Before we begin this review, you may notice that compared to some of my other reviews, this one is not exactly as visually heavy or varied as some of my others. That is because this film is technically not out yet. I got to see it at South by Southwest this year, at which point there were no trailers or marketing for the film. That is still the case now. So if this post looks jarring, that is because I am working with what’s available. With that said, enjoy the review.
“High Tide” is written and directed by Marco Calvani (A Better Half, The View from Up Here) and stars Marco Pigossi as Lourenço. In this slice of life drama, a queer undocumented Brazilian immigrant living in Provincetown, Massachusetts questions his purpose.
I am a proud Bay Stater. I was born in Melrose, Massachusetts, grew up one town north in Wakefield, went to college in Newton, and currently work in Boston. I also enjoy the occasional trip to Dunkin’, a good ballgame at Fenway, and a fine round of candlepin bowling. Despite living in the Bay State all these years, I have probably been to Cape Cod maybe six times in my life. The last time being 2015. While that may be more than some people, this is something I consider to be a weak spot of mine as a New Englander given how big of a destination it is to some people around here. Safe to say, I have never visited Provincetown. This brings up my first, and perhaps biggest positive of “High Tide,” this movie practically took me on a vacation.
The overall look of “High Tide” is stunning. There is almost no other way to put it. Obviously, Provincetown is a beachy area at the tip of Massachusetts, so there is no doubt it is going to look nice. Getting pristine shots of a town by the water can sometimes be a layup, but everything in the frame felt completely atmospheric. From the opening shot of the film, I thought I was in the middle of the ocean. It practically commands your attention and begs you not to look away. At times I felt like I was on the beach. I was in the middle of town. I was feeling a calm breeze. Each location delivered a great mix of immersion and beauty. If I had to point out one thing though, sometimes the imagery looked a little darker than I anticipated. I watched the film in a theater I have never been to before so for all I know it could have been the quality of the projector. But it does not change the fact that what was on screen enchanted yours truly from start to finish.
Genre-wise, “High Tide” is best described as a romantic drama. It is wholeheartedly serious from start to finish, but there is an endless pinch of innocence in its storytelling. Even when dealing with heavier issues, there is always a sense of lightheartedness in the background. Never once does the film sway too far in one direction or the other, nor do the tones clash to the point where everything feels overdone. And it feels weird to say that the movie feels lighthearted, but it does. Because the reality of the film is that it centers around a man who is dealing with extravagant issues. Many great protagonists have their obstacles, and Lourenço is no exception. His visa is about to expire. He has a distant lover. But even when these issues are brought into the fray, the film delivers a calming vibe that fails to escape my mind. In fact, if I had a critique to name, if you can call it one, I would almost argue the film is almost too light given what it deals with sometimes. But a positive experience is a positive experience. I like to feel good. Who doesn’t? I am not complaining all that much.
But perhaps one of the big reasons why my mind is in a state of calm within a sea of troubles, kind of like our protagonist at times, is the romance he has with a character by the name of Maurice, played by James Bland. This is my first James Bland anything. Movie, TV show, you name it. I hope to see him in more material soon because he knocks his performance out of the park. I doubt Bland is going to win any Oscars, but there is a subtlety to his presence, his actions. There is something about his time on screen that emits perfection.
The reality is, when it comes to movies heavily revolving around romance, if the chemistry does not click between the two leads, then it is difficult for me to buy into their relationship. Maybe even root for them. Shoutout to “Anyone But You” for breaking my brain several months ago. Although in terms of chemistry, this movie hit the jackpot. There is a simple moment with these two in a bedroom right next to each other that brought forth such a charming vibe out of both of these characters. Marco Pigossi and James Bland work individually, but when put together, they bring out the best in each other. Of course, these are also two physically attractive men, so I am sure that helped certain scenes to some degree.
However, I wonder how well this film will actually do by the time it comes out. The film is very well done. It is a stellar feature debut from Marco Calvani. In fact, the only actor I could tell you I knew who they were before going to see this movie was Marisa Tomei, who also serves as an executive producer. By the way, she does a good job in this film. The reality is there are not many recognizable names. The names do not need to be big for me to get in the door, but I understand this reality is not the same for everyone. So it is my duty as someone who saw this film to tell you that it is worth watching when it comes out. It is a film that based on my experience, definitely handles serious topics, but it did so in such a way that failed to make me feel overly awful or icky. Even when things where tough in the forefront, there is a sense of joy in the background. As a slice of life picture, “High Tide” is completely watchable and worth your time.
As I said in the start of this review, one of “High Tide’s” strengths is its ability to take me somewhere beautiful. In this case, Provincetown. But when you consider the phenomenal chemistry between the two leads, the overall vibe of the picture, and how our characters handle their situations, sometimes it goes to show that it is not about the destination, it is the journey. And as far as the journey goes, the movie certainly delivers a fine one.
In the end, “High Tide” is probably not going to be the movie I will hail as this year’s top dog, but it is one that I am glad I went out of my way to see at South by Southwest this year. It deals with several tones in such a way where nothing feels tangled or overwhelming. The cinematography is immaculate. The story and characters are a delight. I have no idea when this movie is going to have a wide release, but whenever it comes out, I recommend giving it a watch. I am going to give “High Tide” a 7/10.
“High Tide” premiered at South by Southwest this past March. No official future release date or schedule has been given.
Thanks for reading this review! My next review is going to be for “Kung Fu Panda 4.” I love the “Kung Fu Panda” franchise. The first two movies are honestly some of the best creations to have ever been put out by DreamWorks Animation. I watched the first one incessantly as a child. I think the second film could possibly be better. I think of the first three movies, the trilogy capper is easily the weakest. So how will this fourth installment fare? We shall see. 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 “High Tide?” What did you think about it? Or, did you go to South by Southwest this year? Tell me about your experience! Let me know down below! Scene Before is your click to the flicks!
“Dune Part Two” is directed by Denis Villeneuve (Blade Runner 2049, Arrival) and stars Timothée Chalamet (Wonka, Interstellar), Zendaya (Spider-Man: Homecoming, The Greatest Showman), Rebecca Ferguson (Reminiscence, Mission: Impossible – Rogue Nation), Josh Brolin (The Goonies, Avengers: Infinity War), Austin Butler (Elvis, Once Upon a Time in Hollywood), Florence Pugh (Black Widow, Don’t Worry Darling), Dave Bautista (Guardians of the Galaxy, Blade Runner 2049), Christopher Walken (Catch Me if You Can, The Deer Hunter), Léa Seydoux (Crimes of the Future, Spectre), Souheila Yacoub (Making of, Climax), Stellan Skarsgård (Mamma Mia!, Thor), Charlotte Rampling (Restless, 45 Years), and Javier Bardem (Being the Ricardos, No Country for Old Men). This film is a sequel to the 2021 science-fiction epic based on the novel by Frank Herbert. It follows Paul Atriedes as he journeys with the Fremen while waging war against House Harkonnen.
It is crazy to think how far we are in the 2020s. The decade is flying by. It kind of feels like yesterday when I saw “Dune” for the first time in theaters. By now, I have seen it a few times in theaters, once on 4K Blu-ray, and a couple times on TNT. Safe to say, this film has taken up a significant part of my screentime through the past two and a half years. And like many people, I happened to dig it. I do not think it is by any means the greatest science fiction film ever. If anything, the pacing could have been improved. The color palette could have been tinkered just a tad in select scenes. The film feels far less eventful in its third act than it does in the first two, which felt a bit odd but I was engaged nevertheless. Overall, I thought the first “Dune” was fantastic. It even made my top 10 best movies of 2021 and won Best Picture at the 4th Annual Jack Awards. It is a really good movie and it is deserving of its praise, even if there are science fiction films I would rather watch first.
In fact, of Denis Villeneuve’s filmography, I think it is one of his inferior outings. I liked “Prisoners” better. I liked “Arrival” better. I liked “Blade Runner 2049” better. He did those previous two movies back to back and both were equally sensational. Even with the slightly weaker “Dune” coming afterwards, I will not deny that Denis Villeneuve is not only on a hot streak, but is building a case to become the greatest science fiction director ever. As far as my excitement for “Dune Part Two” goes, it was astronomical. All the trailers were great. The footage looked beautiful. And knowing that the film was shot in IMAX’s specialized aspect ratio was a bonus. I thought the film was made for the theatrical experience, and I was also happy to know that more people were going to get the chance to see this movie the way this and the last film were meant to be seen.
Shoutout to HBO Max for nearly killing movie theaters in 2021.
But the million dollar question is this… How was the movie?
Well, to answer that question… I am going to start off by stating a potential problem the movie has. And that is that I will never be able to watch it for the first time again. I will likely never get to experience the sense of euphoria the way I did seeing this movie during my initial viewing.
For those who nag about me not getting around to certain film classics like “Rocky” or “12 Angry Men,” those who choose to say I am not a real movie fan, I could do the same thing to you when it comes to “Pulp Fiction” or “2001: A Space Odyssey,” but I am not going to. Instead, I am going to tell you I am somewhat jealous because you have the opportunity on your hands to watch those movies for the first time. When I hear someone is going to watch either of those films for the first time, my initial thought is, good for them! I hope they have a time of their life equal to what I myself experienced during my first viewing. I feel the same way about “Dune Part Two,” because while I immensely enjoyed the first “Dune,” not only does this sequel feel like it is on another level, but it is one of the most innovative additions to the sci-fi genre that comes to mind.
And I say this knowing that this is a follow-up that just so happens to be the second half of a first book of a popular series that has already been adapted to both film and TV in the past. Nevertheless, this feels like something new. There are times where I watched “Dune Part Two” and could not help but make a couple “Star Wars” analogies. Based on its technical mastery and power, this film must emit similar feelings to when people watched “Star Wars” for the first time in 1977. Meanwhile, as a sequel, “Dune Part Two” reminds me a bit of “The Empire Strikes Back.”
This is not only because “Dune Part Two” is a high quality second installment, but when it comes to the duel scenes, those are improved here. Not that the duel scenes in the first “Dune” were bad. If anything, they were terrific. That said, the choreography is much more spellbinding this time around. Additionally, I felt incredibly riveted by the story and characters, which made the film’s action scenes all the more exciting. With these two ideas in mind, I can tell you there is a duel towards the end of this film that is nothing short of jaw-dropping. The choreography is so fast that you would think that Sonic the Hedgehog oversaw it. Meanwhile, it is all in the middle of a key scene of the film where the emotions of our characters reach a tipping point. Where the story reaches its finest moments. Where we get some of the finest exchanges and performances in the history of science fiction. There is a moment towards the end of the movie, it is in the trailer, where Paul Atriedes yells, “SILENCE!” As far as pure line delivery goes, it is arguably the most chilling utterance of dialogue of the decade so far. The only other line in a movie that I can think of that came out in the 2020s that rivals this for me is the final line of “Oppenheimer.” Specifically, “I believe we did.”
Another reason why I found myself calling this the next “Empire Strikes Back” is because it goes all out on its antagonists. Stellan Skarsgård returns once again to slay his performance as Baron Harkonnen. Dave Bautista continues to prove himself as a fine wrestler-turned-actor as Glossu Rabban. In fact, not only does Bautista cement himself as a superior wrestler-turned-actor when compared to John Cena and Dwayne Johnson, he convinces me he could rack up one or two Oscar nominations if he keeps up the good work. I have seen Bautista in quite a few movies now. “Dune Part Two” is easily his greatest performance yet. Between the “Dune” movies and “Blade Runner 2049,” I would love to see Bautista continue to collaborate with Denis Villeneuve as much as possible because they tend to bring out the best in each other. Both of these characters are intimidating and well executed. Every moment they are on screen had me hooked.
But the real star of the show, antagonist-wise, is Austin Butler as Feyd-Rautha. While I did not love “Elvis,” there is no denying that Butler was the best part of it. Much like that film, his performance just so happens to be one of the best elements of “Dune Part Two.” There is such a sinister nature to this character that is almost beyond reality but in the case of this universe, I immediately bought into it from scene one. Butler makes it believable. This is a guy who will literally kill his own people on a whim, perhaps delivering him a great deal of satisfaction as a result. Feyd-Rautha works so well because he emitted a feeling in me that many great villains should be able to emit. He becomes a character that I love to hate. I would not want to go bowling with this character, but as a villain, he is perfect. Not only that, but Butler sometimes feels unrecognizable. I have not seen him in a lot of movies, but based on what I have seen him in before, he has a flair to his performance here that comes off as individualistic.
That said, this is film is led by Timothée Chalamet. In today’s culture, it is easy to say the idea of “the movie star” is dead. But if there are sparks of that idea that are still alive, then Timothée Chalamet is certainly one of them. And boy is he a fine star. Not only is he young and good looking, not only is he bankable, but he also just so happens to have incredible range. Prior to this movie, he starred in “Wonka.” While I was not a fan of the movie, I thought he handled the material perfectly. He made the movie fun. He was expressive, upbeat, not to mention a mighty fine vocalist. Now we go to his next movie, “Dune Part Two,” where Chalamet’s character is caught in the middle of war, politics, and drama. And Chalamet’s ability to immerse himself into a world like this is impeccable. It feels weird, but one of Chalamet’s hidden talents is making such a scrawny dude come off as one of the most convincing leading figures in recent cinema. Sure, he’s not exactly short, but muscular is not the first word I’d use to describe Chalamet as a person.
I think “Dune Part Two” has an advantage for general audiences. While I cannot imagine this movie being for everyone, I can see this movie having a wider appeal than the first one. The movie not only has more action, but I would say the action is better this time around. I also think this film’s use of Stilgar makes for a great sidekick role of sorts. He almost comes off as a guy you would be sitting next to as you are watching the movie. Maybe he recommended it to you and is guiding you for the ride. Additionally, he has some of the most memorable lines. One of my favorite moments in “Dune Part Two” is when we see him believe Paul refuses to mention he is “the one.” There is a reason why I am seeing the words “As it is written” all over social media right now, it is Javier Bardem does a phenomenal job as Stilgar. He is perfectly cast and I cannot imagine anyone else filling in his shoes.
That said, if you enjoyed “Dune,” that does not necessarily imply you will fail to do the same in regards to “Dune Part Two.” I am proof of that. I really liked the first “Dune.” I gave it a positive review. But I think this sequel feels more adventurous. The score, somehow, is more memorable its predecessor. There is a theme that blares throughout the movie that I cannot get out of my head. It does a good job at expanding the lore and building the world. The acting is better. And as a pure experience, “Dune Part Two” is simply put, superior. One of my problems with the first “Dune” is that it very much feels like an intro guide to the world within. The movie has a three act structure, character development, and pretty much everything else you need to call it a movie. But one of its flaws is that it tends to feel more like a “how to survive Arrakis tutorial” than a journey through Arrakis. Now with this movie, it feels like we are taking the tools we acquired from the predecessor and putting them to the test.
Thankfully, as I write this review, “Dune Part Two” is still playing in theaters. And I must tell you, if you have not seen “Dune Part Two” in a theater yet, do yourself a favor and get your tickets as soon as you can, because this is one of those theatrical experiences you have to see to believe. This is easily one of the best times I ever had in a movie theater. I felt like sand was coming through the speakers the entire time. I thought I was in the middle of the desert. I was convinced the wind was flying in my face. If you told me that I was in Arrakis for two and a half hours, I would have believed you. But there is a reason, above all others, why you should see this movie on the big screen. Sandworms. Yes, there are sandworms in the last movie. But that’s not the point.
In this sequel, there are several minutes in this movie dedicated to Paul first experiencing what it is like to ride a sandworm for the first time. This is one of the most riveting, loudest, most visceral, exhilarating scenes yours truly has ever witnessed. This is one of those scenes that shows why movie theaters are built. It shows why we make big movies for the big screen. When I look back at this scene, it was almost as if I were alive a century or two ago, I had never seen a movie and someone from the distant future time-travelled to when I would exist. That person would then show me the power of what movies could be. This scene is perfection. It was well shot, packed with rambunctiously satisfying audio, and is nothing short of a perfect tech demo. But in both the background and the forefront, we are seeing our characters experience the world in front of them, learn more about each other, themselves, and their abilities. As an audience member, I am getting a great mix of thrills, expansion of lore, and details about certain characters.
The movie makes such a simple moment of learning and adapting look like the most intense thing in the history of the world. This is a scene I will never forget. Once again, a moment like this will show why I would be jealous to find out someone tells me they are about to watch this movie for the first time.
I thought the sandworm action could not get as electrifying as this… Until the second half of the movie happened, and somehow it equaled, if not surpassed the thrills I felt before. There is a scene, you’ll know it when you see it, where there is a shot showing the perspective from a sandworm’s eye. It is one of the most eye-popping, beautiful things I have ever seen on a screen. It’s quick, it’s raw, it’s massive. It is basically an encapsulation that describes the film itself. I was thrilled to no end.
Although going back to the original “Dune,” this brings up something noticeable about this sequel. There is a reason why it has “Part Two” in its title. Obviously, it is the second “Dune” movie, yes. Also, it is the second half of the original book. But this really is true to its name, a “Part Two.” There are several sequels you could watch and appreciate without having to see the original movie. Having watched “Dune Part Two,” this is one of those movies where I feel in order to fully appreciate what is in front of you, it would be worth going back and giving the first “Dune” a watch at some point. Either if you forgot what happened, or if you have never seen it before. Because there are a couple moments that would hit harder if you have that movie under your belt.
I have not seen “Dune Part Two” a second time just yet, but knowing the how lost for words I became by the time the movie was over, my second viewing is definitely around the corner. But I will never forget my first time. And this is where I bring in another “Star Wars” comparison. Much like that 1977 science fiction event, I will look back at “Dune Part Two” as a film that will define a generation. It has flaws. I kind of wish to know how people get off the sandworms once they are done with them. Some of the pacing feels inconsistent, but even in the less consistent moments the story is still exciting. And again, if you have not seen the first movie, it could theoretically lessen the impact of this one just a little. Other than that, there is not much else can I say except this is one of the best fiction movies of the decade, and you should see it as soon as you get a chance.
In the end, “Dune Part Two” fits the classic motto of a fine sequel. It goes bigger, and it is better. “Dune Part Two” is not only superior to its predecessor, but it is also the first great movie I have seen in 2024. It is still early in the year, but I needed this. After “Madame Web,” “Night Swim,” and “Argylle,” I truly needed a movie that I could deem somewhere on the level of a master class effort. And this is that movie. Going back to what I said earlier, Denis Villeneuve is on a roll. While I think Christopher Nolan is the superior director, he has a knack for filmmaking that is on the level of Christopher Nolan. I have not seen all of his work. I still need to watch “Enemy” and “Incendies.” But from what I have seen so far from Villeneuve, I can say that I have not seen a single bad movie from him. I can easily name a least favorite, and that would be “Sicario,” but that is still a movie where there are more positives than negatives for me. If Denis Villeneuve ends up making a third “Dune,” perhaps an adaptation of “Dune: Messiah” that is on the level of these last two movies, it would easily further the case of him being the greatest sci-fi director of all time. Villeneuve is that good at what he does. But it is not just him. You have Greig Fraser’s immensely beautiful cinematography. Hans Zimmer’s roaring score. An incredible ensemble of actors across the board. Timothée Chalamet, Stellan Skarsgård, Rebecca Ferguson, Austin Butler, and Dave Bautista just to name a few! I did not even get to Zendaya! She does a really good job as Chani in this film. Regarding the love connection between Chani and Paul, I bought into it immediately. It is still early, so it is hard to know how this movie will do next awards season. That said, not only could I see this movie getting nominated for Best Picture at next year’s Oscars, …I can totally see it winning. It is that brilliant. I am going to give “Dune Part Two” a 9/10.
“Dune Part Two” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, good news! I have more coming! Be sure to look out for my thoughts on “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” “Godzilla X Kong: The New Empire,” and “Monkey Man.” 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 “Dune Part Two?” What did you think about it? Or, what is your favorite scene in film history? Let me know down below! Scene Before is your click to the flicks!
“Bob Marley: One Love” is directed by Reinaldo Marcus Green (We Own This City, King Richard) and stars Kingsley Ben-Adir (Secret Invasion, One Night in Miami…), Lashana Lynch (No Time to Die, Captain Marvel), and James Norton (Happy Valley, Flatliners). This film follows the titular reggae musician in his journey in music and to overcome his difficulties.
When I surf the Internet or have conversations in my social circles, one thing that sometimes comes up just so happens to movie trailers. Specifically, the idea of seeing the same trailer over and over again at the movie theater. I remember a colleague of mine saying that this happened to them for “Argylle.” And I can say that is one I remember seeing quite a bit as well. But if I had to name a trailer or marketing campaign that has done such a thing for me recently, it would be the one for “Bob Marley: One Love.” To be fair, they put the first trailer out months in advance, so it had the opportunity to be shown plenty of times. But almost every time I went to the movies, it flashed on the screen.
Based on the unlimited exposure “Bob Marley: One Love” has given me alone, I hoped it wouldn’t suck. Partially because, well, “Argylle” did. When you play a trailer enough times to equal a short movie, then I kind of hope by the time I see it, I don’t feel duped. That said, the movie did not look like the next big thing, but by no means did it look awful. There was potential between factors such as the story and Ben-Adir playing the lead role.
Unfortunately, when it comes to films about musicians or music in general, this failed to hit the right notes for me.
To be frank though, it made me question my intelligence. I understand a lot of movies. Sometimes I understand movies will mean certain things to certain people. Sometimes I get that art in general can be open-ended. “Bob Marley: One Love” seems for the most part, straightforward, but it reminded me of one of my weak spots. Languages.
I am not saying I refuse to learn or understand foreign languages, what I am saying is that whenever I am tasked with doing so, say for when I was in school, I found it to be incredibly difficult. But I am always thankful whenever movies have subtitles because they help me understand what is going on. “Bob Marley: One Love” is in English, but a lot of it is spoken through Jamaican accents, which I do not usually hear every day. There is nothing wrong with that. In fact, I appreciate the authenticity. I just wish, and this harkens back to my struggles, I could have been more engaged with it.
I am NOT asking people from this movie to sound like they’re from Ohio. I am just saying that if I were able to see the future, I probably would have asked for a different fate where I could have subtitles flashing on screen throughout the film. Simple as that. It is sad that an issue like this is detracting from my overall experience, but facts are facts.
Ever since “Parasite” director Bong Joon Ho won the Golden Globe for Best Motion Picture, International Feature during the 2020 edition of the ceremony, there is one quote I have often used in regards to watching certain movies.
“Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” -Bong Joon Ho
That quote specifically applies to foreign flicks or films not mostly executed in my native language, which would be English. But a part of me thought Bong Joon Ho’s quote could be applied to “Bob Marley: One Love” as well. The movie is part of the Hollywood system and heavily marketed to North American audiences, but as I watched the film, I had trouble deciphering some of what’s being said. Now, maybe my hearing is deteriorating. Maybe I watched “Oppenheimer” one too many times and now I’m paying the price. But it is also possible that I just was trying my best to understand every word that was being said by certain characters, and for whatever reason, it just wasn’t coming through. There is nothing wrong with authentic accents or voices that link to a certain part of the world. That said, if I were to go back and watch “Bob Marley: One Love” a second time, which I am probably not going to, I’d want subtitles.
I am going to give props to “Bob Marley: One Love” for perhaps delivering an authentic, lifelike experience when it comes to several characters interacting with each other or talking with one another. But if we are simply going by first impressions, I felt a little lost watching this film. A bit disengaged perhaps. Because for all I know, I could latch onto a number of the conversation scenes during this movie, but I could not pick up on everything the characters are saying. I remember a few years ago when I saw the 2021 remake of “West Side Story” for the first time and they had a few scenes where they had characters speaking in Spanish, and there were no subtitles on screen. For the record, I dropped out of Spanish I in high school a couple weeks into the class, so I’m no expert on the language. But even I got a sense of the context of what was going on without subtitles. Now when I look at “Bob Marley: One Love” it feels weird knowing that I am going from comprehending a language I do not speak, to not getting a clue of what was going on in this movie in English. I know not every movie can be universal to everyone. But my lack of understanding of what was going on through the dialogue severely hindered my experience. It could have been a lot better.
Even with my complaints, I will not deny that Kingsley Ben-Adir was a good pick to play the titular role. I thought he had charisma, pizzazz, and he also looked the part. And it is almost hard to imagine other people filling in the shoes of this role. When it comes to the overall chemistry in the film, Ben-Adir does a good job with latching onto just about every other character in sight. I am not saying this performance is going to win an Oscar, but as far this movie goes, he does a good job. And honestly, while there are no abominable performances in the movie, there are no other real standouts either.
But if there is another standout, I would have to say the soundtrack is sometimes pretty good. Obviously, this is a music-based film so this should not be a huge surprise, but the moments where we end up hearing Marley’s music make the film a tad better.
Although I want to talk about the part of the movie that for me, really let me down. The ending. It is not heartbreaking per se. It is not offensive to other people. It is by no means a crime against humanity. But the best way I can describe this ending, primarily from a filmmaking and cinematic perspective, is “lazy.” Because I came into this movie with a certain expectation, and once we get to the end, once it feels like we are getting to that point, the movie stops and delivers such an expectation in a way that honestly feels slapped together. I do not know how to talk about this moment without saying the words “spoiler alert,” which come to think of it, would be a weird thing to say about a movie based on real people and true events. But as we got to the ending, my pupils lit up, and my dilation nearly became an eyeroll. The movie started, to some degree, getting better. Or so I thought. It put a massive dent on what I already thought was an underwhelming experience.
The potential is there for a good story regarding this material in particular. I think it is a story that could make a figure like Bob Marley attach to a great span of this world. It would get a lot of people to feel bad for him and root for him. But there are so many little things in the movie that left me unsatisfied. The acting is okay, but I just wish I could have been more attached to the characters. Pacing-wise, “Bob Marley: One Love” is an enigma. The movie is somehow too long to catch my absolute interest. Yet as soon there are crevices where something actually manages to catch my interest, it does not take long for the movie to become boring. This movie came out the same weekend as “Madame Web,” which I saw first. “Bob Marley: One Love” is not “Madame Web” bad, but it is still not good.
In the end, “Bob Marley: One Love” is off-key. I was bored. I was disengaged. I wanted to leave. Now, the film is by no means the worst I have ever seen, but there is nothing that stands out about it that makes me want to watch it a second time. As conventional as say, “Bohemian Rhapsody” may appear, I was more engaged with that film and how it handles its characters. I thought it was a story where I could latch on from start to finish. Additionally, as much as I liked Ben-Adir’s lead performance, it is a far cry from Rami Malek as Freddie Mercury. “Bob Marley: One Love” tries to take a compelling concept to the finish line. But in terms of execution, I felt it needed to pick up the pace just a bit. Maybe a second viewing with subtitles would make the experience better, but I was not riveted enough in my first viewing to warrant a second viewing. I am going to give “Bob Marley: One Love” a 4/10.
“Bob Marley: One Love” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! My next review is going to be for my most anticipated movie of 2024, “Dune Part Two.” Does it live up to the hype? You’ll have to wait and see. Also coming soon, I will have reviews for “High Tide,” “Kung Fu Panda 4,” “Ghostbusters: Frozen Empire,” “Snack Shack,” and “Godzilla x Kong: The New Empire” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Bob Marley: One Love?” What did you think about it? Or, who is an artist whose story would make for a good biopic? Let me know down below! Scene Before is your click to the flicks!
“American Fiction” is directed by Cord Jefferson and this is his directorial debut. The film stars Jeffrey Wright (Asteroid City, What If…?), Tracee Ellis Ross (Black-ish, The High Note), John Ortiz (Fast & Furious, Clyde Goes Boating), Erika Alexander (The Cosby Show, Living Single), Leslie Uggams (Roots, Deadpool), Adam Brody (Shazam!, Ready or Not), Issa Rae (Barbie, Spider-Man: Across the Spider-Verse), and Sterling K. Brown (This Is Us, Army Wives). This film is about an author who creates a satirical book under a pen name that becomes bigger than anyone, even he, could have imagined.
As we approach the end of the 2023 film awards season, it is time to discuss a movie that may not be a frontrunner to win all the Oscars this year, but one that has had a respectable share of spotlight. I knew about a lot of movies coming out towards the year’s end, but “American Fiction” was one that kind of came out of nowhere for me. It took me a couple trailer watches, mentions from social circles, and online pundits to drill the title in my head, but the whole idea of the film was something that I could get behind. It looked funny, well-acted, and well-written. Thankfully, when it comes to my expectations, this film hits all three of those checkmarks. The humor is great. The acting is great. The screenplay is great. And what makes all of this even better is that the director of this film, Cord Jefferson, is making this picture his debut.
According to his IMDb page, Cord Jefferson has never once directed anything else before “American Fiction.” This includes other features. This includes shorts. This includes television. Up until now, Jefferson has had a hand in television producing and writing. His resume includes “Master of None,” “Watchmen,” and “The Good Place,” the latter of which I have watched and find quite hilarious. It got me through my recovery after getting my wisdom teeth removed so I feel like I owe something to the people who made that show. And now Jefferson his taking his TV talents and using them to deliver one of 2023’s funniest films.
The ensemble for “American Fiction” can do no wrong. From the commanding, but not quite in your face presence of Jeffrey Wright, to the quality charisma of Tracee Ellis Ross to the flamboyant glory of Issa Rae, the latter of whom makes me imagine that she could eventually become one of my favorite performers in the near future. I thought Rae was a standout in “Barbie.” But she is a different kind of great here. Honestly, I almost cannot see anyone else playing her character. She does a great job not only having a hypnotic presence from scene one, but when we see her read her book, she does a great job at immersing me into the scene and feeling as if I am not only getting to hear the book, but maybe also getting some speck of imagination to the point where I would be mistaken to believe the events of the book are actually playing out in front of me.
As I have grown older, one of things I continue to appreciate about movies is the very idea of how people can take something and deliver a primarily visual experience, but if you have to ask me, “American Fiction’s” greatest asset has to be its dialogue. There are several lines from this film that are contenders to be some of the year’s best. I don’t think any of them will have as monumental of an impact as “Oppenheimer‘s” final line, “I believe we did,” but when it comes to individual lines, there is one quote from the main character that is funny, not only because of its delivery, but because regardless of its context, the more I think about it, the more I feel it applies to some aspects of modern society. Specifically, “The dumber I behave, the richer I get.” In fact, some would say this line even links to how entertainment works nowadays. There seems to be a consensus that we keep making entertainment, whether it is through movies, television, or in this movie’s case, books, arguably for the lowest common denominator. In fact, that falls in line with the main protagonist’s goal as well, because the film follows his journey as an author who cares about and finds passion in what he does, even though he does not have the widest audience. But the more he panders to a demographic or lie about himself, the more successful he becomes.
As for other standouts, the film itself looks beautiful. This film is shot by Cristina Dunlap. Cinematography-wise, it is not the top dog of the year, but it is sometimes enchanting to look at. The film is packed with a variety of eye-popping exterior shots. I may be biased because I am from Massachusetts and this movie is set around various areas I have been to around the state, but I can say that when it comes to showcasing those areas on camera, I will not deny that the showcase itself is rather pleasing. But the film is not just easy on the eyes, but also the ears. Laura Karpman’s score is quite good. It fits every scene well.
While this film may not win Best Picture at the Oscars this year, that said, you never know, it could pull an upset… I will say when it comes to this year’s slate, particularly the movies that are going for the heavy-hitting awards, this film gets some things right that I would say “Barbie” also gets right. Specifically the vibes and tone, mixed together with the overall look of the film. In some sense, “American Fiction” is a down to earth story about people you could probably find in our society, but it also comes off with this slight sense of fantasy. It is hard to describe, but I appreciated it.
I also must note that when I remember this film, I will remember it well for the laughs I had. The smiles I had. But it is a pretty balanced movie in terms of emotion. When we get to know Thelonious’s family, we also get to know his mother, who we find out has Alzheimer’s. While I will affirm the film is not quite as memorable as “Everything Everywhere All at Once,” when you take the main idea of “American Fiction” and combine it with this Alzheimer’s subplot, the two films feel similar tonally. Because “Everything Everywhere All at Once” had tons of multiversal shenanigans, but you also have an intriguing subplot that is more down to earth like the turmoil between multiple family relationships. As for the subplot itself, I thought it was handled with grace and it unleashed a great performance out of Leslie Uggams (right). In terms of story and characters, what “American Fiction” provides on the surface, is intriguing. That said, there is more to it that paints a pretty picture.
In the end, “American Fiction” is unpredictable, exciting, and hilarious. When it comes to commentary, this is one of 2023’s finest works. But it also does something equally as important. Entertain. Once again, this is the first film from Cord Jefferson, and I honestly cannot wait to see what he does next. It is not just a good time, it is a great time. And I think you will have a great time should you decide to watch this film. Not the best of 2023, but it gets a lot of things right. When it comes to flaws, they do exist. I will remember some aspects of this film more than others. Some scenes feel a tad abrupt in terms of flow. But there’s nothing game-breaking. As for my score, I am going to give “American Fiction” a high 7/10, and honestly if I were to watch it a second time, it could go up.
“American Fiction” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, I have more where that came from! Pretty soon I am going to have reviews for “Lisa Frankenstein,” “Madame Web,” “Bob Marley: One Love,” “Drive-Away Dolls” and my most anticipated movie this year, “Dune Part Two.” Also, if you have a lot of time on your hands and you want to find what films defined the art form in 2023, check out the 6th Annual Jack Awards, possibly the biggest waste of time in your entire life. Who knows? If you want to see more great content like this, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “American Fiction?” What did you think about it? Or, what is your favorite directorial debut? I don’t have a concrete answer, but I recently rewatched “Deadpool” over Valentine’s Day, because what other movie would I watch?! That was Tim Miller’s first feature film and it ended up being one of the funniest I have ever seen. If you have an answer of your own, say it down below! Scene Before is your click to the flicks!
“I.S.S.” is directed by Gabriela Cowperthwaite (Blackfish, Our Friend) and stars Ariana DeBose (West Side Story, Wish), Chris Messina (Alex of Venice, The Mindy Project), John Gallagher Jr. (Come Play, Underwater), Masha Mashkova (McMafia, For All Mankind), Costa Ronin (The Americans, Homeland), and Pilou Asbæk (Overlord, Game of Thrones). This film centers around a group of American astronauts and Russian cosmonauts who work together at the International Space Station, when suddenly, conflict breaks out between their respective nations back on Earth. Meanwhile, both sides are ordered to take over the space station no matter the method or cost.
If you have known me or followed Scene Before for some time, it is no secret that I love space movies. Some of my favorite movies include “2001: A Space Odyssey,” “Interstellar,” and “Star Wars.” When it comes to cinema, I may have a predisposed bias to anything that takes place in space, but it does not mean I am guaranteed to like it. For example, “The Space Between Us” stands as one of the worst travesties I have ever witnessed in the sci-fi genre. But I should note that the movie came out in February 2017. As I and others have noted, February is one of the worst months for films. Right alongside that rathole is its next door neighbor, January, so going into “I.S.S.,” I had to temper my expectations despite the trailer looking decent.
Nevertheless, “I.S.S.” has a presentable concept. I like the idea of taking an object in space that has been the subject of years of collaboration and having war break out on it between its two respective parties. The Americans and the Russians. And when it comes to handling this concept, I have to say the film is very well done. If you asked me if I wanted to go space one day, the answer is a resounding yes. But after watching this movie, it reminds me of my slight fear toward the idea. Because depending on how things go, that childlike dream can potentially become a nightmare. While it is not my favorite of the recent space fare, one movie that has always stuck in my mind both from its technical power and storytelling mastery, is “Gravity.” “I.S.S.” very much reminds me of “Gravity” because the story is not only gripping on paper, but the way it is told allows for some scary moments. “I.S.S.,” much like “Gravity,” is not the best space film I have seen. In fact, I think “Gravity” is the superior watch of the two. But I am going to be thinking about this movie for some time because some of the imagery is vividly haunting. On top of that, the way it goes about handling its characters easily strikes fear as to what could potentially happen if something goes wrong in our world, and eventually makes its way into space. Regardless of how realistic this movie is in its execution, it is one that got me thinking, and I appreciate it for that.
One reason why I think this film is good, but not as good as the recently mentioned “Gravity,” is that I am looking back at the characters, and I have to say they are not the film’s strongest asset. Do not get me wrong, they are not an insult or anything. But as I look back on the film, I do not think I will remember anybody’s name within the next month. The movie sometimes does an okay job at establishing character quirks, individualities, those sorts of things. But sometimes it feels surface level. There is one astronaut, Christian, played by John Gallagher Jr., who we learn has two daughters. They are obviously a driving force for his journey and role. But it is also hard to fully appreciate the character because we are simply told about these characters and never get a visual or audio reference to the daughters themselves.
At the beginning of the review, I mentioned one of my favorite films was “Interstellar,” and one reason why I adore that film so much is because it took its time in letting its audience get to know not just Cooper, the main astronaut, but it also let the audience know about his family. So whenever the film references his family or children, either through his mouth, or simply by showing them, the impact is so much bigger. One of the strengths of “I.S.S.” is that the film is tightly paced in its 95 minute runtime. So if you are looking for a short movie that gets the job done, this is not a bad watch. But the film sometimes suffers from its short runtime, and the more I think about it, its limited scale. The film lets us spend time with a select number of characters, but it also prevents us from having a full-fledged story. Granted, when I look back at “Gravity,” one of its standout scenes is when Ryan and Matt are just having a conversation while floating through space and we learn about Ryan’s backstory about what she does, her origins, and how her dad wanted a boy. But not only was that well written, but the movie does a fantastic job at unleashing memorable performances out of Sandra Bullock and George Clooney. The performances in “I.S.S.” serve the movie quite well. But when it comes to main protagonists, Kira Foster (DeBose) is no Ryan Stone.
But if you want me to be real, the performances, while not legendary, are genuinely good all around. The chemistry between everyone in the cast is perfect. DeBose breaks a leg in the lead role. I thought on the Russian side, Masha Mashkova and Pilou Asbæk were the two most prominent standouts. The moments where all the astronauts meet and get to know each other make for some fun bonding scenes.
Another problem I have with this film is the ending. The ending is not the worst I have seen. But it concludes in such an abrupt manner to the point where I can simply go, “Well, it’s over.” It neither left me wanting more nor did it leave me passionately angry. It just happened. It is like the movie did not how to wrap up so it just whipped something into shape really quickly and said, “Here you go!” Enjoy! Except it was not as enjoyable as it probably could have been. That’s just the reality. “I.S.S.” is both paced well enough to justify its runtime, but lacks just enough depth to make me wish it was longer.
In the end, “I.S.S.” is not the best space movie in recent times, but it is one that I do not regret seeing. The film is not getting the best scores from audiences, and while I can understand why, I cannot say I am in line with those audiences. On Rotten Tomatoes, the film has a 62% critic score and a 44% audience score. I am going to have to lean towards the critics on this one. This is not to say I loved the movie, but I would give it a thumbs up. As a thriller, it is exciting. As a space movie, it is riveting. And while it is not as terrifying as some recent horror fare, it has its moments of chills. Everyone in the film’s small cast does a good job and there are select characters I almost cannot see anyone else playing. Does the film have problems? Yes. But I will not deny that it had my eyes on the screen the entire time. For that reason alone, I would describe my experience with “I.S.S.” to be a positive one. I am going to give “I.S.S.” a 6/10.
“I.S.S.” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for the brand Matthew Vaughn spy flick, “Argylle.” I found myself giving the trailer a lukewarm response, but I have to admit in the past decade, “Kingsman: The Secret Service” has stood out as one of my more rewatched action flicks, so I cannot deny that I at least had some excitement about checking this film out. Was it worth the watch? You will have to find out yourself. 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 “I.S.S?” What did you think about it? Or, what is your favorite space movie? Let me know down below! Scene Before is your click to the flicks!
“Driving Madeleine” is directed by Christian Carion (Merry Christmas, The Girl from Paris) and stars Line Renaud (I Can’t Sleep, Welcome to the Sticks), Dany Boon (Welcome to the Sticks, Murder Mystery), Alice Isaaz (Night at the Museum: Kahmunrah Rises Again, Elle), and Jérémie Laheurte (Blazing Neon, Blue is the Warmest Color). This film centers around a woman who reflects on her life to a cab driver all the while being given an adventurous ride to a nursing home.
On the surface, “Driving Madeleine” sounds somewhat uninteresting. The whole movie is basically an extended car trip. That is probably what I would have said before I was a teenager. I love the concept of this film because even at my age, I find the whole idea relatable. As someone who lives in the U.S., a country who unfortunately treats trains like second class citizens, car rides are an everyday thing to me. Taxis are not something I am that familiar with from experience. Of course, as someone who has been in urban environments, I know what they are. I am not an idiot. I just live in an age where Uber and Lyft dominate the rideshare market. But having seen “Driving Madeleine,” the film reminds me of a personal joy of taking certain Uber and Lyft rides. Interacting with the driver.
My relationship with rideshare drivers have never blossomed into anything remotely close to lifelong. Though there have been a couple cases where I have encountered the same driver. But it is fun to know about their life, their job, what they like to do. And at the same time, you get to see the world around you. It’s a winning combo. This is just a small fraction of why I found myself entranced with “Driving Madeleine.”
That said, when I am immersing myself in the world of rideshare, very rarely is it for something I do not want to do. In the case of this movie’s story, the titular character of “Driving Madeleine” does not necessarily have that luxury. This is a once in a lifetime trip. But it is not to a place on every person’s bucket list like the Empire State Building or Disneyland or the Sydney Opera House. Instead, it is perhaps the last place we will ever want to attend. A nursing home. One of the joys of this film is seeing this woman embrace every moment in front of her and make the most of what some may consider to be a gateway to the end. This film definitely has its downer moments, but it also contains many more sprinkles of fun and happiness than I would likely expect of a film with this kind of concept. In some ways, this is just a fun road trip movie with an unfortunate endgame. There is a saying that it is not about the destination, it’s the journey, and there are few movies that come to mind that represent that idea as effectively as this one does.
This is more than just a road trip adventure. It is a slice of life story. A tale of friendship. Nostalgia. Regret. It is, in one sense or another, an encapsulation of what it means to be human. This is not the best movie I have seen recently, but it is one that had me thinking some time after leaving the theatre.
“Driving Madeleine” reminds me a bit of “Green Book.” Of course, both primarily take place inside cars and heavily involve car trips. But the two films have another standout quality in common. Both feature characters who given the context of the situation, develop an unlikely bond. I enjoy both of these movies because they allow these kinds of companionships to blossom. The way these films go about that idea vary a bit. But they nevertheless get their point across all the while unleashing fantastic chemistry between the two leads.
One of my more notable surprises with “Driving Madeleine” was that there were moments of genuine stakes. There was a real sense of tension in a number of scenes that stuck the landing. The obstacles that the characters encounter throughout the film are appropriate, well-timed, and allow the duo to think on their feet. There were two scenes in this film where the tension reaches a maximum that I cannot stop thinking about.
“Driving Madeleine” is not only one of those films that shows what it means to be a person. But it shows what it means to be around other people. I am a bit of a lone wolf, an introvert, a recluse to some degree. My social life is kept to a minimum. But even with that, I will admit that there is a supposed necessity to have other people in my life. Whether it is my family, friends, acquaintances. This film, in multiple situations, shows the beauty of what happens when two total strangers hit it off, develop a bond, and take things further. Does this film make me want to potentially befriend every cab or rideshare driver I meet? I wouldn’t necessarily say that. But it is a magnificent adventure that pays tribute to the value of the human connection.
But on top of the main journey, we get several insights into Madeleine’s life. How she grew up. What she does. Significant events. There are a couple curveballs in this film involving the character that I would bring up, but given how this is a spoiler free review, I will just suggest you watch the film yourself.
The film sometimes follows a slightly beaten path, but as I have said in other reviews, I am okay with that as long as the movie itself is good. As long as the familiar beats are admirable. And that is the case here. The familiar beats in no way water down the two most important aspects of the film, those being the leads. Not only are these two insanely likable centers of the film, but they are played by two people who give it their all from the opening scene all the way to the film’s conclusion. Those two being Line Renaud and Dany Boon.
The film’s music selection is quite good too. I have no real compliments about the score. That said, I have no real complaints about the score either. If anything it serves its purpose. But there are some good tunes in the film’s soundtrack. There is one song in the film that is used marvelously. Particularly “At Last” by Etta James. I do not think I can remember a song that has been this fantastically used in a film’s soundtrack, specifically a song that was not originally made for the film, since one or two songs from “Once Upon a Time in Hollywood” or Led Zeppelin’s “Immigrant Song” in “Thor: Ragnarok.”
In the end, I am not sure how much replay value “Driving Madeleine” is going to get from yours truly, but I am glad I saw it. This is quite a good movie and I would recommend it to anyone looking for something simple, short, but deep. The film is in French, but as Bong Joon Ho famously said in during the 2020 Golden Globes, “once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films.” “Driving Madeleine” is a lovely, pleasant, hour and a half long rideshare experience, without having to worry about paying way more than what most people would pay just to fill their own gas tank. You know, depending on how many people you have in your party at the theater or how much you are willing to spend on food. I am going to give “Driving Madeleine” a 7/10.
“Driving Madeleine” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next review is going to be for the brand new thriller, “I.S.S.!” I always love a good space movie. This felt like a necessary watch for me. Was it as necessary as I was expecting? You will find out soon enough! 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 “Driving Madeleine?” What did you think about it? Or, what is the best car trip you have ever had? For me, I always love going through the middle of New Hampshire every fall to see the foliage. I always enjoy those trips. Let me know about your excellent rides down below! Scene Before is your click to the flicks!
“Poor Things” is directed by Yorgos Lanthimos (The Favourite, The Lobster) and stars Emma Stone (The Favourite, The Amazing Spider-Man), Mark Ruffalo (Spotlight, The Avengers), Willem Dafoe (Spider-Man, The Lighthouse), Ramy Youssef (Ramy, Mr. Robot), Christopher Abbott (Sanctuary, Girls), and Jerrod Carmichael (The Carmichael Show, Lucas Bros Moving Co.). This film is based on a book by Alasdair Gray and it is about Bella Baxter, a woman whose body just so happens to be revived as a result of a scientific experiment conducted by the eccentric Dr. Godwin Baxter.
I cannot explain this film’s concept justice. It is not that I do not know what it is about. But even before going to see it, I knew certain things about it that would have made for awkward conversation or have ruined the somewhat vague nature of the film’s marketing. On the surface, the film seems to give enough away. Basically, a woman who happens to be brought to life through science experiences her definition of what it means to live. I think that is a great way to describe this movie without being too detailed, or in some cases, overly graphic. The concept is interesting to say the least. But as far as I am concerned, it was being helmed by someone who I did not completely trust.
One of my least favorite films of 2018 was “The Favourite.” Of that year’s slate of Academy Award Best Picture nominees, that movie was by far the one I considered to be the worst. That film was directed by Yorgos Lanthimos. Other than the fact that I found the film to be a uniquely boring waste of time, it gave me a bad impression of the director to the point where I neglected visiting some of his earlier films. I have heard decent things about “The Lobster” and “The Killing of a Sacred Deer.” But I refused to watch those because I was so turned off by “The Favourite.” As I have said previously on Scene Before, first impressions matter. But I watched the trailer for “Poor Things” and found myself hypnotized, but also with a sense of hesitancy in the back of my mind. But I thought “Poor Things” was worth checking out because much like “The Favourite” five years ago, “Poor Things” has been receiving tons of positive word of mouth. Plus, if Emma Stone continues to trust Lanthimos, maybe I should too.
So, how was the movie? I am very pleased to say that this is a banger of a film. It is not in my top 10 of the year, but it is excellent. I am immensely pleased and surprised by how this film turned out. It is wacky, it is weird, it is a feast for the eyes and ears. Yorgos Lanthimos undoubtedly has a unique style to his filmmaking. But in some ways, this kind of reminded me of a Wes Anderson film. Its color palette is particularly striking, the production design is a perfect blend between reality and fantasy, and the dialogue is almost like an enhancement on everyday life. I might not come across people talking the way these characters do sometimes, but I assure you it makes complete sense within the context of the movie and its universe.
One of the reasons why this film failed to reach the mark of being in my top 10 films of the year is because it starts kind of rough. It takes a bit for the movie to get going, despite inklings of intrigue. There are a couple of moments that I found to be an eyesore. In a movie full of eye candy, there are moments where I found something in the frame quite disgusting to the point where I could not help but wince or look away. It is a bit of a balancing act, really.
Part of the movie is in black and white, and then there is a portion of it that is in color. There were some mixed bags when it came to the black and white scenes. Once we get to the color scenes, that is when the movie unleashes its best material. It is creative, insane, and even with its strange tendencies, everything makes sense. I found every single thing in this film convincing. That said, there are times where the pacing is a tad uneven. It is not a huge dealbreaker, but it is noticeable.
The ensemble of the film is honestly a contender for the best of 2023. To me, it is up there with “Barbie,” “Oppenheimer,” “Killers of the Flower Moon,” and “The Holdovers” in terms of being a fine mix between star power, acting ability, and instant charm from everyone involved. Mark Ruffalo has a number of shining scenes that could potentially warrant some extended talk this awards season. Willem Dafoe, per usual, gives everything his all here. During the latter half of the film, I was heavily entranced by Kathryn Hunter as Swiney. The entire cast in this movie is great, but the star of the show, literally and figuratively, is none other than Emma Stone.
Talk about a marvelous triumph of a performance! Emma Stone nails Bella Baxter throughout this entire film. I looked back at Emma Stone’s IMDb and was reminded of some of her career highlights. Of course as a comic book movie enthusiast, I know she played Gwen Stacy in “The Amazing Spider-Man” and its sequel. She did a good job in those films despite them not being up to snuff. She also did one of the better coming of age films of the 2010s, “Easy A,” where she was funny and charming. I liked her in the “Zombieland” movies. Of course she was great in “La La Land.” I even liked her in “The Favourite” despite my negative thoughts on the movie. Given time to marinate, I have to say Stone’s performance in “Poor Things” trumps all of her past work that I have seen. I honestly cannot think of a performance of hers I liked more. “La La Land” comes close, but Stone’s performance in “Poor Things” is comparatively transformative, it is otherworldly. It something that I could have never imagined seeing in my entire life, especially from someone like her. I am not saying Stone is not a talented actress. There is a reason why she has an Oscar on her mantle. But this is a performance that takes what I know about Emma Stone as a person, as an actress, as someone who has seen her in certain movies, and completely subverts my expectations. As I watch this movie, I of course know it is Emma Stone in front of the camera. Her face has become rather recognizable over the years. In fact, even though I have not seen the movie, Stone may come off as less recognizable in Disney’s “Cruella” based on what I have witnessed through images and marketing. But as I watch this movie, despite the low difficulty of realizing the talent in front of the camera happens to be Stone physically, it is a bit harder to conclude that it is her mentally.
Part of what makes her performance so riveting and exciting is how her character easily blends in to the world around her. The script is written in such a way that I would not call it fantasy, but it certainly is not a part of our reality either. The film, kind of like “Everything Everywhere All at Once” meshes so many genres and ideas together to the point where it practically forms a genre of its own. Bella Baxter is one of the most unique characters I have seen all year, and she comes from an equally one of a kind piece of art. And that is what this movie is. Art. I was transfixed by this in the same way some may be transfixed by the Mona Lisa. Again, this is not to say “Poor Things” is one of the year’s best movies, but it is certainly one of the boldest and brightest.
While Bella Baxter might not be my favorite character in a movie I have seen this year, I need some time to think on that front. Baxter is nevertheless in contention to be, idealistically, the most fascinating protagonist created for the screen this year. She has a sympathetic personality, but she also has the mind of a young child and a teenager all wrapped into one person. With those last two ideas, we see a bit of a transition between them, but they are still interlinked somehow as the movie goes. The film is an entertaining study on what happens if you put someone as eccentric as Bella Baxter into our society, or some variant of it. What would she do? How would she behave? This is basically a fish out of water story. And while the fish out of water idea has been done time and time again, I imagine stories like this one happen to factor into why the idea continues to be unleashed in several projects. It is a tried and true method of storytelling that may be familiar, but if you could your own spin on it, it may be worth seeking out. And speaking of things that are worth seeking out, if you have time on your hands and you have not seen “Poor Things” yet, make an effort to see it at some point. Not only is it a great movie, it is one of the most welcome, monumental surprises of 2023. I know a lot of people were looking forward to this film. I was not one of them. If anything, I almost rolled my eyes knowing it exists. But with one AMC A-List punch later, I can say this is one of the better movies of the year.
In the end, “Poor Things” is a great turnaround for Yorgos Lanthimos. This movie took me from resisting his past work to making me want to see more of it. Emma Stone is better than she has ever been. If she is not nominated for an Oscar this season my jaw will be on the floor. I do not know of any actress I could see beating her this year. This is a once in a lifetime performance as far as she is concerned. The film is very funny. There are a lot of stellar lines from various characters. Bella Baxter’s mannerisms and quirks are wonderfully distinguished and brilliantly written throughout the picture. The movie does a good job at splicing all sorts of ideas at the wall and having most of them stick. The pathos was off and on. I do not think I am going to remember “Poor Things” through much of an emotional connection, but again, the comedy worked quite a bit so that makes up for it. The sets are detailed and colorful. I could not take my eyes off of some pieces. And if it were not for some occasional roughness in the first act, this film would probably make my top 10 of the year. You never know though, I could change my mind. I just saw the film. That said, as far as I am concerned, I am glad I saw it. If Lanthimos and Stone reunite in the future, I cannot wait to see what these two do next. I am going to give “Poor Things” an 8/10.
“Poor Things” is now playing in theaters everywhere. Tickets are available now!
Thanks for reading this review! If you enjoyed this review, why not check out some of my other ones? Just recently I did reviews for “Aquaman and the Lost Kingdom,” “Migration,” and “Wonka.” Check those out when you have a chance! Also, I will soon be reviewing the new romcom “Anyone But You.” That will be up later this week. Also coming soon, I will be announcing my top 10 best and worst movies of 2023. If you want to see this and more from Scene Before follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Poor Things?” What did you think about it? Or, what is your favorite Yorgos Lanthimos movie? Let me know down below! Scene Before is your click to the flicks!
“Maestro” is directed by Bradley Cooper (A Star is Born, Guardians of the Galaxy) who also stars in the film as Leonard Bernstein. Alongside Cooper is Carey Mulligan (She Said, Promising Young Woman) as his love interest, Felicia Montealegre. This film is about Leonard Bernstein’s journey through life as he spends it focusing on his greatest passions. Composing music and his relationship with his partner.
Actors who become directors is nothing new. In recent years we have seen it with James Franco, Jonah Hill, Olivia Wilde, Jordan Peele, and John Krasinski to name a few. The results have from these people have varied across the board, but another man on that list is Bradley Cooper. His previous outing was the 2018 remake “A Star is Born,” which became one of that year’s most celebrated titles that thrust a popular original song, “Shallow.” I thought the film was very good. Maybe a tad overrated as time went on, but I found it to be well done. And much like that film, Cooper’s directorial followup, “Maestro” also features him as the star. This film was not completely on my radar. Partially because Netflix is traditionally terrible at marketing their originals most of the time, but I at least knew about the film because the Internet has its way of feeding information to me. I was not completely sure what to think, but I was onboard with the concept. Bradley Cooper is currently 1 for 1 in the director’s chair, so I wanted to see if he could make it 2 for 2.
And he certainly scores here.
Overall, “Maestro” is a step down from “A Star is Born.” I don’t think I will be thinking about “Maestro” for as long or as heavily as I did after seeing “A Star is Born” back in 2018. I have not gone back to rewatch the film since, but I praised the film for its music, its acting, its screenplay, and display of what happens to creatives once they are given tools from big names. I still think the idea that people would make fun of Lady Gaga’s nose is unconvincing to the tenth degree, but the movie’s gotta movie.
If anything, Bradley Cooper almost directs this film better than he acts in it, and that is saying something because he is quite a good actor. There is a long orchestra scene more than halfway through that had me fully engaged. The entire film is set in the 20th century, but with that in mind, a lot of the film’s earlier scenes heavily immersed me. But I also think part of why he directs this film so well is because the acting in this movie is so good. One of the key aspects of directing is making sure your actors give the best performances possible. Given Cooper’s acting background, he uses that to his advantage as I felt several characters honestly could not be played by anyone else. Even if I was not a fan of some of the script choices or dialogue the characters had to utter, each character managed to make me escape from my chair into the screen. While this film is based on true events, it felt like a world that was different than my own.
Going back to Bradley Cooper’s acting, I think his acting here is also a slight step up from “A Star is Born,” because it is more chameleon-like here. Yes, factors like makeup, costuming, and others come into play here. But if I have one thing to say about this movie that makes his performance better here than “A Star is Born” it is that when I hear Bradley Cooper talk or look at his face, I see Cooper himself. In “A Star is Born,” he comes off as a movie star sometimes. It does not mean his performance sucked. Not one bit. It just means that felt like I was watching a variation of the actor as I also watched the character. Here, all I see is Bernstein. It is one of the best lead performances of the year and undoubtedly one of the finest of Cooper’s career.
The film is also one of the best edited pieces of the year, it starts kind of fast, but there are plenty of slower scenes to balance everything out. But as we get to the climax, there is a lot of breathing room that allowed the emotions of the scene to sink in. It allowed me to perhaps successfully feel the emotions this movie was going for.
The film is written by Bradley Cooper in addition to one of the finest screenwriters of this generation, Josh Singer (Spotlight, The Post). When it comes to the latter, this is one of his weaker scripts, but there is a lot to like about it. I think the first two acts have their off and on moments. Certain portions of the story worked better than others, but the third act made the film worth watching. The film is a slice of life piece to some degree and very much highlights both its beauty and misfortune. Once we find out a certain revelation about the character of Felicia, I was riveted. The way the scene plays out once the revelation kicks in is nothing short of emotional. I almost teared up. If I took one thing from this film, without going into spoilers, it is the idea that life is short so you should enjoy it however you can. Some of the happenings throughout the film cement that idea to a high degree.
The film is of course called “Maestro” meaning it is about Leonard Bernstein. But at its core, it is a love story. If anything, I think “Maestro” is quite a good love story. Bradley Cooper has a knack for romance between this film and “A Star is Born,” and part of that is because of the chemistry he maintains with his co-lead. This time around it is Carey Mulligan. Both actors and their characters have natural on-screen chemistry and this is shown in every era this film flies through. Speaking of the eras, the film manages to transition very naturally between each timeframe. Not once do I feel like we are spending too much or too little time in one place or another.
“Maestro” is unfortunately from Netflix. I say unfortunately because that means most theaters will not be playing it. I thankfully got to see it in a theater, and I have no regrets. This is a film that is worth seeing in theaters just to take in every little detail from the cinematography, the production design, and to hear the music perhaps the way it was intended. Again, going back to the orchestra scene more than halfway through the film, that was glorious to watch in a theater. It is the holiday season, meaning that there is a chance that you are with loved ones and may be looking for an excuse to get out of the house at some point. This is not a film for everybody, but if there is a theater near you playing this, take advantage of that opportunity and take your partner, take your spouse. take your parents, take your grown children. Have a night out on the town, get some food, and go see this movie. You might not regret it.
Or of course you could order takeout and watch Netflix in your pajamas, your call.
In the end, “Maestro” is a step down for Bradley Cooper’s directorial resume, but that is like comparing winning 200 bucks on a lottery ticket and then scratching another ticket moments later to win 150. Both clearly deliver a sense of satisfaction. One is just clearly greater than the other. That said even with “Maestro” being a lesser film than “A Star is Born,” I would not be against watching it a second time just to study it. The cinematography looks really good, it is well directed, and the editing is top notch. Technically, there is a lot to like about it. And as a love story, it is solid. Both leads are fantastic and make the movie worth watching. Overall, an easy thumbs up from yours truly. I am going to give “Maestro” a 7/10.
“Maestro” is now playing in theaters and is also available on Netflix to all subscribers.
Thanks for reading this review! My next review is going to be for “Wonka,” starring Timothee Chalamet as a younger interpretation of the iconic chocolatier. I just had a chance to watch the film earlier this month in IMAX, and I will have my thoughts on it soon. Also stay tuned for my reviews for “Migration” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Maestro?” What did you think about it? Or, which of Bradley Cooper’s directorial efforts do you like better? “A Star is Born?” Or “Maestro?” Let me know down below! Scene Before is your click to the flicks!
“The Boy and the Heron” is directed by Hayao Miyazaki (Spirited Away, Howl’s Moving Castle) and stars Soma Santoki (Koko wa Ima kara Rinri Desu, Idatan: Tokyo Olympics Story) Masaki Suda (The Great War of Archimedes, Death Note: Light Up the New World) Aimyon, Yoshino Kimura (Boku no yabai tsuma, Confessions) Shōhei Hino (My Happy Marriage, Emperor) Ko Shibasaki (47 Ronin, Dororo), and Takuya Kimura (Space Battleship Yamato, Howl’s Moving Castle). This semi-autobiographical fantasy film is about a young boy who longs to see his mother one more time. After discovering an abandoned tower, the young boy ventures into a world shared by the living and dead.
My earliest memory of watching a full piece of anime from start to finish goes back as early as 2011. I was attending summer school and we ended up watching a movie that I would long forget the name of, only to realize years later that movie would end up being “Howl’s Moving Castle.” I have since rewatched the film and continue to think it is really good, but it goes to show how much of an impact Miyazaki has had on the craft. He is a well known individual in this industry, even across the world. And yes, I heard of “DragonBall” like a lot of other kids growing up probably did. But even today I never got around to it. That said, when it comes to my limited knowledge of anime, Hayao Miyazaki and Studio Ghibli have a notable presence in my mind. I have seen most of the Studio Ghibli features, many of which include Miyazaki’s work. The recently mentioned “Howl’s Moving Castle” is an imaginative adventure. “Spirited Away” is an otherworldly ride. “My Neighbor Totoro” is a cute little tale. “Ponyo” is a simple, but incredibly well done story. “The Wind Rises” is an emotionally charged piece of animation. Miyazaki is not my favorite filmmaker, but having seen most of his work, he has a remarkable batting average that puts him up there with the greats.
When it comes to the 2023 roster of films, I would often get excited for “Oppenheimer” and sometimes refer to it as “the next Christopher Nolan movie” to show my fanaticism for the director. I acted similarly when it came to “The Boy and the Heron.” Despite knowing the title of the movie, I would often talk about my anticipation for the film and not even use the title, I would just call it “the new Hayao Miyazaki movie.” That is how excited I was to see one of his films come to life. There is also a novelty that comes with a film like this because it is the director’s first in a decade. But with an extended break, has Miyazaki lost his touch? Absolutely not. If anything, this movie goes to show how good of a filmmaker he is. Watching this film made me realize Miyazaki may be one of the most imaginative minds alive right now.
“The Boy and the Heron” is a layered, beautifully animated, and charming time. All the characters are likable, the journey itself is quite fun, and it successfully does what I ask many movies to do. Have me escape from my own reality. The movie also has its fair share of funny moments, which I was delighted to see.
When it comes to the main character of Mahito, I could not help but root for him once we are first introduced to him. Now I cannot say I followed a similar path to him as his primary motivation is to see his late mother one more time. But I very much liked the character conceptually. I think his primary motivation that we see throughout the film made for quite his journey all the more compelling.
Sadly though, I think the big problem with this film is that there happens to be little impact from most of these characters once I left the auditorium. On the surface, I liked everyone, but some characters either felt surface level, or their substance or backstory could not match their stunning design. Yes, I enjoyed Miyazaki’s other films because of how spellbound I became upon seeing the animation. But I also enjoyed “Kiki’s Delivery Service” because the titular character had my attention the entire time. While not my favorite of his movies, part of why I liked “My Neighbor Totoro” is because of the chemistry between Satsuki and Mei, the two young sisters. I cannot really name too many character relationships in “The Boy and the Heron” that had me in as much of a trance as those. But even with these thoughts in mind, “The Boy and the Heron” is one of 2023’s best film experiences. Everytime I watch a Hayao Miyazaki movie, it is like going on vacation to somewhere fantastical. Everything feels nice and serene, even if there are adventures along the way. This film is no exception. The locations are beautiful, the effects are eye-popping, the story has quite a solid progression to keep me hooked, and of course like many other stories from Miyazaki, it is wildly imaginative.
I say Miyazaki’s imagination is as vivid as the sun. One small part of that has to do with how he handles a particular set of characters in the movie. Specifically the parakeets. First off, these parakeets, while mostly interchangeable to a degree, are fantastically drawn. They’re all colorful and match the palette of the film at hand. Not to mention, these parakeets are the definition of cute but not cuddly. These creatures are kind of like the Ewoks from “Return of the Jedi,” who may look innocent, but if you ran into a couple, chances are they will proudly murder you. I am not going to pretend I own any Studio Ghibli merchandise, but if I saw one of these parakeets in my travels, maybe I’ll pick one up. I don’t know. In terms of world-building and establishing the environment, the film does a great job with that. In fact, one of the minor flaws with this movie is that it does such a good job at building its world to the point where I am more focused on the background as opposed to the characters. And maybe that is part of why I have my previously mentioned character complaints. This is probably where a second viewing would come in handy. But of course, one would be warranted if I like the film enough the first time around. Thankfully, my initial watch of this film provided for a glorious experience.
If I have any real flaws with the movie, portions of the story were inferior to others. I think the film takes a bit to get going. There are a fair share of decent moments when the movie begins, but I think everything from the second to third act had more of my attention compared to select moments in the first act. This is not me ragging on the movie, this is just me stating my personal preferences. I like everything in it. But certain things appealed to me just a bit more.
My other big highlight of the movie is that it has one of the better musical scores I have heard this year. And I should not be surprised because not only does Miyazaki make a comeback here, but his longtime composer, Joe Hisaishi also returns here and he fires on all cylinders. Maybe it is recency bias talking, this is one of the better scores I have heard from him. I think when it comes to my favorite work of his, I think “Kiki’s Delivery Service,” “Howl’s Moving Castle,” and now I am probably going to put this up there. There is one particular theme from the film that is still stuck in my head, and it very much matches the sense of adventure this film provides.
In the end, “The Boy and the Heron” comes with minor flaws, but even with them in mind, there are a gargantuan number of positives that make me reflect on this movie being one of my favorites of the year. 2023 has been an excellent year for cinema. Animation especially. From Japan alone we had “Suzume,” which was marvelous. And we had “The First Slam Dunk,” which turned out to be one of this year’s most overwhelming and delightful surprises. Now we have yet another winner from that market and it comes from the man whose mark on this industry is almost unmatched. I like a fair number of his movies, and Studio Ghibli is a remarkable company. Is this Miyazaki’s best movie? No. But it is far from my least favorite. And even when I say that, I do so knowing that I have not seen a bad film from him yet. If anything, the film is worth seeing. I already saw it in Japanese, and you bet I have plans to one day check out the English dub. I am going to give “The Boy and the Heron” an 8/10.
“The Boy and the Heron” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! If you enjoyed this review and want to see more, good news, there are more coming! My next review is going to be for “Dream Scenario,” starring Nicolas Cage. I just had the chance to see this movie a couple weeks back and I cannot wait to share my thoughts. Also coming soon, I will have reviews for “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Boy and the Heron?” What did you think about it? Or, what is your favorite Hayao Miyazaki movie? Let me know down below! Scene Before is your click to the flicks!
“Ferrari” is directed by Michael Mann (The Last of the Mohicans, Heat) and stars Adam Driver (Star Wars: The Force Awakens, Marriage Story), Penélope Cruz (Pirates of the Caribbean: On Stranger Tides, Nine), Shailene Woodley (Divergent, Dumb Money), Sarah Gadon (Enemy, Dracula Untold), Gabriel Leone (Dom, Hidden Truths), Jack O’Connell (Skins, Godless), and Patrick Dempsey (Enchanted, Grey’s Anatomy). This film is a biopic about Enzo Ferrari’s mission to keep his auto company from failing as he puts it in a treacherous territory. A thousand mile race in Italy.
Sport movies have not always been my forte. Then again, sports in general have not always been my forte. But if you guys have been following me for a bit then you’d know that one of my favorite sport films I reviewed on this blog, not to mention one of my favorite sport films that come to mind, is James Mangold’s “Ford v Ferrari.” That film is an adrenaline-fueled race to the finish if there ever was one. And that is cemented by great performances, stunning soundwork, and a narrative that had me on the edge of my seat. It was easily one of the best films of that year and it ended up scoring a couple Jack Awards as well.
But with another awards season on the rise, it is time to recognize one of its fiercest contenders, “Ferrari.” I had little interest in “Ferrari” until I saw the trailer. This looked like a hard-hitting story that would fire on all cylinders and deliver on drama and tension. Adam Driver looked like he was going to dominate the lead role and I was there. That said, I did not know when I would end up seeing it because it comes out in December and there are so many things to which in the span of that time. Plus I have to get my best and worst movies of the year lists out the following month, I am doing work on the next Jack Awards, and it is heavily triggering my average at best multitasking skills. But I had the privilege of checking out a free early screening in Dolby in Boston recently, so I got to see the film long before it hits theaters.
Now, there is a certain thrill that comes with getting to see a movie this early. And the fact that the studio is letting people watch it this long before the release date says a lot about their faith in the project. Having seen “Ferrari,” I am sure it will hit a lot of people the right way. But it doesn’t mean that was the case for yours truly.
“Ferrari” is by no means an awful movie, but if we were to make a comparison, I would easily recommend “Ford v Ferrari” over this new Michael Mann effort. That said, I do not think Michael Mann would be completely insulted with this sentiment. After all, in addition to his efforts here, he is an executive producer on “Ford v Ferrari.” He gets to brag about having both movies on his resume.
My biggest problem with “Ferrari” is the characters. I did not outright hate anyone on this film’s roster, but much of the film involves a series of racers participating in the 1957 Mille Miglia. Ultimately, we end up spending a good amount of time with them, so it disappoints me to say that I failed to find myself attached to any one of them. I know this movie is not called “The Drivers of the Mille Miglia” but when the movie features them as prominently as it does, I hope to find myself endlessly attached to at least one driver. Much of the film is about Enzo Ferrari, and some of it lends itself to fascinating storytelling, whereas other moments tend to fall by the wayside.
That said, even with the character flaws in mind, I will not deny that the film puts the pedal to the metal and brings forth some of the best acting I have seen in a movie this year. Of course the film has recognizable stars like Shailene Woodley, Penelope Cruz, and Patrick Dempsey, all of whom are really good. But the film, to my lack of surprise, is as good as it is because Adam Driver gives it his all in the lead role. I could honestly see him getting an Oscar nomination this year for his efforts. Of Driver’s resume, this performance is one of his more chameleon-esque efforts. And a lot of it not only has to do with his mannerisms, his voice, his presence, part of it has to do with the attention to detail given to him on his costuming and makeup. Much like some of my other favorite actors, Driver has always oozed charisma on screen, even when he is in an inferior “Star Wars” movie. But of Driver’s roles, this is one of the first I remember seeing where he does not completely look like himself. I’ve seen him in a number of films. “Lincoln,” “The Man Who Killed Don Quixote,” “Marriage Story,” “The Last Duel.” He has often maintained a certain look to him that I tend to notice from one role to the next. Even in his better performances, I am reminded of how much I enjoy Driver’s presence once I see his recognizable face. In this film, I don’t necessarily see Driver. I see someone else.
When it comes to the film, Adam Driver is quite literally the driving force in more ways than one. He is really good in the lead role and he is surrounded by competent performances all around. But the story itself failed to garner any ongoing emotion and interest from me. There was a center of the movie per se, but not so much a core. Despite those words being similar, I think there is a difference here. The movie centers around Enzo Ferrari, but it does not give me a core reason to admire anyone on screen. Or at least not one that remained on my mind long after leaving my screening.
Much like “Ford v Ferrari,” the sound in “Ferrari” is quite good. Not as good if you ask me, but it appears to take a different approach. The way I interpreted the sound between its editing and mixing in “Ford v Ferrari” is something equivalent to a fantasy. The movie is based on true events, but when I heard that sound, it almost came off like a hyperactive reality. The sound, not to mention atmosphere, of “Ferrari” feels comparatively grounded. Of course the cars sound audible as anything, but they lack a certain oomph to them that “Ford v Ferrari” gave in its final product. That is not to say they sound bad, it is just different.
In the end, “Ferrari” is two different movies wrapped into one. But neither of them exactly surpass the distinction of average. If anything, “Ferrari” is a painfully average, not to mention disappointing time. Because while I did not do a deep dive into the film’s marketing campaign before going to see it, I can you tell you the trailers are on another level. The trailers are honestly much better than the movie. It’s kind of sad, really. Much “Killers of the Flower Moon,” I will not doubt “Ferrari” will get some attention this awards season. But much like “Killers of the Flower Moon,” “Ferrari” might not be my cup of tea. There are plenty of good things in it, but I honestly find the movie quite forgettable and ultimately lacking in any reason for me to watch it a second time. Maybe I could give it a second chance eventually because some positives stand out, but for now, I am going to give “Ferrari” a high 5/10.
“Ferrari” arrives in theaters everywhere December 25th. Tickets are available now.
Thanks for reading this review! I have plenty more reviews coming in the near future as the year comes to an end! I will be sharing my thoughts on “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” 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 “Ferrari?” What did you think about it? Or, what is your favorite movie with Adam Driver in it? Let me know down below! Scene Before is your click to the flicks!
Scene Before 