“Next Goal Wins” is directed by Taika Waititi (Thor: Ragnarok, Jojo Rabbit) who also appears in the film as the character “American Samoa Priest.” The film also stars Michael Fassbender (Steve Jobs, X-Men: First Class), Oscar Kightley (Sione’s Wedding, Hunt for the Wilderpeople), Kaimana, David Fane (Sione’s Wedding, Love Birds), Rachel House (Moana, Soul), Beulah Koale (Hawaii-Five-0, Dual), Will Arnett (The LEGO Movie, Teenage Mutant Ninja Turtles), and Elisabeth Moss (The Invisible Man, Mad Men). Based on the 2014 documentary of the same name, this film is about what happens when an arrogant coach and one of the world’s worst soccer teams come together with the hopes of making the latter do something they are not necessarily known for doing. Scoring goals and winning.
Taika Waititi is one of those Hollywood personalities that I can respect, but I think he also has his moments of taking said personality too far. I think he has a knack for humor at times, even if I think his “Thor” movies are inferior to Kenneth Branagh’s 2011 MCU installment. In recent years, I thought “Jojo Rabbit” has proven he is both a great storyteller and just about as good of an actor. His portrayal of Adolf Hitler in that film was one of the best of the year. In 2021, one of my favorite films of the year, “Free Guy,” starred Waititi as Antwan, the greedy executive who serves as the film’s antagonist. No disrespect to Ryan Reynolds, there is an argument to make that Waititi stole every scene he was in. He had this swagger to him that I was not expecting out of a character of this nature. I cannot imagine anyone else playing the character. That’s how good Waititi was in the film.
His latest film prior to this one, “Thor: Love and Thunder” got a thumbs up from me, but perhaps just barely. I think the film did an alright job mixing comedy and drama together, but the comedy sometimes becomes too silly to the point where it almost tarnishes the more dramatic elements. I was also not a fan of when Waititi publicly and perhaps mockingly called out his distaste for how the VFX turned out. I am all for recognizing your own faults, but when you are trying to sell a movie, I don’t think mocking a great span of the people who made it is the best move. It would be like if I were a delivering a Domino’s pizza, handing it off to the customers, and leaving them off by saying I worked for Papa John’s and I think the people over there usually put more care into their pies. That’s why I went into “Next Goal Wins” with lukewarm expectations. How did the movie turn out? Well, I’ve seen worse this year. But the way I saw this movie is the way most of my country sees soccer. A snoozefest that makes me wish I were watching something else.
I appreciate the concept of “Next Goal Wins” because it is not just an underdog story, it is one that celebrates failure in a such in an embracing manner. It reminds me a bit of “The Disaster Artist,” one of my favorite A24 movies that goes into the making of “The Room.” Similarly, there was another sports film I saw last year called “The Phantom of the Open,” where an unlikely man participates in professional golf, much to the dismay of those involved with the sport. “Next Goal Wins” recognizes the lowest points of both its protagonist coach and the team he has to reluctantly oversee. Unfortunately, when the reluctant coach is put together with the below par group of athletes, the on-screen chemistry is iffy at best. There are certain matches between the coach and the team. Not to mention, there happen to be certain relationships throughout the film that are well developed, but the movie spends most of its time devoted to one tired comedy gag after another. The film may call itself a comedy, but it is subjective as anything deemed artistic. I failed to find it funny. Sure, maybe I had a couple laughs here and there during the film. But I would not be able to tell you what it that got me to laugh. Overall, I found a good portion of the film forgettable and that is not a word I was expecting to use out of a picture like this. If you know me in real life, perhaps one of my weaknesses, though I personally call it a strength, is my resistance to take some things seriously. Everything is a joke to me. That is almost the mentality that Waititi takes to heart throughout “Next Goal Wins,” and it only hurts the final product. Between “Thor: Love and Thunder” and now “Next Goal Wins,” Taika Waititi is practically overdoing his comedic efforts to the point where they feel in your face, and therefore unfunny.
This film is not going to win any Oscars. Does it look competent? Perhaps. Is the acting okay? Sure. Does the story make sense? Yes. But the movie is bombarded with negatives to the point where those stand out a lot more than the positives. It does get better as it goes along, because I started off this movie not liking anyone. I thought the coach was not a great center of the story as it started. I found the characters on team uninteresting. It was not an easy task latching onto this film’s ensemble. Michael Fassbender does an okay, albeit far from awards-worthy job with the material given to him, but it is not enough. If I had to guess, it ultimately comes down to direction, because almost every choice in the film comes off either as some semblance of a joke. “Next Goal Wins” is basically what happens when a joke is taken too far. Although in this case, the joke is never offensive, it just lingers much longer than it should to the point where it leaves a bad aftertaste.
I will give credit where it is due because despite the somewhat predictable structure of the film, there are some unexpected and unique creative choices brought to fruition in the film whether it is through writing, editing, or narration. I cannot say I was a fan of all these choices, but despite finding the movie dull, these choices kept some banality out of the final product. And that is kind of what this movie is in multiple ways. A series of halfway marks. I found the story boring, but great in concept. I found the characters to have personalities, but they just didn’t leap off the screen for me. I found the movie to be heartfelt, but it is sullied by bad humor.
But I must add, one of those creative choices becomes a driving force in the climax, and it honestly took whatever fun I was having in the movie, if any, and lessened it to such an unbelievable degree. It resulted in a conclusion that was not as satisfying as it could have been. When it comes to this vision, Taika Waititi is like a class clown, but in this case as I watch him, I am the teacher telling him to stop joking around and focus on his studies. “Next Goal Wins” is far from this year’s worst picture, but it is easily one of the most forgettable.
In the end, “Next Goal Wins,” much like the American Samoa national football team, fails to score any goals. It is not a travesty that will go down in history as one of the most awful pieces of crap Hollywood has ever produced, but I do not know if I will be thinking about this movie in about five years from now. I have not seen all of Taika Waititi’s work, but I think after watching this film, I cannot say I am looking forward to whatever feature film he does next as much as I previously expected. Hopefully he turns things around. I am going to give “Next Goal Wins” a 4/10.
Come to think of it, “Next Goal Wins” might not even the worst sports movie I have seen this year, because “80 for Brady” exists. So congratulations, Taika Waititi! Tom Brady and four elderly women just saved your butt! And yes, if you read that review, you’ll notice the score for “80 for Brady” is higher than what this film got. I wonder if I was too generous on that review. But at the end of the day, they’re just numbers. What can I say?
“Next Goal Wins” is now playing in theaters. Granted, none of them are near me at this point. But if you live in a certain market, it could be playing near you. Tickets are available now.
Thanks for reading this review! My next review is going to be for the brand new Alexander Payne-directed film, “The Holdovers!” I have been looking forward to this movie for quite some time, and having seen it, I cannot wait to share my thoughts with you all. Also coming soon, I will have my thoughts on “Napoleon,” “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Next Goal Wins?” What did you think about it? Or, what is your favorite Taika Waititi movie? Let me know down below! Scene Before is your click to the flicks!
“The Tunnel to Summer, the Exit of Goodbyes” is written and directed by Tomohisa Taguchi (Bleach: Thousand-Year Blood War, Akudama Drive) and stars Oji Suzuka and Marie Iitoyo as Kaoru Tono and Anzu Hanoshiro. The film centers around these two teens who develop a companionship all the while discovering the ins and outs of the mysterious Urashima Tunnel, where the laws of time and space are completely different from reality.
When the first hour or so of the past few years started, I would often scour Internet sources like Wikipedia, IMDb, YouTube, to get a sense of the films that are coming out later on in the year. Often times, most of the confirmed content would come from recognizable names or franchises, therefore a film like “The Tunnel to Summer, the Exit of Goodbyes” was never on my radar. I never knew of the original source material, but I saw that the film had a few shows near me at select theaters, so I thought, “New anime… Never heard of it, what’s it about?” As soon as I saw the premise, I was sold. It sounded borderline existential from the description I read. Having seen the movie, I can tell you upfront that this is easily one of the best times I had at a cinema this year. The film is based on a light novel, which has since sparked a manga series. I am not sure how faithful this material is to its source, therefore I have nothing to compare it to. I am just a third party observer who just wanted to see a good movie. I got a great movie.
My favorite thing about “The Tunnel to Summer, the Exit of Goodbyes” is everything involving the introduction and buildup of the tunnel itself. Some of my favorite films of the past decade like “Arrival” works really well because of how perfectly it sets up its out of the ordinary environment. “The Tunnel to Summer, the Exit of Goodbyes” works to a similar capacity. When it comes to some of the more visual aspects of the story, it allowed for some immersive scenes. When we see the two leads come together, it allows for one of the most inviting and intriguing moments of exploration I can remember seeing in a film. It also helps that the tunnel itself is a cool concept on its own. The fact that staying in there for long periods of time can quickly take you through many years of your own life? That is a killer idea.
But of course, it also helps that the events of the real world are just as exciting and riveting. When we get a sense of Kaoru’s background, there is some family drama we get to explore that helps not only establish the character, but get me to root for him. I also love the background we learn about Anzu, specifically how it ties back to her grandfather. It sort of reminded me of a relationship we saw in one of my favorite films from the past year, “The Fabelmans,” specifically between the titular family and Uncle Boris. While not exactly the same in principle, both relationships tend to stem off the backbone that a character became committed to the arts and their family eventually ended up casting them out to a degree. In this film, it is revealed that Anzu’s grandfather is a rather unsuccessful, but apparently passionate, manga artist. Anzu wants to follow in his footsteps, much to the backlash to her parents. This becomes a bit of a driving force for the character and it is one that I appreciate as someone who is a bit of an artist himself. Ever since I was young I always wanted to work in media or film. Right now I call myself incredibly lucky to be able to do that, and continue to talk about my passion for the industry on this blog. This film makes me appreciate the support I have from my parents for allowing me to set myself into an industry that I admire. I am, and always have been, an artist, and I think if you are either an aspiring, somewhat accomplished, or heavily experienced artist, you will relate to the character of Anzu. She manages to both love what she does but also pack in some hints of imposter syndrome. I share my written work here on a regular basis, but I will not deny that there are times where I have done reviews or other forms of art where I feel like I could have done better or maybe I am not confident in the material or my ability to complete it. I nevertheless push through because I want to see the journey of my progress reach the end, but it goes to show how relatable the character is.
If I have any real gripes with the film, there would be very few. If I had to be real, I would say that the film does feel tonally inconsistent at times. At one moment it is kind of cutesy, at another it is somewhat adventurous, and at another it is a serious drama. Sure, these kind of make for a neat package once the bow is tied, but I will not deny that the movie almost, and I put emphasis on the word almost, misses an identity because of it. Other than that, some of the supporting characters are a tad over the top, which does not really help considering how comparably down to earth much of the movie plays out in its execution, especially with its two leads. And yes, that is a weird thing to say when much of the plot revolves around a mysterious tunnel, but the way that pans out, given the circumstances, feels somewhat grounded when everything unfolds. If anything, this film creates a successful fine line between adventure and gloom, but it does not change how there are moments of the narrative that feel less in line with others.
Sticking with the idea of adventure and gloom, the film perfectly represents that in its visual style. I was not expecting it from the poster I saw prior to entering the cinema, but it nevertheless struck me with a sense of awe I am not accustomed to experiencing. At times the film is fun, at others I am riveted with the drama on screen. The color palette often times looks bleak and depressing, but it does not mean the movie fails to occasionally spark joy. But everything inside the tunnel not only looks otherworldly, but much more wonderous than everything in the real world. The movie does a good job at differentiating the vibes between the characters’ reality and the magic of the tunnel. There are plenty of bright and vivid moments, but the ones that give a greater soap opera feel in the film tend to stand out.
As for other positives, the music in the film is quite good. Everything from start to finish in the narrative had my attention. The movie for the most part is well-paced. The animation is sparkly and pristine. The voice acting is great. And if you must know I did watch the Japanese edition. This film reminded me a lot of flicks like “Arrival” or “Inception” where we have this unique concept to explore and the process of doing so is ever so exciting. I went into this movie curious, and I left the movie hooked by everything in it. I do not regret seeing this film during its short run.
In the end, “The Tunnel to Summer, the Exit of Goodbyes” is the third anime film I have seen in 2023, and of the three, it is the weakest. That said, it is also one of the better films of the year. When I first put the film amongst my rankings so far this year, this actually ended up in my top 10, at least for now. But I put it there for a reason, because it engaged me the entire time. Not once was I tired, uninterested, bored, or agonized by any of it. Sure, it has its flaws, but even when I think about them, they feel totally minor. They almost don’t even exist to a degree. The positives in this film not only stand out, they sparkle like gold. The main characters are both compelling and have phenomenal chemistry. Said chemistry is highlighted by their two talented voice actors. The concept of the film is fantastic. Both on paper and in execution. The tunnel itself is brilliantly designed, nicely colored, and easy on the eyes. Despite some minor tonal inconsistency, this film blends drama and adventure beautifully. I highly recommend you check this out at some point. I am not sure how long this rating is going to stick as I do want to watch it again in the near future and am very curious as to how a second viewing would go, but as for my first viewing, I am going to give “The Tunnel to Summer, the Exit of Goodbyes,” an 8/10.
“The Tunnel to Summer, the Exit of Goodbyes” is currently playing in select theaters. The film is also available to buy on VOD.
Thanks for reading this review! If you enjoyed this review, why not check out my other ones? I mentioned this is the third anime title I reviewed in 2023. If you want to know the other two, check out my reviews for “Suzume” and “The First Slam Dunk.” My next review is going to be for the brand new MCU installment, “The Marvels!” Also coming soon, I will have my thoughts on “Wish” and “Next Goal Wins.” Speaking of anime, this review is a ways out, but I just got my ticket for Hayao Miyazaki’s latest film, “The Boy and the Heron.” If I play my cards right, that review should be up sometime next month. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Tunnel to Summer, the Exit of Goodbyes?” What did you think about it? Or, do you have a favorite anime you have seen this year? I’ll also accept television. Tell me about it! Scene Before is your click to the flicks!
“Priscilla” is directed by Sofia Coppola (Lost in Translation, The Virgin Suicides) and stars Cailee Spaeny (On the Basis of Sex, Pacific Rim: Uprising), Jacob Elordi (The Kissing Booth, Euphoria), and Dagmara Domińczyk in a film about the young girl who meets Elvis Presley, falls in love with him, and how her life changes while connected to the rock and roll star. It is also based on “Elvis and Me,” a 1985 memoir co-written by Priscilla Presley and Sandra Harmon.
As indicated in one of my recent reviews, specifically, “Dicks: The Musical,” A24 is a wonderfully polarizing studio. It has delivered its fair share of huge hits and magnificent misses, but with just about every film they have done, I walked out of each one recognizing that something stood out about them. Whether it was the way they were shot, written, acted, edited, or an oddball combination of aspects that somehow make the project individualistic. Between that background, and the hauntingly beautiful trailer that was released in advance of this film’s release, I was curious as to what this film could deliver.
But little did I know what it was bound to deliver. “Priscilla” is easily one of the best films I have seen this year.
2023 has had plenty of bangers for me like “Spider-Man: Across the Spider-Verse,” “Oppenheimer,” and “BlackBerry.” Of course there are other movies too, but “Priscilla” shares similar qualities to those movies in the sense that I could not stop thinking about it the moment I exited the theater. Because those films all had screenplays that continuously had me thinking about the themes, the ideas that went into the film. “Priscilla,” much like the recently mentioned latter films, is based on true events. Even if this film somehow managed to capture a Hollywoodized version of what happened, it was very effective in its efforts. Almost every other scene between the two leads, mostly in the later portion of the film, almost had me biting my nails. I did not know a whole ton about the relationship between Elvis and Priscilla, but this film sort of opened my eyes. In fact, it perhaps earns an additional ticket of certification as it is produced by Priscilla Presley herself.
While this film is a showcase of the romance between Elvis and Priscilla, it is something deeper at its core. It is really a marvelous depiction of what it is like to be an adolescent with a first crush. Even as you age, that idea sometimes fails to slip away. We see that as Priscilla and Elvis become romantically involved, she longs for his presence, and of course, Elvis comes with the bonus of being a bit of a status symbol. But even without Elvis in the mix, I think the movie does a decent job at showing what it is like to be young, experience love, or some feeling that resembles love, for the first time. This is mostly shown on Priscilla’s part, as she is the protagonist of the film, but it is also fascinating to see someone like Elvis Presley decide how he chooses this one young girl over the thousands of other screaming fans, not to mention celebrities alive at the time of his dominance. Their connection is one that is not easy to watch, but hard to look away from. It is ultimately a riveting, gut-wrenching romance that does not have me thinking the individuals involved are making the best choices, but it is one that I understand why it could happen. That is the foundation of this movie. Taking two young, beautiful, different people, and putting them together in a connection that is not exactly smooth-sailing. It kind of has its ups and downs along the way, but the downs become increasingly evident as the movie goes.
This movie made me ask myself what I would do had I slipped into Priscilla’s shoes. There is a moment in the film where Elvis and Priscilla are together, the former is doing an activity, and the latter seems uninterested in it. Elvis appears to catch on but informs Priscilla that there are a lot of people, particularly women, who would kill to do said activity with him. That moment basically summed up the whole movie and Priscilla’s character to a tee. We all have our celebrity crushes. I will be straight up and admit that one that instantly comes to mind for me, at least at this moment in time would have to be Ana de Armas. Now if I were given the opportunity to be with her if I found out she were single, my mind would instantly think “yes.” But the question that remains to be answered is whether I would stay with them once I get to know their various quirks. The question remains true for any potential partner, but I would have to imagine in some cases, when it comes to a high-profile celebrity like Elvis Presley, or in my case, Ana de Armas, it would be a lot harder to back out in a situation like that. It goes to show how deeply we value celebrity culture and how it influences us as a society. This movie basically sums up the whole “don’t meet your heroes” idea. Did meeting Elvis Presley and getting to know him disappoint Priscilla? Maybe not at first. But as the movie goes along, we see the two develop to a point where the relationship becomes controlling, one-sided, and toxic. Because of this, “Priscilla” is arguably the most uncomfortable I felt watching a movie in 2023, but I mean that in the most positive of statements. It felt raw. It felt immersive. It doesn’t hold back.
To my lack of surprise, the Elvis Presley Foundation declined their approval for the film. After all, unlike last year’s “Elvis,” it features the iconic musician in a less positive light. It complexifies him to the point where he is a bit more arrogant. He may be nice in some scenes, but the movie is not afraid to highlight moments where he is a jerk. Therefore, while this movie did not get me to stop appreciating some of Elvis’s songs, I admire its approach in telling a story where someone so well known and respected is given a much darker background. Speaking of Elvis’s songs, and given what I just said this should not come as a huge shock, there are no Elvis songs in this film. That said, the film has a decent soundtrack that captures its respective setting beautifully. It has a nice throwback feel and I admire the film aspiring to the challenge of putting none of Elvis’s songs in a movie in which he is prominently featured. That said, he is not the protagonist. This is not his story. This is Priscilla’s story. And her story is glorious. It is a story I will continue to think about for ages. It is a story that says a ton on how we view our idols. How we will sometimes make sacrifices for the people we admire. How we feel when we experience love and don’t want to let it go, even if it may be for the greater good. “Priscilla” is an easy two-thumbs up.
In the end, “Priscilla” is one of the most hallowing tales of love I have ever seen. It is one of those movies that you kind of have to see to believe. “Priscilla” is not only one of the best movies of the year, it is one of the finest works A24 has put out in its short history. It is up there with “Room,” “Pearl,” and “First Reformed” as one of my favorite films the distributor has put out. Sofia Coppola brings amazing performances out of everyone in this film, especially its two leads, Cailee Spaeny and Jacob Elordi. Both of these two should be in contention for some big buzz this awards season. They do an excellent job with their roles. Regardless of how this film bases itself on true events, I think Priscilla Presley has one of my favorite character arcs in recent film. By the end, I was satisfied with her journey, but I left feeling icky. And mean that as a compliment. With each passing moment, Cailee Spaeny dominates the screen with her admirable presence and instant likability. If you told me in 2020 that in the next few years we’d be getting a movie from Warner Brothers about Elvis Presley, and follow that up next year with a movie from A24 about Priscilla Presley, I’d slap you across the face and call you crazy. If you told me after getting slapped that I would hate the Elvis Presley movie, and think the Priscilla Presley movie is a significant improvement over it, I might buy into your claim given how I think A24 tends to put out standout film after standout film. Yet at the same time, I would tell you to seek professional help. But here we are. “Priscilla” is one of the year’s best films and I am going to give it a 9/10.
“Priscilla” 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 new anime “The Tunnel to Summer, the Exit of Goodbyes!” This film was not playing in too many places near me, but I did get a chance to catch a screening of it at an AMC, so I will have my review of the film as soon as possible. Also coming soon, I will be sharing my thoughts on Marvel Studios’ latest film, “The Marvels,” Disney’s newest animated feature, “Wish,” and Taika Waititi’s most recent directorial effort, “Next Goal Wins.” 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 “Priscilla?” What did you think about it? Or, if you have seen both films, I want to know which one you liked better… “Elvis?” Or “Priscilla?” Let me know down below! Scene Before is your click to the flicks!
“The Persian Version” is directed by Maryam Keshavarz (Viper Club, Circumstance) and stars Layla Mohammadi (Special Ops: Lioness, The Sex Lives of College Girls), Niousha Noor (Kaleidoscope, Here and Now), Bijan Daneshmand (Infidel, The Night Manager), Bella Warda, and Tom Byrne (The Crown, Road Dance). This film is about a young Iranian-American woman who is at odds with her family, most notably her mother. The two have their key differences. But when a secret is revealed, the young woman realizes that she and her mother may have more in common than then they once thought.
“The Persian Version” is a film that I am not surprised a lot of people are keeping out of the conversation. It is not playing in too many places, and it came out the same weekend as “Five Nights at Freddy’s.” By the way, I have no plans to watch that film for those who ask. But I was very intrigued by “The Persian Version.” I was sold with the marketing. The movie looked, bright, cheery, vibrant, and seemed to make the most of whatever budget it had. It did not look terribly expensive, but it looked polished for a film of its caliber. Turns out, that is just half the battle, because little did I realize what I would be in for.
“The Persian Version” is a quirky, fun, good old fashioned time that occasionally inserts moments of seriousness every once in a while. Is this a good thing? Sort of. There are multiple storylines at hand, all of which deliver some sense of engagement to varying degrees. Like a lot of other movies, there are parts of “The Persian Version” that are better than others. But in the case of “The Persian Version,” even when the movie transitions in an uneven, and nearly cluttered manner, I still find myself invested in much of what is going on.
I found the storytelling and the way it was executed to be particularly creative. It is non-linear, there is an occasional song and dance aspect. There are notable tonal shifts. There is a balance between comedy and drama. But when it comes to those last two things, it is kind of like a see-saw. It has its highs and lows. I found the comedy in particular to be funny, charming, and for the most part, it works. I found the drama to bring the film to a more down to earth feel that gives a sense of perspective for the characters at hand. This does not result in the best movie of the year. Far from it. But it does result in a film I do not regret seeing and one I think that if it is playing near you, would not make for a bad choice. It comes with plenty to enjoy even with its quirks, whether they work or not.
This film starts out in a lighthearted manner. But it sort of does a back and forth transition between genres where at one moment, it is serious. It is dramatic. Then eventually, it reverts back to being something of a comedy. If you have seen my last review, “Freelance,” you would know that meshing genres does not lead to the best results. But in this movie’s favor, it manages to utilize comedy in a way that is humorous. And it also blends in drama to the point where it manages to compel me. But it does not mean the film is without its imperfections. If anything, I think as fascinating as the events within these genre blends are, there is a noticeable sense of inconsistency between them. Because while comedy and drama can work when combined together, the shift from one genre to another feels nearly seismic at times. It does not really allow much room to breathe and the movie almost spends too much time focusing on one genre to the point where it almost has no identity. It is kind of a mish mash, and too extreme of one at that.
The best way I can describe “The Persian Version” is that it is two movies in one package. Both movies are really good, but they almost do not fit together. The story presents itself in two tonal opposites. In comic book movie speak, it’s like combining “Deadpool” with “V for Vendetta.” Both movies work perfectly on their own, and maybe if you put both together, they could lead to an interesting result. But combining both projects only lessens their value in a case like this.
Although given time to marinate, the movie presents two different tones that ultimately fit their respective narratives by the end. And the more I ponder, it gives me a good idea as to how this film’s main duo tends to see the world. In the back of Leila’s mind, she will do anything to embrace the fun and spontaneity of life. She will do anything to have a good time. She will do anything to keep herself happy. Meanwhile we see another story with her mother as the center where I am getting the sense that having fun may not be the top priority, and fun would only get in the way of what she thinks is important. But it is also shepherded by what these two have on their plate at their respective times of their lives.
The other thing I really appreciated about the movie is that it kind of gave me perspective as someone who is of similar age to Leila, who serves as the film’s protagonist. It reminded me that nobody is perfect. I often think about my parents growing up and realize that maybe they have made choices in life that they either regret or maybe their parents did not always agree with, but maybe they stood by them regardless of the outcome. That is not to suggest those choices are a bad thing, because in the end, they ultimately make us who we are. What matters is how we conduct our lives moving forward for ourselves, in addition to the people around us. In the end, even if our choices end up being mistakes, life finds a way to make us happy.
To top off all of what I just said, “The Persian Version” has a marvelous ensemble that is led beautifully by a mother-daughter duo played by Niousha Noor and Layla Mohammadi respectively. Both individuals are perfectly cast and play off each other very well. The family itself offers plenty of moments to enjoy. I thought Leila’s grandmother, Mamanjoon, was a highlight of the film. She also had my favorite line of the film that comes into play a couple times. It got a good laugh out of me. When it comes to slice of life-style films, “The Persian Version” gets plenty of things right, but it is not without its flaws. But would I watch it again? Perhaps so. It is by far one of the most unique movies of the year and if you are looking for something beyond the traditions of filmmaking, this is a decent option.
In the end, “The Persian Version” showcases the beauty of life, all the while highlighting problems that its core woman characters have to face at certain times of their lives. No matter how big or small. The movie is kind of like life itself. It has its fun moments. It has its downer moments. But by the end, everything tends to come full circle. I think this is a creative, one of a kind feature that despite not getting a lot of attention at the box office for the past number of weeks, certainly had mine. I am going to give “The Persian Version” a 7/10.
“The Persian Version” is now playing in select theaters. Tickets are available now.
Thanks for reading this review! If you enjoyed this review, good news! I have more coming! My next review is going to be for “Priscilla!” I got the chance to watch this film at the beginning of the month. It has been on my mind for quite a bit. I cannot wait to talk about it. Also coming soon, I have reviews coming for “The Tunnel to Summer, the Exit of Goodbyes” and “The Marvels.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Persian Version?” What did you think about it? Or, what is your favorite mother-daughter relationship in film? Let me know down below! Scene Before is your click to the flicks!
“Killers of the Flower Moon” is directed by Martin Scorsese (The Irishman, The Wolf of Wall Street) and stars Leonardo DiCaprio (Inception, Titanic), Robert De Niro (Meet the Parents, Joker), and Lily Gladstone (First Cow, Billions). When oil is discovered on Osage land, its people are murdered one by one. As this continues, the FBI steps in to unravel the mystery.
Martin Scorsese is undoubtedly one of the most notable names in Hollywood. He is one of the most influential directors of all time who still happens to have a respectable track record today. His older films continue to hold up and his newer titles do not seem to miss either. I have to say when it comes to his recent work, “The Wolf of Wall Street,” while I did not find it to be perfect, is one of the better movies I have seen to have come out in the past decade. In fact, to know that Scorsese is once again reuniting with Leonardo DiCaprio only serves as a boost of confidence. And of course, alongside them, is Robert De Niro, another acting legend who cannot do any wrong. Both Scorsese and De Niro were coming in hot with their recent work together, “The Irishman,” so to have a couple of Scorsese’s top players come back only helped build the prestige of what was to come. Now if I have to be frank, “The Irishman” to me was a movie of moments. There are a lot of decent parts of the film, but I feel like the parts I enjoyed more were less significant to the plot and more likely to be described as random sprinkles in the background. And to be honest, it was too long.
I can sit through a three plus hour movie. In fact, speaking of Leonardo DiCaprio, I very much enjoyed “Titanic.” The “Lord of the Rings” films are around the three hour mark and for the most part, they all serve their runtime beautifully. “Seven Samurai” is a wonderfully shot, exquisitely told revenge tale. “RRR,” which I reviewed months ago, is one of the most chaotically fantastic three hour escapes I’ve had in my entire life. If you want to go for something very recent, with a runtime that clocks at just around three hours, “Oppenheimer” is a compelling, haunting drama that I did not want to end. And if you are wondering why I had less of a problem with those movies than “The Irishman,” it’s not necessarily just that they were more entertaining. But everything in those movies felt essential, and they used those few hours in a way that had me engaged from scene one to the end credits. “The Irishman” honestly ends up feeling rather tiresome by the end, and maybe a little self-indulgent. I gave the movie a 7/10 when I reviewed it, but the more I think about the movie, I often think about how the runtime bogged my mind by the time it was concluding.
And that’s why I was worried when I found out that instead of “The Irishman’s” three hour and 29 minute runtime, “Killers of the Flower Moon” was only three minutes shorter at three hours and 26 minutes. If I have to be honest, this movie somehow feels longer than “The Irishman.” I cannot even believe I am saying that. For the record, I ended up seeing this movie in IMAX, and somehow I still felt overwhelmed with what was happening. When it comes to the look of the film, I will not deny that in many instances, it looks gorgeous. It honestly looks more pristine and captivating than a good number of films that came out this year. The cinematography is some of the best of the year. The locations are beautiful. The color palette, while definitely symbolic of the movie’s not so happy go lucky tone, is perfect for the story at hand. I will not deny it, “Killers of the Flower Moon” is a well made, well crafted, well acted, well directed piece of art. Or cinema, as some would prefer to call it. It’s just too long.
They size does not matter, it is what you do with it. And what they did with it, was kind of boring. By the second half of this movie, I kept asking myself when it was going to end, and that is never a good sign.
I must reiterate that “The Wolf of Wall Street” is a banger of a flick. From start to finish it is a wild trip with this one guy who by definition, should be beyond unlikable, and yet they utilize him in such a way that makes him one of the most charming protagonists in that year’s slate of films. Leonardo DiCaprio killed it in the lead role and while I did not always identify with the character, DiCaprio did such an excellent job at making a character like Jordan Belfort as palatable as possible. He is the kind of character that part of you wants to be, but then that sane part of your mind kicks in and rejects that thought. Jordan Belfort is a moron. No doubt about it. But he is a pretty likable one at that. DiCaprio manages to play, personality-wise, a similar character in this film. Specifically, Ernest Burkhart. He is clearly does not really have the best morals. I honestly find it hard to link alongside or root for this character sometimes. Overall, he is kind of self-centered. What kept me interested about Jordan Belfort is that in every scene, even in ones where he clearly came off as a posh prick, I found the character himself to be charming. My ability to admire Ernest on the other hand, was flying up and down like a see-saw.
Was I at least intrigued by this character’s arc and journey? Sure. In fact, one of the highlights of “Killers of Flower Moon” for me would have to be Ernest’s love connection with Lily Gladstone’s character. Everything involving this relationship, from early on all the way through the long runtime felt genuine. I really like these two together. In fact, it goes to show that Lily Gladstone not only gives a knockout performance as the character of Mollie Burkhart, but she may have been the bright spot in a film where everything around her feels comparatively brooding or a bit of a downer. She stands out as an angel in a dark alleyway.
The whole balance between Ernest’s connection to his uncle, in addition to the established motivation against the Osage people, in kahoots with his own relationship with Molly, serves as “Killers of the Flower Moon’s” biggest point of intrigue. It is, likely by design, supposed to induce discomfort. And if that is the case, the film certainly did its job. Because I am watching everything going down, and it is not really much of a mystery as to who is doing all the killing in the movie. There is the old saying that it is not about the destination, it is the journey. To be frank though, when it comes to this journey, I probably ventured off a few stops early.
When it comes to the movie’s cast, it is pretty stacked. Not only do we have Leonardo DiCaprio and Robert De Niro, the two big names carrying the film together. By the way, De Niro is quite good as William Hale, and delivers my favorite line of the film.
It may sound better with context, but those who must know, the line is “The front is the front, and the back is the back.”
But in addition to these names, the entire Osage ensemble happens to be really good in this film. I bought into all of them. We also have Jesse Plemons, who is given a meaty supporting role as an FBI agent with a lot to like. But I must admit, as much as I like Brendan Fraser and John Lithgow as actors, they almost feel out of place in this film. They feel distracting. Their appearances are not cameos, but they are almost executed in ways that feel cameo-like. They are not giving monumentally bad performances by any means, they do okay with the material given to them. But when you put them against say the recently mentioned Jesse Plemons, they feel more like stars than characters. That’s the best way I can sum it up.
Speaking of things that feel out of place, the ending of this film, when it finally happens, rubbed me the wrong way. I am sure it was well intentioned. If you asked me if Martin Scorsese and crew inserted everything into this film believing each increment would feel necessary, I would say yes. That said, the second to last scene in this film comes off as inconsistent and abrupt. When the movie finally ended, I was glad, because it was already long enough, but it does not change the fact that I waited over three hours for something that was lacking in satisfaction. When it comes to movies, I like weird. I like different. And I admire when filmmakers try stuff that are out of the ordinary. This is one of those times where it did not stick the landing.
If I had to name another positive, this film nails its atmosphere. Again, going back to its overall look, everything in the frame feels magnificently crafted. But there is also more to it than sight. Because the film is scored by Robbie Robertson (rest in peace) and he brings forth one of the most hypnotic and unique scores of the year. It is totally fitting for the movie at hand and almost comes off as a character of its own. While I may hesitate to watch “Killers of the Flower Moon” a second time, I could see myself going on YouTube and searching up the official soundtrack for the film to listen to in the background. It might be my favorite part of the entire film.
In the end, “Killers of the Flower Moon” is a magnificent effort that is not quite my cup of tea. There are things to like about it, but I do not know if I can say it was worth my time. I am honestly having trouble recommending this movie. If you asked me if I would watch it again in the next couple days, my answer would be no. Though I imagine a there are a surplus of people who would say yes. There is always that one movie every year that is likely going to not only get Oscar consideration, but also has a legit shot at a Best Picture nomination that I do not agree with. In 2020, it was “Mank.” In 2021, it was “Licorice Pizza.” In 2022, it was “Elvis.” In 2023, I think “Killers of the Flower Moon,” depending on how the rest of the year goes, will end up being that movie. Despite the marvelous camerawork, occasionally neat characterization, and atmospheric glory, it also reveals the painfully slow editing and pace that remains consistent throughout the movie. It is unfortunate because it is based on events that actually happened and it is an important story to tell. I just wish it were told in a way that made me more likely to run down the streets raving about it. It pains me to do this, but in a thumbs up, thumbs down world, this movie is a thumbs down. So, this score is going to reflect that. I am going to give “Killers of the Flower Moon” a 5/10.
“Killers of the Flower Moon” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next review is going to be for “Freelance,” the brand new movie starring John Cena as an ex-special forces operative. I will also have reviews coming soon for “The Persian Version,” “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and the one movie on this list I am certain Martin Scorsese is most excited about, “The Marvels.” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Killers of the Flower Moon?” What did you think about it? And if you saw the movie, do you think the runtime is justified? Let me know down below! Scene Before is your click to the flicks
“It Lives Inside” is directed by Bishal Dutta (Triads, City Nights) and this is his feature-length directorial debut. Dutta has prior experience directing television shows as well as shorts. The film stars Megan Suri (Atypical, Never Have I Ever), Neeru Bawja (Channo Kamli Yaar Di, Jatt & Juliet), Mohana Krishnan (Spinner, I Am Frankie), Vik Sahay (Sean Saves the World, Chuck), Gage Marsh (You Me Her, Big Sky), Beatrice Kitsos), and Betty Gabriel (Counterpart, Get Out). This story centers around an American-Indian teenager who has a falling out with a friend and unleashes an entity who feeds on her loneliness.
Before we go any further, I just want to note that if for any reason this review is of lesser quality than usual, I blame the audience at my movie theater. I ended up watching “It Lives Inside” at the one place I could see it less than an hour from home, because the film tended not to do gangbusters at the box office. And let’s just say the entire back row was filled with teenagers who do not know the first thing about how to behave in a theatrical environment. That said, I ended up going to see “It Lives Inside” after the title appeared a few times on my social media feeds. People in my circles, even if I did not know them personally, seemed to be talking about it quite a bit. So, I wanted to see what the hoopla was about. I was not familiar with the marketing, so I was going in relatively blind.
As for my first impression with the film, it has a wonderful aesthetic to it all. The film looks like a product manufactured in a particular circle of Hell at times. Given how the film falls into the horror genre, that is nice to see. The lighting is often darkened with often fitting color stylization. It kind of reminded me of “The Black Phone” aesthetically at times. Granted, a notable part of the film is set around a school.
I walked out having a decent time with “It Lives Inside,” so I was very surprised to see how audiences viewed the film, at least on Rotten Tomatoes. The aggregator site currently lists “It Lives Inside” at a 48% audience score. It’s not the lowest of the low, but I was a little shocked to find out most audiences who saw it ended up giving it a thumbs down. At the same time though, I can kind of get why. There is a pace to this film that I thought was perfect for what was there, but it is also one that I think some mainstream audience members would not prefer. There are definitely more memorable creatures in the history of cinema. This is also not the most revolutionary plot if you break a few things down. But even with that in mind, I do think the concept itself is executed very well here.
One common complaint I heard from those who gave the movie poor scores is that the film itself is not that scary. The more I think about it, they may be onto something. I don’t think the film is terrifying enough to make your heart beat out of your chest. That said, there are plenty of tense, eerie moments that had me on the edge of my seat at times. “It Lives Inside” may not be the most bone-chilling film out there, but it is one that had my attention the whole time. It is a film that works because of how it builds up everything in its premise. It is a matter of how the obstacles tend to get in the protagonist’s way. Maybe the film does not maximize the effect of its scares, but there is a constant feeling of unease somewhere in the background the entire time. Part of the reason why this film works so well is the relationships between the characters, and when it comes to how they deal with the supernatural horror aspect, it makes for an intriguing watch.
Megan Suri leads the film as Sam, and she is very much the heart and soul of this production. I may not share her background, but despite my differences from her in that light, I found her to be a relatable individual. There is a saying in screenwriting that you should write what you know, and that saying is very much applied to this film and the character of Sam. This is noticeable because the film’s writer and director, Bishal Dutta, has a background much like this character. He was born in India and eventually moved to North America. Dutta’s passion for the material at hand shows in every frame. I cannot see anyone else telling a story like this, unless it is someone of a very similar background.
Sticking with Sam, I found her connections to be genuine and they kept me attached to the film. Her relationship with her mom is a driving force behind some of the film’s events and even though there may be a rivalry between them, I at the very least somewhat understood both sides of the rivalry. I will often criticize certain characters in movies for making stupid decisions, almost in the same way a sports fanatic will bash their team when they make a game-losing move. Sometimes those choices can be unrealistic and far-fetched, therefore affecting my final score. That said, Sam is in her teens, and I think the film does a good job at reflecting how someone in those years would make questionable choices. In a way it made her character human and a fine reflection of that age group. Going back to her rivalry with her mom, one reason why these two do not always get along has to do with a particular choice Sam makes where she goes to hang out with a friend, therefore missing an event that her mom would consider important.
“It Lives Inside” is a film that never goes all the way in terms of delivering a scary good time. There are times where it comes close, but not to a whole percentage. That said, it is a film that as soon it begins, it understands what it is going for. Not once does it lose track of what it is trying to be, what it is trying to encapsulate, and what it is trying to accomplish. By the time we got to the climax, I was invested, and I remained invested afterwards. When it comes to recent horror, the film is not as twisted as “Talk to Me” and it is not as chill-inducing as “Smile.” But much like those films, “It Lives Inside” handles its concept with excellence, and it had me paying attention all the way through.
In the end, “It Lives Inside” is a film that I honestly think could have performed a little better than it did. I have a feeling that if the strikes were not happening right now, this film, like many others that came out recently, would have done better. Granted the audience reactions are not helping, but nevertheless. The job of a horror film is to, well, horrify. While “It Lives Inside” is not nightmare fuel, I think it is a nice addition to the genre. I think when it comes to what the film handles best, it is its characters and relationships. Those two things stand out a lot more than the scares the film has to offer. Then again, if you read the beginning of my review, the scariest thing about this movie to me is not even the movie itself, it is that we as a society are losing movie theater etiquette. But much like a nightmare, I endured through it and I got a good movie out of it. Well done to everyone involved. I am going to give “It Lives Inside” a 7/10.
“It Lives Inside” is now available to stream on various VOD services.
Thanks for reading this review! I have plenty of new reviews coming soon! My next one is for “Dicks: The Musical!” Following that, I will have reviews for “Killers of the Flower Moon,” “Freelance,” and “The Persian Version!” I will also soon be seeing the brand new film “Priscilla,” so I promise you that plenty of new material is on its way. If you want to see all this new material 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 “It Lives Inside?” What did you think about it? Or, what is your favorite horror film you have seen this year? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! And welcome one and all to the final entry to the Ridley Scottober review series! If you want to check out my reviews for the other films in the series, such as “Body of Lies,” “Gladiator,” and “All the Money in the World,” click the provided links and have a ball! Today we will be talking about one of my most rewatched movies in recent years, “Blade Runner.” Also, if you want to see a less professional, perhaps crappier example of my writing, I reviewed “Blade Runner 2049” back when it came out in 2017. I was less experienced, but still had a sense of a writing style of sorts. Check it out! Before we begin this review, I want to make something clear. On this blog, when I review a movie, it is typically of the initial version released in theaters or whatever platform it was designed for. With “Blade Runner,” this is no exception. For this review, I will be using the theatrical version of the film as a baseline. Maybe one day I will do my thoughts on “The Final Cut” as a separate post, which I have seen. But I am treating this movie the same way I treat just about every single other one I watch. That said, if you choose to stick around and read this review, enjoy your stay, make yourself at home, and let’s dive into one of Ridley Scott’s most talked about films.
“Blade Runner” is directed by Ridley Scott (Alien, The Duellists) and stars Harrison Ford (Star Wars, Raiders of the Lost Ark), Rutger Hauer (Nighthawks, Inside the Third Reich), Sean Young (Jane Austen in Manhattan, Stripes), and Edward James Olmos (Wolfen, Zoot Suit). This film is based on the Philip K. Dick novel “Do Androids Dream of Electric Sheep?” and centers around LAPD detective Rick Deckard as he is tasked with hunting down and retiring four Replicants who come to earth on a stolen ship in order to find their creator.
“Blade Runner” is one of those films that has had an impact on me since the first time I saw it back in 2017. In fact, this is not my first time talking about the film on this blog as I once did a post weeks after my initial viewing, talking about what the film got right about the future. Again, much like my “Blade Runner 2049” review, my quality of writing may have been a bit different at the time. Just a fair warning.
Little to my knowledge, “Blade Runner” would have a major influence on my academics. If you knew me in high school, there is a chance that you were with me in a film studies class. “Blade Runner” was the first and last feature film I ended up watching in the class given how much of the curriculum tended to use that film as a backbone of sorts. In college, I ended up choosing to study “Blade Runner” for a final project in my Television & Film Studies class. I have developed a passion for this movie, this property, and if the right people are involved, I would not mind seeing more of it. Judging by what I just said, you already know that this is going to be a positive review. If “Blade Runner” had a personality and made an effort to describe my relationship with it, it would probably channel Michael Corleone in “The Godfather Part III” and say “Just when I thought I was out, they pull me back in!”
Sorry, “Blade Runner,” my days of discussing you are not over just yet.
But I cannot help it, because “Blade Runner” is a master class effort. I think it is a particularly unique film. And it has done a lot to influence many stories that came after. The film is based on Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?,” which a number of claim is the earliest example of cyberpunk. This sub-genre has remained popular over the years with titles across various mediums like “Akira,” “The Fifth Element,” “Ghost in the Shell,” “Altered Carbon,” and “Cyberpunk 2077” just to name a few. It is easy to get lost in a good movie with proper atmosphere, and when it comes to the cyberpunk nature of “Blade Runner,” getting lost in 2019 Los Angeles, or at least what this movie makes it out to be, is as easy as pie.
One of the basic rules of filmmaking is to show, not tell. And that is going to be an ongoing theme in this review. Because everything this movie shows is remarkable. There are tons of practical effects that are beautiful to the naked eye. The production design for this film is off the charts. There are very few films that are like this one aesthetically, and I say that knowing how much cyberpunk has evolved over the years. This film released in the 1980s, a time where cars looked quite different than they do today. And when I look at the vehicles in “Blade Runner,” they definitely have a look at the time that screams futuristic, but I admire how they seem to carry a vintage charm to them. I could totally buy the design of Deckard’s spinner in the film, even if it seems to look a bit like something from the time this movie came out.
Framing-wise, this is one of the coolest-looking films I have ever seen. Despite the film claiming it is set in Los Angeles, it feels like a different kind of environment. This film, at least at the time it came out, is science fiction. There is also a bit of a film noir undertone as well. This movie’s use of the color blue throughout is vivid in my memory. The color palette always packs in a blue tone. You can see hints of bluish lighting throughout the film. And one nice little touch in the background during various scenes are the many umbrellas going about the streets. Their handles have a bluish neon glow to them, almost like Luke Skywalker’s lightsaber in the early “Star Wars” installments. Speaking of “Star Wars,” one of my favorite Easter eggs about “Blade Runner,” if you pay close attention, is that there is a building in the film that resembles the look of the Millennium Falcon, Han Solo’s ship. And to top it off, Han Solo’s respective actor, literally plays the main character of this movie!
Sticking on the topic of things that look cool, one of the most intriguing designs in the whole film is the Tyrell Skyscraper. This building is utilized throughout multiple portions of the movie, and every time I look at it, I cannot help but stare in awe and wonder. The inside is enormous and carries a robust flair to it. From the outside with the help of lights shining through the windows, it looks screensaver-worthy. I also admire how the pyramid design allows for tons of incline elevators to be put in place throughout the premises. If you know me in real life, I am a bit of an elevator geek. If I were in the “Blade Runner” universe, one of the first things I would do is go into the Tyrell Skyscraper just to ride the elevator.
But just because this movie shows all sorts of cool things, does not mean it tells all sorts of cool things. Now to be fair, the dialogue in this film is minimalistic and it is perfect. There are plenty of scenes where the characters are completely quiet or there are inklings of silence. If you watched other versions of the movie, this will not matter, but if you watch the original version, there is a chance you may remember Harrison Ford’s character, Deckard, not only serving the film as a protagonist, but as a first-person narrator. While there are moments where the narration is not that much of a big deal, there are some that overexplain what is happening, and others that ruin the visual experience of this movie. One of the highlights of this film for me, from a visual perspective, is the scene where we see Deckard and Gaff inside the spinner, flying through a darkened Los Angeles. The aerial shots really help encapsulate the beauty of the city, even with a supposed sense of gloom in its people. The problem is, the scene, which has no dialogue from the characters, also features narration from Harrison Ford that sort of overembellishes the idea of cityspeak, a mix of pre-established languages. It is not really something I would need to know or care to know on my first viewing. It honestly reminds me of when I watch certain broadcasts of “New Year’s Rockin’ Eve” on ABC, and Ryan Seacrest is talking up a storm as I am trying to take in the first moments of the new year. I am basically trying to hear the crowd, listen to Frank Sinatra’s “New York, New York,” and feel like I am there with everyone. But much like Seacrest’s voice on those occasions, Harrison Ford’s voice is nothing more than added noise. At the end of the day, it does not do much to benefit the film. There are a couple voiceovers that do not colossally damage the experience, but there are plenty that are better left unused. This is especially true for one used towards the end of the film where a crucial character’s arc is fulfilled. We are seeing this moment play out, and I am enjoying every second. Then it is suddenly interrupted with voiceover lines from Harrison Ford that basically spitballs what is happening for the audience, instead of allowing them to take in the lesson from the narration themselves. It is kind of insulting the more I think about it.
That said, I watched a documentary on the making of this movie, “Dangerous Days: Making Blade Runner.” And if you have the Blu-ray edition of “The Final Cut,” you can watch it yourself. Harrison Ford revealed not only that he thought the narration, which was added due to poor test screenings, was awful, but he ended up doing it with reluctance. Ford was contractually obligated to complete the lines, so he did what he had to do. He tried his best with the material, but he did not think it was necessary.
Though speaking of Harrison Ford giving his best effort, his performance as Rick Deckard is perfect. The character easily blends into his increasingly depressing environment. He is the kind of guy who will not take any nonsense from anyone, but also kind of has a softer side on occasion. There is nothing overblown about this character, especially when you compare him to some of Harrison Ford’s earlier performances, like those he previously gave as Han Solo. In fact, much of what makes Ford’s character believable in his environment is his tendency to remain quiet during certain scenes, which is balanced perfectly by the mannerisms of this film’s antagonist, Roy Batty.
While Harrison Ford may be the most iconic face in the movie, I think the award for best performance in this film easily goes to Rutger Hauer as Roy Batty. I have no idea if Hampton Fancher and David Peoples, this film’s writers, wrote this character with any particular actor in mind, but Hauer is one of the best castings for an antagonist perhaps in the history of cinema. There is a ton of range in a character like this one. When we first see him, his execution of the film’s dialogue is quite direct and to the point. It is almost kind of robotic, which should play into the fact that he is a Replicant. But as we go through the film, there is a continued sense of humanity that develops within this character. You can hear it in his voice, and even his physicality. I said there is a balance between Batty and Deckard, and I mean that wholeheartedly. It is perfectly displayed in the film’s climax, which is not particularly the most epic of climaxes, but it is one that serves the movie to perfection. That said, while I am ultimately rooting for Deckard, I cannot help but admire Batty throughout the climax because every other line out of him sounds like a grounded cartoon. This may be weird to say, but having rewatched this film for review purposes, the dynamic between these characters in the climax almost reminds me of a father and son playing tag or chasing each other around the house. It almost feels carefree even though there are higher stakes involved. Well, that, and there are moments where Batty twists Deckard’s fingers to get revenge.
The movie also kind of ends on a weird note. Again, this is the original cut we are talking about. There is a final scene, which believe it or not, uses footage that was originally made for Stanley Kubrick’s “The Shining,” it is unbelievably rushed, and kind of uneven when consider how most of the film is paced. “Blade Runner” is kind of a slow burn, and by the time we get to this scene, it kind of kicks things up a gear or two. It is really weird. Overall, it is an abrupt scene. And while I definitely prefer the more open ending offered in future versions, I think if this movie were trying to go for a more upbeat ending, they probably could have gone for a longer scene. This scene is too quick, too in your face, and appears to be the result of a last minute decision that likely was not even on Ridley Scott’s mind while making his way through much of the film’s production.
Doing this review in 2023, I realize that some of the problems I have with the movie are those that tend to bog down the original cut and eventually get changed in later versions. That said, there is one problem I have with this movie that has lingered with me for years. While I think Sean Young and Harrison Ford have fabulous chemistry together as Rachel and Deckard, and every scene delivers the best out of each actor, I am not a fan of how their love blossoms. If you can call it that. This movie is written by two men, and I am sure that if a woman were credited with the screenplay, the scene where Rachel and Deckard first embrace their love for each other would have been handled differently. Basically, Rachel is trying to leave Deckard’s residence, but before she can get out, she is barricaded by Deckard, preventing her from making an exit, and pushed to a window. The two do end up embracing each other and confirming their love for each other, but the way it happens feels for starters, unrealistic, but also, kind of unsettling. It reminds me of another movie I have rewatched several times over the years, “Revenge of the Nerds,.” In that movie, sure, Betty and Lewis end up confirming their love, or perhaps more accurately at the time, lust, for each other. But the way that initiates is from Lewis basically assaulting her if you break it down. And much like “Revenge of the Nerds,” I will not deny that “Blade Runner” has reminded me of my love for movies in one way or another. But if I had to name a standout flaw with both films, and it is a monumental one, it would be a central love connection that may seem believable in the end due to proper chemistry, but is initiated in a way that can described as off-putting and erroneous.
As mentioned, “Blade Runner” is an example of cyberpunk, which likely takes inspiration from large cityscapes, but in a way, puts them on steroids. That said, even with a somewhat over the top nature provided throughout this movie’s interpretation of Los Angeles, everything around the city in terms of the environments and characters felt completely grounded. There is rarely a moment of this movie that I could not buy. This movie also manages to insert, for the most part, believable product placement. After all, it is set in a major city, so tons of advertising is to be expected. But from the very beginning, the frame is often bombarded with neon, noise, or product acknowledgments from companies like Budweiser or Coca-Cola. Ridley Scott manages to deliver an atmosphere with “Blade Runner” that not only emits realism, but for the entire runtime, makes me feel like I am there.
Though if I had to finish this review with one thing, it is that few movies, in fact few franchises for that matter, tend to answer the question, “What is human?”, like this one. I think Roy Batty, despite being an android, is perhaps one of the greatest encapsulations of that question in the history of film. We see him from the very start of his journey wanting more life. It is established that Replicants tend to have a four-year lifespan. Obviously, most humans live a lot longer, and that is something that he is trying to achieve. But if anything, this movie shows that life is not something you should take for granted. I am 23 years old. In fact, as I am writing this review, I am going to be 24 in just over a week. This movie reminds me to enjoy the moment, even in the darkest of times. Even in a city where the rain never stops, there may be one or two moments of sunshine. This movie may be set in a depressing future, but it is one where beings tend to find inklings of joy to keep themselves busy, whether that inkling can be defined as enjoying some noodles, playing chess, or fiddling with a piano. The beauty of “Blade Runner,” despite coming off as a slow burn and a thinker film, is its simplicity. At its core, “Blade Runner” is about a cop trying to stop a group of targets before it is too late. Everything else is just a bonus, and a mighty bonus it is. Because as far as I am concerned, there is a reason why I have rewatched this film so many times over the years, because it is that good.
Oh, and to answer the often debated question amongst fans, Deckard is a Replicant.
In the end, “Blade Runner” is one of Ridley Scott’s best films, even with its flaws. Again, a lot of the flaws I have in this review did get resolved, but I imagine if I did watch “Blade Runner” back in 1982, I would be having a ball with it. Unfortunately, the film did not do too well when it came out. It polarized critics, made an underwhelming amount at the box office, and possibly suffered from studio notes. Having to compete with another excellent and successful film, “E.T. the Extra-Terrestrial,” probably did not make things any easier. Even with that in mind, the film has a lot to offer. Exciting action, likable characters, incredible story arcs, life lessons, captivating writing, stellar direction, brilliant lighting, and stunning effects that make a number of modern movies that rely on CGI pale in comparison aesthetically. I must add, Vangelis’s score is also an absolute banger. “Blade Runner” is one of the best-looking movies I have ever seen, and it is hard to believe it looks this good over forty years later. But these looks are supplemented by a narrative that did nothing more than grabbed my attention and kept it for a couple of glorious hours. I am going to give “Blade Runner” a very high 8/10.
Again, if I were reviewing “The Final Cut,” I might honestly give a higher score. But I am treating this review the same way I am treating the other ones I typically do. And if you want me to be honest with you, as much as I love the original “Blade Runner,” it feels odd to say because I have not watched it in a while, but I honestly think “Blade Runner 2049” is the superior installment. It has all the positives of the original movie, but does some things to improve on it as well. Much like the original, that is another film that I have watched incessantly. In fact it finished as my runner-up for best movie of the 2010s. And if I could go back and do my review of it again, I would give it a 10/10 if I had the chance. Few films made me escape my reality and bring me to another world like that one did. I highly recommend if it is a rainy day, do a “Blade Runner” double feature. Both movies are absolutely worth your time and are two of the finest examples of what sci-fi can be.
“Blade Runner” is now available on VHS, Laserdisc, DVD, HD DVD, Blu-ray, and 4K Blu-ray. The film is also available through various streaming services.
Thanks for reading this review! And I hope you enjoyed my entries to the Ridley Scottober review series! I had a lot of fun doing these. I got to check out some films I have never seen before, in addition to watching one for the umpteenth time. I had a blast doing these and I hope you had fun reading them. If you want to see more reviews, good news! I have more coming soon! I will soon share my thoughts on “It Lives Inside,” “Dicks: The Musical,” and “Killers of the Flower Moon.” 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 “Blade Runner?” What did you think about it? Or, what is your favorite science fiction movie? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! Welcome to the third installment of the Ridley Scottober review series! It is a series where I will be talking about four Ridley Scott-directed films throughout the month of October. If you are interested in my first two reviews of the series, feel free to check out my thoughts on “Body of Lies” and “Gladiator.” The movie I am talking about today shares something in common with the last two I talked about. The fact that I have never seen it until now. That film in particular is “All the Money in the World,” whose name I have ton when it came out for a number of reasons. Now that I have finally gotten a chance to see what everyone is talking about, it is time to share my review.
“All the Money in the World” is directed by Ridley Scott (Alien, The Martian) and stars Michelle Williams (My Week with Marilyn, Manchester by the Sea), Christopher Plummer (Up, Beginners), Mark Wahlberg (Transformers: Age of Extinction, Patriots Day), and Romain Duris (L’Auberge Espagnole, The Beat That My Heart Skipped). This film is based on the events surrounding the kidnapping of John Paul Getty III, whose grandfather is the world’s richest private citizen, J. Paul Getty Sr.. When the kidnappee’s mother is unable to hand over $17 million for her son’s freedom, she does what she can to convince Getty Sr. to provide the money.
When it comes to Ridley Scott, he is usually a name that would get me in the theater. If he were sitting in the director’s chair, there is a good chance I am there. Granted that is not always true as I did not have a ton of interest in “House of Gucci” when it came out, but nevertheless. One of the reasons why I am very much looking forward to his next film, “Napoleon,” is because he is helming it. But when it comes to “All the Money in the World,” there is a particular name that was on my mind, even years after this film came out. But maybe not for the reasons the people behind this movie would desire. That name, is Kevin Spacey.
Ah… Kevin Spacey. How the mighty have fallen. A couple wrong moves in life and here you are. Your relevance is about as tiny as bacteria. Now this review is being done as part of a Ridley Scott series, and I will not deny that I was partially intrigued by this film because Scott’s name was attached to it. But if I were in the general audience months before this film’s release, there is a solid chance that Kevin Spacey would have gotten me in the door. I thought he was good actor with a decent resume. In fact, he just did “Baby Driver” earlier in the year, an incredible action flick with pristinely executed sequences and a killer soundtrack. Before this movie came out, all of his footage was shot, and he was going to play J. Paul Getty Sr.. Sounds interesting, right?
Well, fast forward to October 2017. News comes out reporting Kevin Spacey’s sexual misconduct allegations, and therefore “All the Money in the World” is in a world of hurt. Kevin Spacey was supposed to be a centerpiece of the film’s campaign, especially considering the arrival of awards season. AFI Fest was around the corner, and the movie was supposed to premiere there. That premiere was canceled, and everyone went back to work on the film. Kevin Spacey was recast with Christopher Plummer, and they shot his scenes over the course of nine days. I think this whole behind the scenes aspect is the highlight of the film. I am a production junkie. I work in production so I may be biased. But I know a thing or two about how hard it is to do something last minute, but if done right, the results can present themselves as fantastic.
Now if you pay close attention to the movie, and I did not know this upon my watch, there is one shot in the film that features Kevin Spacey getting off a train. The reason for that is because it would have been too expensive to redo. All the rest are of Christopher Plummer. I was amazed at this movie’s quick turnaround, even if the people behind it admit they could not achieve perfection.
I do not know what Kevin Spacey’s performance was like in this film, and frankly I do not care. What we got from everyone onboard was great. The recently mentioned Christopher Plummer, Michelle Williams, Mark Wahlberg, and Charlie Plummer (no relation to Christopher) all knocked their portrayals out of the park. All of them bring something exciting to the table with their characters and I cannot see anyone else, including Kevin Spacey, playing them. One of the reasons why Ridley Scott himself is a solid director is because he always manages to bring the best out of his talent. My favorite performance of 2015, and I sincerely apologize to the great Academy Award-winning Leonardo DiCaprio of “The Revenant” when I say this, is Matt Damon as Mark Watney in “The Martian.” Damon not only highlighted a constant survival instinct within his character from scene one, but did so with a sense of humor that I could only describe as irreplaceable. “All the Money in the World” clearly delivers different vibes, it is more dramatic, more serious, and LITERALLY more down to earth. “All the Money in the World” does a superb job at putting me into a world where we have all these people who would be hard to relate to 100% of the time, and yet I could sit in a room with them as a fly on the wall, intrigued by their actions.
But just because I am jumping up and down about the acting in “All the Money in the World,” does not mean it captivated me from beginning to end. There are moments of the movie that are more thrilling than others. There are moments where I had to struggle to pay attention. And there are also moments where I almost tuned out entirely. The movie is not bad, but much like “Body of Lies,” there is a certain spice that I wanted out this film that I could not quite achieve. It feels like I am going back to my watch of another thriller of his, “Body of Lies.” I think “All the Money in the World” is a better film with a more compelling story, fewer cliches up the wazoo, and more interesting characters. But if there is one thing both films have in common, there are select scenes in the film that had that had a greater span of my attention than others.
If there is another thing to note about “All the Money in the World,” it looks beautiful. The production designer for “All the Money in the World” is Arthur Max, who has worked a ton with Scott in the past on films like “Gladiator,” “Black Hawk Down,” and even as recent as “The Martian.” The two go hand in hand. Speaking of Scott’s usual suspects, the cinematography is done by Dariusz Wolski. He previously worked on “Exodus: Gods and Kings,” “The Martian,” and even “Alien: Covenant” which released months before this movie hit theaters. The lighting and framing make for a consistently perfect pair throughout “All the Money in the World.” There is a wide shot in Rome from the first few minutes that I wanted as a desktop photo. It is that good.
As a story, despite the film’s pacing issues, some characters standing out more than others, and select scenes not having as much of a pop as I would prefer, I am glad we got to see it. I think the movie presents a fascinating moral about wealth, and how even when you are rich, you feel that there is no breaking point. There are probably more people out there than we think that will put their riches before their family. I will not deny that having money is nice. And I am not going to pretend that I have as much as Christopher Plummer’s character. I found it fascinating, and kind of depressing, how his character seemed to think saving someone in his family was not worth even just a small portion of his wealth. J. Paul Getty Sr. stands out way more than he should as a character given all the controversy surrounding this film, but I guarantee that regardless of who is playing him, he is probably the character that would stand out most in the story, for good reason. But of course, at the risk of beating a dead horse, Christopher Plummer does an excellent job in the role.
In the end, “All the Money in the World” is not my favorite of Scott’s works. But much like “Body of Lies,” it stands as a film that I think a lot of people would kill to make. But if I have to be real with you, I think the history of this movie is more interesting than the movie itself. If it were not for all the controversy, this would just be a lesser film in Ridley Scott’s library. But with the way things are, it is a lesser film in Ridley Scott’s library with notable complications that came up around its release. It is not something I plan on watching a second time, but it is a film that I do not regret putting on. The performances are all standouts, the camerawork is some of the finest of its year, and when it comes down to it, it is an intriguing study of how wealth can affect people. Yes, at times it is a chore to watch, I will not deny that. But I think you would not be doing yourself any harm if you decide to check it out. I am going to give “All the Money in the World” a very high and generous 6/10.
“All the Money in the World” is now available on DVD, Blu-ray, and on various streaming services.
Thanks for reading this review! My final Ridley Scottober review arrives next week, and unlike the ones I have done so far, it is for a film I have seen.
Many times, actually.
For the final Ridley Scottober review, I am going to be talking about “Blade Runner,” the 1982 science fiction classic! It is a film that I have mentioned and talked about many times on Scene Before, but after many years of blogging here, I finally get to do a proper review of it. Stay tuned! 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 “All the Money in the World?” What did you think about it? Or, if you could replace any actor or actress in any movie in the history of time with Christopher Plummer, which one would it be and why? Let me know down below! Scene Before is your click to the flicks!
“The Creator” is directed by Gareth Edwards (Rogue One: A Star Wars Story, Godzilla) and stars John David Washington (Tenet, Amsterdam), Gemma Chan (Eternals, Crazy Rich Asians), Ken Watanabe (Inception, The Last Samurai), Sturgill Simpson (Queen & Slim, The Hunt), and Allison Janey (Mom, I, Tonya). This film is set during a time where humanity and artificial intelligence are at war. The story shares what happens when one human soldier finds the robots’ secret weapon. A young child.
As a science fiction junkie, I feel like we have been spoiled over the past decade in regards to IP between “Guardians of the Galaxy,” “Star Wars,” and depending on how the second film ends up doing months from now, “Dune.” Science fiction is easily my favorite genre in film. It can range all over the place in tone, atmosphere, and can sometimes be really thought-provoking. Going back to the “Star Wars” example, Gareth Edwards has honestly made my second favorite thing that has been done during the Disney “Star Wars” era, specifically “Rogue One.” I love how that movie manages to enhance a certain plot hole from the original, introduces a great story and concept, and unleashes an utterly likable antagonist in Director Krennic. Now, when it comes to the final product, it is hard to determine how much Edwards had to do with everything in it, but he handled that movie perfectly. It is easily a highlight of the “Star Wars” franchise. His “Godzilla” movie… Well, I guess it is fine. Not perfect, but I thought the climax was worth watching.
But if you look at Gareth Edwards’s resume in recent years, you would notice that he, like some other directors, has descended deep into popular properties. “The Creator” is a bit of a departure from his recent work as it is an original idea. I was really looking forward to this film because it was an original piece in addition to one that has Edwards’s touch. If you have both of these things, it may summon a winning combo. And thankfully, it does. For the most part, that is.
I have heard other people praising this movie as if it is amongst the top sci-fi classics. I disagree. That said, I think that this is a solid outing for Gareth Edwards. John David Washington is good in the lead role. It is a marvelous debut for Madeleine Yuna Voyles acting-wise. One of the more controversial topics in film is the idea of hiring prominent child actors. After all, they’re young, they do not have the experience that more adult actors do, and there is also the issue of labor laws. But I have to say, Madeleine Yuna Voyles handles the material given to her with utter ease. She is incredible throughout the picture and I would love to see more from her. I honestly could not believe this was her first role.
Much like many other sci-fi classics through the ages, “The Creator” did a fine job at making me think. If there is one thing to note about this film, I think they released this at the perfect time. “The Creator” has come out at a time where artificial intelligence is already here, we are using it, and we honestly do not know where that is going to take us as a society. If there is any reason why you should see this movie, there is a good chance that it may remind you of something that is happening in your life. More and more people are handling technology and A-I to the point where it makes me wonder where we will take the technology, or where said technology will take us. This movie establishes that certain sectors of mankind should have no problem destroying A-I because it does not have emotions, it is just programming. It cannot “feel” death. But this movie makes me wonder what we will interpret as the greater good should A-I be taken to a point one could consider to be too far. The movie, on a surface level, shows what happens when A-I becomes a part of our everyday lives and we eventually resist it, but there are also many other people out there who refuse to give it up. To some people, it is so essential that they cannot see themselves living without it. To them, it is a part of evolution. It is like a generation gap except with a segment of the world.
That said, when I say that, the film also seems to treat A-I the same way another enjoyable sci-fi film, “District 9,” treats aliens. The film does suggest that A-I can be considered a threat for the most part, but it also shows that A-I kind of blended with humans over the years to the point where the two groups work together sometimes. Speaking of comparisons, “The Creator” very much reminds me of another one of my favorite science fiction films, “Terminator 2: Judgment Day.” Only in this case, the roles are reversed where the kid is the robot and the adult is the human. I am not saying that this movie is as good as those, but if you want a proper set of comparisons, these are the two that instantly come to mind. But there are plenty of others I could make too.
This film reminds me of “Rogue One” from its aesthetic which seems to have been carried over by Gareth Edwards. In fact sometimes various environment have a more down to earth “Star Wars” vibe. Obviously with the technology aspect, “2001” comes to mind. And speaking of Gareth Edwards films, you could even say “Godzilla” is an easy comparison to make given how a major catalyst for events to come throughout the movie happens to be a nuclear explosion. Maybe I am overthinking this, but I wanted just a little more out of “The Creator.”
“The Creator,” despite its original name, spends a lot of time taking things that have worked in prior science fiction stories and putting them all in one package. This is nothing new. I compare films all the time, whether they are good, bad, or in between. But with “The Creator,” the comparisons are abundant, perhaps not in the best way. I understand that as stories continue to be told, it becomes harder to come up with something new. But when this movie came out, I felt like that was what was being delivered to us. Instead we got “District 9” meets “Terminator 2: Judgment Day,” with some other ideas in the mix. Both of those are really good movies. I saw “District 9” not long before seeing “The Creator” and had a good time with it. “Terminator 2: Judgment Day” is a hallmark of the science fiction genre and does a really neat job at addressing its A-I infused message. When it comes to “The Creator,” I am going to look back at it and call it the film that tried to be the next “Terminator,” only to remind me of why I would rather watch “Terminator 2.” Or even the first “Terminator” for that matter. I think “The Creator” is a fine watch, and if you do go and support it in theaters, I think you are doing yourself a favor because it is a nice choice amongst the catalog of movies out right now. You cannot go wrong with it. But I honestly think the movie is slightly lacking in substance and despite it trying to present itself as a new idea, it feels somewhat familiar.
If I had to name the biggest positive of the movie, it is not the fact that it is an original movie being made today. If you look hard enough, you will find them in almost every corner. What matters is going to support them. And of course it would also help if the movie itself is good, which this one is. But this movie cost $80 million to make. There have been cheaper films, and there have also been more expensive films. But they use the budget nicely. Because effects-wise, the film honestly looks superior to some of the bigger blockbusters we are getting nowadays. If you look at a couple movies from last year like “Moonfall,” which cost $150 million, or even “Thor: Love and Thunder,” which cost $250 million, I would honestly say that “The Creator” packs in more polish and pizzaz than both of those examples. $80 million is a lot of money, but when you consider how much certain films are being made for in these times, I think the money was utilized to its full potential. When it comes to the world of “The Creator,” I was in awe. But once the movie concluded, I left wanting more. And I do not mean a sequel. I mean more in terms of what we got in the span of a couple hours. What we got was decent, and the movie does admittedly fly by pacing-wise. But if you ask me, it could have been better.
In the end, I had high expectations for “The Creator,” and walking out, maybe I should have considered whether they were too high. That said, it was a fine one time watch. “The Creator” has a marvelous idea behind it with a decent message and interesting characters. Performance-wise, Allison Janey is a standout as Howell. The movie does an excellent job at building a world that I could sometimes get lost in, even if it at times feels like a world from somewhere else. The characters are likable, the performances are good, and this includes the gem of a debut from Madeleine Yuna Voyles. She is going places. “The Creator” is not gonna be on my top 10 of the year, but I will say it is a fine movie. I am going to give “The Creator” a 7/10.
“The Creator” is now playing in theaters everywhere. Tickets are available now!
Thanks for reading this review! If you enjoyed this review for “The Creator,” you might want to know that I have reviews coming up for “Dumb Money” and “It Lives Inside.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Creator?” What did you think about it? Or, what is your favorite of Gareth Edwards’s films he has done thus far? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! Happy to have you all tune into this latest film review as we continue Ridley Scottober! A month-long event where I talk about four Ridley Scott-directed films, all for your reading pleasure. This is the second entry to the series, and it is an exciting one. “Gladiator.” I assure you, I was looking forward to watching this movie, and now I equally look forward to talking about it. And if you want to check out the first entry of Ridley Scottober, feel free to read my review for “Body of Lies.” But if you plan to stick around, please enjoy my thoughts on Ridley Scott’s 2000 Academy Award Best Picture winner.
“Gladiator” is directed by Ridley Scott (Blade Runner, Alien) and stars Russell Crowe (The Insider, L.A. Confidential), Joaquin Phoenix (Clay Pigeons, 8MM), Connie Nielsen (The Devil’s Advocate, Rushmore), Oliver Reed (The Three Musketeers, Oliver!), Derek Jacobi (Hamlet, Dead Again), Djimon Hounsou (Deep Rising, Amistad), and Richard Harris (Unforgiven, Patriot Games). This film is set during the glory of Rome, and centers around General Maximumus Decimus Meridius, a general who becomes a slave who intends to seek revenge against those who brought him there in addition to killing his family.
I have a soft spot for Russell Crowe, but part of me does not know if I can legally say that, as I have not watched “Gladiator” until this review. Why? It is for the same reason I mentioned for “Body of Lies” in that review. I bought the Blu-ray years ago. In fact, I bought “Gladiator” almost a year before “Body of Lies,” but I just never got around to it until now. I had no vendetta against either of these movies, but one of the complications of being a movie collector is being able to sit down and watch the new films I buy because I have so many and sometimes want to revisit some favorite titles. One of the silver linings of this series and other review marathons I have done in the past like the “Mortal Kombat” films and some of the “Pirates of the Caribbean” movies like “At World’s End,” is that it helps me get around to titles that I have never seen before. In fact, “Gladiator” is one of those movies, much more so than “Body of Lies,” that when you bring up the fact of never seeing it, there is a chance someone will ask if you are a real movie fan.
I am a real movie fan. In fact those of you reading this questioning my moves for years should be jealous, because I am getting experience this film for the first time. Some may call it being late to the party, I call it a long-awaited ounce of excitement.
About 23 years after its release, “Gladiator” is still in many conversations as a master class film. It is #36 on the IMDb top 250. The film won five Oscars, including Best Picture. Over in Britain, it snatched four BAFTAs, including Best Film. There is plenty of proof to show how much the film has stood as a testament to the industry and the sword-and-sandal genre. But these are just the opinions of other people. There is only one opinion that matters here, and that is the one of the Movie Reviewing Moron. So, what did I think of “Gladiator?”
Sorry in advance… I am “glad” I saw it.
“Gladiator” goes to show the power of first impressions, because from the beginning, the film completely immersed me. The film has a story that showcases the glory of Rome, and the film itself carries a similar glory unto its own. There is so much going on inside the screen that it is insane. Between the humungous cast, with who knows how many extras, the beautiful showcasing of wides, and the magnificent on location sets, “Gladiator” is pleasing to the naked eye. I understand that at the time, “Star Wars Episode I: The Phantom Menace” was kind of a big achievement in visual effects in terms of how deep they go with certain concepts, how real certain things looked for the time, but if I had to look back on both of these films now, I think “Gladiator” is the clear winner in terms of which is more attractive to the eye. I look back at “The Phantom Menace” and it sometimes looks like a video game. There have been worse looking effects, but still.
In fact, speaking of effects, there was one fight in particular that involves the use of tigers. It is easy to say because I am not the one making the film, but I kind of appreciated the film’s tendency to use real tigers. Now, I did question if the tigers were CGIed, which they partly were. They used bluescreen to make the tiger appear closer to the characters. That said, I admire how making “Gladiator” was probably about as dangerous as being a gladiator. I would have completely understood if this movie went down the full CGI route for the tigers, but the fact that they decided not to is a risk that paid off.
What also carries “Gladiator” are the performance. This is most notable with Russell Crowe as Maximus Decimus Meridius, an admirable protagonist. On the other hand, we have Joaquin Phoenix as Commodus, an equally admirable antagonist. These two deliver two completely different vibes and mannerisms into their individual performances, but it does not change the fact that their work in this film are goldmines. Both of their deliveries are incredibly convincing. Even just their physicality, just having them stand around had me staring in awe.
But this film is much more than big fights and larger than life sets because I found myself immersed in the drama between the characters. Obviously there is the main story of Maximus trying to get his revenge, but in addition to that, I also found the family drama on Commodus’s side to quite compelling. Between how he gets his power, his relationship with his nephew, I found all of it intriguing. The film does a really good job at balancing various family, political, and personal dramas.
I will admit, having watched the film, there are parts of it that drag a little. It is not a huge dealbreaker, but in the scenes where people are talking, it is not necessarily that engaging. For the record, I can handle talking, I have no problem. But the scenes where people talk in this film are not as compelling as others, but there are select moments that positively stand out.
In fact, “Gladiator” as a film sort of reminds me, story-wise, of “Braveheart,” as it follows a someone trying to obtain their freedom, not to mention the freedom of others, within a backdrop of large sets and incredible violence. But much like “Braveheart,” as I watched the film, specifically the first 40, 45 minutes, I found myself getting bored and needing to pause the film to take a breather. For the record, I would contend that every minute of “Braveheart” is essential to the film. Much like how every minute of “Gladiator” is essential to it. But I would not deny that both films have pacing issues. Only difference, once I get past the first 45 minutes of “Braveheart,” the movie throttles heavily and gets good fast. “Gladiator” is very off and on with the pacing, but even in the slower moments, I still found myself the tiniest bit engaged. That said, having finished this film, this is one of those movies that if it were playing in a theater near me or if it got the IMAX treatment, I would go check it out. It looks like a magnificent theatrical experience. The cinematography is beautiful. The sets, again, are stunning. The sound editing and mixing are beyond powerful. Maybe if I watch this film in a theater, where I am less likely to be distracted, I would feel different than I do here. That said, the film is worth watching regardless and you absolutely should check it out if given the chance.
In the end, I get the hype for “Gladiator.” I had a good time with it. It is not my favorite of Ridley Scott’s films, and it is not even my favorite film of the early 2000s with huge sets and epic on location action. Peter Jackson’s “The Lord of the Rings” trilogy started a year later. That said, it is one that if you asked me if I would watch it again, the answer would be an instant “yes.” I would probably put it on again at home, or again, if there were a chance to watch it in theaters, I would give it a chance. The cast is fantastic, the story is fascinating, and I must add that Hans Zimmer and Lisa Gerrard’s score is mighty fine. I am going to give “Gladiator” an 8/10.
“Gladiator” is now available on VHS, DVD, Blu-ray, and 4K Blu-ray. The film is also available on streaming and is free on Netflix for all subscribers as of this writing.
Thanks for reading this review! If you enjoyed my thoughts on “Gladiator” and want more Ridley Scott in your life, I have two more reviews coming in the Ridley Scottober series! One next week, followed by another the week after. Stay tuned. Also, be sure to check out my review for “The Last Duel,” Scott’s epic drama from 2021. 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 “Gladiator?” What did you think about it? Or, what is your favorite sword and sandal movie? Let me know down below! Scene Before is your click to the flicks!
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