Tenet (2020): This Review Hasn’t Happened Yet

Before we dive into this review, I just want to remind everyone that this is spoiler free. “Tenet” is one of the biggest movies of 2020 for a lot of reasons. There are not only a lot of people waiting desperately to see this movie, like myself, but there are also many people who might want to wait to see this movie depending on how safe it is to do such a thing. There’s also some areas like New York, California, the country of Japan that for the most part, cannot obtain access to this movie yet. With this in mind, I am going to attempt to be as vague as possible with my thoughts on “Tenet.” Kind of like its own trailers. What did we learn? Not much, which I don’t mind because I’d rather go into a movie knowing as little as possible. What’s the point of a trailer if it’s going to simply show the entire movie? I do go into detail on one or two things, but the things I take the deepest dives into don’t have much to do with plot, story, or characterization. Without further ado, it is time to start my review for “Tenet,” otherwise known as the movie I have waited since the Jurassic era to witness on the big screen.

The day we’ve waited for has arrived…

“Tenet” is written and directed by Christopher Nolan (The Dark Knight, Dunkirk) and stars John David Washington (BlacKkKlansman, Ballers), Robert Pattinson (Good Time, The Lighthouse), Elizabeth Debicki (The Burnt Orange Heresy, Guardians of the Galaxy Vol. 2), Dimple Kapadia (Bobby, Fearless), Michael Caine (The Cider House Rules, Interstellar), and Kenneth Branagh (Jack Ryan: Shadow Recruit, Hamlet) in a film involving NOT time travel, but time INVERSION, which makes time move backward. John David Washington plays The Protagonist (yes, that’s his actual name) who journeys through a twilight world and faces a mission that could mean the difference between peace… or World War III.

It’s finally here! “Tenet” is arguably my most anticipated movie of 2020, not to mention of all time. For the record, I keep saying “Dune” is my most anticipated film of the year, but given how “Tenet” is supposedly the movie that will “save cinema,” that’s an added bonus for me. I’ve talked about this movie long before it came out. I reviewed one of the trailers, I did a couple posts on what we knew about the movie at the time, and I even brought it up a couple times during my temporary “Movies and COVID-19: Behind the Scenes” series. I don’t think I’ll be updating that anytime soon, because I can only take so much talk about COVID-19 at this point. “Tenet” is also directed by Christopher Nolan, my favorite director working today. “Dunkirk” ended up being one of my favorite movies of 2017, taking my #4 spot at my end of the year countdown series. Two of his movies showed up in my “Top Movies of the 2010s (THE BEST 25)” countdown, which by the way, one of them ended up being my #1 pick! That movie by the way is “Interstellar,” which is one of my favorite movies of all time! Christopher Nolan is a director who individualizes his work in the industry, partially because he’s developed a distinctive style himself, but also because a studio as big as Warner Bros. trusts him at this point to make “his movie.” Plus, this movie was shot entirely in 65mm film, much of which was through IMAX. I’m a sucker for large format filmmaking, and I knew that this movie was gonna look CRISP.

To this day, Christopher Nolan has not made a bad film. Keep in mind, I still have not watched “Following,” but I’ve seen every other film from him. I really enjoyed “Memento” and I thought its storytelling methods were pretty solid. His “Dark Knight” trilogy is not only fun, but kind of refreshing in a world full of big CGI comic book movies. “Interstellar” is incredibly rewatchable and I stand by it being arguably my most cherished movie experience. “The Prestige,” while I don’t recall much about it, was fairly enjoyable. “Insomnia” is an entertainingly gritty thriller and features a fine performance from Al Pacino. “Dunkirk” is proof that you don’t always need a centralized character to tell a story, and I kind of like that. As if “Inception” wasn’t already cool enough, I rewatched it four times this year! Two of those times were in IMAX! It’s that good! So, is this the movie we’ve been waiting for? Is this the savior of cinema? Is “Tenet” 2020’s goldmine? Is it worth the hype?

Honestly, I’d say yes. The best way I can describe “Tenet” is this. If you’ve never been to Fenway Park in Boston before, they have this one section where all the seats happen to be green, except for one. Why? Because former Red Sox player Ted Williams hit a 502 ft home run towards that seat, and even though all the other seats remain green to this day, that one seat, which is 502 ft from home plate, is red. I feel like in my imagination, all the other movies that I’ve seen this year, all possess the typical green seats, but “Tenet,” because of how much I enjoyed it, gets the special spot. I say that because as I’ve discussed on here before, 2020 sucks, not just in general, but in the case of what I focus on regarding Scene Before, our cinematic calendar is pretty much a waste.

We’ve barely had any animated features this year, and while they are not my goto genre, I’ve watched at least five per year in the past couple years. It’s something I miss, and I really hope more can come out because Best Animated Feature is a category I do during my awards show that I put on here. There’s one movie that I have lost all motivation to review partially because of the pandemic, and partially because I’ve pretty much put it out of my mind upon leaving the theatre (That movie is “Bloodshot,” by the way.) All the big blockbusters like “Ghostbusters: Afterlife,” “F9,” “Morbius,” “Eternals,” and “Top Gun: Maverick” have all been pushed back about a year. “Tenet” is not only a movie that, unexpectedly, would supposedly “save cinema,” but it was one that was made to specifically show off the power of cinema.

I saw “Tenet” at a regular 2D screening at an AMC, and it felt like I was at an RPX or something. It really felt like the audio was cranked up beyond the maximum limit. This movie has some of the most immersive, and all time best sound editing I’ve heard in my life. Everything from the opening scene to the grand climax is magic for the ears. As for sound MIXING… That’s a different story, and quite honestly, it’s my biggest problem of the film.

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I’ve witnessed a few reviews before going to see “Tenet,” not mainly because I wanted to know how the movie was, but because I want to support the content from those who created it. Anyway, they seem to be having the same issue as me. “Tenet” is an audible, earth-shattering movie. Christopher Nolan is no stranger to this description. Have you guys seen “Dunkirk?” That’s gotta be one of the loudest movies I’ve heard in my life! Nolan is my favorite director of all time, but if there is one valid critique I will give to him, and this even stands true for “Interstellar,” my favorite movie of his. Christopher Nolan seems to be hyper-obsessed with having the sound mix be as obnoxious as possible, allowing sounds in the background like shotgun blasts, explosions, even music to take over the ears, thus making us lose some of what could be important dialogue. This wasn’t a huge dealbreaker because as someone who is an aspiring screenwriter, I know that words are not always necessary. Film is a visual medium. As long as I can see what’s going on and do so coherently, everything seems to be fine. Granted, I will always take good dialogue whenever possible, but what’s the point of making a movie when you can’t see or hear what people are “doing?”

I will also say, this movie has a lovable ensemble. Everyone from John David Washington to Elizabeth Debicki to Kenneth Branagh all happen to be great in the film. I enjoyed the presence of all their characters. I will point out though, once again, John David Washington plays a character whose name happens to be “The Protagonist.” I won’t say much about it, but I like the direction in which the movie took that meaning. I’ve read some things about “Tenet” before seeing it and I had no idea what that name could have to do with the movie, but the way they handled it was surprisingly pleasant, so kudos!

Speaking of “Tenet’s” ensemble, I will also bring up Michael Caine. For those of you who don’t follow Christopher Nolan, I should have you know that Michael Caine has been in every one of his movies since “Batman Begins.” He even had an uncredited role in “Dunkirk!” I’ve read about this before the film, and this is not spoiler, but Michael Caine’s character in the movie… is named Michael. Because, he’s already played everybody else in Nolan’s imagination, right? I won’t say much about Caine’s appearance in this film, but there’s a moment in the movie where The Protagonist ends a chat with him and my brain clicked as soon as I heard The Protagonist refer to Caine’s character as “Sir Michael.” Did Christopher Nolan originally write this movie with himself in mind for the lead role? I seriously want to know at this point!

I have already raved about this movie from an audio perspective, calling it one of the most immersive experiences I’ve had all year. I’ll also point out, I have never seen a movie “live in concert” before, but if they ever get to a point where they do such a thing for “Tenet,” I will IMMEDIATELY buy a ticket! Because let me just tell you one thing right now. “Tenet” may just have my favorite film score that I have heard in years!

One thing I’ve gathered about Christopher Nolan as a director is his tendency to work with people he’s worked with in the past. I recently mentioned Michael Caine. Nolan’s worked with Tom Hardy a couple times. Same goes with Anne Hathaway. He brought back Kenneth Branagh for this film. Hoyte Van Hoytema is the cinematographer for this movie, making this his third collaboration with Nolan. And if you ask me, this is another solid entry to his resume and I cannot wait to see how they used the IMAX cameras for this film. But I will point out one collaboration that I was shocked to see missing once I heard about it.

BEVERLY HILLS, CA – JANUARY 16: Composer Hans Zimmer arrives at the 68th Annual Golden Globe Awards held at The Beverly Hilton hotel on January 16, 2011 in Beverly Hills, California. (Photo by Jason Merritt/Getty Images)

No Hans Zimmer.

HOLLYWOOD, CA – FEBRUARY 24: Composer Ludwig Goransson poses with the Best Original Score award for “Black Panther” in the press room during at Hollywood and Highland on February 24, 2019 in Hollywood, California. (Photo by Jeff Kravitz/FilmMagic)

Why is he not here? He’s busy. He’s been doing “Wonder Woman 1984,” “No Time to Die,” “Hillbilly Elegy,” and perhaps the biggest reason why he couldn’t fit “Tenet” into his schedule, “Dune.” Hans Zimmer said “no” to doing the score for “Tenet” because he wanted to fit “Dune” into his busy calendar. There’s no beef between him and Christopher Nolan, but he just wants to do “Dune” so bad to the point where he had to give up doing the score for “Tenet.” I was a bit disappointed considering how Zimmer and Nolan are one of the best duos in Hollywood history. The score for “Interstellar” is one I listen to quite often. However, the movie ended up getting Ludwig Göransson (The Mandalorian, Black Panther) who I will point out, may have made my favorite main theme for all the characters in Disney’s Marvel Cinematic Universe, specifically for Black Panther.

RIP Chadwick Boseman and Wakanda forever.

I must say… This score very much reminded me of a few movies. It felt like something out of the “James Bond” franchise, which does make sense as this is a spy movie. But it also reminded me of the “Blade Runner” franchise, especially “Blade Runner 2049,” and I say that because, and pardon my unprofessional-sounding diction here, the score sounded “boomy” at times. That’s the best way I can describe it. There’s this occasional drum pattern of some sort that comes and goes, I cannot get it out of my head at this point. In fact, when I got home, I did something regarding this movie that I have never done before. I went online, and tried to see where I could buy a physical copy of the CD. There are a few movies like “Knives Out” or “Star Wars: The Rise of Skywalker” where I would watch it, enjoy the soundtrack, and maybe a couple days or a week later find the soundtrack on YouTube and listen to it. This is one of those rare times where I wanted to pay money for a physical copy.

Going with a different than usual composer for Christopher Nolan’s “Tenet” sounded like a rather bold, not to mention somewhat peculiar move when it comes to my first impression, but this may have been the best thing that could have happened to “Tenet” overall. Honestly, looking back, I don’t mind this change. Let me just say, the last film that Nolan did before “Tenet,” specifically “Dunkirk,” was undoubtedly amazing. And if you ask me, a couple parts of the score were worthy of a thumbs up. However, if I had compare that to many of the other entries to Hans Zimmer’s resume, not just the projects he’s done with Nolan, but even projects like “Man of Steel,” “The Lion King,” “Kung Fu Panda,” and “Batman v. Superman: Dawn of Justice,” the “Dunkirk” score felt kind of underwhelming.

The thing I really enjoyed about Ludwig Göransson’s score is that it really emphasized the scale of the movie. The entire time I felt like I was on an action-packed theme park ride that specifically caters to adults. Aside from that, it’s fast-paced, and I would not mind listening to it every single day for the rest of my life. I know funerals are supposed to be sad and that sort of thing, and honestly, the last thing I want to do is know that I will make everyone cry at my funeral, no matter what I bring to society. So, if anyone wants some epic music for my funeral that way not many people cry but it’ll still tie into a “Jack Drees” theme, download the “Tenet” soundtrack on your preferred service! Then again, when I die, why should I care? I can’t plan a funeral when I’m dead! It’s for the living to remember the dead as they choose! I can’t interfere! It’s improper!

Would I like to see Ludwig Göransson collaborate with Christopher Nolan again in the future? Yes and no. Let’s say they do a “Tenet 2.” I’m not implying I want a sequel. I’m not implying the movie ends highlighting plans to do a sequel. I’m just saying IF they do a “Tenet 2,” that’s an obvious yes from me. I cannot imagine anybody else handling this IP from a musical perspective at this point.However, I would either like to see Hans Zimmer come back because he and Nolan go together like bread and butter, or they get some other composer to come in like Danny Elfman or Alan Silvestri. It would also have to depend on the type of movie they do. I may be getting ahead of myself here, but I think Ludwig Göransson smashed this score so hard, that if he does another one, I will probably end up looking forward to it so much that I will just end up feeling underwhelmed upon hearing it no matter what happens. In addition, I don’t know how Göransson could top this score in another Nolan project. To be fair, he’s a musical genius and one of the more unique film composers I’ve heard, so he could find a way, but I also have my doubts. It’s kind of like when I watch “America’s Got Talent” sometimes during the quarterfinals or semifinals and there’s one act that does something so amazing that even though I WANT to see more from that act and I want them to succeed, I don’t see them topping what they just did, so it would be hard to tell if they could do something nearly as cool if they advance. It’s a compliment, but also kind of a curse.

“Tenet,” to be quite honest, is not my favorite Christopher Nolan movie. Nor is it my least favorite. As of right now, when it comes to my rankings, it ends up somewhere in the middle for me. I enjoyed it more than all the films in the “Dark Knight” trilogy, but I’d say that I enjoyed films like “Dunkirk” and “Inception” more. But as a filmmaker, Nolan is like Pixar. Bad Pixar is still better than a lot of movies. Remember “Onward?” I gave that movie a 7/10. That’s a low grade for Pixar, but a lot of filmmakers would kill to have their movie receive that positive of a review. But I will say that when it comes to “Tenet,” this movie has something going for it. Rewatchability.

Now, I already bought tickets for a second “Tenet” screening BEFORE going to my first one. The main reason is because I bought a ticket for myself, but I wanted to see the film in IMAX, but I didn’t buy an IMAX ticket, plus I figured it would make for a good outing with my father. So my second outing is so he could see the movie as well.

Not gonna lie, I’m already thinking of buying tickets to a third screening. Maybe I’ll do Dolby Cinema this time. I gotta check all the boxes for different formats I can see this movie in. In all seriousness, not only is this film rewatchable for entertainment purposes, but like some other Nolan flicks, I feel like I missed some things the first time around that could be picked up on a second, third, maybe even fourth viewing. And I’m not saying that as someone who feels like they HAVE to watch “Tenet” again, I’m saying that as someone who wants to. I don’t think I’ve wanted to go back to the movies to rewatch something this much since… I don’t know… Maybe ever. This film has some problems. The sound mixing is the most obvious and I think going forward, I’m not sure how much control Nolan has over the sound mixing process, I think that could be something that he needs to either stay away from, or something he should leave to others. Either that or just make a silent film. Nice little throw back. It could be shot in 4:3 on 8mm film. AMC could bring in special projectors for select screenings. It’s event cinema! Come on, Nolan! I’m writing your ideas for you! Use them! Although between the likable performances, the dazzling camerawork, the unreal use of practical effects, one of the most heart-pumping opening scenes I’ve witnessed in recent memory, one of the craziest climaxes I’ve witnessed in recent memory, and THAT. FREAKING. SCORE. “Tenet” is a good time at the movies. I repeat, AT THE MOVIES.

I cannot thank Warner Bros. enough to sticking to a theatrical release for this film. This is a movie that is literally MADE for the big screen, perhaps more so than any other this year. I’ll be honest, if this went straight to HBO Max… I don’t know if I would have watched it. Maybe I would have since I paid for the service and I want to get my money’s worth, but I would have been missing a lot of what I’ve gotten from my recent experience. Thank you, Warner Brothers, and I’m hoping you stick to your guns for films including “Wonder Woman 1984” and “Dune.” Cannot wait for those movies!

In the end, “Tenet” is exactly as it was advertised, an “event” film. It has the best and worst of Christopher Nolan’s cliches. Massive scale, but sometimes it’s too massive when it comes to the sound mix. Even so, it does not take away from this film’s long list of positives. Is “Tenet” my favorite movie of the year? No. I still think “Summerland” is my #1, and for all I know, it could stay at my #1 spot for some time. But again, “Tenet” comes off as an incredibly rewatchable film. If this film warrants enough repeat viewings, and maybe some more aspects regarding it stand out with greater positivity, “Tenet” could become my favorite film of 2020, but for now I’m going to give “Tenet” an 8/10!

“Tenet” warrants a viewing on the biggest screen possible. And I know that not everyone feels comfortable being inside a movie theater right now. But, if there is a drive-in open near you and it happens to be playing “Tenet,” it could make for a fun night out with an easier chance to remain socially distant. Otherwise, the film will probably be out on Blu-ray sometime in the future, but I really don’t know when. Because if I’m not mistaken, “Tenet” is supposed to be in cinemas for a long time, and if Warner Bros. wants to keep that promise alive, I would imagine that they’d go on long past the traditional theatrical window to keep exhibitors happy. I don’t know what’ll happen, but I highly recommend “Tenet” if you feel safe enough to get out of the house. Go see this damn thing! It’s freaking sweet!

Thanks for reading this review! I just want to remind everyone that “Tenet” is playing in several different formats to choose from. Many of the screenings perhaps near you happen to be in digital projection, but if you want other options, read this handy guide! I’m not sure what my next post is going to be as I am getting ready for my next year of college and I have a rather important family birthday coming up that requires major prioritization. But we’ll see what happens! Maybe it’s “Bill & Ted Face the Music,” maybe it’s “The Personal History of David Copperfield,” maybe it’s “Tesla,” who knows? Maybe I’ll cave in and get Disney+ so I can review “Mulan.” I really don’t want to, I think this is incredibly greedy, but who knows? I know you have seen more great content from Scene Before, it just hasn’t happened yet! With that in mind, do yourself a favor and follow Scene Before either with an email or WordPress account! Also, check out my Facebook page! I want to know, did you see “Tenet?” What did you think about it? Or, who is your favorite film director of all time? Let me know down below! Scene Before is your click to the flicks!

Christopher Nolan: The Bright Auteur Rises

WARNING: The following post is a piece of college work based on months of research. As you may know, I, Jack Drees, continue to operate Scene Before every day for a general audience and film lovers everywhere, dedicating time to film reviews, news updates, countdowns, and my general opinion on various matters. If this post sounds abnormal or differing in style, it is due to an attempt to follow guidelines in order to achieve a positive grade in my class. Thanks for your attention, enjoy the post! 

Hey everyone, Jack Drees here! For the past few years on Scene Before, you, my viewers, have been exposed to a variety of film reviews, four of which are for movies directed by Christopher Nolan. For a portion of my life, I have practically been an evangelical towards his work, and if you followed this blog for some time, you’d know that. Today, however, I would like to take the opportunity to discuss something that some of you might find to be a con when it comes to Nolan. If you know about Nolan’s statistics, you’d know he generally receives extremely positive reviews, in fact the lowest Rotten Tomatoes score he received for a film he directed was a 72%. This and other factors have solidified Nolan as a filmmaking powerhouse and an auteur with an unusual amount of power.

Film buffs happen to know that Nolan is dedicated to his craft and will do a film his way, which to him, is his absolute preference. Think of Nolan as a newer incarnation of Steven Spielberg or George Lucas. In fact, as I personally watch his movies, I happen to find a similar vibe between all of them, even if they aren’t in a linked franchise or have completely different storylines. For example, Nolan’s scripts tend to have a main character who is a white male with darker hair, because diversity is totally, without objection, a top priority. Speaking of repetition, Nolan often inserts a wife character in some way who will eventually meet her fate with death. Nolan’s trademarks also include puzzle-like plots, tons of practical effects, and relying on film stock. In fact, relying on film stock is not just a trademark for Nolan, but it’s a lifestyle.

In an age where people lack the attention span to pick up a paper case, open it, and insert a media file into a player (unless you’re me, as proven above), it is almost surprising that film stock is still a thing.

But based on the efforts of Christopher Nolan and other directors including Quentin Tarantino, it is still thriving for a select number of directors, cinematographers, and movie theaters. As more and more theaters switch to digital projection, Nolan still had no problem with releasing his films the way he intended in certain areas. After all, these are his creations, not anyone else’s. Nolan and his recent films such as Interstellar and Dunkirk have surfaced in the news because they released either on 35mm or 70mm film. Digital projection, which Nolan and others see as inferior, has gotten an enormous boost thanks to the release of James Cameron’s Avatar in 2009. This is partially due to its use of 3D, which is primarily shot digitally (unless there are certain cases of post-conversion), which Nolan has yet to use for any of his films, even for cases like The Dark Knight Rises, released in 2012, a time when post-conversion to 3D was a new and popular fad and 3D Blu-rays were still being made for American audiences. Speaking of movie gimmicks, Nolan also broke ground by being the first director to shoot a Hollywood feature with IMAX cameras.

If the IMAX experience has proven anything aside from the fact that consumers are willing to pay extra money to watch Spider-Man shoot a web into their faces, it has proven that Christopher Nolan changed moviemaking by shooting The Dark Knight on what is theoretically the highest quality format for a motion picture. Nolan shot The Dark Knight with select scenes, about thirty minutes of footage to be precise, on IMAX film. IMAX’s film stock is technically 65mm film, but unlike traditional cameras of that sort, IMAX’s film camera holds film that goes horizontal as opposed to vertical. Nolan’s IMAX footage covered its brand-specific screens from floor to ceiling during the film’s theatrical run, which then carried over to the film’s Blu-ray release. Speaking of carrying over, Nolan’s pioneering efforts allowed directors like Michael Bay and Zack Snyder to create films of their own using IMAX-shot footage.

The reality is, Christopher Nolan, above all, is not necessarily a filmmaker, he’s an auteur. While people who worked with him managed to point out his calmness on set, Nolan also embodies the qualities of a filmmaker who needs to get his way. Luckily for Nolan, he has had successes from his previous films which allow him to make whatever kind of film he wants. Much like how the franchise name Star Wars is likely to get people to watch a movie, even with a character like Jar Jar Binks, the director name, Christopher Nolan, is likely to do the same. This is even during cases where Nolan does a movie that doesn’t base itself on a popular or preexisting franchise. Inception, Nolan’s first film after The Dark Knight, grossed over $800 million at the box office. Interstellar, which came out four years after Inception, managed to make under $700 million.

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There is also an argument to make is that Nolan’s freedom and control comes from family roots. Aside from directing, Nolan often receives credits for writing and producing on the same films. After all, Auteur Theory, developed in the 20th century, gives cases like these as support for a director being the film’s author per se. In fact, one of his scripts is based on a short story from his brother, Jonathan Nolan, but since Christopher claims the director’s chair, he is obviously receiving more attention. Speaking of which, Nolan has a wife by the name of Emma Thomas who often works alongside him. Most of the projects where they worked together had Nolan as the director and Thomas as a producer. While this is not technically family, Nolan has managed to release almost every single one of his films (at least internationally) under the Warner Brothers label. In fact, he is not stopping, because his next film, set to release in July 2020 starring John David Washington (BlacKkKlansman) is also from Warner Brothers. Wait a minute… What happened to the white dude cliche? I’m intrigued…

To link common roots even further, followers are also aware that Nolan often recruits the same people to work on his films. Aside from his family members, he has done three films with Tom Hardy, five films with Cillian Murphy, and for each film Nolan has directed since 2005 (Batman Begins), Michael Caine had an appearance in every single one of them. Such a correlation between Nolan and Caine for example can be traced through relationships between other directors and the actors they have worked with. Jon Favreau and Robert Downey Jr. for example had an ongoing relationship that has been present through their work on films like Iron Man and Chef. Another auteur often pointed out, Tim Burton, has a significant business relationship with Johnny Depp based on their collaborations during Charlie and the Chocolate Factory, Alice In Wonderland (2010), and Corpse Bride.

If Nolan had not succeeded, developed business relationships, had family by his side, or ignored his individuality and developed a cookie cutter style that didn’t particularly pertain to him, chances are he wouldn’t have the success he does today. I love Christopher Nolan, but there is no denying that part of why I love him so much is due to his position which he practically earned. He, unlike other directors, has the ability to make whatever films they please with little to no interference from others, including studios. While the film industry as a whole has an ideology of saying that big, known franchises, and expensive, perhaps disposable films with tons of special effects are the ones that make money. Nolan steps up to the plate and doesn’t exactly cheapen the filmmaking process, nor does he ignore preexisting material, but he makes all of the material his own, which is part of why audiences like me continue to support him.

Thanks for reading this post! If you want to see more from Scene Before, be sure to follow either with a WordPress account or email! Once you hit that follow button, be sure to stay tuned for more content like my upcoming reviews for “Shazam” and “Long Shot.” I also recently scored some passes for the “Dirty Rotten Scoundrels” remake, or more specifically, “The Hustle.” So I might check that out next week depending on whether I get someone to go with me because I actually have a +1 on my pass. But let’s face it, you guys don’t care about those movies, because according to quite literally every movie-related site in existence, everybody cares about “Avengers: Endgame.” It’s what all the cool kids are talking about, even if it was made for a nerdy demographic. If you want to see my SPOILER-FREE review of the film, feel free to click the link below and check it out! Again, follow Scene Before if you haven’t already and be sure to stay tuned for more great content! I want to know, who is your favorite auteur director? Also, what is your favorite Christopher Nolan movie? Let me know down below! Scene Before is your click to the flicks!

Avengers: Endgame Review! (NO SPOILERS!)