genuine problems. There are problems that come to mind, but if my reviews for “Risky Business” or “Revenge of the Nerds” shows anything, I can still dig a movie despite its flaws. One personal problem would probably force me to spoil part of the film’s climax. But let’s just say that as “cool” and “shocking” as it was for the movie to unveil a choice they made for a major character, I questioned the logic behind said choice. I also find the film’s pacing to mostly work, though I must admit that the movie does start off slow and gets better as it goes. This is not to say that the film is bad, but if I had to name a weakest part of the film, it would probably be the first twenty minutes or half hour.

By the way, if you are looking for a short movie, you will want to sit this one out. “One Battle After Another” is two hours and fifty minutes long. I know for some of you this might be intimidating, but at the risk of sounding like a pervert, size does not matter, it is what you do with it. And Paul Thomas Anderson does his best to deliver a spectacular vision made for the big screen.

If you get a chance to see “One Battle After Another” in a theater, please do. The film is easy on the eyes thanks to Michael Bauman’s cinematography, as well as the ears courtesy of Jonny Greenwood’s score. There was a point during the film’s climax where my chair was vibrating like I was at an NFL game.

Speaking of cinematography and camerawork, this film is one of the cleanest I have seen this year. While “One Battle After Another” may not be the most colorful movie, it makes the most of its rather limited palette to the point where everything that’s on the screen pops. There is also a riveting chase scene towards the end of the film that basically turns the road itself into a character. The film contains a shot where we see the road winding up and down and it helped set the mood for what’s to come. Visually, this movie needs no notes. It is also heavily enhanced when watched in the film’s native 1.5:1 aspect ratio, which is typically used for VistaVision.

Going back to the marketing of this film, I mentioned that one of the biggest selling points for “One Battle After Another” is Leonardo DiCaprio. And why wouldn’t he be? He has starred in some of the best films in the past couple decades. Like usual, DiCaprio gives his performance his all. Also, the more I think about his performance, the more I come to a conclusion that I am proud to wear on my sleeve. There are not many other people that I could see playing a character of this type as well as Leonardo DiCaprio could. Maybe Brad Pitt… Perhaps Sam Rockwell… Those two names come to mind. But the more I look at this role and think about the way it was executed, it comes off as if it was written with Leonardo DiCaprio in mind. We see him start off as part of revolutionary group as Pat Calhoun, and he later evolves into a washed-up stoner who goes by Bob Ferguson. You can the see the range coming from DiCaprio as he effectively portrays multiple portions of his character’s life. I also found some scenes featuring the character to be laugh out loud funny. There is a phenomenal gag in this film involving a “rendezvous point” that had me rolling on the floor.

Paul Thomas Anderson and Leonardo DiCaprio are celebrated veterans in the industry, but “One Battle After Another” may also be responsible for some people’s big breaks, including Chase Infiniti, who plays Leonardo DiCaprio’s child. I dug the back and forth between these two. Going back to the evolution of DiCaprio’s character, I thought Infiniti did an superb job at channeling her character’s distaste for her father’s resorting to drugs or his overprotectiveness. Chase Infiniti’s career is likely only getting started and this film is going to open so many doors for her. I look forward to seeing what she does next.

In the end, “One Battle After Another” is an experience. Is this my favorite movie of the year? No. But it is an exquisitely crafted piece of cinema in multiple regards. It is one of the best looking movies of the year. It has one of the best casts of the year. The story, while sometimes slow, is engaging. It is a satisfying film that balances serious topics like political extremes and revolution while also having time to insert scenes where Leonardo DiCaprio acts like a complete buffoon. This movie is a massively successful balancing act. I am going to give “One Battle After Another” an 8/10.

“One Battle After Another” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “If I Had Legs I’d Kick You,” stay tuned! Also coming soon, I will be sharing my thoughts on “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” “Shelby Oaks,” and Guillermo del Toro’s “Frankenstein.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “One Battle After Another?” What did you think about it? Or, what is your favorite Paul Thomas Anderson movie? Let me know down below! Scene Before is your click to the flicks!

The Lost Bus (2025): Matthew McConaughey Gets Into Gear in This Engaging Disaster Movie

Posted on October 21 by Jack Drees

“The Lost Bus” is directed by Paul Greengrass (News of the World, The Bourne Supremacy) and stars Matthew McConaughey (Interstellar, Sing), America Ferrera (Barbie, How to Train Your Dragon), Yul Vazquez (Midnight, Texas, Russian Doll), Ashlie Atkinson (The Gilded Age, Mr. Robot), and Kate Wharton (Matty Paz Is a Noob, The Bold and the Beautiful). Inspired by Lizzie Johnson’s book “Paradise: One Town’s Struggle to Survive an American Wildfire,” this film tells the true story of school bus driver Kevin McKay, whose normal day on the job suddenly turns into an all out mission of rescue and survival when he comes face to face with the deadliest fire in California history.

In my daily life, I use Windows computers and an Android phone. Nevertheless, I am not too much of a scaredy cat to admit that Apple has made its presence known in the film industry. It is not a perfect presence, but I will note that they have a few fine feathers in their cap between their Academy Award Best Picture winner “CODA” as well as this summer’s smash hit “F1: The Movie.” The studio has made top talent a priority, having released projects made by directors like Joseph Kosinski, Martin Scorsese, and Ridley Scott. The end results of these projects had varying degrees of success, but it does not change the fact that these are typically trustworthy names. Another name on that list is “The Bourne Supremacy” director Paul Greengrass.

While I do not hold Paul Greengrass amongst my favorite filmmakers of all time, I will not deny his ability to make a great movie. In fact, one film I remember fondly reviewing was the western “News of the World,” a road film featuring an unlikely duo. I thought the story was captivating and has arguably become more relevant with time.

Finding out about Paul Greengrass’ role behind the camera got me in the door. Love it or hate it, I will admit, his shakycam techniques work here. There are several kinetic shots around the second half that added to the tension and atmosphere of what is ultimately a well done disaster film. While Greengrass may be behind the camera, those in front of it kept me engaged too, most especially stars Matthew McConaughey and America Ferrera.

There are some films that have star power and fail to stand out for any reason other than that. “The Lost Bus” is not one of them, because the film is a scary, exciting ride. I watched this film on the first day of October, and despite “The Lost Bus” not being a horror movie, it honestly set the tone for the month. Few things are scarier than seeing children enter imminent doom, and this film is not short on such nightmare fuel. “The Lost Bus” is based on true events, and while there are parts that definitely feel blown up for the sake of theatricality, the film works so well because of how intense it ended up being. “The Lost Bus” is basically this year’s “Deepwater Horizon.” It is a film revolving around an everyday white dude with black hair and a distinctive flair, who must go beyond the call of duty to save himself and those around him, even as the worst case scenario of a disaster comes to fruition. I do not think the film is as good as “Deepwater Horizon.” “The Lost Bus,” in a sense, takes some time to get going. I would argue that maybe the second half of the film is better than the first. That said, once it gets to said second half, it goes full throttle and never stops.

Matthew McConaughey’s character, Kevin McCay, is beautifully fleshed out, as he should be. We know a lot about him, his family, and the personal problems of his life and career. We see him having trouble maintaining relationships with loved ones, as well as a sense of work-life balance. He comes off as a genuinely likable guy, but one who is noticeably flawed. I also liked getting to know some of McCay’s family members. They all seemed to have lifelike chemistry, which makes sense because some of McConaughey’s real life family, including his son Levi and his mother Kay, have major roles in the film.

The film industry is no stranger to nepotism. It is a concept that has its ups and downs, but if the project works, I do not tend to care as much. That said, I do not have as much of a problem with McConaughey’s son and mother being cast because they perfectly play their roles. While their screentime is not as long as say America Ferrera, who does a great job playing a school teacher trying to make it through the fire, I thought both Levi and Kay McConaughey did a great job. If they were cast in another film down the line, I would be interested in seeing them again.

Unfortunately, with this being an Apple movie, this did not get the most proper of theatrical releases. I was lucky to catch this film while it was playing at my local Showcase Cinema, and I am glad I did not miss out because this film is, to my surprise, super effective with its camerawork and incredibly immersive. I am not the biggest fan of shakycam, but as I hinted previously, it works for this story. I can see some people watching this movie and maybe not being a fan of the way it was shot, but for me, I thought the rapid camera movement put me in the middle of several scenes. It gave me the illusion that there was fire spreading around me rather than watching a group of people simply trying to survive a fire themselves. This film is shot by Pål Ulvik Rokseth, a name I did not know that well, but I was impressed to find out he also filmed a short and chilling IMAX spot that I occasionally caught inside their theaters. I am glad to see he is getting more work.

In certain ways, “The Long Bus” is kind of like “The Long Walk.” Both films present the most basic premise where our characters are in seemingly never-ending danger and they must survive to the end. Only in the case of “The Lost Bus,” this is more of a man vs. nature tale rather than one of man vs. man. Is this film as good as “The Long Walk?” Not really. But that is also a bit of an unfair comparison because I can think of very few films released this year that are. If you want to see a compelling narrative that shows people doing everything they can to protect themselves, protect others, all while dealing with something as dangerous as a wildfire, then “The Lost Bus” may be your jam. The fire itself may be the main event of the film, but the story is surprisingly not short on characterization. Said characterization is probably enhanced by the fact that this film is based on a true story..

In the end, “The Lost Bus” is an engaging tale of survival. Matthew McConaughey and America Ferrera make for an excellent duo. From a visual perspective, this movie spares no expensive between the excellent shaky camerawork and the eye-popping fire effects. There are some liberties taken with this story. One teacher attached to the original tale declined to be involved with this film. However, this tale was beautifully adapted. It is one of those stories that shows the best of humanity. It shows the good people are willing to do in the worst of times. This movie is two hours and nine minutes. Frankly, it feels quite a bit shorter than that. It flies by. Especially in the second half. If you have Apple TV and you have a couple hours to kill, this is a good time. I am going to give “The Lost Bus” a 7/10.

“The Lost Bus” is now playing in select theaters and is available on Apple TV for all subscribers.

Thanks for reading this review! My next review is going to be for “One Battle After Another.” Stay tuned! Also coming soon, I will be sharing my thoughts on “If I Had Legs I’d Kick You,” “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” “The Smashing Machine,” and “Shelby Oaks.” If you want to see this review 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 Lost Bus?” What did you think about it? Or, what is a film you enjoyed recently that is based on a true story? Let me know down below! Scene Before is your click to the flicks!

Eleanor the Great (2025): June Squibb Gives one of 2025’s Best Lead Performances in Scarlett Johansson’s Directorial Debut

Posted on October 19 by Jack Drees

“Eleanor the Great” is directed by Scarlett Johansson, and this marks her first time directing a feature film. This movie stars June Squibb (Nebraska, Thelma), Erin Kellyman (Willow, Raised by Wolves), Jessica Hecht (Friends, Breaking Bad), and Chiwetel Ejiofor (The Lion King, Doctor Strange). This film is about a 94-year-old woman who moves from Florida to New York following a devastating loss. Shortly after her arrival, she finds herself in a group where she tells a tale that harkens back to the Holocaust.

Last year, I was introduced to June Squibb in the super funny comedy “Thelma.” If you told me that I would walk out of an action movie, led by someone in their 90s, thinking the lead kicks all kinds of butt, I would say, “Unless it’s Clint Eastwood, I ain’t buying it.” I am glad to be surprised.

Now Squibb is once again a leading lady in “Eleanor the Great.” But just because a movie has an actor I admire, does not mean it automatically sticks the landing. Heck, as much as I love Ke Huy Quan, watching “Love Hurts” earlier this year was sometimes painful despite some cool action scenes.

I have to think about the two movies side by side for a little bit, though I would understand one’s argument as to why “Eleanor the Great” is the better of the two films. I can honestly see myself going back and forth between the two movies depending on my mood. After all, I would argue that “Eleanor the Great” was not made for as wide of an audience as “Thelma.” “Thelma” has action, comedy, and it balances things out with some occasional pathos. It also presents a story where there is a relatable character for every age group.

If you cry easily, you might want to sit out on “Eleanor the Great.” The film partially centers around the Holocaust, or more accurately, reflections about the Holocaust. It also deals with getting older. Sure, “Thelma” did that too, but “Eleanor the Great” has a lot less fun with that concept. Not only does it deal with Eleanor herself getting older, but also what it is like for other people to watch her get older. It presents the obstacles she has to cope with, as well as those her family are pushing through themselves. June Squibb does an excellent job representing these obstacles as the lead through everything she does, as well as the things she observes around her.

“Eleanor the Great” is not just June Squibb’s show. The film is directed by one of the most talented and profitable actresses working today, Scarlett Johansson. Anytime an actor turns to directing, I have a little hint of curiosity. My big question is if they should stick to acting, or if they could sit in the chair for another round, and the latter is true for Scarlett Johansson. She understands what every performer in this film is supposed to deliver. The direction is not perfect. There are some moments that feel a little rushed just so we as an audience can understand a character’s line and move on. Select scenes appear more obviously staged than others, but they do not take away from the authenticity presented throughout much of the film’s runtime. That said, the moments where we get to know Eleanor’s so-called backstory, each line pairs well with the overall selection of shots. The film is meticulously edited. It is some of the finest I have seen this year. Eleanor’s storytelling is not only effective enough in terms of letting those around her get emotional, but also in the sense of letting that emotion fling itself to the audience watching the film.

Johansson did not write the movie. That honor belongs to Tory Kamen. The film is based on Kamen’s own experiences as well as the experiences of those she knows. One of the most robust rules in screenwriting is writing what you know. While Kamen is not old enough to have witnessed the Holocaust as it happened, she uses the perspective of people in her life to create an emotionally charged hour and a half.

In fact, I think this film reaches a major accomplishment with its portrayal of the Holocaust. Because if you watch films like “Life is Beautiful,” a chunk of the runtime is spent showing the horrors of the Holocaust, rather than telling them. Since film is a visual medium, I often believe “showing” should be prioritized over “telling” within the confines of said medium. However, some of my most emotional reactions regarding the Holocaust have been through seeing pictures or video, not by hearing someone talk about it. Hearing Eleanor tell the story of her friend had me stunned. By the end of the film, I was trying my best to hold back tears.

Just because the film deals with serious topics and features characters who have experienced some of the absolute worst moments in history, does not mean there are no lighthearted moments. With this film being set mostly in metro New York, we get to see Eleanor share some sympathy to a cab driver when she finds out he lives in Staten Island. Another example involves Eleanor’s love for Coney Island. Despite Eleanor’s reservations about moving to Manhattan, the film reveals how much she treasures Coney Island. While the film does have its occasional moment of levity here and there, the Coney Island storyline is the shiny gem planted between a rock and a hard place. That said, “Eleanor the Great” is incredibly poignant. Despite centering around the Holocaust, the screenplay is a work of fiction. The characters may not be real, but their respective performers are infinitely raw in their portrayals.

The basic concept of this film is intriguing enough, but the events that piggyback off of it are just as interesting. Not only does it establish an admirable connection between Eleanor and a curious college journalist (Erin Kellyman, center), but it later inserts Eleanor in scenarios that as soon as they came up on screen, a part of me went “Oh, no…” At times, I could feel the uncertainty running through Eleanor, and I got surprisingly nervous for what was going to happen as the film progressed. The film is predictable in some ways, but it presents obstacles and scenarios that not only did I fail to see coming, but feel earned. As this film neared the credits, I got pretty close to tearing up. This film has its moments of levity, but it is not an easy watch. Do not get me wrong, the movie is not a bad watch. If you can deal with the serious subject matter, I can see you appreciating “Eleanor the Great.” Please check it out if you can.

In the end, “Eleanor the Great” is a stellar directorial debut for Scarlett Johansson. At times, the movie feels predictable, some scenes come off as staged, and there are maybe one or two small moments that feel rushed. Even with those complaints in mind, this is one of the most emotional film-watching experiences I have had all year. This movie might not be in my top 10 of the year, but I would not be shocked if it ends up in my top 20. June Squibb is a tour de force. The supporting cast from Erin Kellyman, to Chiwetel Ejiofor, to Jessica Hecht, to Will Price, all do a superb job as their respective characters. If Scarlett Johansson is directing another movie, count me in. I am going to give “Eleanor the Great” an 8/10.

“Eleanor the Great” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Lost Bus.” Stay tuned! Also coming soon, look forward to my thoughts on “One Battle After Another,” “If I Had Legs I’d Kick You,” “Tron: Ares,” “Bone Lake,” “A House of Dynamite,” and “The Smashing Machine.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Eleanor the Great?” What did you think about it? Or, have you ever been to Coney Island? What did you think of it? I’ve actually been twice, and both times were fun. Though I will admit the second time was arguably more enjoyable as I had much better weather. Let me know if you’ve been down below! Scene Before is your click to the flicks!

A Big Bold Beautiful Journey (2025): Colin Farrell and Margot Robbie Deal with the World’s Strangest GPS

Posted on October 15 by Jack Drees

“A Big Bold Beautiful Journey” is directed by Kogonada (Pachinko, After Yang) and stars Margot Robbie (The Wolf of Wall Street, Suicide Squad), Colin Farrell (The Banshees of Inisherin, Total Recall), Kevin Kline (Cyrano de Bergerac, Bob’s Burgers), and Phoebe Waller-Bridge (Fleabag, Indiana Jones and the Last Crusade). This film is about two people who meet at a wedding and eventually go on a journey that leads both of them to revisiting their pasts.

The trailers for “A Big Bold Beautiful Journey” did very little to excite me. I had the feeling the flick was going to either be too corny, overly sappy, or uneventful. In some ways, the final product falls in line with those expectations, but not exactly in the way that I thought they would. I am here to tell you that this movie is much better than I could have imagined, even if it is not perfect.

“A Big Bold Beautiful Journey” is not my kind of movie. When it comes to the many genres moviegoing has to offer, romantic dramas, in fact, even romantic comedies, are typically at the bottom of the list for me. I have nothing against the concept of romance, but as stereotypical of a guy thing as it is to say, I like my action. If I were not as open-minded about movies, chances are I would probably buy a ticket to “A Big Bold Beautiful Journey” solely to impress a date. That said, I do not live in that reality, and I took my single behind and put it in a Dolby Cinema chair. Because who needs a date when you have shaking recliners?

Few things are as pleasing as a tremendous surprise, and “A Big Bold Beautiful Journey” was in fact, a surprise. This film immersed me from the very beginning and refused to let me leave. They say not to judge a book by its cover, but this film proves that it is not about the destination, it is, in fact, about the big bold beautiful journey.

The film finds itself in this peculiarly fulfilling middle ground where it does not quite feel real, but there is a certain level of belief that I am willing to suspend in what is ultimately a grounded world. Yes, much of the film features a self-aware GPS that takes its characters to places that make them think about their lives. But the film is ultimately about the human condition. The experiences that shape us. The places that make us. The people that define us. It is about the unpredictable mess that is life. Judging by everything I am telling you, it sounds like I am hyping this up to be the movie of the year. That would be a bit of an overexaggeration, but I do appreciate how much the movie made me think.

I buy both of the leads in their respective roles. You have Colin Farrell as David… A reserved, hopeless romantic, trying to make it from one day to the next. Then there is Margot Robbie as Sarah, who has a bit more experience when it comes to the dating scene. Together you have a star-studded pair in a film that sounds too crazy to work, but somehow it does.

I am not going to pretend that everything works. One can make the argument that the film is too convenient. It is a film that relies heavily on something happening at the right place at the right time, or at the wrong place at the wrong time. I mentioned I am able to suspend my disbelief to a certain degree, but I think that is something I think not every viewer is going to do. The movie often feels fantastical and I see how select viewers would find that to be a turnoff. In fact, one thing that turned me off at times were the moments we spend at a rental car facility. That’s when we see a cashier and a mechanic played by Phoebe Waller-Bridge and Kevin Kline, who are honestly not as whimsical and charming as this movie wants me to think they are. Also, this film maybe has one of the most obvious product placements of any film I’ve seen in 2025, with its inclusion of Burger King.

Yes, I know “War of the Worlds” is a big Amazon commercial, but would you really call that a movie?

The restaurant ends up playing a somewhat substantial role in the plot as both lead characters go there, bond, share what they have in common, and once the leads are done there, that’s where the real fun begins for them. Nothing ignites romance like Whoppers!

Years ago, I reviewed a movie, if you want to call it that, by the name of “Superintelligence,” and this film reminds me of that one, as the protagonist’s journey is heavily guided by a computer, but there is a key point that this film gets right that “Superintelligence” does not. As I watched the film’s protagonist, David, I got the sense that he was often hesitant or second-guessing himself at each point of his journey. Despite some of his actions being determined by a computer, it often feels like he is presented with constantly engaging dilemmas. Should he go where the computer is taking him or should he go elsewhere? Should he perhaps go home?… As I watched the film, I wanted to know how these dilemmas were resolved.

You may be under the impression that the film’s biggest selling point would be one of it’s stars, like Colin Farrell. He is a great actor, but no. You might think it is Margot Robbie. Despite being a straight white male, she did not sell me either. Instead, what got me in the door was this film’s composer, Joe Hisaishi.

Some of you might be wondering who the heck I am talking about. And I would understand that reaction because this is Hisaishi’s first Hollywood feature he’s ever composed. That said, if you have watched Japanese film, or every film from anime director Hayao Miyazaki, you have heard his music, and each piece is often as inviting as his last. His compositions in this film are not exactly the most booming or epic pieces, nor do they need to be. Just about each one comes with a cozy vibe. Hisaishi delivers the goods here with several soothing tunes.

One last note, the GPS in this film is voiced by Jodie Turner-Smith. The role does not require a lot of pizazz or physical work. It is ultimately just a voiceover, but Turner-Smith gives it her all. The two most prominent characters are those of David and Sarah, but if this film had one character just below them in terms of importance, it would probably be the GPS, and Jodie Turner-Smith does her best to allow the character to ooze personality. It puts the film in the right direction.

…

I said, it puts the film in the right dire–(some dude tackles me to the ground and slaps me in the face)

In the end, “A Big Bold Beautiful Journey” is surprisingly solid. Margot Robbie and Colin Farrell have enough star power to keep an entire solar system running by themselves, but together, they have solid chemistry. I buy these two as they revisit various points of their lives. I thought they were cute together. Is this a film I plan to watch again anytime soon? Not immediately, but this is not a bad flick by any means. It is also a decent pick for a date movie. I am going to give “A Big Bold Beautiful Journey” a 7/10.

“A Big Bold Beautiful Journey” is available to rent or buy on VOD.

Photo by Universal Pictures – © 2025 Universal Studios

Thanks for reading this review! My next review is going to be for “Him!” Stay tuned! Also coming soon, look forward to my thoughts on “Eleanor the Great,” “The Lost Bus,” “One Battle After Another,” “If I Had Legs I’d Kick You,” “Tron: Ares,” and “Bone Lake.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “A Big Bold Beautiful Journey?” What did you think about it? Or, what two actors would you like to see play a couple on screen together? Let me know down below! Scene Before is your click to the flicks!

F1: The Movie (2025): Joseph Kosinski Puts Viewers in the Driver’s Seat for One of the Year’s Most Immersive Blockbusters

Posted on July 29 by Jack Drees

“F1: The Movie” is directed by Joseph Kosinski (Top Gun: Maverick, Tron: Legacy) and stars Brad Pitt (Ad Astra, Babylon), Damson Idris (Outside the Wire, Snowfall), Kerry Condon (The Banshees of Inisherin, Better Call Saul), Javier Bardem (Being the Ricardos, Dune), and Tobias Menzies (Game of Thrones, Outlander). This film centers around racer Sonny Hayes, who returns to the track following a long absence to boost his former teammate’s underdog team, all while mentoring a younger driver.

Director Joseph Kosinski has a knack for turning films into experiences. Back in 2010, he directed “Tron: Legacy,” which is one of the prettiest looking neon-infused fever dreams in cinematic history. But like lots of other people, the first film of his that comes to mind when you say his name, perhaps somewhat due to recency bias, is “Top Gun: Maverick.”

I had a blast watching “Top Gun: Maverick.” Is it a perfect movie? No. In fact there are some genuine screenplay problems that have been on my mind ever since I first saw it. That said, when I saw Kosinski’s name attached to “F1: The Movie,” it made perfect sense. If Kosinski can deliver to audiences the same kind of thrilling, high-octane, exhilarating experience that he did with “Top Gun: Maverick,” then I would be quite happy.

I am proud to report that Kosinski’s jump from planes to automobiles is just as exciting, and frankly, has a better story. Though that last part is not saying much. More on that later.

This film is an experience. My pupils dilated beyond their sockets watching this movie in IMAX. Part of this is thanks to the brilliant execution delivered in each shot from cinematographer Claudio Miranda, who previously worked with director Kosinski on “Top Gun: Maverick.” For a great chunk of the film I felt like I was inside the car driving it myself. There are several clever camera angles that gives the viewer the illusion they are moving with the car, whether it is on the side, on top, or while looking at the windshield. Some of these techniques are familiar. But there are select moments where the movie offers a first-person perspective that had me imagining that I was literally the car itself. There is a moment towards the film’s conclusion that is so riveting, so heart-pumping, and so freaking cool to look at that I could not help but glue my eyes to the screen. And it is even better in IMAX because the movie was shot with the company’s digital cameras, which expanded the aspect ratio for the entire film on their screens.

Keep in mind, it is the 1.90:1 aspect ratio, not 1.43:1. In Layman’s terms, it will not cover the whole screen at taller IMAX locations.

Once I saw Hans Zimmer’s name on the opening credits, I knew we were in for something special with the score. And something special we got. Some of the movie’s tunes genuinely got me excited. There is a moment that reminded me of another one of Hans Zimmer’s efforts, particularly “Interstellar,” mainly because the music appeared to be going at 60 beats per minute during one of the races. It seemed to be aiming for that “ticking clock” effect that was present for much of “Interstellar’s” runtime. The percussion in this film’s score is some of the best I have heard since Ludwig Gorranson’s score for “Tenet.”

The soundtrack in this film is not bad either. The film has a fairly rock-heavy soundtrack. There is not a bad track on the lineup. Perhaps the most well-known song on the list is Queen’s ‘We Will Rock You.” There is a pretty good use of it early on in the movie.

The best way I can sum up “F1: The Movie” is that on the surface, it is the quintessential “dad flick.” It is very much a movie that you can imagine being made for the “dad” crowd. It has fast cars, good looking men and women on screen, it has a good amount of rock music, and it is about someone who is trying to prove himself despite his older age.

I sincerely feel bad for anyone whose first experience of “F1: The Movie” is going to be through Apple TV+. After seeing this film, “Mission: Impossible – The Final Reckoning” has got some competition for the greatest technical achievement of the year. This movie cost anywhere between $200-300 million to make, and I honestly can see all the money on the screen. Yes, the film has a well known star in Brad Pitt. But my jaw was on the floor with this film’s look. The colors. The audio. The camera angles. Everything in this film feels dialed up to an 11.

“F1: The Movie” is quite the ride. So, how is the script? It is not bad. As far as Joseph Kosinski’s library goes, this is a step up from “Top Gun: Maverick” in some ways. Perhaps the biggest improvement is that it never mysteriously refers to the antagonist as “the enemy.” What enemy? Who exactly? Who even cares?

The movie can most certainly be enjoyed by F1 fans, but it is definitely written with general audiences in mind. There are broadcaster bites throughout the film, highlighting every little nook and cranny throughout the race. As someone who has never sat down and seen an F1 race on television, I think this is an okay technique to use. The announcer lines are well done and there are quite a few that sound like they would come from a genuine sports telecast, and they also did a good job at introducing me to the rules of F1 that I probably would not have known right off the bat.

The one big negative, to a certain degree anyway, is that the movie is full of clichés. A lot of parts of the script feel been there done that. Though as I have addressed time and time again, clichés are fine as long as they are done well. And they are done well here. In fact, this movie feels like a genuine cousin to “Top Gun: Maverick” not only in terms of its experience, but structure as well. The film involves a race car driver who is trying to prove himself despite being past his prime, and much of the film sees him teaming up with a younger individual who shares his profession and ambitions. The two are off and on with each other, but ultimately have to work together no matter the obstacle.

If anything, “F1: The Movie” reminded me of Pixar’s “Cars,” and not just because both involve racing. But I happened to watch “Cars” a week before catching “F1: The Movie” in theaters and many of the story beats and character traits presented throughout the film felt interchangeable. “F1: The Movie” is kind of like the original “Cars” if someone gave it a bit of a “Freaky Friday” treatment. In this case, the filmmakers took Doc Hudson and made him the main character and turned Lightning McQueen into the supporting character. Additionally, they gave the Doc Hudson wannabe a little bit of Lightning McQueen’s entitlement.

So, maybe the story is generic, but it does not change the fact that I had fun watching it play out. Sometimes a simple story is effective as long as all the elements that make it up are done right. You have an arrogant but likable main character. You have an ambitious supporting character. All the other characters serve the story perfectly. On top of that, you have one of the most cinematic experiences of the year. What’s not to like about that?

In the end, “F1: The Movie” is an exciting race to the finish. You do not have to be an F1 fan to enjoy this film. It is simply an engaging two and a half hours of cinema that gets into gear and never runs out of gas. The script does not reinvent the wheel, but if you like watching wheels turn really fast, it will leave you beyond satisfied. I left this film thinking that this was likely going to have a strong presence in regards to the technical awards at this year’s Oscars ceremony. If “F1: The Movie” is playing in a theater near you, please check it out. You will have a ball. Do not wait for streaming. I imagine some of you are probably looking for an excuse to use your Apple TV+ subscription, but I guarantee the film will not look or feel as epic as it would on the big screen. I am going to give “F1: The Movie” a 7/10.

“F1: The Movie” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for another highly anticipated summer blockbuster, “Superman.” At one point, this was my most anticipated film of the year. Admittedly, with more marketing coming out and other films making their presence known, some of the anticipation has dwindled a bit. That does not mean I was not excited, but I was interested enough to see if this film could truly be something special. I will share more of my thoughts during my upcoming review. Also coming soon, look forward to my thoughts on “Guns Up,” “The Fantastic Four: First Steps,” “The Bad Guys 2,” and “Smurfs.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “F1: The Movie?” What did you think about it? Or, do you ever watch actual F1 sporting events? What’s that like? Let me know down below! Scene Before is your click to the flicks!

Elio (2025): One of Pixar’s Zaniest, Poppiest Films Yet

Posted on July 8 by Jack Drees

Photo by Pixar/PIXAR – © 2025 Disney/Pixar. All Rights Reserved.

“Elio” is directed by Madeline Sharafian (We Bare Bears, Burrow), Domee Shi (Turning Red, Bao), and Adrian Molina (Coco, Monsters University). This film stars Yonas Kibreab (Sweet Tooth, Obi-Wan Kenobi), Zoe Saldaña (Guardians of the Galaxy, Avatar), Remy Edgerly (Pretzel and the Puppies, T.O.T.S.), Brandon Moon, Brad Garrett (Everybody Loves Raymond, Ratatouille), and Jameela Jamil (The Good Place, She-Hulk). This film is about a young boy who gets abducted by aliens and must survive against a warlord while befriending and helping those he meets along the way.

I have a love/hate relationship with the Disney brand. They own a lot of properties I enjoy and are responsible for some killer titles. Not a day goes by where I do not think about “The Lion King.” But I will also call them out for their greedy business practices as well as their lack of originality in recent years. However, one part of Disney that has failed to let me down for the most part is Pixar. The studio has a strong blend of exceptional originals and solid sequels. While their more recent fare has not been as great as “Toy Story” or as satisfying as “Ratatouille” or as incredible as… Well, “The Incredibles,” Pixar still has a special place in my heart and I will continue to support them. To this day, the only film of theirs I disliked is “Elemental.” That said, everyone makes mistakes.

Even with my love for Pixar, I was nervous going into “Elio.” The biggest culprit for me is that the marketing has been middle of the road at best. I have most certainly been exposed to the campaign considering it has been going on for multiple years. But none of the trailers have wowed me. At the same time, this is not the first instance for me where a Pixar film’s marketing campaign underwhelmed me. Even films I enjoyed like “Inside Out” or “Finding Dory” had trailers that made their respective films look average at best. Maybe “Elio” would end up like them and pull off a pleasant surprise. Thankfully, it did.

“Elio” is one of Pixar’s weaker films. But as I continue to say, bad Pixar is still better than a lot of movies. And there are some fantastic elements that make “Elio” worth watching, especially in a movie theater. I had the privilege of checking out “Elio” in one of AMC’s Dolby Cinema auditoriums, which allowed the film’s technical strengths to stand out. Rob Simonsen’s score is bonkers and is packed with the spirit of adventure. The color palette, particularly when the film spends time in space, is awe-inspiring. There is a pod sequence towards the climax that had me on the edge of my seat at times. Like some of Pixar’s other films, the sound design is larger than life and incredibly immersive. I did not see the film in 3D. And as someone who wears glasses, I try to avoid 3D in most cases, but I do think “Elio” is a film that could justify a 3D upcharge. It looks beautiful, poppy, and dynamic.

But of course, some would argue that characters are more important of an aspect when it comes to judging a film. When it comes to judging Elio as a character, he is kind of an enigma.

Photo by Pixar/PIXAR – © 2024 Disney/Pixar. All Rights Reserved.

For the record, I like Elio as a character. But I wonder what kind of impression he would leave on younger viewers. Elio is kind of a weirdo, a bit of an outcast. There is nothing wrong with that per se. If anything, he reminds me of myself when I was an adolescent. He is hyper-obsessed with space to the point where he literally wants to be abducted by aliens. That said, there are some moments where Elio’s uniqueness is so out there that it makes me wonder if a parent could ultimately regret introducing their child to this film at a certain point of their life. Kids emulate what they see on screen. Literally as I finished this film and headed towards the restroom I heard a young boy shouting “Chicken jockey,” in reference to “A Minecraft Movie.” I get that the ideas of space travel and aliens are exciting, but I would be a smidge concerned if some children hope to be abducted after seeing this film.

The film never mentions it outright, but based on Elio’s mannerisms, I would not be surprised if he has autism. If that is the case, I like the film’s interpretation. One sign of this happens to be Elio’s unusual fascination for space, which yes, that could be considered normal. But his obsession in particular feels rather extreme. On top of that, he is also interested in ham radios. How many children in the 2020s can say they know what a ham radio is? The film does not outright mock this particular interest, even though it shines a bright light on said interest at times. In fact, the way the film ends up utilizing it is kind of clever.

Going back to how Elio does not have many friends on Earth, it is partially because he is what his peers would deem to be “the weird kid.” Therefore it almost feels appropriate that he ends up befriending space aliens. If anything, the movie suggests to its audience that there is nothing wrong with being weird, and if anything, it should be embraced. In fact, if you think you are a bit weird yourself, there may be someone out there waiting to weird out alongside you.

I can also see this film serving as a positive influence in terms of helping young people follow their dreams. I could see it inspiring younger people to want to go to space or at the very least, pursue some kind of career having to with space or astronomy, perhaps even other branches of STEM.

I am not saying the character of Elio is a terrible influence. If anything he is simply imperfect. In fact, the movie does its best to show why people should avoid being too “normal,” which I thought was clever. The movie presents a case as to why Elio wants to be abducted, and in some ways it does make sense. He lost his parents, he does not have a ton of friends, and he has trouble communicating with or relating to others. While the concept itself is a bit out there, it is clever. And despite Elio being an iffy influence, his motivation is cleaner for a family-friendly feature than say turning to suicide or drugs or alcohol. Although I will say at one point Elio does try a drink in space that looks like something you’d get poolside at a galactic resort, plus it was handed to him by someone he barely knows. Whatever, sometimes you have to live a little.

The film also has a lesson that I think is great for both children as well as parents and guardians. The lesson specifically regards traditions, and how someone’s life is not written in the eyes of their guardian. One can argue that this feels familiar given how it was a lesson that was highlighted in “Elemental” a couple years back. But if you know my thoughts about that film, you might imagine I think this idea was executed better in “Elio.” If so, you would be correct.

I also thought the ending was a bit odd. The film itself ends on a satisfying note. But there is a soundbite that plays in the movie’s final minute that feels well-intentioned, but I honestly think it could have been left on the cutting room floor. I think the movie would have made a greater impact by ending with a lack of dialogue and simply letting the music, sound, and visuals do the talking. Also, Elio’s “ultimate choice” in the film so to speak feels a bit forced. One could argue it plays into his character development and the film’s overall lesson, but I do not buy him making that choice by the time the film ends based on everything we know about him.

One more standout about the film that I would be ticked with myself for missing, Brad Garrett as Lord Grigon. I think Brad Garrett can do no wrong no matter the role he takes. His one of a kind voice and charisma makes him a standout in whatever he does. The same can be said here, although unlike his previous work as the saintly Gusteau in “Ratatouille,” he is a bit of a psychopath who essentially wants to conquer other beings. I had so much fun watching Brad Garrett flex his muscles here. I am not the biggest fan of “insert celebrity here” playing voiceover roles to get people in the doors, but Garrett gives a performance that has me failing to imagine anyone else in his character’s shoes. Garrett has such an expressive presence and he gives it his all. While Lord Grigon may not be my favorite Pixar antagonist, he is well written, especially when it comes to scenes regarding him and his son. Honestly, the entire cast in this movie works. There is not a bad voice on the lineup. Though Brad Garrett to me is the standout.

In the end, “Elio” is far from the best Pixar movie, but if you were to check it out sometime this summer, I think you will end up having a blast. It is the classic Pixar formula. Make a film that both kids and adults can enjoy, and that is the case here. All the story elements are well-realized. The characters are likable, even if I wonder what kind of impact some of them will have on younger audiences. Keep in mind, the film is PG, not G. Make sure to guide your children! The animation, per usual, is breathtaking. The score is flipping fantastic and makes me want to go on an adventure. Also, having seen this in Dolby, I think parts of the film can be incorporated into a fun ride at Disney World or something. The film is a lot of fun. It is not quite the galactic masterpiece that “Wall-E” turned out to be, but it is a great ride. I am going to give “Elio” a 7/10.

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

Universal Pictures and Amblin Entertainment – © Universal Studios. All Rights Reserved.

Thanks for reading this review! My next review is going to be for the brand new blockbuster “Jurassic World: Rebirth.” Stay tuned! Also, look forward to my reviews for “M3GAN 2.0” and “F1: The Movie.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Elio?” What did you think about it? Or, what is your favorite Pixar movie? Let me know down below! Scene Before is your click to the flicks!

Materialists (2025): Love and Money Blend Together in This Middle of the Road Romance

Posted on July 6 by Jack Drees

“Materialists” is directed by Celine Song, the director behind one of 2023’s best films, “Past Lives.” This film stars Dakota Johnson (Fifty Shades of Grey, Madame Web), Chris Evans (Captain America: The First Avenger, Lightyear), and Pedro Pascal (The Last of Us, The Mandalorian). This film is about a matchmaker from New York City who finds herself in a personal conflict between her ex and a new love interest.

One movie I am mad at myself for skipping while it was in theaters was “Past Lives.” I did not review the film, but I was able to catch it by the end of 2023. I adored it so much that it ended up among my best movies of the year. The chemistry between the three leads was impeccable. Each role was perfectly cast and I was hooked from scene one. I thought the film was cute and heartfelt. Naturally, when I first saw the trailer for “Materialists,” I did not get excited by the film because big Hollywood stars like Chris Evans or Pedro Pascal would be in it. Although I do like those two actors. But what sold me was finding out that this was Celine Song’s next film following “Past Lives.”

I missed “Past Lives” in the theater but ended up loving it. Unfortunately, I had the opposite experience watching “Materialists.” Honestly, I was rather disappointed watching Song’s latest outing on the big screen.

What makes this effort somewhat sad is the fact that not only did the film’s director carry some weight, but as someone who lives in the U.S., and not South Korea, the actors have a ton more star power than Song’s previous project. You have Dakota Johnson, whose resume is hit and miss, but nevertheless prolific. Then there’s Pedro Pascal, who has had a large hand in the geek culture spheres in recent years between “Game of Thrones,” “The Mandalorian,” and “The Last of Us.” Also, there’s Chris Evans… Captain America himself! Need I say more? It would be one thing to see a disappointing Celine Song movie, but to have these well known actors in the mix makes it worse.

And honestly, I wish I could say that all the actors do a good job in this film despite the… (sigh) material. But I thought Dakota Johnson, while not horrible in this film, is sometimes stiff. Every other line out of her character, Lucy, feels flat. Watching Dakota Johnson in this film is like playing roulette. Every time there is a line out of her, I had no clue if it was going to be delivered decently or poorly. The gap separating the quality of her lines feels significant. Dakota Johnson can give good performances. Just go watch “Daddio.” But not only is Johnson sub-par in this film, I got the impression at times she was playing the same character she’s played in other films like “Madame Web” or “The High Note.” Despite the range of her line delivery in this film, I am starting to think Johnson herself has limited range as a performer.

That said, I thought the film’s two main male leads were okay in their roles. Pascal is a well built, rich, successful man. Or, as he is sometimes referred to throughout the film, a unicorn. I thought Pascal was perfectly cast. I never met Pedro Pascal myself, but from what I imagine, he must be a charming, handsome person.

Chris Evans on the other hand is a little less perfect of a human being. He self-admittedly has anger issues, he struggles with maintaining a steady career path as well as his financial stability. But despite his problems he seems like a decent guy. I liked Evans’ performance. He felt down to earth and inviting. Not preppy, not over the top. Just a genuine guy.

“Materialists” is a fairly grounded narrative. But unfortunately the script is where its tonal inconsistencies lie. Much of the film’s dialogue is quite good. Parts of it made me think about life. But there are quite a few cheesy lines that do not feel like they belong in a movie like this. I am not denying that people have said something cheesy at some point in their life. But the rate in which it happens in this film does not feel authentic.

There is a message in “Materialists” that makes for a good story. While a lot of people date and eventually marry for love, there are some people who want more out of a relationship. They want the partner to be attractive, have money, have a nice place and so on. As the film progressed, and this should be no surprise given the title, the film successfully presented itself as an allegory about how certain people find others’ possessions more attractive than the person they are dating. I will not go into spoilers, but there is a line towards the end of the film that could almost double as the film’s slogan. The film suggests that some people are simply attracted to success. Yes, someone could be the nicest person on earth. But for some people, they would be turned off if they found out the person they were dating happened to be poor.

Given this film’s message, I found it interesting how Lucy was written. Lucy works with a dating agency. Customers, some of whom are clearly desperate for a relationship, give this company good money to find a partner. The film asks questions as to whether love can be bought or if it is simply something you have to find yourself. The film shows the potential dangers of trying to follow a perhaps unachievable dream but also reveals how one can find life unappealing if they were to give their dreams up and settle.

The film does not shy away from highlighting appealing and thought-provoking topics. I just wish that the package that contains such topics was a little more appetizing. I wish it had better dialogue. I wish I liked some of the acting better. And I wish it were a little more tonally consistent. The film is shot well, has good music, and contains a couple decent scenes, but for me, I wanted more. I guess I am a bit of a materialist myself.

In the end, I do not think the “Materialists” and I are that great of a match. There are plenty of other fish in the sea, thankfully. Maybe the film will find its audience somewhere else. Honestly, I found this film disappointing. It is decently framed, the production design is nice, and some of the acting is okay. But there are plenty of elements that bog the film down between the tonal inconsistencies, Dakota Johnson’s sometimes stiff performance, and the cheesy dialogue. I still think Celine Song has a promising future as a filmmaker. I just hope her next project is much better than this one. I am going to give “Materialists” a 5/10.

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

Thanks for reading this review! Pretty soon, I will be sharing my thoughts on Pixar’s latest film, “Elio.” Stay tuned! Also, you can look forward to reading my reviews of “Jurassic World: Rebirth,” “M3GAN 2.0,” and “F1: The Movie.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Materialists?” What did you think about it? Or, have you seen Celine Song’s directorial debut, “Past Lives?” If you did, tell me your thoughts on that! Leave your comments down below! Scene Before is your click to the flicks!

The Life of Chuck (2024): The Best Fictional Narrative of 2025 Thus Far

Posted on July 4 by Jack Drees

“The Life of Chuck” is directed by Mike Flanagan (Doctor Sleep, Ouija: Origin of Evil) and stars Tom Hiddleston (Loki, Kong: Skull Island), Chiwetel Ejiofor (The Lion King, Doctor Strange), Karen Gillan (Guardians of the Galaxy, Jumanji: Welcome to the Jungle), Mia Sara (Ferris Bueller’s Day Off, Timecop), Carl Lumbly (M.A.N.T.I.S., Supergirl), Benjamin Pajak (Where It’s Beautiful When it Rhymes, Camp Haedus), Jacob Tremblay (Room, Wonder) and Mark Hamill (Star Wars, The Wild Robot). This film mostly follows its titular character as he navigates multiple chapters of his life.

“The Life of Chuck” is the third film directed by Mike Flanagan based on a Stephen King work. I have not seen his other films, “Doctor Sleep” and “Gerald’s Game,” so I cannot compare this film to those. In fact, as marveled as I was by this film’s awe-inspiring trailer, I ultimately bought a ticket after hearing the many positive reviews this film received from critics and moviegoers alike. Plus I needed a better use of my time than whatever the heck “The Phoenician Scheme” was.

For those keeping track, “Secret Mall Apartment” is my favorite movie of the year so far. For those who have not heard of the film, it is a documentary. However, if I were to name a favorite fictional movie of the year so far, “The Life of Chuck” might be it. This movie has everything in it. Joy. Sadness. Spooks. Nostalgia. Slices of life. You name it. “The Life of Chuck” broke my heart and put it back together. I have not read the short story this film is based on, but I was riveted by what Mike Flanagan and crew have done with their work.

This is a film that in one moment, will shatter you to pieces, and in another, make you want to chase your dreams. Part of this has to do with the film’s structure. Like many stories, the film starts at a bit of a low point. But if you watch a lot of, say, stories structured through the hero’s journey model, you may see people who have nowhere to go but up. The protagonist grows with time. They become someone bigger. This film is the opposite. “The Life of Chuck” essentially starts with the “end times” and goes backwards. The execution of this idea is a stroke of genius. It is almost the film’s way of suggesting that life sucks as you get older. The film starts on a downer note and with each act, each scene, each concept, it delves into something more dream-like. The film still has downer moments in later scenes, but the film starts with what some may call the lowest low and while not everything that happens prior is perfect, it definitely brings more joy than what the film presents at the beginning.

“The Life of Chuck” made me wonder what it could be like to live life backwards. Maybe not in a sense where I, for example, read or write this review in reverse, but I mean this in the sense that we take chunks of our life from day to day and live those out starting later in life. Maybe you start off retired, then have kids, get married, graduate from college, and so on going back to getting that one gift you always wanted as a child. I will be frank, I feel my life has only gotten better as I aged, but I do not know how many people can say the same. People, understandably, as they age, want to be young again. This movie presents a series of moments that make life worth living, but arguably the ones that hit me the hardest are those we see towards the film’s conclusion, when we see our character at their youngest. It reminded me of a certain time in my life and what it felt like to be in that position.

This film made me think and ask tons of questions. I was not expecting to go full “Barbie” and think about dying. I will not go into detail as to why that is. But if you have seen the movie, you will understand what I am getting at here. Judging by what I said, some would argue that “The Life of Chuck” is not the easiest watch. That sentiment has some validity to it, but at the same time, I would still recommend the movie to a lot of people because the heavier material is perfectly balanced with doses of optimism.

That said, the film is not perfect. As much as I praise this film for starting things the way it did, the first act could arguably be trimmed a bit and have little to no effect on the plot. Do not get me wrong, I like the first act. In fact, watching the first act evoked a similar vibe to one of my favorite movies, “Interstellar.” Much like that film, the first act is set on a nearly dead planet earth. The internet is down, TV is down, cars are blocking the streets… The score from John Grush and Taylor Stewart also effectively sets the mood for each scene. The first act does a good job at world building, but it builds something that we barely see and hardly matters to a certain degree. There are a few things that matter in the first act that stand out, but there is plenty of fluff that I thought could be cut. The first act is never bad. I enjoyed what was in front of me. It was just a little long.

One thing that surprisingly worked for me in this film was the narration. When I first heard the narrator’s voice, I was a little hesitant as to how it would benefit the story, but I quickly warmed up to him by act two. He had some good material to work with. By the way, the film is narrated by Nick Offerman, which despite my lack of experience of watching “Parks and Recreation,” even I know he has an objectively soothing voice.

Kind of like “Friendship,” I would be curious to know how “The Life of Chuck” ages for me. I saw this film as a 25 year old and it has gotten me to think about the choices I made while growing up. It also made me reflect on tales and life lessons I learned during that time and it has me wondering how I will evolve. The film seems to tap into the idea of maintaining one’s child-like spirit as they age. As we grow up, the whole world is ahead of us. And while there are many beauties to life that lie ahead, there is a possibility that if we are not careful or go down a certain path, we lose our sense of wonder, our passion for life. There are certain things in life that if we found out about it years in advance, would shake us to the core. Some things are sometimes best kept as a secret. But it is no secret that “The Life of Chuck” left me gobsmacked.

In the end, “The Life of Chuck” is cinema. This is a movie I would honestly recommend to almost anyone. It is not always the happiest film. But it utilizes every emotion in the book to perfection. You will laugh. You will cry. And despite what I just said earlier, I guarantee you will smile too. This is a story that starts off great and maintains my interest throughout. It is one of the best films of 2025. I am going to give “The Life of Chuck” a 9/10.

“The Life of Chuck” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for the Celine Song’s newest film, “Materialists.” Stay tuned! Also coming soon, I will share my thoughts on “Elio,” “Jurassic World: Rebirth,” and “M3GAN 2.0.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Life of Chuck?” What did you think about it? Or, did you read the short story that inspired this film? Let me know your thoughts on it down below! Scene Before is your click to the flicks!

The Phoenician Scheme (2025): One of Wes Anderson’s Weakest Films Yet

Posted on July 1 by Jack Drees

“The Phoenician Scheme” is directed by Wes Anderson (The Grand Budapest Hotel, The French Dispatch) and stars Benicio del Toro (Sicario, Star Wars: The Last Jedi), Mia Threapleton (The Buccaneers, I Am…), Michael Cera (Juno, Scott Pilgrim vs. the World), Riz Ahmed (Rogue One: A Star Wars Story, Sound of Metal), Tom Hanks (Toy Story, Cast Away), Bryan Cranston (Godzilla, Breaking Bad), Mathieu Amalric (Quantum of Solace, The Grand Budapest Hotel), Richard Ayoade (The Bad Guys, The Watch), Jeffrey Wright (Asteroid City, What If…?), Scarlett Johansson (Black Widow, Sing), Benedict Cumberbatch (The Hobbit: The Desolation of Smaug, Doctor Strange), Rupert Friend (Hitman: Agent 47, Homeland), and Hope Davis (Asteroid City, Greenland). This film is about Zsa-zsa Korda, a wealthy businessman who appoints his daughter as the heir to his estate. During his search for a new enterprise, the two become the target of assassins, terrorists, and tycoons.

Courtesy of TPS Productions/Focus Features – © 2025

Even noticeably solid directors have at least one dud on their resume. Steven Spielberg has “Indiana Jones and the Kingdom of the Crystal Skull.” Joel Schumacher has “Batman & Robin.” Meanwhile, for Wes Anderson, his dud would be his most recent film, “Asteroid City,” which despite its technical mastery and somewhat intriguing concept, had uninteresting characters, boring scenes, and a lackluster ending. I like Wes Anderson. Just read my reviews for “Isle of Dogs” and “The French Dispatch.”

There is a saying that you are only as good as your last project, so with “Asteroid City” somewhat fresh in my mind, I went into “The Phoenician Scheme” with moderate at best expectations. When the movie started, I was pleasantly surprised. Unfortunately, that feeling fizzled real fast.

“The Phoenician Scheme” has a fantastic hook. The movie starts with a plane crash, which apparently is one of several our protagonist has gone through. In that same scene, not even thirty seconds in, someone’s head gets blown off and flies out into the sky. Very exciting stuff! Having a solid beginning can lead to promise down the road. First impressions matter, and this movie impressed me right off the bat. But I would say that this scene is where the movie peaked. Because what follows is a complete and utter disappointment of a snoozefest some like to call a motion picture.

It did not take long for me after finishing “The Phoenician Scheme” to declare that it might be my least favorite of Wes Anderson’s filmography. I still have yet to see “The Royal Tenenbaums” and “The Darjeeling Limited,” but from his work that I have seen so far, this is probably the one that I can say is the weakest. And that is sad, because I was not a huge fan of “Asteroid City.” Much like “Asteroid City,” there are things to like in “The Phoenician Scheme,” but the film itself underwhelmed me. I knew what I was getting out of this film to a certain degree given its director. If you like Wes Anderson’s quirky style, good news, it can be found here. But I simply wish there was a little more substance to accompany it.

Most of my positives regarding “The Phoenician Scheme” have to do with the film’s technical aspects. This film, to my lack of surprise, has stunning production design. The color choices of all the surroundings are meticulously chosen and easy on the eyes. Everything in the frame feels organized. The film makes the most of its 4:3 aspect ratio that Wes Anderson has previously used in films like “The French Dispatch” or “The Grand Budapest Hotel.” Despite its consistent vibrance, the film has an old timey feel to it. Even with the score sometimes, which is another tour de force from Alexandre Desplat. The music commands your attention and is up there with “Isle of Dogs” as one of my favorites in a Wes Anderson film.

Watching “The Phoenician Scheme” is like going to an art museum but you are consistently bored or unamused by every single exhibit. Yes, this film looks extravagant and is obviously well done, but is it worth my time? Judging by my repeated urge to fall asleep in the auditorium, I do not think so. As easy on the eyes and ears as “The Phoenician Scheme” is, I wish I could have used those eyes and ears to see and hear something much more valuable.

As a director, Wes Anderson is undeniably quirky. Part of his quirkiness shines through the performances he gets out of his actors. Like some of his other films, his unique way of getting actors to deliver dialogue tends to stand out. There is something about their lines, at least to me, that lacks realism, but nevertheless tends to work in the environment of his films. Watching “The Phoenician Scheme” however, the dialogue comes off as stiff and stilted. Every line feels as if the characters are reading off their finest essays rather than speaking off the cuff or acting like genuine human beings. Seriously! Every other line in this film feels disappointingly robotic!

To make matters worse, this film, like some of Wes Anderson’s previous work, has a stacked, talented cast. If you were to ask a friend who their favorite actor is, chances are their pick is in this movie! Everyone from Benecio del Toro to Tom Hanks to Scarlett Johansson to Benedict Cumberbatch to Bryan Cranston! This movie is kind of like “Amsterdam” with a pinch more polish!

The worst offender among the cast for me is Michael Cera, seen above doing his best Adam Conover cosplay. For the record, I like Michael Cera. I am a big “Scott Pilgrim vs. the World” fan. And his performance here somewhat reminded me of his performance in that film. They are not the same on the surface, but when it comes to direction and vision, they feel like they strictly belong in their respective universes. That sounds like a good thing, but in the case of “The Phoenician Scheme,” I was bewildered as to some of the choices they made regarding Cera’s character of Bjørn. Cera unleashes a voice for his character that got on my nerves real fast. The more he talked, the more I wanted to melt my brain.

That said, this film is also shaping up to Mia Threapleton’s (right) big break. For those who do not know, Mia Threapleton is Kate Winslet’s daughter. She was in a few projects before this film, but this is my first time seeing her in a role. She did a great job as Sister Liesl. And I do not mean that by nepotism standards. I got the impression that she could potentially have a career as successful as her mother. She is very talented.

I am by no means a Wes Anderson newbie. I have an understanding that he tends to stylize his dialogue, frame objects or people in the most still-like manner possible, and beautify the background so much to the point where it becomes a character of it own. Anderson is a noticeably a visionary director. He is an auteur. But if anything this is a film that so is overwhelmingly packed with Wes Anderson’s style that he prioritized it before characterization and pacing. As I watched this film, I barely felt anything. I did not care much about the characters, even if they are conceptually interesting. The story occasionally reeked of convolution. Overall, I left this film unsatisfied.

In the end, “The Phoenician Scheme” is a complete bore. One can argue that this film feels like something that only Wes Anderson can do. But if that is the case, that is disappointing because what this film ended up being was a slow, albeit pretty looking espionage story that I won’t even remember in the next year. If you want to watch a good Wes Anderson movie go back and watch “Rushmore.” Go watch “Fantastic Mr. Fox.” Heck, even his earliest feature film, “Bottle Rocket,” was quite fun. If this was my first Wes Anderson film, chances are I would not be looking forward to what he has up his sleeve next. I am going to give “The Phoenician Scheme” a 3/10.

“The Phoenician Scheme” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Life of Chuck!” Stay tuned! Also coming soon, look forward to my thoughts on “Materialists” and “Elio.” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Phoenician Scheme?” What did you think about it? Or, what is a bad film from a filmmaker whose work you traditionally like? Let me know down below! Scene Before is your click to the flicks!

Rust (2024): A Solid Western You Will be Completely Understood for Skipping Altogether

Posted on June 6 by Jack Drees

“Rust” is directed by Joel Souza (Crown Vic, Break Night), and yes, I am talking about THAT “Rust.” The one that has been all over the news the past few years after its cinematographer passed while filming. Yes, that one. This controversial film stars Alec Baldwin (Beetlejuice, Match Game), Josh Hopkins (Cougar Town, Ally McBeal), Patrick Scott McDermott (Goosebumps, FBI), Frances Fisher (The Edge of Night, Watchmen), and Travis Fimmel (Vikings, Raised by Wolves). This film mainly centers around a young boy who is sentenced to hang for the accidental killing of a local rancher.

Some of you might be thinking, why am I reviewing “Rust?” Is it right to support this movie? After all, people made it. People, hopefully, got good money for it. And some other people will get more money if this movie gets any attention at the box office. But if you look at the behind the scenes shenanigans behind the film, it lets off a bad vibe. While filmmaking in general has its challenges, “Rust” in particular is on a different level when it comes to that. The process of making “Rust” was not exactly the most robust. And I do not mean this in the way of “Don’t Worry Darling,” which to a degree, has an entertaining backstory as to what happened while it was being made. “Rust” on the other hand has one particular infamous production mishap so bad it literally shook the industry. It changed the image of Alec Baldwin while prompting some film and TV producers to announce they are committing to only using fake weapons on set. It also put a spotlight on armorer Hannah Gutierrez-Reed, who like Baldwin, was charged with involuntary manslaughter. Gutierrez-Reed was found guilty on that particular charge, and is in jail as of this post’s publication.

That said, I was genuinely curious about the film. I wanted to see how it turned out after all the drama. It was not playing in many places around me, but in a case of stellar timing, I was able to see this film in a cinema.

As I was driving through Connecticut, going to at the time what was maybe the one theater in New England playing “Rust,” I was thinking this would be at the very least, an interesting watch. I will not deny that it is, but I will also note that as I digested the film in front of me, I found it to sometimes be a hard watch knowing the context of everything around it. For the record, I work in news, so I am not under a rock when it comes to the unfortunate events surrounding this film. Obviously, there is the tragedy of this film’s cinematographer, Halyna Hutchins. There is the trial that followed her death. The fact that this film had lots of guns in it, as well as several shootout scenes did not help either. I am not going to lie, I like the film. I think it is quite entertaining. But I will completely understand if someone were to skip this film altogether.

For the most part, I like the script for “Rust.” If I had any real problem with it, I would say some of it is poorly paced. There are some characters I am not going to end up remembering compared to others. Although that particular flaw does not mean the film is incompetent. Much of it centers around the titular character, played by Alec Baldwin, as well as a young boy named Lucas, who happens to be his grandson. I think the two play off each other well. They have decent chemistry. I sort of feel bad that Lucas’ respective actor, Patrick Scott McDermott found himself within this film’s behind the scenes fiasco. He did not ask for this. Despite the film being called “Rust,” the film is ultimately not about Rust and more about Patrick Scott McDermott’s character. It essentially starts and ends with him. It is a journey to survive against the conditions and people in his way. I think McDermott did a great job as Lucas and I hope he can continue building his career from here on out. His character is also quite likable. The script does not take long to hook me into the story with Lucas’ inciting incident. I was onboard right away and could not help but root for him.

Sticking with the script, I would like to know how many drafts it had. How many last minute rewrites it received. There are one or two lines in this film that I wonder if they were put in following Halyna Hutchins’ death. There is a line that in a sense, is well used within the context of the film, but part of me wonders if it was meant as a tribute or apology for what happened. The line was about a particular gun, which Rust says ruins the lives of everyone it came across. When Baldwin said that line, it was hard not to distract myself from the film and think about the tragedy that happened because of it. Honestly, the more I think about it, the more it takes me out of the movie.

“Rust” is a western, so therefore some action is expected. Especially shootouts. Despite what I said earlier about the shootouts being hard to watch at times, I thought all the action scenes in this film were well produced. The sound design also packs a punch on occasion. It is not the most bombastic I have ever heard, but it certainly makes its presence known. Additionally, the film is pleasing to the eyes with its location choices and dramatic color palette.

I am almost hesitant to address this, but for the sake of an honest review I am going to give it a go. While much of the movie is decently shot, there are select moments where the lighting could have been better. Yes, I know, there are much bigger issues with this film than the lighting. I understand that. But there were points where I was looking at select characters’ faces and I wish there were less heavy shadows cast over them. It felt overdramatic for scenes where multiple characters are simply having a conversation. This is a western so it comes as no surprise that a lot of people wear hats, which give off shadows. When it comes to my recent lighting complaint, I am not specifically talking about any scenes where characters have hats on.

If I had anything else to say, it would be that the film sometimes dives into some tonal inconsistency. There are a couple supporting characters that are a bit more exaggerated in their delivery than others. I thought their presence in what is otherwise a fairly dramatic story was a bit weird. These characters feel like they belong in a different film. This is not a huge deal but it did throw me off.

In the end, I am not going to implore anyone to watch “Rust.” If you are uncomfortable with supporting a project based on controversy or personal values, then I am not going to force you to watch that project. If you skip “Rust,” I get it. But if I were to judge “Rust” as a movie, I think it is a decent watch. It has its problems, but it kept me entertained. I also thought the story was intriguing all the way through. While the events surrounding this movie are sad, I am glad to see everyone’s work come to life, especially that of Halyna Hutchins. As for the film’s lead, Patrick Scott McDermott, once again, he did a great job here. Hopefully the projects in his developing career build nowhere as much controversy as this one did. I am going to give “Rust” a 7/10.

“Rust” is now available to rent or buy on VOD.

Thanks for reading this review! My next reviews are going to be for “The Ruse,” “Mission: Impossible – The Final Reckoning,” “The Accountant 2,” “Bring Her Back,” “Friendship,” and “Ballerina.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Rust?” What did you think about it? Or, do you think releasing this film to the public was the right decision? I should note that part of the agreement for the film’s release involves Hutchins’ husband and son receiving profits, not the producers. Let me know your thoughts down below! Scene Before is your click to the flicks!

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