Wonder Woman 1984 (2020): Gal Gadot and Patty Jenkins Return to the Big (and Small) Screen

“Wonder Woman 1984” is directed by Patty Jenkins, who also directed the first “Wonder Woman” film starring Gal Gadot (Keeping Up with the Joneses, Fast Five) back in 2017. Gadot returns to play the iconic heroine alongside a cast including Pedro Pascal (The Mandalorian, Game of Thrones), Chris Pine (Star Trek, This Means War), Kristen Wiig (Saturday Night Live, Ghostbusters), Robin Wright (House of Cards, Forrest Gump), and Connie Nielsen (Gladiator, One Hour Photo). This film takes place many years after the original, which was set in World War I. This time, we journey to 1984, where Wonder Woman has to take on two new foes, Max Lord and the Cheetah. Also, Steve Trevor, reprised by Chris Pine, comes along for the ride.

It has been three and a half years since I first watched “Wonder Woman,” which I originally gave a 10/10. By the way, that 10/10 still stands. The film is somewhat cliché. It contains things that have been done before, there is no denying that. But it does so with excellence and in a way that feels fresh and exciting. Plus, you can also add on that we have not had many successes with comic book movies specifically centered around characters portrayed by women. This felt like not just a proper, but a *massive* step in the right direction. It was also my favorite film in the DCEU at the time. In my review for the original film, I go onto mention that when it comes to “origin stories,” “Wonder Woman” may be my all time favorite in regards to movies. Part of it has to do with the singular and stellar vision provided by director Patty Jenkins and all the performances from cast members including Gal Gadot and Chris Pine. The villians were… okay. However, each action sequence, even those that others say are heavy in CGI, are exciting and heart-pumping. I know some people find the final act to be clunky, I had a great time with it. Plus, Wonder Woman’s theme music, which was first introduced in “Batman v. Superman: Dawn of Justice” is arguably my favorite superhero theme of all time. Maybe except the one created for Tobey Maguire’s Spider-Man.

Going into “Wonder Woman 1984,” it was hard to imagine that such a movie could surpass the original. However, based on early reviews, it seemed as if such a thing would be possible. After all, we’ve already gotten the been there done that origin story out of the way, if you want to call it that. It was time for something new, innovative. Going in, I already had my expectations blown away. I did not expect Chris Pine to return. Like, literally. At all. Then again, this takes place in a comic book universe where anything is possible. There were also some new things in regards to tech. Not that they haven’t been done before, just not in the original “Wonder Woman,” because this new flick was partially shot on IMAX film. And if you have read a number of my posts, you know I rave about IMAX film. By the way, while the movie is shot in the heavy duty format, there is barely any footage that will expand the frame in IMAX. However, it may be worth the extra few bucks if those theaters are open near you.

But is “Wonder Woman 1984” worth the hype? Absolutely not.

Well! Well! Well! 2020 strikes again! “Wonder Woman 1984” is not only a massive disappointment to one of the most anticipated films of the year. “Wonder Woman 1984” is not only a step down from the original 2017 film. “Wonder Woman 1984” is not only the worst comic book movie of the year. Yes, more than “Bloodshot” for crying out loud! But it is also the worst entry to DCEU thus far.

Now, let me just get one thing out of the way. I am a straight white male in his early twenties. I am not one of those people that is trying cancel Gal Gadot. After all, I met her in person, I have her autograph, and she is a decent actress. I am also not trying to cancel Patty Jenkins, which the Internet seems to be doing according to many people. If they come out with a “Wonder Woman 3” with these two at the front lines, I am there. Their work on the original film justifies such a thing, and Jenkins is a director that is completely capable of making something magical. In fact, most of the problems of the film do not have to do with how the movie is made. It instead has to do with the pacing, the editing, the way everything plays out, the characters, and the writing. Admittedly, Jenkins is responsible for that last mistake, given how she has a screenplay credit. I don’t know if I should blame her entirely given how she wrote the script with a couple other people, but I should also point out that she did not have a screenplay credit for the previous “Wonder Woman” installment. This time around, Jenkins collaborates with Dave Callaham, who wrote the script for one of last year’s best comedies, “Zombieland: Double Tap.” Also along for the ride is Geoff Johns who has plenty of experience of creating DC content. So, what went wrong? Was there not enough time to draft everything out? Were there so many ideas colliding from three different minds? I don’t know. Patty Jenkins seems very passionate about the Wonder Woman character. In fact, throughout the movie, Jenkins properly visualizes the character as a beacon of hope and inspiration for people, especially women.

This movie starts off pretty great. By the way, for those who want to see the film in IMAX, this is one of the two scenes that were actually filmed in the IMAX format. The scene not only looked articulate and felt immersive, but it may have ended up being the best part of the movie. It is action-packed, exciting, and lets you escape into the world Themyscira. Sadly, the movie kind of blows its load in the first ten minutes. Because it spends time showing you young Diana Prince (Lilly Aspell), progresses to a time where we see a matured Diana Prince (Gal Gadot), and in these initial scenes, the action never stops whether Diana is trying to win an athletic event for herself, or she saves the lives of others. Even so, it does kind of feel like action that does belong in the beginning of a superhero sequel. The main character kicks ass while you get reintroduced to them, and the movie sets a footprint for where the story is going to go. “Wonder Woman 1984” sets up a vibe that fits the title. You see people walking around in eccentric clothing, there’s record stores, CRT television sets, and a multi-story colorful mall. When it comes to the first hour of “Wonder Woman 1984,” these scenes were fine. What wasn’t fine in the first hour is perhaps just about everything else.

What do I mean? Let’s take a moment to talk about the worst “Lord of the Rings” film. “The Hobbit: An Unexpected Journey.” I’ll be fair. I did have fun with the movie, but one of the worst things about “An Unexpected Journey” was the pacing. This may partially be due to the need to adapt one book into three parts, but the evidence comes in towards the beginning where we see the 13 dwarves coming into Bilbo Baggins’s home. A lot of the screentime almost feels extended and nearly tiresome. There are some decent moments, but it does not always make for a good time. It takes like 45 minutes to an hour to actually get the movie going. With “Wonder Woman 1984,” I got the same feeling. It just took forever to actually get into gear. Mainly because this film feels like a stockpile of exposition. “Batman v. Superman” sort of felt the same way, but I think I had more fun watching that, exposition included, than I did sitting through whatever the hell “Wonder Woman 1984” turned out to be. To add onto that, you have some cringe-worthy lines, less than stellar characters, and a surprisingly boring storyline, part of which includes a role reversal.

Chris Pine is back as Steve Trevor in this movie. I will not go into detail of his return, but this was heavily marketed, so if you’re considering this a spoiler, I’m sorry. In the 2017 “Wonder Woman” film, Gal Gadot’s character has to deal with the new sights of earth and learn the normalcies within. To do so, she had the assistance of Steve Trevor along the way. Diana Prince came off occasionally as eccentric, she said certain things that maybe would be better left unsaid, and there’s a montage where she’s trying on unfamiliar apparel. This time around, Diana assists Steve in 1984, because now he’s the fish out of water. Much like the last movie, there is a reversal where Steve is trying on different clothes that defined the 1980s. He occasionally had a fanny pack, “parachute pants,” and so on. That scene kind of entertained me. However, the rest of this storyline was mostly either boring or impractical. There is a scene where Diana and Steve are flying through the sky looking at fireworks. And sure, fireworks are a sight to be seen. There is reason why Disney World charges you your entire blood supply to see them up close. But this movie made me ask if Steve has never actually seen fireworks in his life. The way I viewed the scene made me wonder why he was actually as amazed as he was in those exact moments. Fireworks have been around for a long time. Many years, centuries even! Why is Chris Pine acting like he’s never seen fireworks before?

This movie features a couple respectable actors, you have Pedro Pascal who I liked in “Kingsman: The Golden Circle,” he’s also in hit TV shows including “Game of Thrones” and “The Mandalorian.” The guy has been certain cores of nerd culture over the years. You also have Kristen Wiig, who I have rather mixed feelings on. I was not a fan of her in the 2016 “Ghostbusters” reboot. I don’t think I find her as funny as other people do. But I also am a fan her in other regards. I think she did a fine job in “The Martian” and her voiceover work in projects like “Sausage Party” and the “How to Train Your Dragon” franchise are highlights in her career. Sadly, their performances are very on and off here. I would not ease myself into saying that the actors themselves are specifically at fault, but these two portray their characters to a degree that feels cartoony and off-putting. “Wonder Woman 1984” gets into the problem that people have criticized movies like “Batman & Robin,” “Spider-Man 3,” and “The Amazing Spider-Man 2” for realizing. MULTIPLE MAJOR THREATS.

I am not saying you cannot make a movie with more than one villain. It has been done before with “Return of the Jedi,” “The Dark Knight,” and if you really think this counts, “Back to the Future Part II.” But the beauty of having one major threat in your movie is that you get to make them the source of everyone’s struggle. Time is taken to specifically focus on that one character and why they must stopped. We somewhat get that in “Wonder Woman 1984” with Max Lord (Pascal), but when it comes to Barbara Minerva (Wiig), the way she is handled is sort of similar to how they handled Eddie Brock in “Spider-Man 3.” Only thing is, I was actually entertained whenever Eddie Brock had a scene in “Spider-Man 3.” Topher Grace played the part well, even during lines that were not up to par. Wiig tries, but the problem is that some of the writing in “Wonder Woman 1984” makes some of the writing in “Spider-Man 3” look like Shakespeare. Maybe that’s not the best comparison, mainly because I am one of the few people who genuinely enjoyed “Spider-Man 3.” However, there are a few lines and storytelling methods in that film that do not fall into place.

But if you want me to compare “Wonder Woman 1984” to another film I did not enjoy, let’s use “The Amazing Spider-Man 2.” In that film, you have Electro and the Green Goblin. There’s also the Rhino, but we’re gonna leave him out for this. The two major threats in “Wonder Woman 1984” are basically just like Electro and the Green Goblin in “The Amazing Spider-Man 2,” but instead of being exact carbon copies, they take various qualities of each character, but they are switched around to make something new. Like Electro, Barbara is eccentric, kind of shy, almost a nobody. But kind of like the Green Goblin, she barely has any screentime as Cheetah. And whatever screentime there is almost feels forced or nearly unmemorable. As for Max Lord, he’s got funky hair like Harry Osborn, he’s affiliated with a big company. And like Electro, he has a more significant screen presence when it comes to dealing with our main hero. This all adds up to an underwhelming evil duo in an underwhelming movie. But I do have to say one thing about Max Lord, and it kind of turned me off. He’s basically Donald Trump.

Think about it! This movie is painting a picture of an obsessive, failed businessman and kinda sorta television personality who has little time for their kids. In fact, my first impression of his son was that he was sort of a spoiled brat, which does not always seem to stick for the rest of the movie. Again, the hairstyle feels like something out of a meme. There is even a scene, and you saw this in the main trailer for this film, where he stands in front of a background representing the White House Press Room! Granted, having compared Pedro Pascal to his comic book counterpart, the casting and makeup departments did a good job at being faithful to the source material. But knowing that this was made in the late 2010s, and originally supposed to release in 2019, I could not help but make this comparison. And part of why I did not like this is because, and this may be a personal thing, it slightly ruined the escapism factor of the film. I’m not going to say whether I like Donald Trump, whether I dislike him. I am not here to get into politics. But Max Lord in “Wonder Woman 1984” feels like a Trump parody. The makeup department could have easily sprayed orange spray paint onto Pascal’s face and boom! Donald Trump impersonation!

I will say, there is one thing about “Wonder Woman 1984” that could be an improvement over the first one, and that is Gal Gadot’s performance. Gal Gadot, as much as I adore her as a person, as good-looking as she is, is not Meryl Streep. When it comes to “Wonder Woman,” she’s always looked the part, and she’s had good moments since her inception. Even though her character was the best part of “Batman v. Superman” for me, her acting ability was a far cry from what I saw out of Ben Affleck or Henry Cavill or Laurence Fishburne. When she shows up alongside the two titular characters in “Batman v. Superman,” she comes off as a badass, but there’s a line that she releases out of her mouth that feels like a first take. In “Wonder Woman 1984,” Gal Gadot has a commanding presence, she is charismatic, she is emotional, and occasionally witty. I liked Gadot’s performance in the original “Wonder Woman” because she did a good job at interpreting a goddess who has to adapt to a new normal, embracing the ups and downs along the way. But there were also signs that Gadot needed to work more on her craft and do a little more than be a pretty face in armor who can say words here and there. I will admit, her acting towards the end of “Wonder Woman” occasionally gave me chills, but I could tell that there was still work that needed to be done. “Wonder Woman 1984” is a sign that Gal Gadot is getting better, she deals with dialogue better than she used to, and her range is improving. I am looking forward to seeing Gal Gadot in “Death on the Nile” and if they come out with a “Wonder Woman 3,” count me in.

Gal Gadot’s performance is not the only positive here, because I will admit, even though I think Patty Jenkins and the other writers could have done a better job with the screenplay, she did alright with crafting the film. When it comes to her vision, I do not think it was as well represented as the original, but a crappy script can make that happen. Some of the cinematography is marvelous to look at. The visuals are just as good as the original film. Many scenes felt big and grand, and while I imagine some people will stick to watching “Wonder Woman 1984” on HBO Max for now, if you feel safe going to a theater right now, do not rule that option out. There are some cool scenes that look great on the big screen. Speaking of things that feel grand, they got Hans Zimmer to do the score, which I was onboard with from the beginning. I saw the first few minutes of “Wonder Woman 1984” on YouTube, and from that moment, I was excited to hear the rest of the score, and it is really good. There was a scene where I was completely taken out of the movie and I almost did not care about what would happen, but the one saving grace in that moment was the music composed by Hans Zimmer. Gal Gadot’s Wonder Woman has one of the best themes for an on-screen superhero, and I am glad that Zimmer got to work his magic to carry out his singular vision regarding it. I will likely listen to the soundtrack sometime in the future. The film had a passable ending. Granted there was some cringe surrounding it, but it good parts.

Too bad the movie’s boring, forgettable, and another big blow in 2020. F*ck. This. Year.

In the end, “Wonder Woman 1984” is a visually grand mess. Am I looking forward to what Patty Jenkins and Gal Gadot have in store in the future? Yes. But does my anticipation take away from my thoughts on “Wonder Woman 1984?” No. I think “Wonder Woman 1984” is a gigantic misstep of a film. And the worst part is that it was not worth all the waits from the delays. I’ll be honest, and some of you may find this surprising, I would rather watch the live-action version of Disney’s “Mulan” again! Just to paint a picture of how much I did not like this film, let me just boil it down to a simple sentence. I did not have fun. Ironically, 2017’s “Wonder Woman” took place in World War I, where people are fighting, people are dying, times are desperate, but I managed to have fun. This sequel takes place in 1984. In real life, that year was much more lighthearted, at least from the perspective of the United States. Yes, there was the War on Drugs. AIDS broke out. Indira Gandhi was murdered. But there were plenty of big songs and movies that came out like “Jump” by Van Halen or “Ghostbusters.” People were having fun! “Wonder Woman 1984” manages to take a time that is significantly more fun than World War I, and makes it the most boring thing imaginable. The action sequences don’t save this movie. Gal Gadot’s improved performance doesn’t save this movie. A couple new and talented faces do not even save this travesty. “Wonder Woman 1984” is a gigantic disappointment, the worst film in the Detective Comics Extended Universe, and I am going to give it a 3/10.

“Wonder Woman 1984” is now playing in theaters wherever they are open. Due to the lockdown in the United Kingdom, the movie will debut on January 13th, 2021 on PVOD. If you live in the United States, you can also watch the film right now on HBO Max if you are a subscriber and it is available at no extra cost until the near end of January 2021, where it will finish it’s theatrical release, go to PVOD for a price, likely hit store shelves through DVD and Blu-ray, and eventually return to HBO and HBO Max sometime next year.

Thanks for reading this review! Who knew that in the SAME WEEKEND, we would get my least favorite Pixar film, and now, and perhaps on a more significant scale, my least favorite DCEU film! This year has kicked my ass, called me names, and made me eat dirt. We are approaching the end of 2020, THANK HEAVENS. So it is almost time for me to post my top 10 BEST movies of 2020 and my top 10 WORST movies of 2020. That will be up sometime early next year and I may have one or two more reviews coming your way if I can fit them in. Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! Also, check out my Facebook page! I want to know, did you see “Wonder Woman 1984?” What did you think about it? Also, did you watch the movie in the theater? At home? Or both? Tell me about your experience! Scene Before is your click to the flicks!

CORRECTION: When I said, “There was a scene where I was completely taken out of the movie and I almost did not care about what would happen, but the one saving grace in that moment was the music composed by Hans Zimmer,” I was wrong. Turns out the music in that scene was Adagio in D Minor, originally composed by John Murphy for the film “Sunshine,” which has been used in several marketing pieces for “Ready Player One,” the “2010 Winter Olympics,” and “X-Men: Days of Future Past.” I will not spoil where it plays for those who have not seen the movie.

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.

Megaphone GIF - TooLoud Loud Afraid - Discover & Share GIFs

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!

Minority Report (2002): Spielberg Conveys a Deadly 2054

TOM CRUISE MONTH POSTER

Hey everyone, Jack Drees here! We have reviewed four Tom Cruise movies so far this month, now let’s make it five! Before we go any further, if you do want to check out my reviews for “Oblivion,” “All the Right Moves,” “Days of Thunder,” and “Top Gun,” you’ll notice that the titles are highlighted, meaning that you’ll find the links right there! These are all other movies that I have previously reviewed for the purpose of Tom Cruise Month, but we’re not focusing on those right now. Instead, we are going to focus on the year 2054, which looks mighty pleasant compared to 2020. It is time to talk about “Minority Report” as we begin our final installment of…

*LIGHTNING CRACK*

TOM CRUISE MONTH

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“Minority Report” is directed by Steven Spielberg (Jurassic Park, Jaws) and stars Tom Cruise (Risky Business, Top Gun), Colin Farrell (Ballykissangel, American Outlaws), Samantha Morton (Band of Gold, Pandaemonium), and Max Von Sydow (Flash Gordon, The Seventh Seal). This film takes place during the year 2054 and is based on the material once created by author Philip K. Dick. In a future where Pre-Cogs can see upcoming murders and related criminal acts, a special police unit is supposed to stop murderers and arrest them before such crimes are committed. Interestingly, one of the police officers themselves is accused of a future murder.

Prior to making this review, I had not once seen “Minority Report.” And at this point, getting to witness something new, even if it is almost a couple full decades old, is kind of a treat. I bought the Blu-ray when I was in Santa Monica, California, and I figured this Tom Cruise Month theme would give me a solid excuse to pop in the disc. Unknowingly, I was aware of this movie’s existence. I mean, sure, I guess I knew the title and everything, but what I did not know was that this movie was the picture featuring Pre-Cogs. Like every other person under the age of thirty, I achieved a great deal of knowledge, or at least a conglomeration of useless factoids, over the Internet. If it were not for YouTuber Jeremy Jahns referencing one specific scene…

“Murrrrder.”

…I would probably not know squat about this movie, or at least acknowledge squat about this movie. So I will say, this movie must have stood the test of time in terms of being recognized in pop culture. Then again, it is a Steven Spielberg flick, and he has a fairly recognizable, prolific, diverse, and masterful library.

By the way, before we go any further, one of the biggest compliments I’ll give to this movie is that the framing is very well done. The scope of “Minority Report” pulls you right in. It does not disappoint. It takes this 2054 type of environment and makes you embrace it. Speaking of which, one of the best shots of this movie, is the first full-on glimpse we get of a Pre-Cog, which is shown in the GIF I would assume you have scrolled through fairly recently. It’s just so clear and crisp. I don’t know why, but the more I look at the shot of that Pre-Cog, the more I want to go into a pool. Although, maybe not until next year, knowing how things are right now. I will say, on that note, even though I really like the way this film looks, it’s not pretty all the way through, because I think the color scheme of many of the shots are a little too somber. Granted, “Minority Report” is not a comedy, it was never supposed to represent the best of times, even though we do get some classy looking cars in the future, but there are some times where this movie doesn’t come off as a soap opera from the script, but the color palette begs to differ. It almost reminds me of the “Point Break” remake from 2015, only this movie is twice as good as that film and in my personal opinion, technically qualifies as a “movie.”

Since this is a Tom Cruise movie, and given how this is the final entry to Tom Cruise Month, let’s talk about Tom Cruise himself. When it comes to Tom Cruise in this film, this is honestly one of his better performances. I think casting was a job well done with this film, not just with Cruise, but with names including Max Von Sydow and Samantha Morton. I bought into all their performances and it helped enhance the movie. I will say though, not that it matters entirely, Tom Cruise with a haircut like the one he has here is probably one of his inferior looks for one of his roles. But that’s just me. Also, if you know me, when it comes to Tom Cruise, I don’t always point out my love and respect for him through his ability to convey a character, even though he’s a respectable actor in that regard, but his motivation to perhaps nearly kill himself. Like some of his other movies, he does his own stunts here. Granted, I never really noticed anything as scary or heart-racing as say his plane hang from “Mission: Impossible – Rogue Nation” as an example, but is nice to know that like some of his other projects, Cruise himself put an effort into the stuntwork.

One of the best parts of “Minority Report” is the concept. You have a special police force trying to stop murderers who are predicted by Pre-Cogs. I think the way that this movie went around executing the concept was worthy of a thumbs up. The movie kind of had me in the beginning alone. I will say when it comes to pacing it does slow down overtime, but the climax is fairly entertaining as well. It ups the pace of the movie when said climax begins, and it makes the viewing experience worthwhile.

Another point of the movie that stood out to me for a reason I truly should have grasped from the very beginning was the score. For the record, the score for “Minority Report” was conducted by John Williams, and I don’t know why for the life of me I didn’t conceptualize that from the beginning. I knew John Williams automatically went hand in hand with the “Star Wars” franchise but for some reason I completely forgot his attachment to Steven Spielberg, the two go together in the same way that Hans Zimmer and Christopher Nolan tend to go together. They have worked on so many films to the point where their coupling has become nothing short of iconic. When it John Williams, I will say, even though there are fractions of the score that I happened to like, it is one of inferior scores. This movie came out the same year as “Star Wars Episode II: Attack of the Clones,” another score that John Williams did. And even though I, along with many others, would point out that “Attack of the Clones” is a lackluster installment to the “Star Wars” franchise, there’s a solid chance I would agree with someone that “Episode II,” per usual had a kick-ass John Williams score. When it comes to his 2002 work, “Attack of the Clones” kicks “Minority Report’s” ass. Although, if you want me to go further, even though I barely remember, I do recall not hating Williams’ score to “Harry Potter and the Chamber of Secrets.” But I have to watch that movie again as it has been forever since I saw it. Sticking with “Minority Report’s” score, I will say I enjoyed it, but if I had to say one standout negative about it, I think it’s a little overbearing on drums. Just a little bit.

Little sidenote, this review is being written in 2020, the year that “Cops” was practically taken off the air for a list of reasons, so I will admit, I did get a slight chuckle seeing that apparently the TV show “Cops” was still relevant in 2054. Just thought I’d point that out.

In the end, “Minority Report” is a good movie, and a likable futuristic vision with a clever concept. However, when it comes to futuristic visions, specifically ones that come from the mind of Steven Spielberg, I much prefer his vision of 2045, which was represented through 2018’s “Ready Player One,” as opposed to his vision of 2054, represented here in “Minority Report.” Then again, “Ready Player One” is based on a book by Ernest Cline, and “Minority Report” is based on a short story from Philip K. Dick, so in reality, it’s not Spielberg’s vision. Nevertheless, I think when it comes to movies that are set in the future from Spielberg, I personally prefer “Ready Player One.” Although I will say, one thought that has been in my head for a little bit about this movie is the desire to check it out once more. Not just because I liked the movie the first time, which I did. But I feel like there are possibly one or two crucial points that I may have glossed over that are worth noticing in the future. If your movie can get me to have a urge to go back and see it one more time, no matter what the reason (unless maybe I want to torture myself), I’d say a job well done is in order. There are better Spielberg movies out there, I’d say there are better Tom Cruise movies out there. But this was worth my time, I didn’t really have any regrets. I’m going to give “Minority Report” a 7/10.

Thanks for reading this review! Thanks to all who showed any ounce of interest in Tom Cruise Month! I will point out that July is coming up, and while I have no real theme for the month, I will note that “Tenet” is scheduled to come out pretty soon, so maybe I’ll review some Christopher Nolan movies if I have the time. I will point out though, given how I have not really paid much attention to this year in film all that much, I do want to give this year’s movies a shot before it is too late. So there is a solid chance that a lot of July’s content is going to be of some 2020 movies that I missed. I’ve got a few on Blu-ray, I can probably check a few movies through streaming if I have the proper account setup. And even though I personally don’t have Apple TV+, there is a movie coming to that service that I might end up reviewing if possible, specifically “Greyhound” starring Tom Hanks. Because who doesn’t like Tom Hanks?! Be sure to follow Scene Before either through an email or WordPress account so you can stay tuned for more great content! Also, check out my Facebook page! Speaking of checking things out, if you want to see some more of my Tom Cruise reviews that are not exactly affiliated with Tom Cruise Month, the links are listed down below. These reviews by the way go all the way back to 2017, my second year of film reviewing on Scene Before. I want to know, did you see “Minority Report?” What did you think about it? Or, what is your favorite John Williams score of all time? Let me know down below! Scene Before is your click to the flicks!

The Last Samurai

Risky Business

The Firm

American Made

Mission: Impossible

Mission: Impossible II

Mission: Impossible III

Mission: Impossible – Ghost Protocol

Mission: Impossible – Rogue Nation

Mission: Impossible – Fallout

Days of Thunder (1990): Tom Cruise? More Like Tom Rush!

TOM CRUISE MONTH POSTER

Hey everyone, Jack Drees here! It is officially entry 3 to Tom Cruise Month! So far we have talked about a pretty good movie, along with a not so good movie. Today, we are going to talk about “Days of Thunder,” a film I have seen once in 2017 when it was available on Amazon Prime for free. Since then, I bought a Triple Feature Blu-ray set of Tom Cruise films which contains “The Firm,” which I have reviewed on this blog almost three years ago, “Collateral,” and “Days of Thunder,” which of course I watched once more to talk about today.

So without any further dilly-dallying, it is time for entry three! This is…

*LIGHTNING CRACK*

TOM CRUISE MONTH

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“Days of Thunder” is directed by Tony Scott (Top Gun, Beverly Hills Cop II) and stars Tom Cruise (Risky Business, All the Right Moves), Robert Duvall (Apocalypse Now, The Godfather), Randy Quaid (Caddyshack II, National Lampoon’s Vacation), Nicole Kidman (Batman Forever, Moulin Rouge!), and Cary Elwes (Glory, The Princess Bride). The film is about a man who becomes a NASCAR driver, but even though he may talk a good game, Tom Cruise’s character of Cole Trickle is not exactly accustomed to being in a stock car. The story goes over his journey as a racer, as a part of a new team, while also allowing a certain rival to get in the way.

When it comes to my official ranking of Tom Cruise movies, I probably would have told you a few years back that “Days of Thunder” is somewhere in the middle of what I’ve seen. It’s not great, but it has one or two entertaining moments. I also kind of liked the music and I thought I heard some of the score somewhere else before watching this film (upon my watch for this review, that is not the case). It’s a little formulaic, but it doesn’t mean there is no fun to be had. Tom Cruise, per usual, is solid and gives a likable performance as a decent character.

Now, it is 2020, and it has been a week since I have officially last watched “Days of Thunder.” It’s still an alright hour and a half of material. However, upon my second watch, I felt that the first half of the movie, where all the buildup is happening, is definitely better than the second half. And I am not knocking on the second half, because it is still entertaining, but seeing Cole Trickle have to adapt to his team and the mechanics of NASCAR makes for delightful content. In fact, I also briefly mentioned his rivalry in the film, there’s a scene where the two rivals have to head to a dinner together, and in doing so they rent a couple cars and wreck the s*it out of them. I was amused with what was happening on screen in those moments. It was just plain fun. I think the chemistry between Tom Cruise’s Cole Trickle, alongside racing rival Rowdy Burns, played with excellence by Michael Rooker (Guardians of the Galaxy, JFK) makes for some of the better scenes in the movie. Aside from all the action that goes on behind the wheels for these two, there’s another scene where the two happen to be in wheelchairs and they are racing around the hospital. Not only did it do a solid job on getting into the lack of fondness towards the duo, but it did so while keeping me interested in everything that was going on.

I mentioned earlier that I really liked the music in this film, and having watched this film a second time, this really should come as no surprise. Because not only was it something that I was kind of looking forward to hearing, but I was paying attention to the opening credits, and I saw a name that I was particularly delighted to see pop up on my screen.

HANS. F*CKING. ZIMMER.

If you all had to ask me who I think the greatest film composer of all time is, I’d give you three names. John Williams, Danny Elfman, and Hans Zimmer. Maybe Alan Silvestri would be an honorable mention. For those of you who don’t know me or are new around here, Zimmer composed my favorite film score of all time, which was appropriately presented in one of my favorite films of all time, “Interstellar.” His relationship during his recent points in his career with Christopher Nolan allowed him to do that movie, “Inception,” “Dunkirk,” and the “Dark Knight” films. He’s also collaborated with composer Benjamin Wallfisch to work on “Blade Runner 2049,” he’s done a number of DreamWorks animations, “The Lion King,” “The Last Samuai,” and even though I have a couple problems with his score for “The Amazing Spider-Man 2,” its high moments make up for its faults. “Days of Thunder” is one of Zimmer’s earliest scores that I have heard, and it does match up with the skill and talent that I’ve seen from him today.

Keeping with the theme of Tom Cruise Month, I want to reference the previous film I reviewed, specifically “All the Right Moves.” In my review for that film, I mentioned that one of the main reasons I disliked that film was because even though it focuses on the main character’s struggles and downfalls, I felt as if there was little reason to actually root for him. He’s kind of a dick, he just feels like a horny jock who wants nothing more than to get into Lea Thompson’s pants, and when it comes to the film’s conclusion and what it has to do with the main character, it almost feels as if, without spoilers, there is no reason for me to root for him and say that he earned his fate. Despite the effort put into his portrayal from Tom Cruise himself, the character just didn’t stick the landing for me. Cole Trickle on the other hand, aside from having a somewhat likable name, kind of like Luke Skywalker or Johnny Utah or Taserface or Turd Ferguson (it’s a funny name, ha ha), has this swagger to him that makes him feel like someone only Cruise could portray and make as likable as he is. And when it comes to, once again, struggles and downfalls, Cole Trickle doesn’t come off as a big enough dick to make me not care about him whenever he screws up. Plus, when it comes to how this movie concludes, the ending feels earned and deserved, it does more than simply exist to take up screen time. It is a fate that feels satisfying and worthy of a thumbs up. Not one where I want to throw my popcorn at my 4K TV.

Aside from the first half of “Days of Thunder” being better than the second half, my other complaints with the film are that there are one or two scenes that maybe were a little unnecessary (even if they did entertain), and that there are some predictable moments. Other than that, “Days of Thunder” is a solid film. I do recommend it.

Before I go any further, I also want to point out that I also really liked Robert Duvall’s performance. I liked the stern portrayal of his character, which added some grit to the film overall, and it just goes to show that you can really get an impact from a mentor-type figure on screen.

In the end, “Days of Thunder” once again comes into the middle rankings of my Tom Cruise library of films that I have seen with him as part of the cast. Would I watch it again? Honestly, not anytime soon. I’d rather watch “The Last Samurai,” I’d rather watch “Oblivion,” I’d rather watch “Edge of Tomorrow.” But that’s just me. Even so, this film has its moments. The racing scenes are fun, and some of the non-racing stuff can make for some pure entertainment too. But I don’t think it will give the movie all that much replay value in the future. I’m going to give “Days of Thunder” a 7/10. Before I watched this movie for my review, I had given it a 6, but in reality, the problems it has are not particularly world-ending or overwhelming, they’re just faults that maybe need to be pointed out to separate what’s good from bad. At the same time though, Cruise has done better in his career compared to this film. This may be on the lower spectrum of a 7, but as of this review, it stands where it is.

Thanks for reading this review! Up next in Tom Cruise Month is going to be my review for “Top Gun,” another Tony Scott film, which if you ask me, is the main reason why I am doing this series to begin with. After all, we were supposed to get the sequel, AKA “Top Gun: Maverick,” on June 24th. But unfortunately, it has been delayed to December, which sucks because personally if it were coming out this summer, it would have been in my top 5, maybe even 3, most anticipated films of the season. But I will be looking forward to the film, should I get to see it this winter. As a substitution, expect a review for the original sometime this week. If you want to see this review and other great content, make sure you follow Scene Before either through an email or WordPress account! If you want another place to get access to my content, go like my Facebook page, which provides links to the posts I create once they’re published, and some side banter you don’t really get to see here on Flicknerd.com. It’s a good time! I want to know, did you see “Days of Thunder?” What did you think about it? Or, what is your favorite racing movie of all time? Let me know down below! Scene Before is your click to the flicks!

Top Movies of the 2010s (THE BEST 25)

Top Movies of the 2010s OFFICIAL POSTER

*WARNING: This post is over 11,000 words long…*

Hey everyone, Jack Drees here! This is it! We have arrived! Second upon second, minute upon minute, hour upon hour, week upon week, month upon month, year upon year, has led to this very moment. It is time to dive into the best and the worst movies of the 2010s! For this initial installment of the multi-part series, I will be diving into the best movies of the decade. If you have followed this blog for some time, there is a good chance that you know that I usually like to cap off my years by reflecting on the best and worst in film through short countdowns. This however, is going to be bigger. I’ll not only explain movies, what they’re about, why I did or did not like them, but I will also show clips of the movies as well, so you can get a taste of the cinematic flavor. Plus, instead of top 10, this countdown is going to be a top 25, more films, more fun! I am going to continue being as descriptive about these movies as I can without providing any spoilers about them. And per usual, rules apply. This is a completely subjective and personal countdown. All of these entries are strictly my opinion, and in no way factual. I am not being paid money to put a film in a certain place, I am not sponsoring any of these films, I have not even worked on a single one, I am just a viewer. Also, the 2010s is a span of ten years and thousands of movies, for all I know the final outcome could be much more because it is getting easier to make a film nowadays. People do it on iPhones for crying out loud! With that being said, I have not seen every single film this decade. I still haven’t gotten around to films like “Despicable Me” (2010), “The Artist” (2011), “Silver Linings Playbook” (2012), “This is the End” (2013), “X-Men: Days of Future Past,” (2014), “Bridge of Spies” (2015), “The Nice Guys” (2016), “Logan” (2017) “If Beale Street Could Talk” (2018), and “The Two Popes” (2019). Films like those will not be on the list. I will also point out, if the film does not have a theatrical release of any kind, it will not be allowed on here. That means all movies that have gone straight to DVD, TV, or streaming are not qualified and will be off the list unless the public was able to see it in a theater during its prime release schedule. So with that being said, let’s dive into a countdown to ultimately define the past ten years. This is the big one, let’s do this! These are my top 25 BEST movies of the 2010s!

#25: Honey Boy (2019)

Out of all the movies that I am putting on this list, this one is one of the most recent to have come out. Specifically, “Honey Boy.” This movie is written by, of all people, Shia LeBeouf (Transformers, The Peanut Butter Falcon). And I have to say, as an observer, I think LeBeouf might be a better writer than he is an actor! LeBeouf wrote this movie while he was in rehab and I think the turnout result on screen is nothing short of fantastic. This is the first feature-length script written for the screen by LeBeouf himself, and if he is ever up to the task, I would love to see more from him. Speaking of debuts, this film is also the feature-length debut of director Alma Har’el, who I think personally created one of the best directorial debuts of all-time. This is a film that hit me when I saw it in the theater. I was never able to fully relate to the situations at hand. But that’s because I never grew up with an abusive parent, I have very loving parents, but I cannot deny that I felt something for the movie’s lead kid character, Otis, who is played marvelously by Noah Jupe. Speaking of which, we also manage to see some rather unfortunate effects that have been eventually attached to this character as he ages into a 22-year-old. The only problem I have with this movie are a couple nitpicky comments I have with shot choices. Other than that, it’s perfection.

#24: Birdman (2014)

You ever watch a certain movie and ask yourself, “HOW THE F*CK DID THEY MAKE THAT?!” Admittedly, I knew one or two things going into “Birdman,” but having seen that movie, I have to reiterate that question to myself from time to time. Seriously! This is  a film that quite literally, never stops. It is one of the most innovative films of our time, specifically because the shots never cut. I just saw “1917” before concluding this list, which is a great movie. And that too has a non-stop, one shot take represented for an extended period of time. But this movie was a game-changer for me. This movie also could have sucked as a story, and still work for me in regards to how it represents itself visually. But guess what, it doesn’t suck as a story! The movie revolves around an actor who is well known for his role as a superhero in a film franchise. He’s sort of becoming increasingly irrelevant, and he is trying to revitalize his career on Broadway. The film gets surprisingly intense and delivers some of the best acting of the decade. This movie may represent Emma Stone’s best performance to date, which says a lot because I like her as an actress even in movies that I didn’t enjoy overall. Even though I didn’t entirely dig films like “The Amazing Spider-Man 2,” she was a highlight. If Stone keeps kicking ass in Hollywood and taking names for years to come, maybe she’ll be the next Meryl Streep. That’s another thing, what really makes this film all the more intense as a production is the fact that the camera is literally never stopping. There’s a shot that goes on for fifteen minutes, suggesting that there is a clear sense of needing to remember literally everything you have to do. Somehow, everyone pulled this ambitious project off! To me, it’s one of the greatest cinematic achievements of all time. Good story, good cast, good cinematography, GREAT film.

#23: Kung Fu Panda 2 (2011)

One of my favorite DreamWorks franchises is “Kung Fu Panda,” so it should not be surprising that one of the films from the franchise end up on here. Well… except the first one, that came out in 2008, therefore it doesn’t count. Instead, why not put the second one on the list? “Kung Fu Panda 2” is too awesome for words. If you ask me, this is an animated sequel that is visually stunning, fun, and continues directly where the original left off and gives itself a reason to exist. It also, to my surprise, does a really good job with world-building and providing some decent backstory material as well. Much like many other sequels that come to mind, this references the original in clever ways, the most notable instance that comes to mind is the “stairs” scene, which continues to get a kick out of me conceptually. I will also say that much like the original “Kung Fu Panda” movie, the climax of this film is one of the best in animation history. It is compelling, it is attention-grabbing, it is flashy, it is epic, it’s everything I want out of a movie like this. The animation itself is pristine, clean, and overall very marvelous to glance upon. It’s easily one of DreamWorks’ best-looking films! If “Kung Fu Panda 2” ever comes out on 4K, I would not mind going to the store and picking it up! The original “Kung Fu Panda” will always have a place in my heart, both as a childhood film, and as one of my favorite films in general. But this sequel, along with the third installment in the trilogy, both bring smiles to my face. Spoiler by the way, the third installment, as much I adore it, is not on this list!

#22: Oz the Great and Powerful (2013)

Coming in at #22 is an entry that I feel is going to strike some controversy, but what is the Internet without a little disagreement? So, hear me out. Here’s the thing about “The Wizard of Oz,” many people seem to know it to be one of the most beloved, iconic films of all time, and I can see why. Having seen the film myself, I think it is definitely worthy of utter appreciation even eighty years after its release. However, if you ask me, one of the best films of my time, personally, comes from the same universe, “Oz the Great and Powerful.” This is one of those films that I am surprised I do not talk about more often. While the visuals at times may not look realistic and maybe like something out of a TV movie, that honestly adds to the charm of this film a little bit. I think James Franco does a pretty decent job with the lead Role. Mila Kunis adds her slice of charisma and comes off like she’s having fun with the movie. When I saw the marketing for this film originally, I was expecting something epic, fun, and flashy, and I got all three of those things. Did I mention Sam Raimi directed this film? I think he did a pretty swell job at not only giving us a solid story, but the way they utilized 3D in this film was honestly done to levels that I did not expect. Is it gimmicky? I guess you can definitely make an argument for it being gimmicky, but that sort of adds to the fantastical charm of it all. I also have to give a shoutout to Danny Elfman for creating the fantastic score. As soon as I was introduced to the film and I was going through the opening titles, I knew that this movie was going to be rad. There are times where, dare I say it… *whispering* think this could be more entertaining than “The Wizard of Oz…” Does that mean it’s technically better? Probably not, but still.

#21: Roma (2018):

I think this film is pretty unique in terms of where it stands. After all, it is the only black and white movie on this list. I give you all the movie that made me start taking Netflix just a tad more seriously as brand, “Roma!” This is one of those films that I went in blind for, and as I watched whatever was happening, it made for one of the best theater experiences of the past few years. Plus, getting to see this movie in 70mm was a treat. This film is directed by Alfonso Cuarón, who also made another enjoyable flick from this decade, “Gravity.” Now I liked “Gravity” when I saw it, and as a theater experience, it was better than “Roma,” which says something because “Roma” is great on its own. But having said that, “Roma” is ultimately the superior film. It’s a story revolving around a maid to a family in Mexico who becomes pregnant. Essentially, this is one of those “slice of life” films that is not always happy go lucky. There was a moment during the film, probably through shot composition, direction, and acting, where I almost let a tear go. The beach scene in this film is one of the most emotionally powerful moments I had the privilege of witnessing in a cinema. When it comes to this list, there is almost no other film that I can think of, except a few, that can rival this one in terms of cinematography. If you want to watch it right now it is free on Netflix, but it is also getting a physical release as part of the Criterion Collection which REALLY makes me happy. I will say though, I am not sure how audiences, specifically Americans, will continue to respond to it overtime. It is black and white and has subtitles. I don’t care about subtitles personally, but it is, as “Parasite” director Bong Joon Ho suggests, a one-inch tall barrier that some viewers have yet to overcome. 

#20: The Disaster Artist (2017)

I did not make this list, it’s not true, it’s bulls*it! I did not make this list! I did nawt! Oh, hi viewers! This film is one of the best comedies I have seen, which is tremendous praise on my part because if you are making a comedy specifically for me, it is HARD to make a good one. What comedy am I talking about? That first pile of sentences should be a hint. “The Disaster Artist!” This is a film that is about a lot of things. Friendship, sticking up for one another when one is trying their hardest to make something special, and how MIND-NUMBINGLY DIFFICULT it is to make a good movie. This movie is basically a telling of how Tommy Wiseau and others went about making the early 2000s cult classic “The Room.” For those of you who haven’t seen “The Room,” this film basically tells you the behind the scenes mayhem and chaos that went into that movie. It’s one of those movies, kind of similar to films like “Batman & Robin” or last year’s “The Fanatic” starring John Travolta that is so incredibly hysterical that it would probably leave some viewers wondering how it even was conceived, made, and released! This film dives deep into all of that. James Franco also gives one of the best performances I have seen from him. Yes, he was definitely great in films like “127 Hours.” To me, that’s nothing compared to “The Disaster Artist,” and I can tell that it was rather simple for Franco to put a lot of passion into this performance considering how he not only starred in the film, but he also directed it. At the end of 2017, I told pals of mine that I was looking forward to watching this more than “The Last Jedi.” I cannot say I was disappointed walking out of it. In fact, the tail end of the film has that feel good vibe that I did not even think I would have needed. Do you have to watch “The Room” to understand “The Disaster Artist?” Not really, no. You can go watch this film, and once it ends, I think you may be able to fully understand everything. Does it help? Sure it does, because it goes into some of Tommy’s mannerisms, quirks, and even pays homage to certain choices and dialogue that had ultimately been put in “The Room” itself. Also, shoutout to Tommy Wiseau. I love you, man. You’re kinda crazy, but I love ya!

#19: Kubo and the Two Strings (2016)

Some people say that Pixar may be the biggest force today that will allow the animation industry to thrive. I would not say they’re wrong, but if you ask me, I think the animation industry also has a place for another particular company, Laika, the creators of “Coraline.” Speaking of Laika, they also created my favorite animated film of 2016, “Kubo and the Two Strings.” When I went through 2016 as a year in film, there were plenty of good ones like “Captain America: Civil War,” “Rogue One: A Star Wars Story,” and “Patriots Day.” However, if there happened to be one genre that dominated the year for me, it has to be animation. With the exception of maybe “Moana” and DEFINITELY “Ice Age: Collision Course,” I don’t think there is a single animated film from 2016 I did not enjoy. For the record, I missed out on “Norm of the North,” so I have no comments regarding that. “Finding Dory, “Zootopia,” “Sing,” “Kung Fu Panda 3,” and even the raunchy adult animation “Sausage Party” all were worthy of a thumbs up. However, “Kubo” came out on top. It is a film that is visually creative and stunning, colorful, and an amazing tribute to everyone who’s got a story to tell. The film’s cast also has some notable names including Charlize Theron (Hancock, A Million Ways to Die in the West), Matthew McConaughey (Mud, Dallas Buyers Club), and even George Takei (Star Trek, Kim Possible). The film has various scenes that make me personally wish that I was the one responsible behind the screenplay or the overall production due to the brilliant ideas being presented. “Kubo and the Two Strings” is one of those films that is worth just about every second of my time. Out of all the films to come out in its particular year, it’s probably the one that most resembles a video game. I guess if you change some character names, maybe one or two pieces of the plot, and have a side gag dedicated to breaking pottery, this would make for one fine “Legend of Zelda” movie.

#18: Inside Out (2015)

I have only seen this movie once, but even so, it is still one of the most charming animated films out there today. I’m talking about “Inside Out!” The concept behind it is one that I personally wish I originated. Essentially, it dives into the “voices inside your head.” These voices include Joy, Anger, Disgust, Fear, and Sadness. One of the biggest surprises that I have with “Inside Out” is its expansive world. And I say it’s surprising because of where exactly the world takes place, specifically inside the head of a young girl going through puberty. Even though this movie is made for families and children, it deals with some heavy topics. Moving, adapting to a new lifestyle, growing up, and handling yourself emotionally regardless of the situation. This movie does a really good job at displaying the human condition by reminding you that there are times when your feelings take over and you lose a sense of control in a way. I liked all the characters in this film, some of the human characters are admittedly a little generic, but the movie is not about them, they are ultimately pawns in this story, it’s really about the main human character, Riley, and the voices in her head. Speaking of said voices, I also want to give massive props to Lewis Black for his terrific voiceover performance as Anger, and part of it has to do with the golden script that allows these emotions to shine. But out of all of them, Anger is by far the best of the bunch because of how raw he feels. Whenever he gets mad, he literally erupts like a volcano. It’s f*cking great. Much like some other Pixar films such as “Coco” or “Up,” this film is powerful in its impact. That’s probably the best part of it because you have these five core emotions and all of them make you feel emotions. This movie does its job well, and even though I have not watched it since my initial viewing in 2016 when it came to Starz, I cannot wait to watch it again.

#17: Room (2015)

HOOO-LY CRRRAAAAP. THIS MOVIE. I cannot even begin to describe what is like to watch this for the first time. For those of you who don’t know what I am referring to, just watch “Room.” Not, “THE ROOM,” “ROOM.” “Room” is a film that is based on a book that I have personally never read, but even so, the movie delivers. Between the remarkable performances between Brie Larson and Jacob Tremblay, the film packs a brutal punch in every possible method imaginable. It is emotional, it is heart-pumping, it is disturbing in the best way I can possibly describe the word. I read a review on IMDb for “Room” before watching it and somebody said that this movie made them a better person. Having seen “Room” myself, I can see why. This film is almost on the edge to where it drags in the middle of it, but it does not mean the movie has that many flaws whatsoever. This is not a horror movie, perhaps in any sense of the word. But after watching this film, there is an argument to make that “Room” could be scarier than a vast number of horror flicks out there. “Room” is a film that kind of ends up being cute, but to have it end up being cute, it cannot be cuddly. This is especially true when you take the brilliant screenplay and the way that actor Jacob Tremblay, who get this, WAS NOT EVEN TEN YEARS OLD during the production or release of the film, executes all of his beautiful lines. The story is told from his perspective, and that made the movie just slightly better, because the idea was to have a child who knew nothing about the outside world, and getting that perspective made me feel for the mother and son duo. Just watch this movie, you will not regret it. If I need to say anything else about it, A24 helped get this film out there. They are easily one of the best studios working today, so if you want to support independent, not to mention compelling filmmaking, go buy this movie.

#16: Toy Story 3 (2010)

This entry is one of the best Pixar films I have ever seen. Let’s just be clear, it is EXTREMELY DIFFICULT for something to top “The Incredibles” as far as my opinions are concerned. I’m talking about “Toy Story 3.” This is a film that I think hit every single level that not only an animated film need to hit, but also every level a trilogy capper needed to hit. Yes, “Toy Story 4” exists, but to me, that’s just additional DLC at this point. “Toy Story” was never one of my big franchises growing up, even though I do admire its technological achievements for the film industry as a whole. The reason why “Toy Story 3” is such a great movie overall is because despite how it does feel like something kids can enjoy, it can ultimately connect with anyone, no matter what age they just so happen to be. The whole trilogy seems to present a tiny little structure of Andy, the owner of a majority of the toys seen in the franchise, growing up, and now we have come to this third installment where he is now an adult and he’s off to college. If you know me in person, I tend to be extremely sentimental. I still have various items from when I was a kid that I imagine other people would get rid of if they had them at a particular age. I still have a stuffed duck, a ton of DVDs I possessed at a young age, all the game consoles that I have ever owned (that still at least partially work). I didn’t even get rid of my childhood twin bed until it broke at the age of nineteen! This movie basically reminded me to cherish the memories of childhood, and while not everything lasts forever, you can still cherish the legacy of something or pass it down to future generations. Also, the ending of this film may be the best Pixar has ever done. It has numerous emotions attached to it that make it all work. It is perhaps one of the saddest, yet happiest endings I have seen in a film. This is why I didn’t want a “Toy Story 4.” Granted, I will admit, I was utterly surprised with how good “Toy Story 4” was when I saw it, but compared to the original trilogy, it is just a bonus.

#15: How to Train Your Dragon: The Hidden World (2019)

You know that movie that might as well match up with where you are in life? One of those films that reminds you of an event you are currently tackling? Well at the beginning of 2019, I was in my second semester of college and to my surprise, “How to Train Your Dragon: The Hidden World,” spoke to me on every level that it could. This third installment to the “How to Train Your Dragon” franchise is the perfect ending to its particular trilogy. It dives deep into the character of Toothless, goes through a major change in how the character thinks, not to mention feels. With the recent introduction of a “Light Fury,” Toothless finds love. This side of the story, along with various other elements reminded me of the man that I am trying to become. I still live with my mother, mainly because despite being in college, I do not want to lose the family connection I have right now. I still go to my grandparents every week. I still talk to my parents just about every chance I get. Even though I do plan to eventually develop my own path in life, move out, etc, I do not want to lose the connection of family quite just yet. But with that being said, this reminded me of how some parents want to protect their children, which means that the children perhaps have a helicopter over them at times. This movie highlights the connection between Hiccup and Toothless, and builds off the terrific chemistry the two had before. I will also say, of the numerous DreamWorks animated films that I’ve watched over the years, this is one of the more stunning ones. And it definitely shows when we get to The Hidden World. It’s flashy, colorful, vast, and if I imagined myself there in person, I’d be overwhelmed by the scope of everything around me. The only problem that comes to mind with this film might as well be the cliché villain, but even with that, everything else is A+ material. To this day, it is the only film I watched in the theater that made me cry. It is one hell of an experience overall.

#14: Inception (2010)

Christopher Nolan is my favorite director of all time. He can take a comic book concept like “Batman” and deliver on it 110%. He can put you directly in a war zone like he did in “Dunkirk.” He can also take you back in time for an epic thrill in “Memento.” But one movie that is better than all of those is one of my personal favorite flicks of 2010. “Inception.” This movie has everything a sci-fi action flick is supposed to have! Great characters! A brilliant concept! Cool looking visual effects! A lovable story! AMAZING screenwriting! Epic music, kudos to Hans Zimmer by the way! Everything in this movie builds up to what I consider to be one of my favorite climaxes in film history. I’m not talking about the very end, but the final act itself is a true display of why I continue to watch movies to this day. It delivers on spectacle, stakes, and you care about the characters! At least I did. The relationship between Leo DiCaprio and Marion Cottillard? HOLY F*CK! Not only did I buy them the way they were together, the movie does everything it can to make you get emotional about them. Speaking of DiCaprio, his chemistry with Ellen Page was great, I thought they were terrific partners, and I almost cannot imagine anybody else in that duo. And again, the concept! The idea of someone going from dream to dream and trying to plant an idea in someone’s head?! Freaking rad! This movie is literally what dreams are made of.

#13: Ready Player One (2018)

Continuing down this list, we have, “Ready Player One.” I’m putting this on the list in reference to the great year that I personally believe 2018 has been for the film industry as a whole. There are more 2018 films on here, and this is just one of them. Before the movie came out, I read the book, and I’ll be honest, I love the book to death. It’s pretty much everything I would want out of a book of its kind. The author’s kind of a cool guy too, Google Ernest Cline, he’s awesome. But here’s the thing about books and movies, I don’t always WANT the book to be exactly the same as the movie. If they make the movie and book identical, great! Maybe it works out, but there are a few things in the book like the “Pac-Man” scene that I do think could have ended up being pretty cool to see, but it would make the film itself lose some of that theatricality factor. It’s one of those films that I love because of how much of a true adventure it is. It feels like that from start to finish, when we are introduced to the OASIS virtual reality system, I instantly wanted to be a part of that world. Even though the real world ended up kind of being in deep s*it in the film’s vision of 2045, I still wanted this VR system in front of me because of all the unlimited capabilities that come with it. Plus, despite how this movie is filled with all of these pop culture associations like a digitized version of “The Shining,” “Batman,” a “Minecraft” world, and even a ton of time spent with the DeLorean, I still cared about the main characters in front of me. As for the visual effects, they are quirky, they are different, they look like something out of a 3D anime, but that’s something that makes them work. After all, a good portion of this movie takes place in a virtual universe with Avatars, so it is kind of cool to see all the customized beings walking around with all their digitized swagger. And of course, I cannot end this without mentioning two things. One, the amazing score by Alan Silvestri. It’s epic in every way. It’s grand, it’s big, and it fits this nostalgic fantasy realm to the tenth degree! Also, the final chase between the main heroes and villain is one of the most creative scenes I have witnessed on film. Between all of this and being one of my most rewatched movies of 2018, I just had to put this somewhere on the list. 

#12: Ready or Not (2019)

I think I said what needs to be said about “Ready or Not” in my best movies of 2019 list, but let’s be real, I can’t stop talking about it! “Ready or Not” is one of those movies that may sound silly on paper, even though it had one of my favorite trailers of the year. The concept of “Ready or Not” is that a woman is getting married into a family that traditionally plays a game before someone new joins the family. Turns out they have to play hide and seek, which ultimately means that the family has to let the newcomer hide, before they have go on a quest to kill her. It’s f*cking nuts. This is one of those movies, according to many people, that has a trailer with more information to reveal than necessary. I wouldn’t say people are wrong to say that. But I will say that this movie gave me EXACTLY what I would have expected, not to mention wanted, after witnessing its trailer. I saw this at an advance screening in Boston, and the communal experience that was had during this movie was one to remember. Everybody gasped, applauded, and while I am not a fan of people talking during films, there was an older woman next to me who would provide some hilarious commentary on what’s happening. Also, everything from the production design to the writing to the pacing just works 100%. I will also mention, again, hiding spoilers, the ending. If 2019 has done anything for me in terms of films, it has given some of the best endings ever. From “Avengers: Endgame” to “Once Upon a Time in Hollywood” and even the recently mentioned “How to Train Your Dragon: The Hidden World,” the endings were all a collection of perfection. I am going to keep myself from talking about the ending, because it is something that you seriously have to see for yourself, but it’s pure movie Heaven. I rarely go see movies twice in the theater at this point, but if I had more time on my hands (and less movies to pick from in the cinema), I would have gone to see this a second time. I mean, HOLY CRAP.

#11: Mission: Impossible – Fallout (2018)

Up next, is one of the best action movies I have witnessed in my life, “Mission: Impossible – Fallout.” “Mission: Impossible” is a very interesting franchise as far as movies go because it has been going on since 1996, it has had no reboots since then, Tom Cruise is always a guaranteed badass, and with the exception of “Mission: Impossible II,” all the movies have been pretty good. In fact, if it weren’t for “Risky Business,” this would probably be my all-time favorite Tom Cruise film. I mean, seriously! I cared about everyone, every action sequence was done to perfection, and I will forever be in Tom Cruise’s debt just because he learned how to fly a helicopter for this movie. And remember how in “Justice League” Henry Cavill had his beard erased by digital effects? Like, to the point where certain people could notice certain particles on his face? After seeing this movie, it’s completely worth it! Between the cinematography, location choices, directing, score, editing, sound, and overall immersion factor, “Mission: Impossible – Fallout” is easily one of those action flicks that puts a smile on my face. There are certain movies that I have watched in the past like “Atomic Blonde” or “John Wick” that have one memorable action scene and I often sometimes perhaps equate that to how much I enjoy those movies. For “Mission: Impossible – Fallout” If they ever put this back in theaters, I will come for the movie, but STAY for the helicopter scene, because holy f*ck! Thank you, Tom Cruise, for nearly giving up your life making this masterpiece!

#10: Arrival (2016)

I’ve seen a lot of movies from 2016, including the one where Donald Trump becomes president. That movie by the way is called “Real Life” and is often getting mixed critical responses. Trump becoming president, to me at least, was practically a “holy f*ck” moment. I’m not gonna talk about politics, I’m not saying I like or dislike him, I’m just saying that this is something I would have never predicted to have happened ten years ago. Speaking of “holy f*ck” moments, that term can also apply to one of the last movies I saw in 2016, which by coincidence, came out the same week Trump was announced as President-Elect, specifically “Arrival.” This movie is about a group of people who are investigating the actions of alien life forms as they try to interpret their language and communicate with them. I like that concept, because the movie starts off as if it were an alien invasion summer blockbuster, but in reality, it fits right in with a thinker just in time for award season. I’ll remind you, this is a November movie, so it is technically just in time for award season. In fact, it won an Oscar, and happened to be nominated for Best Picture! Although it ended up losing to “Moonlight”–wait wait wait, was it “La La Land?” Which one was it? Could have been a tie for all I know. The plot overall was fascinating, I loved Denis Villeneuve’s direction, the sound work was some of the best of the year, and the score at times was awesome. In fact, when I watched the movie at home once, I nearly shed a tear! I never cry during movies, that’s personally an achievement on this film’s part!

#9: The LEGO Movie (2014)

This next spot is dedicated to one of the biggest surprises of the decade. I saw the trailer for this film long before it came out, and while I did not hate it, there might have been a part of me that thought that this film could not have possibly worked whatsoever, but it did! Ladies and gentlemen, I give you perhaps the funniest animated movie of the decade, “The LEGO Movie!” This is a film that gets better every time I watch it. Because I watched it when it came out, and I found it to be delightful, charming, and witty. Then as I continued watching it when it came to HBO and cable networks like TBS, I have observed the dialogue, which was already fantastic to begin with, and so many other lines popped up and busted my guts. This movie’s Batman is perfect for its own world! He’s an egotistical man who’s always about himself. He’s basically what would happen if you took Kevin O’Leary from “Shark Tank” and made him “Batman,” because both people seem to think that they are the best person alive. There’s no competing against them! Anything out of his mouth is pure gold. This is why I also thought 2017’s “The LEGO Batman Movie” was just as pleasing as this specific film. The movie has an advantage of playing off of iconic properties, because there’s a scene dedicated to how many characters from preexisting material they can fit into one area. They managed to get Gandalf, Dumbledore, more DC characters aside from Batman himself, NBA basketball players including the Shaq, the Teenage Mutant Ninja Turtles, and they have Abraham Lincoln in a flying space chair! Holy f*ck this movie is a trip! And speaking of trips, the climax in this movie introduces something that you do not really see in this genre of film. I cannot go into it because, well, spoilers, but it is the stuff of absolute genius! As for the other leads, they are funny, they are well-written, and provide some of the best comedic material of 2014. The movie does follow beats of other films, with there being a prophecy and all, but it does it so well that I just don’t care. And before we move on, can we just talk about Good Cop/Bad Cop? Yeah, it’s two characters in one, and it makes for one of the most hysterical questioning scenes I have ever witnessed. GENIUS! Phil Lord and Christopher Miller are powerhouse filmmakers and I would to love to see more from them! 

#8: Avengers: Infinity War (2018)

What do you get when you build a story up for a decade, over tens of films across different IPs, with all of them making millions to billions of dollars? According to many, I’d say you’d get “the most ambitious crossover in history.” “Avengers: Infinity War!” You know those movies that are so good, so iconic, so life-changing, and so experiential that they define a generation? Yeah, this is one of them. Earlier on in the decade, “Star Wars” was seen to many as the important franchise to remember for a long time. Well guess what? Everyone at Marvel glanced at “Star Wars” saying, “Hold our beer!” The reason why I love this movie so much is because of how much it changed the game for movies of its kind. Sort of in the same manner that a film like “The Dark Knight” managed to do so. To be honest, before this movie came out, I was getting worried about what the Marvel Cinematic Universe would become. The Marvel movies in 2017 were not up to par with what I would want out of a flick in its particular genre, but when 2018 arrived, “Avengers: Infinity War” gave me EXACTLY what I wanted. A ton of visually stunning action scenes, a compelling story of good vs. evil, all the while putting much more emphasis on evil than usual. Honestly, Thanos may be the greatest movie villain ever written. His motivation to “balance” the universe is something I can buy into. His relationship with Gamora and Nebula during the film brought some attention-grabbing moments, including a scene that involves sacrifice in order to achieve what you desire. While I didn’t exactly root for Thanos, I understood why he did what he did, and in various ways, I almost feel bad for him. And let me just say, I won’t name names, but this is a film where A LOT of people die, including many on the good side. One of my complaints involving the Marvel Cinematic Universe has to do with the lack of deaths on the good side, and when they do happen, they mean nothing to me because the character either comes back or the death comes from a character who I happen to find irrelevant. This is part of why I felt an impact from various scenes in the film’s sequel, “Avengers: Endgame.” By the way, “Endgame’s” not on the list. Sorry guys!

#7: Whiplash (2014)

Coming in at #7, is “Whiplash!” “There are no two words in the English language more harmful than good job.” This quote will forever stick with me, partially because “Whiplash” makes jazz look like the greatest art form ever created just from how brutal it appears. I have heard some comments from certain jazz enthusiasts and students saying that the idea behind this film is flawed because jazz doesn’t work the way it does here. I am in no way trying to invalidate their prior experiences, but I think the movie is all the better for what it does in regards to how jazz is being taught, being enforced among students. I say that because it makes the movie completely relatable to those who have taken on a class, it could be a subject of interest or one that you are forced into for some reason, and the person teaching the class is just the biggest dickface on the planet and now you have to put up with them. But I will say, JK Simmons plays this dickface very well. JK Simmons is one of my favorite actors working today and he deserved his Oscar upon finishing this film. His chemistry with Miles Teller is some of the best I have ever seen. This is also one of the earlier films directed by Damien Chazelle, who would go on to direct “La La Land” and “First Man,” both of which were also great movies. I can tell the guy really has a passion for the jazz genre of music, and it shows through several moments of the screenplay, which is why it is also no surprise that he made it a centerpiece of the story in “La La Land.” Damien Chazelle is still a young filmmaker and time will tell if his productions will continue to be worthy of conversation and preservation, but with films like this, he is off to a flying start if you ask me.

#6: Star Wars: The Force Awakens (2015)

Out of everyone in my family, it goes without saying that I am probably the geekiest. So naturally, this next movie was almost made for a geek like me. I’m talking about the live-action resurrection of a popular saga! “Star Wars: The Force Awakens!” The things that really cement this movie’s presence on the list is my history with it. I already really enjoyed “Star Wars” before this movie came out, therefore, how I could I NOT be excited for this film? I went to see it four times in the theater and twice in IMAX! It’s the first steelbook I’ve ever owned! And I used to have a joke I would think about in my mind from time to time. Remember how George Lucas went back and changed the original trilogy and rereleased every installment from said trilogy as “Special Editions?” Well, people often point out this movie, Episode VII, being pretty similar to Episode IV. If that is truly the case, allow me to declare that Episode VII is without a doubt, the best special edition in the entire “Star Wars” saga! I will say, the trilogy that this belongs to itself is a bit of a mixed bag. I liked “The Rise of Skywalker,” I thought it just good old-fashioned “Star Wars” fun, but still a little messy. But “The Last Jedi” is what I think hurt this trilogy most, because a lot of things were set up in “The Force Awakens” and the payoff to all of those things happen to be either ignored or off-putting. However, it does not take away from how much I love this movie. It’s great seeing old faces like Han and Chewie again, 3PO and his red arm, the lightsaber battles are as fun and exciting as they’ve ever been. The film has possibly the most eye-candy-esque color palette in a “Star Wars” film yet. Then again, with newer tech, it probably helps. But keep in mind, this movie was also shot on film, and it looks great! I will also mention Adam Driver’s character of Kylo Ren being one of the best things that has EVER happened to the “Star Wars” franchise. I love him because he’s ultimately trying to carry on the legacy of Darth Vader and the Empire, but as this villain who is supposed to be evil, he is clearly conflicted and broken, which adds a lot to his character. There is an argument to make that stuff like this can make a villain look weak, but I feel that this is what this sequel trilogy needed. A different kind of villain who can kick ass, while also being able to release themselves and reveal how they feel emotionally. As for other lead characters, I think Rey and Finn have great chemistry, and seeing them together after they finish their first fight onboard the Millennium Falcon is like watching two kids discover they have unbelievable talent in a video game. Poe Dameron is also a fresh and exciting addition to the franchise. I’m just mad of the direction they took his character in “The Last Jedi.” As much as I am scared of a future where Disney rules the entire media universe, “The Force Awakens” is most certainly worth watching. And watching again. And again. No seriously, when this thing came out, the replay value for me was bonkers! 

#5: Scott Pilgrim vs. the World (2010)

Up next, we have one of the best comic book movies of the decade. Is it in the DC universe? No. Is it in the Marvel universe? No. It’s a little film directed by Edgar Wright, Scott Pilgrim vs. the World! THE FREAKING WORLD! This movie, to me, was perhaps everything I would have wanted it to be and more! FLASHY! OBNOXIOUS! CREATIVE! VISUALLY STUNNING! HILARIOUS! OH MY GOSH THIS MOVIE’S AWESOME! As far as comic book movies go, this has some of the best directing, not to mention, some of the best writing I have seen. It goes for that ridiculous, absurd fast pace that will allow you as a viewer to keep your eyes on the screen. In fact, you know what? You know that stereotype about video game movies? You know how a lot of people are perhaps still waiting for that “excellent” video game movie that they have yet to see in their life? If they perhaps changed a few things about the characters, a small number of visuals, things like that, then I might as well say that this would have made for an EPIC “Guitar Hero” movie or something. In fact, I’d compare this movie to something along the lines of “Ready Player One,” because there is a sign of at least one or two characters having an obsession with pop culture and both movies seem to have a unique visual style. Granted, “Scott Pilgrim” is a lot less reliant on preexisting IPs, but still. It talks about things like the history of “Pac-Man,” it has a scene that might as well take place in a “Seinfeld” episode, and the band’s name is “Sex Bob-Omb,” which is “sex bomb” mixed with the name of the bombs from “Super Mario.” Plus, both feel like cinematic video games if you truly break them down. They feel not only immersive, but like they have this visual aesthetic that has a larger than life aspect to them. And I must say, if this film was not already exciting enough, not only are the fights with the exes stunning to watch, each one is perhaps creative in its own way. There is a bass battle, a fight where an ex breaks out into song, there’s one where gigantic visual creatures are spawned out of nowhere! It’s the stuff of magic, really! So if you ask me, “Jack, what’s your favorite comic book movie of the 2010s? Is it “Infinity War?” “Endgame?” “Logan?” “Deadpool?” “The Winter Soldier?” “The Dark Knight Rises?” “Man of Steel?” Forget Marvel and DC! I direct you, to “Scott Pilgrim vs. the World.”

#4: The Hobbit: The Desolation of Smaug (2013)

When I was first introduced to “The Hobbit,” specifically the movies, I had no idea that it was attached the “Lord of the Rings” franchise (I haven’t read any of the books or seen any of the movies). But if you had to ask me right now, it feels weird to say, but “The Hobbit: The Desolation of Smaug” is arguably my favorite “Lord of the Rings” film. “Fellowship” is up there, but still. I walked out of the theater LOVING this movie, and I still do. I think it is one of 2013’s best, and the villain, Smaug, may be one of the greatest given to my generation. MASSIVE KUDOS to Benedict Cumberbatch for his fantastic portrayal and voicework. As creepy as this may sound, I would not mind it if Smaug was the narrator of my life. That’s how much I love his voice. As for everyone else, I liked Martin Freeman and Bilbo Baggins, Ian McKellan as Gandalf, per usual, is great. The visuals, as expected, are top notch. And that final chase between Bilbo, the dwarves, Smaug, was an adrenaline rush brought up to 9,000! Speaking of adrenaline rushes, I also really enjoyed the barrel scene, where they all fight in the forest river, which by the way, more props have to be given, Howard Shore, you are a musically gifted man. Go listen to The Forest River on the official soundtrack for the movie. You won’t be disappointed! And one of the best things I can say about this movie is that it feels like an improvement over its predecessor. I say that because the first “Hobbit” movie, even there are some coolish things in it, was overall kind of a mixed bag. Still good, watchable, but it’s the worst movie in the “Lord of the Rings” franchise for sure. This is especially true when it comes the pacing. This sequel is fast paced from start to finish, with a short little breather in the middle of it all. I also admittedly like the introduction of Tauriel, who was never in the books, but she honestly added something to the movie for me. This movie can be summed up in one word. Epic. That’s all you need. It is one of the best fantasy movies I have ever seen, and one of the best sequels I’ve ever seen. One of the best prequels too if you want to get technical.

#3: Colossal (2016)

Monster movies can be fun, but have you ever heard of a film where a woman reunites with a childhood friend, occasionally get drunk together, whilst Seoul is being attacked by a kaiju, and that kaiju is the girl herself? No? Well, you have been missing out! Ladies and gentlemen, I give you “Colossal,” the greatest monster movie ever made. I did not hear much about “Colossal” before going into it. In fact, I never recalled watching any trailers. And I honestly feel bad for those who did, because I read reviews from people thinking this is was going to be heavy on comedy. Not really, it’s got comedy in it, in fact with an actor like Jason Sudeikis comedy almost feels like a guarantee, but it’s not trying to be a comedy. It’s more of a drama if you ask me. It’s a drama about a group of pals who live in a small town and while one girl is adjusting to her new social group, she is also a killer monster (under certain conditions). “Colossal,” starring Anne Hathaway, takes that killer monster concept and avoids making it the main part of the story, while still using it to develop every action our characters take. In fact, you know how some big blockbusters or monster movies tend to show the despair and downfall of a city as everyone is trying to save themselves from danger? Oh… WOW. I HAVE NEVER SEEN IT DONE THE WAY IT IS DONE IN “COLOSSAL.” Not only is it creative, imaginative, and original, but it’s also to my surprise, almost shell-shocking. Not to mention, some of you might not feel the same way as I do, but I don’t think I would spend much of my adult life drinking alcohol, and this movie reminds me of why I tend to avoid it. The film is pleasant, unique, and most of all, exciting! It’s a film, kind of like “Whiplash,” that feels very big by being very small. When I saw this movie in the theater, I walked out feeling like a changed man. I remember texting a friend about the film some time after seeing it and telling them I don’t recall the last time I felt the way did walking out of “Colossal” since perhaps “Star Wars: The Force Awakens.” What a f*cking movie.

#2: Blade Runner 2049

#2, is one of the best science fiction and noir flicks of my generation. It is a long-awaited and ambitious sequel. It is yet another return to a franchise starring Harrison Ford, now accompanied by the Canadian boy toy, Ryan Gosling, “Blade Runner 2049.” I am a major advocate for the theatrical experience. I believe streaming services like Netflix have some sort of purpose in society. You can pop on a movie whenever you wish, you can watch a movie practically wherever you want, but if you ask me, films like this is why the movie theater has been established. It is big, loud, and it looks DOPE. If you had to ask me, if I had to choose which film has the best cinematography ever, “Blade Runner 2049” might be somewhere on that list. It is a film that I believe would be an inspiration to future filmmakers, fans of sci-fi, and maybe even film composers, because Hans Zimmer and Benjamin Wallfisch made the score together and it is FANTASTIC. I remember my senior year of high school and one of the highlights of said time period is not particularly doing homework, but playing the soundtrack of “Blade Runner 2049” while I do my homework. It put me in the mood to get my work done, and made homework just a little more epic. In fact, I have immense respect to this sequel compared to a ton of others, because unlike a lot of sequels that come out today, this doesn’t try to force any setup of future installments or cinematic universes. It feels like its own story, sort of like the first “Blade Runner.” Would I love to see a third “Blade Runner?” Absolutely. I think a third “Blade Runner” could end up being one of the better films of its particular year depending on how they execute it. The question is, how much money would it make? Because despite how much I love “Blade Runner 2049,” I do have to acknowledge that not everyone went out to see it. Maybe it will gain a following in future years, but for now, I have to be knowledgeable about its past. As for how they handle the story of “Blade Runner 2049,” I loved everyone in the film. The returning characters, the new characters, and if I had to be honest, Harrison Ford gave the best performance I have seen from him in this particular film. I should also point out… Ana de Armas… Yeehaw. I had a crush on her after this movie for a number of reasons. But if I had to be honest, her character is quite honestly, spectacular, mainly because of how Armas herself handled the role. If a movie makes me, the viewer, fall in love with a holographic being, it has done its job, and more. “Blade Runner 2049” is one of those films that will end up defining the decade for me as a reflect on it further. And if you haven’t seen it yet, WHAT ARE YOU WAITING FOR?!

#1: ??? (2014)
Here we are my friends, we have made it this far! This is #1! As far as this decade goes, if I were to use sports-related terms, when it comes to this countdown, 24 movies enter, one movie leaves. This is the one to leave. Speaking of leaving, this is the film that admittedly I do not think left that significant of an impact on me until one of my many rewatches. This is a film that I admired going into it, not to mention leaving it for what it was able to do from a technical perspective. As time went on, I found every single element of this movie worthy of two thumbs up. Just to let you all know, this is a 2014 film. Take a look at this clip from my #1 film of the 2010s.

Christopher Nolan is a god among men. My #1 movie of the 2010s is “Interstellar!” Everything about this film is done to unimaginable levels. In terms of important achievements in mankind, the pyramid goes something like this: Somewhere on the list, you have clay tablets, next on that list is medicine, then comes the wheel, maybe democracy gets one of those slots too, but at the top of that list, to me, is the movie “Interstellar.” When it comes to movie theater experiences, there is almost no competition when it comes to trying to rival the time I had watching this in IMAX 70mm. Even if I did not like the movie, I would probably still give it kudos for being a great time at the cinema. On that topic, it’s visually stunning, in fact it even won an Oscar for said visual effects. The cinematography is great no matter what, but if you watch it in a way that allows for the IMAX scenes to shine, it becomes ten times better than it already is, which says a lot. Seriously, if you are watching the film on DVD, do yourself a favor and upgrade to the Blu-ray, it’s GREAT. The film also has some of the best sound I have ever heard in a movie. I mean that in terms of volume, the specific sounds chosen, and even lack thereof (because ya know, space). Hans Zimmer also created what may be my personal favorite film score of all time. It’s one of those scores that I cannot stop listening to simply for motivation. If there’s ever a future event where they do “Interstellar” with a live orchestra playing the music, I don’t care where it is, I’ll travel out of the country for it if I have to, I’m game. And now you might be thinking, “Hey, Jackass! This may sound great and all, but how’s the story? How are the characters?”

Whoops! My bad! I forgot!

When it comes to the film’s story, it displays a future that is relevant and one that could happen very soon. It’s another one of those dire and somewhat depressing future films kind of like “Wall-E.” The film revolves around a bunch of characters who are currently dealing with the effects of a dying Earth. Every now and then they get dust storms, resources are dwindling, plants are going away. In fact, corn, which is almost extinct in this movie, is all humanity seems to rely on when it comes to fulfilling their hunger. Meanwhile, NASA, which is kind of a point of controversy because younger generations are being taught in school that the Apollo missions are fake, is trying to set up a mission to find another inhabitable planet for humanity. This is something that I think could happen in real life. Maybe not exactly the same as this film suggests, because let’s face it, I don’t think the moon landing conspiracy is going to get that many more supporters, but who knows? My point however, is that humanity is becoming more aware of their environmental impact on this planet, which may suggest a need to perhaps abandon it and find a new one. There are some films that mess around with time, and Christopher Nolan as a filmmaker is no stranger to this concept. After all, when you’re known for doing films like “Memento” and “Inception,” you obviously have some experience. “Interstellar” to me does a phenomenal job in terms of how it handles time and plays around with it. There’s a situation where they have to get things done very quickly because on one planet the span of an hour is seven years, we see the result of Cooper’s kids growing up and becoming adults and how that plays into the film’s impact, the film’s score, I’ll mention once more, FANTASTICALLY composed by Hans Zimmer, goes at 60 beats per minute to match with the “tick tock” that is often associated with time. After all, there are 60 seconds in a minute, so why not have 60 beats per minute? Plus, this is a film that gets better with every rewatch. There was a point where I kept rewatching it and maybe I’d discover something new or retain something amazing that maybe I’ve forgotten before. I will also point out that the performances, across the board, are stellar! No pun intended! You’ve got decently chosen actors including Matthew McConaughey (The Wolf of Wall Street, Dallas Buyers Club), Anne Hathaway (The Dark Knight Rises, Rio), Jessica Chastain (Take Shelter, The Help), Casey Affleck (Gone Baby Gone, Out of the Furnace), and unsurprisingly, Michael Caine (Dirty Rotten Scoundrels, Batman Begins). All of them give performances that embody the proper emotions of the situations at hand, and this is the film where I started to admire Chastain as an actress. There’s a chilling moment towards the end of the film, I will not go into it, but she does something that occasionally sends a tear down my cheek. There’s a line of spoken dialogue in that moment that is PERFECTION. That moment could not have been executed any better through a different vision or a rewrite. Even the child actors kill it in their roles! Timothée Chalamet as Tom is a more limited role in the film, but I feel like it is limited for a reason. He’s mainly there to suggest that he’s “fine” in whatever situation he’s in. He’s sort of a settler who never complains. He likes being a farmer, which does eventually play into the film’s script, and when Cooper leaves to go to space, Tom does not seem that upset or emotional over the situation. Obviously, he is rooting for his dad on his mission, but he is always fine, which makes sense in regards to his character development. As for young Murph, played wonderfully by Mackenzie Foy by the way, who might arguably give my favorite child actor performance to date. There was a very touching scene before (HEY! SEE WHAT I DID THERE? AREN’T I A SMART COOKIE?) Cooper left for his mission that highlights such an opinion for me.

I also cannot talk about how much I dig “Interstellar” without discussing the ending. Don’t worry, I will not spoil a thing. But when it comes to endings, “Interstellar” may be my all-time favorite film in the category. Again, I mentioned that moment with Jessica Chastain, but that’s not all. It’s weird, I did not see it coming, and it’s incredibly emotional. It’s as rewarding as it is unfortunate. To add onto that, Hans Zimmer’s score continues to shine here as well. A movie like “Interstellar” sort of makes me consider whether or not the church organ is the greatest instrumental achievement ever. This is an ending that made me appreciate this film the more that I watched it. When I saw it in the theater, I did not have too many thoughts on it, but I liked it more with rewatch upon rewatch. But then one such rewatch, it struck me like a lightning bolt somehow. It became an ending I liked, and somehow turned into one of the greatest endings in film history. It’s charming and also leaves me to question who exactly came up with it. Was it Christopher Nolan’s brother, Jonathan? Maybe I should give him some credit here!

I think the big thing for “Interstellar” to me, both before and after watching it, is how much it made admire the filmmaking process. Keep in mind, I admired it before, but “Interstellar” helped me further appreciate it. Films like this and “The Dark Knight,” basically Christopher Nolan as a filmmaker in general, has given me a dream, a reason to want to pursue work in the film industry. While there was a point that I wanted to be a filmmaker, I now know which filmmaker I look up to the most. And I would love to do what he does. While I have my own scripts that I plan to do, I would love to shoot a movie in the IMAX format one day and present the movie on film stock. I think film is the best possible cinematic presentation and whenever there’s an opportunity to go watch a movie on film, I cannot help but take it.

Throughout my journey as a film viewer, there is no other film, at least over the past ten years, that gave me a remarkable impact like this one did. It involves an increasingly relevant concept that I think will continuously be developed over the years, it’s an original property, and technically, it’s a masterpiece. This film is very similar to another sci-fi classic, “2001: A Space Odyssey,” and I imagine there are some people out there who would consider this movie too similar. To me, “Interstellar” stands on its own because “2001” does not make particular characters the centerpiece of the film. It takes a bunch of random elements and scenes and manages to develop a story out of all of it, whereas “Interstellar” comes off as an adventure story from beginning to end, with various fiddles with time connected along the way. This is nothing against “2001,” which is one of my favorite films of all time, but “Interstellar” does something to relate to “2001” while also being its own movie, at least to me. Nevertheless, “Interstellar” is a master work of art, one of the best sci-fi films ever made, and earns the crown as the best movie of the 2010s!

Thanks for reading this post! This is a list that was admittedly, very hard to make. Part of me wonders if I should have spent a year on this. There’s a very good chance that I will be changing this list in the next few days because unlike most of these lists, which spans over a year, this spans over a much longer period of time, so I don’t even think this list is going to be that definitive. There’s a good chance that “Interstellar” will remain at #1 for a very long time, but for everything else, who knows? But with that being said, it’s time to forget the good and move on to the bad! Maybe even the ugly! I say that because tomorrow I am going to be releasing my top 25 WORST movies of the 2010s. These are movies that are 2,010 times as horrible as anything else! JUST YOU WAIT! With that being said, be sure to look forward to that post tomorrow, and if you are reading this early and wanted to be notified about my worst list and other exciting content here on Scene Before, click the follow button! If you have a proper account up and running, be sure to like and comment if possible, it definitely helps me out! Speaking of helping me out, like my Facebook page, I want to get more people to follow me on that side of things, it would probably help spread the word a bit on social, so please, help a guy out! I want to know, what are your favorite movies of the 2010s? Do you have a favorite year this decade for film? For me, I’d say mine are 2014 and 2018. Do you think I missed a film? Seriously, there may have been a film that I liked that I completely forgot about, and I say this as someone who has worked on this countdown series for literally MONTHS. Nevertheless, leave your comments down below, and stay tuned for the worst list! Scene Before is your click to the flicks!

What We Know So Far About Christopher Nolan’s TENET (2020)

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Hey everyone, Jack Drees here! As you may know, I am massive fan of Christopher Nolan (The Dark Knight, Memento). I have seen almost every single one of his films. And if you have been following the news this year, you’d know that Nolan is coming out with a new movie called “Tenet.” Prior to the reveal of the title, this was first leaked as an “event” film. I had no idea what this would entail, and I figured by event, it would be a follow-up to one of Nolan’s recent films such as “Inception” or “Interstellar.” Because let’s face it, whether you like those films or not, they felt like events. And what would be more “event-like” than a follow-up to a Nolan film that received overwhelmingly positive reception and good box office returns? Especially “Inception,” because that movie came out in 2010. What if we got a sequel in 2020? It would be marketed as “the one movie we get every ten years.” And if that’s successful, we’d get another “Inception” in 2030. But that’s not the case, and I’m also not disappointed because originality is ALWAYS something I’m asking for in Hollywood, so I’m proud to see Christopher Nolan deliver it. Without further ado, let’s dive into some things that could easily be gathered about Christopher Nolan’s upcoming movie, “Tenet.”

THE FILM WILL BE IN THE ACTION GENRE
We now know that Nolan’s new movie is an original project. The film is being described as a “massive, innovative, action blockbuster.” Recent news has pointed out a more detailed description of what this film would entail, specifically that it is “an action epic evolving from the world of international espionage.” I personally consider action to be one of my favorite genres, in fact, action is also a genre that Nolan has nailed thus far. After all, he helmed the entire “Dark Knight” trilogy and “Inception.” Both movies have bits and pieces of memorable action scenes and I have a feeling that Nolan can use his prior knowledge and put it into this movie.

THE CAST
John David Washington (BlacKkKlansman, Ballers)
Robert Pattinson (Twilight, Good Time)
Elizabeth Debicki (Guardians of the Galaxy Vol. 2, The Cloverfield Paradox)
Aaron Taylor-Johnson (Godzilla, Kick-Ass)
Kenneth Branagh (Dunkirk, Much Ado About Nothing)
Clémence Poésy (Last Love, Harry Potter and the Deathly Hallows: Part 1)
Dimple Kapadia (Bobby, Luck by Chance)
Michael Caine (Batman Begins, Interstellar)

Let me just say, of course Michael Caine was gonna be in this. I mean, he’s Michael Caine. Christopher Nolan literally goes to bed every night in a room containing at least three posters. There’s one in the middle that says “MICHAEL CAINE IS GOD,” and it is accompanied left and right by posters for “Dirty Rotten Scoundrels” and “The Cider House Rules.” This is a long way of saying, Christopher Nolan clearly loves Michael Caine and they are working together again. Can’t wait to see what Caine can bring to the table. As for some of these actors including John David Washington and Aaron Taylor-Johnson, I am well aware of their names and have liked them as performers in what they’ve done. I just saw Washington in “BlacKkKlansman” this January and his performance was good enough to get a nomination from me in the Jackoff Awards. As for Taylor-Johnson, I remember reviewing Amazon’s “The Wall” months after it came out and calling it a pile of crap, but I also gave praise to his particular performance. A win’s a win, even when it’s a loss. Yes, Robert Pattinson from “Twilight” is being cast here but for one thing, I have not seen much of his work. In fact, I’ve heard he’s been pretty solid in some indie flicks. And for another thing, if he’s not only being cast as Batman, but also in a Nolan film, I have a feeling his name could grow on me. Only time will tell. But Nolan is not a stranger to odd casting choices, because if you all remember “Dunkirk,” he somehow managed to cast One Direction member Harry Styles, and he turned out to be solid! I’ll wait for the movie, but for the most part, the cast looks promising.

THE FILM IS BEING SHOT WITH IMAX AND 65MM CAMERAS
For those of you who follow Nolan, you’d probably know that he has, no pun intended, experience with IMAX. “The Dark Knight” was the first feature film to be shot in IMAX. Since then, he has used the same technology in “The Dark Knight Rises,” “Interstellar,” and “Dunkirk.” All of those films are shot using advanced IMAX cameras that use horizontal 65mm film. It should therefore come as no surprise that he is bringing the technology up to the plate once again for “Tenet.” Plus, the movie will bring back Hoyte Van Hoytema to man the shots, who also was involved with the cinematography for “Interstellar” and “Dunkirk.” I remember one of the first announced details was that this film was going to be shot in IMAX, and when I hear that about a film, I am automatically intrigued. Also, according to IMDb, the film is also being shot with a Panavision 65 HR Camera, which uses standard, old school 65mm technology. I am pretty interested to see what Nolan would do with the IMAX technology in a film involving espionage. This would definitely provide a big scope for the action scenes when viewed in IMAX theaters and maybe provide a few jaw-dropping shots. I remember “Mission: Impossible: Ghost Protocol” being shot with IMAX cameras, but unfortunately, I never went to an IMAX to watch the movie. I really don’t know how this movie will play out, but part of me hopes to walk out saying “this is a “Mission: Impossible” film that only Nolan could create.” Then again, based on other details I’m hearing about this movie, this might be a bigger idea than “missions, should people choose to accept them.” Speaking of old school technology…

THE FILM WILL BE PRESENTED IN 35MM, 70MM, AND IMAX 70MM
This may have already been implied, but in case it didn’t, “Tenet” is going to be screened not just in today’s traditional digital formats found in multiplexes everywhere, but also in a select number of auditoriums featuring film stock projection. Christopher Nolan’s most recent films have marketed themselves as being “experiences” and part of said experiences involve presentations in analog formats, which honestly, I prefer over digital projection. Seeing “2001: A Space Odyssey” in 70mm last year (twice) was game-changingly epic. It’s partially due to the experience of going into an arthouse-style theater while also having projection that provides greater material than my local chain locations. And since “Tenet” is seemingly being shot entirely using 65mm technology, the film will fit very well when projected on film. Granted, I imagine it will look great almost matter where it’s shown, but there are places where I can probably tell you to see it as opposed to others. Since it is being shown in IMAX 70mm, I can guarantee that the film will have select sequences where the aspect ratio changes to fill the entire screen from top to bottom.

And for those of you who don’t know, this is why I went to a theater over an hour away from my house to see “Interstellar” and “Dunkirk” and people close to me probably think I’m insane.

But it was SOOOOO worth it.

HANS ZIMMER IS NOT INVOLVED
Unfortunately, for all of the Christopher Nolan fans who liked movies such as “Inception” or “Interstellar” partially because of Hans Zimmer’s scores (I’m one of those fans as well), I’ve got some news for you. He’s not gonna be around for “Tenet.” In fact, the reason for this is due to Zimmer currently being busy with another acclaimed director who I happen to like, Denis Villeneuve (Blade Runner 2049, Arrival) as he is scoring the upcoming movie “Dune.” As for other movies next year he is focusing on, he is involved with “Wonder Woman 1984,” which I’m currently anticipating. He’s also doing “Top Gun: Maverick,” which only makes me more intrigued for how that movie is going to play out. And he’s also scoring “The Spongebob Movie: It’s a Wonderful Sponge,” which was once scheduled to compete with “Tenet” on its opening weekend, but the movies are now a further distance away from each other on the current release schedule.

LUDWIG GÖRANSSON IS COMPOSING
As for who will be composing the music in “Tenet,” that position will held by Ludwig Göransson. I have slightly mixed thoughts on how this is going to pan out, but I like to remain optimistic. For one thing, Nolan and Zimmer go together like bread and butter. Plus, Ludwig Göransson is also responsible for scoring “Venom,” and the score was not really the highlight of that film. Then again, what was the highlight of that film in the first place? The score felt manufactured, generic, and kinda dull. You know, like the movie “Venom” itself. Although at the same time, he scored another comic book movie, which like “Venom,” I don’t think I enjoyed as much as other people, and by other people I don’t just mean general audiences, I’m also referring to The Academy. Y’know, the gods of the movie industry? That movie by the way, is “Black Panther,” and while I think that movie is tremendously overrated (but still a solid flick) it had one of the better scores I’ve heard from a movie in the Marvel Cinematic Universe. It’s not my all time fave, but if I were to do a countdown on my favorite MCU scores, “Black Panther” would probably be high on the list. I am quite curious if Goransson will deliver an epic score to remember forever or if there will be some sort of disconnect between him and Nolan that will make me wish Zimmer would’ve been involved. Göransson’s music has been used in recent television programs including TBS’s “Angie Tribeca” and Fox’s “New Girl.” He’s also recently scored movies like “Creed II” and the 2018 remake for “Death Wish.”

PALINDROMES MAY BE AN IMPORTANT FEATURE IN THE SCRIPT
Now if you thought that Christopher Nolan is going to change his ways and simplify his movies, think again. Because from what I’m gathering so far, this movie sounds like it is going to be heavy. For one thing, look closely at the word “Tenet,” and you’d know that it is a palindrome. One of my favorite sci-fi movies of the decade, “Arrival,” directed by the recently mentioned Denis Villeneuve made palindromes play a bit into that movie, and if this movie manages to do the same, I would not be surprised, and I have faith that the palindrome insertion could be more than just a cheap gimmick.

Screenshot (5)

Also, last week, I shared a post on Facebook from a page with the handle @ChristopherNolan.info on what I thought was an official poster for “Tenet” but it turns out that’s more than likely not the case. However, one detail that stood to me regarding what I’ve shared is the number inside the image, 2701072, which like the word tenet, is a palindrome. People have pointed out in the comments that if you rearrange the numbers in that image, you can get the release date for this movie, July 17th, 2020. I also did some research regarding that number and this is not the first time that the account did a post with that number in it. On January 28th, the same Facebook page made a post that was literally just this exact number. Unless they had insider information about this movie and Nolan’s life/career, it’s almost as if they predicted that the title will be a palindrome or the movie would heavily involve palindromes. However, this Facebook page was not the first social media account to post something like this, because data suggests another Christopher Nolan-related account on Twitter by the name of @nolantalkcom did so on January 27th. Based on this information, and based on differences in followers, this is probably a bit of a stretch. I’m willing to bet the operator of that Twitter also operates the Facebook page. If you want to check this out for yourself, click the links below!

@ChristopherNolan.info

@nolantalkcom

THE FILM MAY HEAVILY INVOLVE TIME
Speaking of expected traditions from Christopher Nolan, it would not be surprising if he made time a major element in this film. Heck, one of the posters features numbers from one to twelve with arrows sticking toward multiple twelves. It’s a like an ongoing watch or something! I don’t know how time will play into this film, but it is an action film involving espionage, so maybe there will be some sort of race against the clock. Maybe there’s a bomb that has to be diffused. But knowing Nolan, it may as well be something completely unthinkable.

In a way, this poster almost reminds of “Interstellar” because if you remember the Endurance from that film, you may notice that the ship resembles a clock. “Interstellar” is easily one of my favorite sci-fi flicks of the decade, so I cannot wait to see what happens with “Tenet” and if it could possibly be compared with “Interstellar.”

There are a few other things I could talk about related to “Tenet,” but I already have gone way past scratching the surface when it comes to this movie. I even have a growing theory of this movie being part of a universe that Christopher Nolan previously established, specifically “Inception,” which I think could be a plot twist in this movie based on certain factors. As much as I would like to get into that, it would involve heavily digressing from the main topic, so I might make a separate post for that one day. But only time will tell, so who knows? I’m really looking forward to “Tenet,” and as of right now it is probably my most anticipated film of 2020. Anything Marvel announces next year? Forget it! There is a reason why Christopher Nolan is my favorite director of all time!

So I gotta ask all of you, how are you currently feeling about “Tenet” as we build up to its release? Are you excited? Worried? Could you avoid caring about the movie whatsoever? Do you think Christopher Nolan is a hack who deserves to die? Let me know your thoughts down below!

Thanks for reading this post! This Saturday I’m going to see “Godzilla: King of the Monsters.” It’s a film a part of me is REALLY looking forward to from an entertainment perspective, but from a critical perspective, I’m simultaneously nervous. I kinda don’t know how to feel going into the movie, so we’ll just see what happens. But I am going to see it in IMAX, which I think is the best way to see big scale movies like this, so I am still pretty excited. Be sure to follow Scene Before either with an email or WordPress account so you can stay tuned for more great content! Scene Before is your click to the flicks!

90th Academy Awards Recap

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Hey everyone, Jack Drees here! Before we go any further, let me just say, I admittedly put this post out a little later than I once anticipated. I had my mind going around on three posts at once, part of me was begging to nap this week, some distractions have gotten in the way, and I also had this thing going on over on my Twitter where I’m giving shoutouts to women on International Women’s Day. With those things in mind, you might as well say that if this blog or my posts happened to be my kid(s), I might not be the best of fathers. I’ve been distracted, wanting to fall asleep, and just didn’t have enough of a focus on the things that matter. Speaking of parenting, let’s talk about Genevieve and Paul. Who are they? Well, they’re a couple who are currently expecting, but their journey to get there was like trying to find a way to defy gravity. Impossibly long and stressful. Ladies and gentlemen, this is all documented in “What The IVF?!”

“What the IVF?” focuses on the recently mentioned couple, Genevieve and Paul. The two are happy together and one day decide to have a baby. Turns out they realize, the process of having a baby isn’t all fun and games, and now they’ve got to deal with various problems. These problems range in areas including: Sex, math, exams, and those freakin’ needles!  The first episode of the series up right now, it’s actually the video listed above, it’s a few minutes long, so if you need to waste some time and you feel like you should watch something, this is a good deal for you. And I said to the couple that I’d promote the material, and I’m not just saying this to be nice or push their buttons or receive a fat paycheck in the mail, in fact at this point they’d probably need it for baby food or something, I actually watched the first episode, and I thought it was very well done. If you look at this video, you’re in for a well edited treat. Be sure to catch up on the latest regarding Genevieve and Paul and to help you do that, I’ll post links to various “WTIVF?” social media pages, and if you check this stuff out, be sure to tell them that Jack Drees sent you over!

WTIVF? WEBSITE: http://www.whattheivf.com/

WTIVF? YOUTUBE: https://www.youtube.com/channel/UCILXSidkzWgwrQ5Oa1py78w/featured?disable_polymer=1

WTIVF? TWITTER: https://twitter.com/WTivF

WTIVF? INSTAGRAM: https://www.instagram.com/wtivf/

WTIVF? FACEBOOK: https://www.facebook.com/What-The-IVF-288868031634125/

Getting back on track, it’s official that the Academy Awards are now over, so now I can look back and say to myself, “What happened to the politics?” If you think I’m asking that negatively, think again. Because I know one thing for sure, politics and the Academy Awards associate with each other quite well, and at times, it’s not exactly annoying, but they seemed to tone it down this year. When it comes to the politics, it was basically a sigh of relief. There were barely any comments regarding our current administration and when the comments were uttered, they were actually quite funny!

“That’s not the point. We don’t make films like ‘Call Me by Your Name’ for money. We make them to upset Mike Pence.” -Jimmy Kimmel

Then again, this isn’t the Golden Globes, where political and social issues, at least from my eyes and ears, seem to be more prominent and forced. At this Oscars, the insertion of all this commentary regarding politics and society didn’t feel that awkward because while they were there, there seemed to be more of a focus on awards and film.

Not every single person made it a big deal to wear black. People either did or they didn’t. The jokes weren’t as cringe-worthy. And let me just have you know, the stuff that’s being represented in terms of social issues happens to be stuff I personally support! Racial equality! Gender equality! I mean, Barbra Streisand and Natalie Portman didn’t get up on stage and come off as depression lords. Yes, time IS up, but there are more important issues than having male nominees and winners for Best Director. One of my favorite quotes regarding social issues comes from Kumail Nanjiani, who you may know as one of the writers and actors in last year’s “The Big Sick,” which is one of my favorite movies of 2017.

“Some of my favorite movies are movies by straight white dudes about straight white dudes. Now, straight white dudes can watch movies starring me, and you relate to that. It’s not that hard. I’ve done it my whole life.”

Well said, Kumail!

One of the other highlights of the night was something I didn’t actually expect. I came in for an award show, not a game show. Now when I say that, you may expect me to follow up with something negative, that is unless you realize my fanaticism for game shows. So as Jimmy Kimmel is finishing up his opening monologue, he reminds everyone that the Oscars is “a very long show.” Before those words are spoken, he states that the first Oscars show lasted for fifteen minutes from beginning to end, he adds in humor by saying “and people still complained.” So in order to spice things up, the show was going to give away a prize. So I start hearing “The Price is Right” music and suddenly, I see Helen Mirren standing right next to a new jet ski. The total value of the jet ski is $17,999, and whoever was to give the shortest speech, will go home with the prize. Kimmel adds, “Why waste precious time thanking your mother when you can give her the ride of her life on a new jet ski?” The man claimed that he was going to be timing everyone who wins an Academy Award with a stopwatch. Once they pick up their trophy, the clock begins ticking. Some of Kimmel’s conclusive words are “And in the unlikely event of a tie, I need to say the jet ski will be awarded to Christopher Plummer.”

By the way, Mark Bridges, the costume designer for “Phantom Thread,” was the winner of the jet ski. Also, for those of you who never heard of or seen “Phantom Thread,” the main character of Reynolds Woodcock, played by Daniel Day-Lewis, is a dressmaker. So of course, a movie about making clothes, won a category which involves making clothes.

Before I tuned into the Oscars, I made a hope/prediction post, which admittedly I rushed in some parts, but overall it was a somewhat effective list coming in over 4500 words. Although to be fair, it was crunch time, and I was just trying to get my major category predictions down. Much like in that post, I’m not gonna go through all the categories and stick to talking about anything from the categories that stand out to me. In my post I didn’t talk about anything such as Best Animated Short Film, Best Documentary, stuff like that. I’m just gonna talk about a category if I have some sort of interest related to them or if there’s something to me in it that stands out compared to other categories. To start this off, I’m going to dive into a category that I didn’t discuss on my prediction post. Specifically, Best Animated Short Film.

Here are the results for Best Animated Short Film!

  • Dear Basketball (WINNER!)
  • Garden Party
  • Lou
  • Negative Space
  • Revolting Rhymes

Regardless of familiarity, this category interested me because of its winner, “Dear Basketball.” For those of you who haven’t seen or heard of “Dear Basketball,” I don’t imagine many people will blame you, including Lakers fans. It has less than 2,000 ratings on IMDb, but it appears the Academy liked it. I have no problem with them liking it. I haven’t seen the short, so I can’t judge all that much. Although the real shocker for me here is who happens to be behind this “Academy Award winner.” OK, well, John Williams composed the music, which may have partially contributed to the overall verdict. The animation was a different style than what I usually see, and while I don’t think that in itself is award-worthy, maybe the idea of being different contributed to it. The creative developer, Brian Hunt made this his first project as a creative developer, but he also had experience in the industry prior to this. Although when it comes to the entire world of diverse, differently-minded, and film-focused people, the Academy decides to give an award to…

Kobe Bryant.

Yeah, Kobe Bryant. Kobe. Bryant. KOBE… BRRRRYANT. A former NBA Basketball player who has won the NBA Finals in the past, achieved an Oscar! I’m not saying that this is the end of the world, but seriously! If you told me a week ago, that Kobe Bryant, a guy who angrily swears at his own basketball team during practice, saying that his teammates are motherf*ckers who don’t do s*it for him, was going to win an Academy Award, I’d die laughing, get up, and tell you to get out of my sight because I’d think you’re incredibly dumb.

But he did.

Although one thing I really liked about this is how Mark Hamill was presenting the award. Because for one thing, he’s f*cking Mark Hamill. And another thing, the joke he made right before “Dear Basketball” was announced.

“Don’t say ‘La La Land.’ Don’t say La La Land.'”

Speaking of animations, let’s dive into Best Animated Feature Film.

  • Coco (WINNER!)
  • Ferdinand
  • The Boss Baby
  • The Breadwinner
  • Loving Vincent

“Coco” won. What a surprise.

“The Boss Baby” lost. Big fat shocker as well, not to mention a sign that Earth is still sane.

Enough said. Moving on.

Next up is Best Actor, and here are the results!

  • Gary Oldman (Darkest Hour) (WINNER!)
  • Daniel Day-Lewis (Phantom Thread)
  • Timothée Chalamet (Call Me by Your Name)
  • Denzel Washington (Roman J. Israel, Esq.)
  • Daniel Kaluuya (Get Out)

In total honesty, it would have been nice to see Daniel Day-Lewis win. Not just because he’s a terrific actor, but because this is his last performance. I have not seen “Phantom Thread,” much like how I haven’t seen any of the other films listed above, but seeing Day-Lewis winning would have been a treat. I have nothing against Gary Oldman. I don’t have anything against him winning, I think he’s a fine actor, and he definitely has potential to take on some more great roles in the future. I didn’t think about this while I was doing my hope and prediction post, but I did find this out going into the show. If Timothée Chalamet ended up winning Best Actor, he would have been the youngest person to win that award. For the record, Chalamet could have possibly been a 22 year-old Oscar winner, beating out then 29 year-old Adrien Brody (The Pianist) who won an Academy Award for this specific category for the 2002 movie season.

Speaking of acting, let’s move onto Best Actress!

  • Frances McDormand (Three Billboards Outside Ebbing, Missouri) (WINNER!)
  • Meryl Streep (The Post)
  • Sally Hawkins (The Shape of Water)
  • Saoirse Ronan (Lady Bird)
  • Margot Robbie (I, Tonya)

Once again, a category filled with movies that I just haven’t gotten around to watching! OK, well except one, which was “Three Billboards.” Having seen it, I approve of McDormand’s win. Very well deserved! Part of me thought at one point that Margot Robbie was gonna win for “I, Tonya” based on a clip I saw for it, but I guess not. Meryl Streep… I have nothing against her. I still have to see “The Post.” But I seriously wonder if this nomination happened just because she’s Meryl and the Academy has a fetish for nominating her. Part of me is also surprised the Academy didn’t go with Saoirse Ronan for “Lady Bird.” Although at the same time, it surprises me how many people saw the movie and didn’t like it. I didn’t see it, but I’m trying to.

One of the next categories we’re gonna get into is Best Adapted Screenplay.

  • Call Me by Your Name (WINNER!)
  • The Disaster Artist
  • Logan
  • Molly’s Game
  • Mudbound

I’ll state something similar to what I said in my prediction and hope post. “Mudbound,” to me, doesn’t qualify as a movie that associates with the Oscars. To me, the Oscars is about celebrating cinema. While there are a number of people who clearly worship this movie for various reasons, I refuse to call it a technical “Oscar film.” To my knowledge, this movie has released in a couple theaters if that. And while I do think a movie with even the smallest theatrical release can qualify to win an Oscar, it’s mainly known to me as a straight to streaming film. Now don’t get me wrong, if Amazon or someone like that distributed this film, I would have possibly supported “Mudbound” more. But instead, Netflix did. And since Netflix doesn’t give movie theaters a chance (do some research on “The Cloverfield Paradox”), I refuse to watch it, review it, and call it a movie that others seem to call it. So unless Netflix starts releasing films in theaters as a tradition and not a special occasion, I refuse to review any of their films or consider them for awards like Oscars, or if you want to be more accurate on my end, my top 10 BEST movies of the year lists. Now “Call Me by Your Name” won. I didn’t see it, therefore I was in a somewhat of a shock when its, well, name was called. I was glad it wasn’t “Mudbound,” but I didn’t really expect this film to win, and I was actually rooting for a couple of other films. One film I saw earlier this year because I couldn’t get to it last year was “Molly’s Game.” The film itself? Barely passable. The screenplay though? If this were a film class and I were teaching, I’d give it somewhere around the A range just for the diction choices and the snappy tone it provided at times. I was especially disappointed that they didn’t pick “The Disaster Artist” because humor-wise, it was the funniest movie of 2017, maybe aside from “The LEGO Batman Movie.” Not to mention the way it was written was partially realistic and another part felt like a homage. And while this is based on a true event, I totally appreciate the callbacks to some things that happened that can be associated with “The Room.” A lot of people are kind of disappointed that “Logan” didn’t win this award. I haven’t seen “Logan,” I’ve heard phenomenal things, but I haven’t seen it. Part of me wonders if this is just coming from people who either have a bias towards comic book movies or just go see comic book movies and ignores everything else, or if it’s a bunch of people who appreciate the screenplay for its differences compared to other comic book movies. It’s darker, grittier, contains more violence and foul language, and it just contains things that makes anyone who works at Disney hide in the corner. I’m not gonna focus on Best Original Screenplay, I don’t really have much to say about it. Like I mentioned earlier, I’m gonna just dive into categories which can feel more like an essay as opposed to a couple of forced complete sentences. Either that or if I feel if it has some sort of relevance to me, that will play into this sort of thing as well.

Next up is a category containing something I often think about, Best Original Score.

  • Alexandre Desplat (The Shape of Water) (WINNER!)
  • Hans Zimmer (Dunkirk)
  • John Williams (Star Wars: The Last Jedi)
  • Jonny Greenwood (Phantom Thread)
  • Carter Burwell (Three Billboards Outside Ebbing, Missouri)

Before we get into discussion concerning the winner, let’s talk about John Williams. John Williams, without a doubt, is a great composer, and there’s a reason why people love his work. Not only has he done some of the most iconic movie scores of all (Raiders of the Lost Ark, Harry Potter, Jurassic Park, Home Alone, Jaws), but he’s proven to be talented for many many years. Although him being nominated for his work on “The Last Jedi” is just… Bogus. I have seen every single “Star Wars” film scored by John Williams, including the latest one in the franchise, “The Last Jedi.” The movie’s mediocre overall, I admittedly overhyped it when I first saw it, it was a whole thing. When it comes to John Williams, I honestly don’t see how he could have been nominated for an Oscar other than the fact that he’s the one doing the score. You remember the score for “Rogue One?” That one was the only score for a theatrically released “Star Wars” film that isn’t from John Williams. That score, while not recognized all that much for awards, was not only a delight to hear, but a different take on what could qualify as “Star Wars” music. I’ve given some sort of praise to “The Last Jedi” for being different, but one aspect that didn’t feel different was the score. It felt like it just took themes from “The Force Awakens” and other “Star Wars” films and shoved them right into this one. I still remember the climactic scenes and I’m hearing the “March of the Resistance” song and it just felt underwhelming unlike the first couple of times. I like John Williams, I think he’s skilled, but what the hell? There are other scores that weren’t even nominated that could have qualified! “Blade Runner 2049!” “Wonder Woman!” And even though this film wasn’t really that good, I’d be fine with live-action “Ghost in the Shell” because at least various aspects of the movie, such as the music, made it sound like it was trying. “Revenge of the Sith’s” score was never nominated for any Oscars, but if you actually think “The Last Jedi” had a better score than “Revenge of the Sith,” I’m gonna force-choke you. Now onto something that matters.

I wanted “Dunkirk” to win Best Original Score. Although in the end, it turned out to be “The Shape of Water.” And funny enough, the composer for the score in “The Shape of Water,” Alexandre Desplat was originally going to compose the music for the recently mentioned “Rogue One” before that job ultimately went to Michael Giacchino! Desplat has also scored 2014’s “The Grand Budapest Hotel,” which I saw, enjoyed, but can’t say I liked as much other people. You know, kind of like its score. Seriously? It lost to “Interstellar?” You done goof, Academy. I’ll say this is one of those wins, much like a couple of others that really make me interested in checking out “The Shape of Water.” It would be interesting to hear what music related to a woman and fish who wanna f*ck sound like. I thought “Dunkirk” would win for its grand and fast-paced feel, but I guess not. But seriously though, no love for “Blade Runner 2049?”

Speaking of that, let’s talk about the nominees and winner for Best Visual Effects.

  • Blade Runner 2049 (WINNER!)
  • Star Wars: The Last Jedi
  • Kong: Skull Island
  • War for the Planet of the Apes
  • Guardians of the Galaxy Vol. 2

From what you can tell, I love “Blade Runner.” I love both the original film and its sequel. An enormous part of me is beyond glad that it won Best Visual Effects. I will say though, I imagine some people have these every once in awhile. They have certain categories in award shows where they don’t care who wins because they think all of them are deserving of the prize. This to me, was one of them. I will say, part of me is shocked that “War for the Planet of the Apes” didn’t win because a lot of people were impressed by that film visually. Interestingly, that was the only film of the five nominees I didn’t watch at the very least in portions. I’ve seen part of “Kong: Skull Island,” and every other film including “Guardians,” “Star Wars,” and “Blade Runner,” were ones I watched from beginning to end. Part of me even wonders how many people are thinking right now that “War for the Planet of the Apes” got snubbed. Nevertheless, I’m happy “Blade Runner 2049” won. If you have not seen “Blade Runner 2049,” you might occasionally drop your jaw at the city of Los Angeles, the fact that they did a clear recreation of Sean Young who played Rachael in the original film, and how much you’ll be immersed that a part of you might end up wanting to jump in this world. If “War for the Planet of the Apes” won, I think it would have been a very much deserved win, but I’m incredibly happy that “Blade Runner 2049” took the cake.

One category that got a number of people talking was Best Film Editing. This is partially because of not only who DID win. But also because of who DIDN’T win. Here are the five films to have been recognized for their achievement here.

  • Dunkirk (WINNER!)
  • The Shape of Water
  • I, Tonya
  • Baby Driver
  • Three Billboards Outside Ebbing, Missouri

So “Dunkirk” came out on top as you can clearly see, and as someone who has watched the movie, I can understand why it won. It was told in a non-linear fashion, which only made the film a tad more interesting than it already was. Although it’s a Christopher Nolan movie, so this puzzle-like editing isn’t exactly a shocker. One movie that people were surprised didn’t win however was “Baby Driver.” I feel like part of why this didn’t win is because the Academy usually goes after dramatic movies like “Dunkirk” instead of movies that some people would refer to as “less serious” and “fun” like “Baby Driver.” Not only that, but I’m willing to bet part of it has to do with the whole Kevin Spacey scandal that’s been brought to the world’s attention months ago. Granted, this isn’t Kevin Spacey’s nomination specifically, but still. Am I disappointed “Baby Driver” lost to “Dunkirk?” Not really, I think both films are well edited in their own little way. “Dunkirk’s” non-linear fashion makes the movie more of a challenge to watch and ultimately more fun. Although with “Baby Driver,” the editing in that movie has given us some of the best action sequences of the decade. In my review, I praised “Baby Driver” for its thrilling action sequences and how it made me want more of them once one ends. I can see why “Dunkirk” won, but some love for “Baby Driver” would have also been appreciated.

If you remember the nominees for Best Sound Editing and Best Sound Mixing, something in particular may have stood out to you.

They’re the same nominees.

Not only that…

THE SAME MOVIE TOOK BOTH AWARDS!

  • Dunkirk (WINNER!)
  • Blade Runner 2049
  • Baby Driver
  • The Shape of Water
  • Star Wars: The Last Jedi

One thing I’d like to say about “The Last Jedi.” I actually beg to differ because I think it had 2017’s best LACK OF sound editing or sound mixing. Remember that scene where one ship goes into hyperspace and crashes through another ship in the process? HOLY. F*CKING. S*IT. As much as that movie could have been better, THAT. WAS. AMAZING. While I do think the general editing for “Baby Driver” was praise-worthy to the point where I can’t contain myself, the sound work is basically not a competition anymore when “Dunkirk” steps in the ring. The sound choices were authentic! The audibility was extreme! The immersion provided from all the noise was 100% pure! How can you go wrong with “Dunkirk” in these categories?! “Dunkirk” put me in a war zone, and if you tell me you missed out on seeing this movie in a theater, shame on you.

When it comes to Best Director, this was yet another one of those categories where I was left feeling a lack of a surprise.

  • Guillermo del Toro (The Shape of Water) (WINNER!)
  • Greta Gerwig (Lady Bird)
  • Jordan Peele (Get Out)
  • Christopher Nolan (Dunkirk)
  • Paul Thomas Anderson (Phantom Thread)

So… Del Toro won. Doesn’t shock me whatsoever. I don’t know what you may have thought as the one to come out on top, but this was rather predictable to me. And I feel like a big part of it has to do with his presence at other awards shows, how much del Toro’s name has been spoken recently, and also how many Best Director awards I’ve been aware of this film getting thus far. One that really stuck out to me was the Golden Globes, mainly because of Natalie Portman’s “all male nominees” comment, which honestly would have been better left unspoken due to its awkwardness. I wanted Nolan to win, partially because he’s my favorite director, and also because of the excellent job he did on “Dunkirk.” But yeah, you can’t have everything. Although, I will say, something in the same realm as Portman’s Golden Globes utterance occurred. Last year’s winner for Best Actress, Emma Stone (La La Land, Birdman), said this:

“It is the director whose indelible touch is reflected on every frame. It is the director who, shot by shot, scene by scene, day by day, works with every member of the crew to further the story. And it is the vision of the director that takes an ordinary movie and turns it into a work of art. These four men and Greta Gerwig created their own masterpieces this year.”

This was so much better than seeing Natalie Portman onstage and having myself hear what she said. Don’t get me wrong, Portman’s a fine actress. Although let’s take a look at the situation at hand with her. She was standing next to RON HOWARD, someone who has directed a number of films. Films that by the way, are still remembered to this day! Howard even recently directed a film in the “Star Wars” franchise! A franchise which Portman was once a major part of as an actress! The two are talking, they’re about to present the award, and at one point, I hear Portman say…

“And here are the all male nominees.”

Yes, it is true that female directors aren’t usually getting as much attention as males. It is also true, that more males are directing movies as opposed to females. But to literally shame a director just because they have a penis, is just unbelievably ridiculous. How do you think del Toro felt taking that award home? I imagine he felt happy because he won, but seriously, he won after being accused of simply being a man. Emma Stone on the other hand, didn’t exactly make an awkward joke and instead quickly stated some words before moving on. It’s actually kinda funny. It was presented in a setting and manner that didn’t have a forced vibe, and I don’t have any feelings of cringe to describe to you. This comment, while it does point out the lack of women in the director’s chair when it comes to filmmaking, doesn’t feel like something that a man should be ashamed of hearing. Because for one thing, it mentions a woman got nominated. Also because it’s still technically a comment of praise. Literally pointing out that nominees are male the way Natalie Portman did almost feels like a comment meant to point out disdain towards the potential winners. Just look at the difference between the tone, delivery, and choice of words between the two people. Just look and see what I mean!

Speaking of women making achievements, one of them was involved in Best Cinematography… Although to me, that’s not even CLOSE to the best part of this category. The best part, is who finally f*cking won, after FOURTEEN nominations.

  • Roger Deakins (Blade Runner 2049) (WINNER!)
  • Hoyte Van Hoytema (Dunkirk)
  • Rachel Morrison (Mudbound)
  • Bruno Delbonnel (Darkest Hour)
  • Dan Laustsen (The Shape of Water)

Best Cinematography. Sounds like a category that some people don’t care about. In reality, when it comes to filmmaking, I’m a writer. If there’s one thing I’m not, it’s a cinematographer. Although more than one name for me stood out on this list. You’ve got Hoyte Van Hoytema, who has to proven to be a great cinematographer with not just “Dunkirk” as a notable achievement, but also “Interstellar” and “Spectre.” I really admired “Dunkirk” when I saw it partially because of how well done the camerawork itself was presented from an immersion perspective, but also the fact that it was shot on mostly IMAX footage. If you didn’t go see this film in an IMAX theater, especially one with laser projection or 15/70mm projection, you may have just missed out on a one of a kind experience.

Another standout to me was “Mudbound,” and part of me thought the Academy was going to pick the cinematographer for that movie, Rachel Morrison. For the record, she was the first woman ever nominated for the award in all ninety of the Academy Awards shows. I’ll mention once again, I refuse to call “Mudbound” a movie. I have nothing against Rachel Morrison, I just have a problem with Netflix. I’d be rooting for Morrison more if she was given a movie that doesn’t associate with a company which will make me always say, as pervy as it may sound, “I’ll just take chill,” when asked the common meme-worthy question “Netflix and chill?.”

Then we have “Blade Runner 2049.” My runner-up for my favorite movies of 2017 list for a gigantic number of reasons. And speaking of gigantic numbers, let’s talk about the number 14. OK, in some realms it’s not really that huge, but you’ll see my point. Roger Deakins was the director of photography for “Blade Runner 2049.” And I imagine when some people heard his name, they got excited. Chances are, if these people have followed Deakins’ work, it might not be the first time they got excited about something like this. I can’t exactly relate, but having seen Deakins’ work in movies like “Skyfall,” “The Shawshank Redemption,” “Hail, Caesar!,” and “No Country For Old Men,” I agree with others when they say he’s one of the greats when it comes to cinematographers. Once again, the guy has been nominated for Best Cinematography by the Academy, FOURTEEN TIMES. Here is a list of all the times other than the one of focus when he’s been nominated. Note that the year listed is the year the film he shot came out and not the year he was nominated.

  • The Shawshank Redemption (1994)
  • Fargo (1996)
  • Kundun (1997)
  • O Brother, Where Art Thou? (2000)
  • The Man Who Wasn’t There (2001)
  • No Country For Old Men (2007)
  • The Assassination of Jesse James by the Coward Robert Ford (2007)
  • The Reader (2008) (shared with Chris Menges)
  • True Grit (2010)
  • Skyfall (2012)
  • Prisoners (2013)
  • Unbroken (2014)
  • Sicario (2015)

What happened to Deakins when he was nominated those thirteen times? Well, that can be explained in a video by TIFF Originals that starts off with the statement: “Roger Deakins is a loser.” The video is called “Roger Deakins’ 13 Oscar Losses.”

After watching this video if you have done so, you probably got a thought on your mind, and it may have been “Roger Deakins is a f*cking loser.” I’ll be fair and say some of the competition he had were deserving of their awards, take “Gravity” for example. Although this year with “Blade Runner 2049,” I only thought Roger was deserving of HIS Oscar. We get to the big moment. I see Sandra Bullock holding an envelope with “CINEMATOGRAPHY” labeled on it. She says some words before introducing the nominees, and when they are introduced. I just thought this was gonna be a year where the Academy doesn’t give him the award and just gives an award to Rachel Morrison just because she has a vagina. Again, I have nothing against Rachel Morrison. She actually did the cinematography for “Black Panther” which was such a treat. It came out really well! I imagine she’s a very nice lady, but I was rooting for Roger. I’ll admit, I’m not that religious. My main philosophy is to be a nice person, I am however not that religious. But as the nominees were introduced, I had my hands, containing all sorts of cells, interlinked. I WAS PRAYING. People were cheering for Morrison, and the others seemed to get some applause, but I heard more for Morrison than anyone else. So they’re introduced, and it’s time. Sandra Bullock still has the envelope in her hand, and she says this as she quickly opens it for the result:

“And the Oscar goes to, Roger A. Deakins (crowd erupts in a roar), “Blade Runner 2049.”

My reaction to that can be described in many ways. Part of me wished I had fireworks to set off after that win! Part of me wanted to go around the house doing cartwheels after the win! Part of me wanted to find some confetti to throw around after that win! My reaction, quite possibly woke up my mother and sister. I might as well have been a young teenage girl at her favorite boy band’s concert! I might as well have been at an event where I find out my kid in school won student of the year! I might as well have been a Chicago Cubs fan at the end of the 2016 World Series, where they finally had a victory after years and years trying to get it. People may say that Leonardo DiCaprio waited a bit to get his Oscar, which I’ll say, when he won it, I kind of wanted Matt Damon to take it, but that’s just me. Although for Leo, he won it on his FIFTH nomination. When you’re nominated THIRTEEN times, it’s almost like you’ll be that one person who gets a nomination, but that’s all. What if Meryl Streep never won a single Oscar? All of her wins, “Kramer vs. Kramer,” “Sophie’s Choice,” “The Iron Lady,” they never happened. Streep received her TWENTY-FIRST nomination for a role she did just last year in “The Post.” I can imagine the crowd roaring like a bunch of T-Rexes in an argument if that turned out to be her first win. Let’s take another example, because why the hell not? Imagine the New York Yankees. Some people don’t like the New York Yankees because they always win. But they’ve been in 40 World Series Championships. Imagine all their titles where they were victorious, all gone. The 40th appearance is the charm. That’s how I feel about Deakins here, the fourteenth time’s the charm. I can wholeheartedly approve of Deakins winning not just because it took forever and a half to happen, but just look at these shots and tell me they actually look terrible. I dare y’all!

Nice shot now isn’t it?

Take a gander at this beauty.

Look at this bad boy and tell me it sucks. I’ll wait.

Is it just me or does this define the meaning of life?

This shot screams something that in some worlds, would qualify as one word. Fan-freakin’-tastic.

LOOK AT THIS SHOT!

LOOK AT THIS F*CKING SHOT!

LOOK AT THIS MOTHERF*CKING SHOT! NO! SERIOUSLY! THIS IS THE DEFINITION OF PERFECTION! THIS IS A F*CKING MASTERPIECE! I’M GOING F*CKING INSANE!

My point is made. Roger Deakins’ victory, to me, may be one of the most deserved Academy Award wins in history. THANK GOSH! So many people can sleep now and have less dreams and concerning nightmares!

And now, as mentioned, we won’t get through every single topic listed for the Academy Awards today, but here’s one that people look back on years and years from now, Best Picture. Before we get into that, you may remember the whole “La La Land” and “Moonlight” mishap from last year? Warren Beatty and Faye Dunaway come up onstage to present the award, they state the nominees, they’re looking at the card, and somehow awkwardness ensues. Suddenly, Dunaway announces “La La Land” won Best Picture, but the two had the wrong card. Celebration ignites! Cheering be heard all over the Dolby Theatre, and a moment later, Jordan Horowitz, a producer behind “La La Land” is onstage and he states “Moonlight” won Best Picture. He even showed the card! Turns out Beatty and Dunaway were handed the wrong envelope. So… What happens now? What idea could be better than bringing Beatty and Dunaway back? Jimmy Kimmel had some fun before diving into the nominees. “We’re in the home stretch. Nothing could possibly go wrong from here. Here, on the 51st anniversary of Bonnie and Clyde, are Warren Beatty and Faye Dunaway.” They come out, Beatty says, “We’re glad to see you all again.” Dunaway adds, “As they say, presenting is lovelier the second time around.” The two continue speaking, eventually arriving at the point where they announce the nominees and the winner. By the way, they had the correct envelope this time. Here are the movies that have been nominated for Best Picture!

  • The Shape of Water (WINNER!)
  • Dunkirk
  • Three Billboards Outside Ebbing, Missouri
  • The Post
  • Lady Bird
  • Get Out
  • Darkest Hour
  • Call Me by Your Name
  • Phantom Thread

In my prediction post leading up to the Oscars, I said this was gonna be a close race to the finish between “Lady Bird,” “Dunkirk,” “The Shape of Water,” and “Three Billboards Outside Ebbing, Missouri.” I will say however for “Lady Bird,” that kind of changed throughout the night because it was nominated for five awards during the show, but the four that were already presented were all losses on their end. For “Dunkirk,” I thought it had a solid chance. The Academy seemed to give a lot of praise towards this film and it already won a few Oscars throughout the night. For “Three Billboards,” I figured it could win solely because it won Best Motion Picture- Drama at the Golden Globes. It also made a sweep at the Screen Actors Guild Awards. And it was nominated for a ton of Oscars beforehand, and it ended up taking home two before getting as far as Best Picture. Although if there was one I “knew” was going to win, it was going to be a movie with thirteen nominations including Best Picture. It was going to be a movie that already took home a few awards. It was going to be a movie praised by many critics and average moviegoers alike. It was going to be… “The Shape of Water.”

…And it won.

I have nothing in particular against “The Shape of Water.” From what I’ve seen in promotional material, it’s very good from a visual perspective, but I haven’t watched the movie so I can’t really say much else. Funny enough, I take a film studies class in my school, and my teacher actually asked if anyone in our class has actually seen “The Shape of Water.” Once asked, the class pretty much unanimously declined to put our hands up. I wanted “Dunkirk” to win. But hey, it’s already got some well deserved awards, especially in the sound categories. Also, remember, Roger Deakins won. So I was beyond satisfied. Although if “Blade Runner 2049” were nominated for Best Picture, you’d know I’d choose it. Or “Colossal,” that was my #1 movie of last year. Although I can understand why it’s not exactly been nominated for anything. But seriously, check that movie out if you can! It’s on several streaming services as we speak! So congrats to “The Shape of Water” and its crew. That movie is actually going to be out on home video in a number of days, so maybe I’ll watch it very soon!

Guys, that’s all I have to say for the 90th Academy Awards! It was personally a great show on my end. All of the commentary for the most part, wasn’t all that awkward. I may be in the minority, but the monologue between Tiffany Haddish (Girls Trip, The Carmichael Show) and Maya Rudolph (Big Hero 6, Bridesmaids), despite how it’s on a topic regarding issues I can side with, just came off as something that would belong in a one of those “SNL” sketches that gets shoved in there when the writers have nothing else that they can come up with. It took a topic that I would, could, and should agree on, and it just sullies it. I imagine both Rudolph and Haddish are pleasant people, and I’M SORRY that Rudolph had to suffer through “The Emoji Movie,” but this just felt weird to watch. But other than that, it was one of the greatest nights ever. I’ve spent some time watching people react to their favorite team winning the Super Bowl on YouTube before, and when it comes to Best Cinematography, that’s legit how I felt. My team won the Oscars, which is MY Super Bowl. Congratulations to everyone who has been nominated and has won awards, I’m looking forward to seeing who will be in the 91st Academy Awards show, and finally. Finally. FINALLY! I can now call one of the world’s greatest cinematographers, Oscar-winning Roger Deakins. I’d like to thank the Academy for making that happen.

Thanks for reading this very long post! Pretty soon I’m gonna have my review for “Annihilation” up for you all to read, and if you are wondering, I don’t live in one of the countries where you have to use Netflix in order to watch it so if that were the case, I wouldn’t have seen the film. Also, stay tuned for my Tom Cruise “Mission: Impossible” review series which will have its first entry up this month. Stay tuned for more great content! I want to know, did you watch the Academy Awards? What are your thoughts? Did your picks win? Did they lose? Is there someone you really wanted to win or lose? Did you make any bets? Have you decided to check out any movies after watching the show? Let me know all of that info for an unofficial possible nomination for Best Comment. Scene Before is your click to the flicks!

“Hey thank you, thank you. I better say something or else they’ll give me a jet ski and I don’t see myself on a jet ski somehow. I want to share this with my wife of 27 years, James, whatever. I want to share it with Andrew, Broderick, and Denis Villeneuve. Y’know I really love my job, I’ve been doing it for a long time as you can see. But y’know one of the reasons I really love it is the people I work with. Both in front of the camera and behind the camera. Some of my crew on “Blade Runner,” I’ve been working with for over thirty years. And others-others I met for the first time in Budapest. And this is for every one of them. Every one of them. In fact, I gotta say, it’s for us, because it was a team. It was really team- a team effort. Thank you. Thank you very much.” –Roger A. Deakins

90th Academy Awards Hopes and Predictions

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Hey everyone, Jack Drees here! On March 4th, which is this Sunday, which is also today, the Academy Awards will take place. The Super Bowl for movie buffs, and for at least the next few years, for a handful of people who enjoy hearing Trump jokes. Speaking of which, I can assure you that this Sunday’s Oscars show is gonna YUGE, and I’m not joking around. This year is the 90th show in the event’s history.

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Despite being a big number for the Oscars, I’ll say something I said for the 75th Golden Globes this year after it aired. “Seventy-five, undoubtedly, is a big number for any event, however this felt like other “Golden Globes” shows I watched with a 75 shoved in the title.” I imagine I’ll feel the same way for the Academy Awards, although I think it’ll be a much more comfortable and less awkward experience than the Golden Globes. While the Oscars can get, and has gotten, political, my recent experience tells me that vibe is present a bit more at the Golden Globes. In fact, when it comes to the political jokes during the Oscars, I honestly found those to be funnier and more memorable. If you recall last year’s show, the host, Jimmy Kimmel said somethings not necessarily about Donald Trump but TO Donald Trump. What better way to say something to Trump than what might be his all-time favorite form of communication than tweeting. The tweets are located below, and believe me, they were the greatest tweets you will ever see. The only people who hate these tweets are Crooked Hillary, the Mexicans, and Alex Baldwin!

Nowadays, the world essentially has been riddled with jokes about Donald Trump, and out of all the ones we’ve gotten, this is one that is difficult to top. Although if we were gonna get any more Trump jokes this year, I can assure you they might have a little joke sibling that I’m thrilled to see.

If you watched the Academy Awards last year and stayed tuned towards the end of the show, where it was time to reveal the winner for Best Picture, you may remember how that went down. You may have been screaming at your TV hoping for your pick to win either because you support a certain movie, or you just want to win a bet against your stupid friend, I dunno. I was hoping “Arrival” would win, but in reality, that probably wasn’t going to happen. “La La Land” was my second choice however, having seen that movie and loving it. So Warren Beatty and Faye Dunaway are onstage, and they have a card ready. A card that will change everything. So the nominees for Best Picture are presented, the two appear somewhat confused as they’re about to read the card, and suddenly, Dunaway announces “La La Land.” Once I heard that name, my prediction for Best Picture was right, and I thought it was a fair choice. The crowd is roaring, and as everyone affiliated with that project is arriving onstage, it hasn’t sunk in for everyone, but something happened. Jordan Horowitz is onstage and he shouts to everyone something that I can’t even believe I heard. “La La Land” DIDN’T win Best Picture, “Moonlight” did. This made me think I had to see “Moonlight,” and WHAT JUST HAPPENED?! Turns out someone was too busy on Twitter instead of trying to hand the correct card. This win made me tempted to see “Moonlight” nearly a couple weeks later, and I was unfortunately met with underwhelming results. It’s a good movie, but it’s not THAT GREAT.

Even so, you know how at the end of 2015, the Miss Universe pageant was held and Columbia was the assumed winner, and it turned out to be Philippines? It’s almost hard to tell which screw-up was crazier because the Miss Universe one was the host’s fault, not to mention upon personal review, THE CARD LOOKED F*CKING CRAZY! Here however, you have a screw-up between a staff member working for the show, Warren Beatty along with Faye Dunaway, and it affected not just one person, but an entire crew who worked on something together. Also, remember Jordan Horowitz? The guy who was onstage revealing the true Best Picture? Well, he was a producer for “La La Land,” so this must have been hard for him to do. He took it like a good sport, which I couldn’t even believe, which only makes me admire Horowitz even more!

So yeah, it appears the Beatty and Dunaway are presenting Best Picture again, so my first hope/prediction is that they get it right this time!

Speaking of nomination categories, let’s move onto some that I feel are worth tackling. Starting with… Best Supporting Actor. Here are the all-male nominees!

  • Woody Harrelson (Three Billboards Outside Ebbing, Missouri)
  • Sam Rockwell (Three Billboards Outside Ebbing, Missouri)
  • Christopher Plummer (All the Money in the World)
  • Willem DaFoe (The Florida Project)
  • Richard Jenkins (The Shape of Water)

Out of these, I’ve only seen Harrelson’s performance and Rockwell’s performance from beginning to end. So of the ones I’ve seen, I’ll go with Harrelson. Of the ones I haven’t seen, I’m either thinking Willem DaFoe or Christopher Plummer will take the cake. I haven’t seen “The Florida Project,” and I don’t have too many good things to say about DaFoe other than hearing positive remarks about his performance. Although think about what the crew behind “All the Money in the World” had to do regarding Christopher Plummer. If you have been living under a rock when it comes to news about Kevin Spacey, let me just say you might be living a happier life than some other people who live in this world because Kevin Spacey, as this world now knows, is a sexual predator. Spacey was originally going to be featured in “All the Money in the World” as the character of J. Paul Getty. Now that Spacey has his dark secrets revealed, Plummer was going to take Spacey’s place, which meant a frenzy of reshoots. Keep in mind, Spacey’s case was revealed on October 29, 2017, LESS THAN TWO MONTHS before the release of the picture! How did he do in the film? I don’t know, I haven’t seen it, but with a story such as that, I think Plummer has some potential. Sure, part of it involved more than just acting, but acting plays a key component into all of this.

Next up is Best Supporting Actress. And the nominees are…

  • Octavia Spencer (The Shape of Water)
  • Laurie Metcalf (Lady Bird)
  • Allison Janey (I, Tonya)
  • Mary J. Blige (Mudbound)
  • Lesley Manville (Phantom Thread)

Of everyone listed, I’ve seen NONE OF THEIR PERFORMANCES. But if you want my guess, I gotta go with Laurie Metcalf. I’m hearing a lot of good things about “Lady Bird.” From the acting, to the writing, to the directing, everything. I didn’t see it on opening weekend because let’s face it, “Thor: Ragnarok” was gonna crush it. Part of what people seem to like about “Lady Bird” is the realism it seems to convey, and I imagine that Metcalf’s performance plays a part in that. In all honesty, I don’t see Blige winning because “Mudbound” was distributed by Netflix and I imagine it would have to be in a larger number of theaters for the Academy to accept it. But anything can happen. One actress I thought unbelievably snubbed for this category is Holly Hunter (The Big Sick). When I saw “The Big Sick” this year, I thought Holly Hunter might have been the best part of the movie, and she fit the role of a gritty white mother quite well. She was part of why I thought the movie was “top 10 list” worthy when I did my end of the year “top 10 BEST movies” list. Ah well, you can’t have everything.

Moving onto Best Actor, the nominees are…

  • Timothée Chalamet (Call Me by Your Name)
  • Gary Oldman (Darkest Hour)
  • Daniel Day-Lewis (Phantom Thread)
  • Denzel Washington (Roman J. Israel, Esq.)
  • Daniel Kaluuya (Get Out)

Out of all of these, there are a few that stand out. A lot of people are rooting for Gary Oldman, so that gives him a chance. Daniel Day-Lewis, one of the most revered actors ever, is nominated for not only a role that people praised, but the last role he’ll ever do on screen, so maybe that and some respect for his chops will land him a win. Daniel Kaluuya was in one of the most talked about movies of the year, and he’s black, which gives him an extended probability of winning. I have not seen any of these films, but if there were one I think would win, it would be between these three. I personally wanted James Franco and Harrison Ford to make this list, but that didn’t happen now didn’t it. Sure, Franco’s allegations could have SOMETHING to do with it and I may be in the minority when it comes to Ford due to my love for “Blade Runner 2049.” Although if you haven’t seen “Blade Runner 2049,” I personally consider that Ford’s all-time best performance I’ve seen.

Onto Best Actress, let’s take a look at the nominees…

  • Margot Robbie (I, Tonya)
  • Meryl Streep (The Post)
  • Frances McDormand (Three Billboards Outside Ebbing, Missouri)
  • Saoirse Ronan (Lady Bird)
  • Sally Hawkins (The Shape of Water)

OK… Meryl Streep has been nominated again… Big surprise. I have nothing against Meryl Streep, but I’m just making a point that she’s basically been nominated countless times. I don’t think she’ll win though. As for Margot Robbie, I’m SLIGHTLY surprised she was nominated. Don’t get me wrong, she’s a great actress, but I don’t remember her performance being the ultimate highlight of “I, Tonya.” I didn’t see “I, Tonya,” but from what I heard, that’s what I’m gathering. I think this will be either another “Lady Bird” win with Saoirse Ronan, or a win for “Three Billboards” with Frances McDormand. I bought “Three Billboards” on 4K today and I ADORED McDormand’s performance. I thought it was rather jaw-dropping at times, she had the right mannerisms, and it just screamed art. Will she win? Hopefully. Make it happen!

Next, we have Best Original Screenplay. These are…

  • The Big Sick (Kumail Nanjiani, Emily V. Gordon)
  • The Shape of Water (Guillermo del Toro, Vanessa Taylor)
  • Lady Bird (Greta Gerwig)
  • Three Billboards Outside Ebbing, Missouri (Martin McDonagh)
  • Get Out (Jordan Peele)

As far as the fact that “The Big Sick” is on this list goes, I’m happy, but rather puzzled. Sure, this wasn’t based on a book, video game, comic book, anything like that, but it is based on true events. I mean, I guess it can belong there if “Spotlight” belonged in that category a couple years back. Even so, I hope it wins out of all of these. Maybe I’m overthinking on the nomination process, but even so, I figured I’d say what I wanted to say. Although I can imagine all of these have a good chance, but “The Shape of Water” is on the lower end of the spectrum. “The Shape of Water,” while people are praising it, is more of a gem according to people from a visual perspective. It is getting praise for its story, but the visuals are more of a standout. “Three Billboards Outside Ebbing, Missouri,” was rather haunting and intriguing at times. “Get Out” is actually rather relevant and it has been that way for months now. “Lady Bird” is once again, from what I imagine, realistic. All of these have a shot, it’s just a matter of votes. However one thing I’ll mention about “Get Out” that I’ve yet to mention, is that there’s apparently stories going around about older Academy voters not considering it “Not an Oscar movie.” I haven’t seen the movie, but I know a lot of people disagree. I actually saw a couple of funny tweets yesterday putting “Get Out” alongside “The Boss Baby,” which was nominated in the Best Animation category.

Speaking of screenplays, let’s move onto Best Adapted Screenplay.

  • Logan (Scott Frank, James Mangold, Michael Green)
  • The Disaster Artist (Scott Neustadter, Michael H. Weber)
  • Call Me by Your Name (James Ivory)
  • Molly’s Game (Aaron Sorkin)
  • Mudbound (Dee Rees, Virgil Williams)

Alright, once again, “Mudbound’s” a Netflix movie, therefore reducing its chances and that’s all I’m gonna say about it. I did see “Molly’s Game.” I never read the book it’s based on, but the adaptation for it contained a fast-paced, jumping all over the place kind of feeling screenplay and I felt the movie was all the better for it. I also saw “The Disaster Artist,” another book I didn’t read, but it did get a terrific adaptation. In fact, it made my top 3 films of 2017! “Logan” could win as well, but as far as I know, the Academy probably doesn’t usually view comic book movies the way others do. If I had to choose one that I WANT to win, it’s “The Disaster Artist.” Will it win? I don’t know. But I hope it does, its screenplay MADE the movie. It’s one of the funniest screenplays of the decade!

Now we’re moving onto Best Cinematography and THIS, my friends, is gonna be a big one for me. Here are the nominees…

  • Blade Runner 2049 (Roger Deakins)
  • Dunkirk (Hoyte Van Hoytema)
  • The Shape of Water (Dan Laustsen)
  • Darkest Hour (Bruno Delbonnel)
  • Mudbound (Rachel Morrison)

Now before we get into what I’ll call “the big guns,” let’s talk about Rachel Morrison. She’s done cinematography for “Mudbound,” as suggested above. And part of me thinks she has a legitimate shot at winning. I know it’s a Netflix movie, I know what I mentioned about it, but there’s a reason she could win and it’s as simple as this. It’s because… she’s a she. This is the ninetieth Oscars show, and it’s the first one where a woman’s been nominated for Best Cinematography. Part of me thinks that some of the more progressive voters behind the Academy will go for her, not to mention it would make for a good story. I don’t think she’ll come out on top, but that’s because part of me’s stuck on three people, including her. One of the other people is “Dunkirk’s” Hoyte Van Hoytema. I went to see “Dunkirk” in IMAX 70mm, I bought it the day it came out on home video, I watched it twice on Blu-ray and twice on 4K. You can obviously tell I ate “Dunkirk” up like pizza. The cinematography was a highlight for me. This is because this movie was shot on IMAX film cameras and standard 70mm cameras. Not to mention, the way various shots on land, water, and air were presented. The dogfight sequences from the perspective of the camera was absolutely astounding for example! Watching this in IMAX 70mm made it even better because multiple sequences once again, were shot using IMAX technology. Although there’s one film I think is much more deserving of an Oscar in this category and that is, “the big guns,” otherwise known as, “Blade Runner 2049.” If you follow this blog, I’ve talked about “Blade Runner 2049” many many many times, so it should be evident by know that I clearly love it. Part of it has to do with the cinematography. I thought it was not only the best cinematography from a 2017 movie I’ve watched, but also some of the best I’ve seen in my entire life. The camerawork was done by a guy named Roger Deakins. If that name sounds familiar to you, I wouldn’t be extremely surprised. Deakins has done cinematography for films such as: “The Shawshank Redemption,” “Fargo,” “No Country For Old Men,” “True Grit,” “Skyfall,” “Prisoners,” “Sicario,” movies like those! He’s been nominated for an Oscar in the Best Cinematography category FOURTEEN TIMES. With this being some of my all time favorite cinematography, if Deakins loses, I’d be OK with Hoytema winning, but if anyone else wins, I’ll riot. You can say I either want Deakins to win for my fanaticism for “Blade Runner” or just his story when it comes to the Oscars, but I can also argue you haven’t seen “Blade Runner 2049.” By the way, WATCH IT!

Now let’s focus on Best Original Score, with nominees including…

  • Star Wars: The Last Jedi (John Williams)
  • Dunkirk (Hans Zimmer)
  • Three Billboards Outside Ebbing, Missouri (Carter Burwell)
  • Phantom Thread (Jonny Greenwood)
  • The Shape of Water (Alexandre Desplat)

Out of all of these, I think the one that has the least chance of winning is “Star Wars: The Last Jedi.” Don’t get me wrong, I’m a huge “Star Wars” fan, and there many people out there who either like “Star Wars” or its music. Personally speaking, and perhaps speaking for a lot of other people out there, “The Last Jedi” might be the worst “Star Wars” score of all time. It’s all subjective, but to me, it just felt repetitive and unoriginal. “Three Billboards” could have a chance, but you never know what could happen. Although I will say, if “Dunkirk” wins, I wouldn’t be too surprised. It’s my second favorite score of 2017 (below “Blade Runner 2049”), it suits the tone of a war film, and upon experience of watching “Dunkirk,” the way it is edited also plays a bit into it. So yeah, go “Dunkirk!”

As for Best Animated Feature, I’m not even gonna go into detail about it. Everyone knows it’s gonna be “Coco.”

Also, why would “The Boss Baby” be nominated instead of something like “The LEGO Batman Movie?” No, seriously, WHY?! Ah well, at least it’s not “The Emoji Movie.”

I will however expand the lack of detail when it comes to Best Production Design…

  • Beauty and the Beast
  • Blade Runner 2049
  • The Shape of Water
  • Darkest Hour
  • Dunkirk

Out of all these, I think the first three I listed have the best shot of winning. Maybe “The Shape of Water” in third place, but critics are eating it up so you never know. You probably know I’d be choosing “Blade Runner 2049” right now. If the sets didn’t look great already at home, imagine them all in the theater! I actually watched the bonus features and these sets still astound me! They’re unbelievable!

Now let’s go onto Best Visual Effects, and the five of these I personally believe were all very well selected.

  • Kong: Skull Island
  • Blade Runner 2049
  • Guardians of the Galaxy Vol. 2
  • Star Wars: The Last Jedi
  • War for the Planet of the Apes

A lot of people have been talking about “War for the Planet of the Apes” when it comes to the visuals, so it wouldn’t surprise me if they won in this category. And funny enough, I’ve seen at least a small portion of all of these films except for that one! Honestly, I’m fine with any of these winning. If there’s a film I think WON’T win, it’ll be “Kong: Skull Island,” but it did deserve a nomination in my book.

As for Best Film Editing, let’s take a look at those nominees.

  • Baby Driver
  • Dunkirk
  • The Shape of Water
  • I, Tonya
  • Three Billboards Outside Ebbing, Missouri

I’ve seen three of these films, and all them are ones I feel are competently edited. “Baby Driver” however, I believe will take the cake, and if it does take the cake, I’m cool with it. The way it edits its music and action sequences is superb and I feel that the “Fast & Furious” franchise, as much as I enjoy some of those movies, can take some notes from it in order to improve their films. “Dunkirk” comes close, but no cigar.

The next two categories have to do with sound: Best Sound Editing, and Best Sound Mixing. And believe it or not, the same exact movies were nominated in both categories, so let’s look at them.

  • Blade Runner 2049 (EDITING: Mark A. Mangini, Theo Green) (MIXING: Ron Bartlett, Doug Hemphill, Mac Ruth)
  • Dunkirk (EDITING: Richard King, Alex Gibson) (MIXING: Gregg Landaker, Gary Lizzo, Mark Weingarten)
  • Baby Driver (EDITING: Julian Slater) (MIXING: Tim Cavagin, Mary H. Ellis, Julian Slater)
  • Star Wars: The Last Jedi (EDITING: Matthew Wood, Ren Klyce) (MIXING: Michael Semanick, David Parker, Stuart Wilson, Ren Klyce)
  • The Shape of Water (EDITING: Nathan Robitaille, Nelson Ferreira) (MIXING: Christian T. Cooke, Glen Gauthier, Brad Zoern)

Yes, I credited people here and not in other places, but I don’t care. As for both of these categories, I think the big three rivals are “Baby Driver,” “Dunkirk,” and “Blade Runner 2049.” The sound recordings fit each film, they were great to hear, and when you mesh em all together, you get something fantastic. I would personally be satisfied with any of those three films winning in either category. The same can be said for “The Last Jedi,” but it’s not quite there…

Next we have Best Makeup and Hairstyling, which if you’ve watched last year’s show, you may remember the possibly hilarious and somewhat controversial win for “Suicide Squad.” This year, no comic book movies have been nominated. However, three other movies have.

  • Wonder
  • Darkest Hour
  • Victoria & Abdul

I’ve seen one movie on the list this year, and I don’t think it’ll win (Wonder) and as for the winner, I’m just gonna guess based on what I’ve seen in images. So with that being said, I’ll go with “The Darkest Hour.”

Moving onto Best Production Design, the nominees are…

  • Beauty and the Beast
  • Blade Runner 2049
  • Dunkirk
  • Darkest Hour
  • The Shape of Water

I already talked enough about “Blade Runner 2049” from a visual standpoint, so you probably know my answer there. I think the actual winner will be either “Beauty and the Beast” or “The Shape of Water” but only time will tell.

Now for Best Original Song, we have…

  • This is Me (The Greatest Showman)
  • Remember Me (Coco)
  • Mighty River (Mudbound)
  • Stand Up for Something (Marshall)
  • Mystery of Love (Call Me by Your Name)

This will probably a two-horse race between “Remember Me” and “This is Me.” I’ve seen neither of these films, but given their popularity and likability factor from what I heard, that could help in potentially getting a win.

Next up is Best Costume Design, which includes…

  • Beauty and the Beast
  • Victoria & Abdul
  • Phantom Thread
  • The Shape of Water
  • Darkest Hour

Out of all of these, I believe a few have a shot. “Darkest Hour,” “Victoria & Abdul,” and “Beauty and the Beast.” “Darkest Hour’s” costumes seem to fit the vibe of the film from what I’m looking at. The same can also be said for “Victoria & Abdul.” Although when it comes to “Beauty and the Beast,” that also has potential because it seems to have transferred its costumes over from its animated predecessor quite well, and as costumes, they look elegant. So we’ll have to wait and see.

Next up, we have Best Director, and there are some names that I think are worth discussing here.

  • Christopher Nolan (Dunkirk)
  • Greta Gerwig (Lady Bird)
  • Guillermo del Toro (The Shape of Water)
  • Jordan Peele (Get Out)
  • Paul Thomas Anderson (Phantom Thread)

All of these have potential from what I can tell. These all come off as competently made movies, and the direction seemingly appears to play into all of them. Although the big three here to me are Nolan, Gerwig, and del Toro. I mean, del Toro, from what I heard, is getting a lot of attention right now. Critics are loving “The Shape of Water,” people are rooting for him, and you may also remember, he won a Golden Globe in this category for that movie. This could be another win for him. For Greta Gerwig, I’ll say once again, a couple of actors stand out in this film, and part of it may be due to Gerwig’s realistic take and overall direction for it. Not to mention, Gerwig’s a woman, which could not only make an interesting story, but also a lot of people happy. I’m personally rooting for Christopher Nolan. For those of you who don’t know, Nolan is my favorite director of all time. He’s done so many great films and the man overall may just be a genius when it comes to storytelling. When it comes to “Dunkirk,” his vision was experimental and it made the movie all the better for it. So will the Academy choose Nolan? I don’t think so, it’ll probably be del Toro, but we’ll find out!

And last but not least, we have the biggest category of all, Best Picture…

  • Dunkirk
  • The Shape of Water
  • Call Me by Your Name
  • Darkest Hour
  • Lady Bird
  • The Post
  • Get Out
  • Three Billboards Outside Ebbing, Missouri
  • Phantom Thread

As for the ones that are probably not gonna win, I’m gonna say those are “Get Out” and “The Post.” Once again, I’ll bring up how older Academy voters aren’t viewing “Get Out” as an Oscar film. As for “The Post,” while it is getting lots of positive reception, it doesn’t have too many nominations overall compared to some of the other movies on that list. The ones that I feel have absolute potential of winning are: “Dunkirk,” “The Shape of Water,” “Lady Bird,” and “Three Billboards Outside Ebbing, Missouri.” Not only have these films come off as great films to viewers and critics alike, they have all received a high number of nominations compare to some other films you’ll see on here. If I had to choose one film that I want to see win it would probably be “Dunkirk.” It has potential due to a high number of nominations and I personally want it to win based on the replay value it has and how it’s presented from an experimental and technical standpoint. My winner for voter picks would be “The Shape of Water,” because let’s face it, people are talking about it. It was nominated for thirteen Oscars, and it already won Best Picture at the Critics Choice Awards. My runner-up for both the critic picks and personal picks would be “Three Billboards Outside Ebbing, Missouri.” I really enjoyed watching the film. I thought it was well shot, terrifically acted, and well written. For the critics, you have to consider past experience regarding this film. This won a Golden Globe for Best Picture in the drama section, and it basically made a sweep at the SAG (Screen Actors Guild) awards. Could it win? I don’t know. It’s hard to say what will ultimately take the cake. We’ll have to see when the awards arrive!

If you are actually reading this before the Oscars begin, I actually kind of congratulate you because they actually start VERY SOON. If you’re reading after, I just hope you’re enjoying my somewhat irrelevant content. I don’t know if I’ll be summing up my final thoughts on the Oscars once the show ends, only time will tell. Besides, I’m already busy doing another review which I’ll talk about in a second, but until time allows me to make a final decision, we’ll just have to see where the road leads. Thanks for reading this post! Be sure to stay tuned for my review for “Annihilation.” I just saw the film earlier today, and I cannot wait to talk about it. I’ve already started the review before it came out, because I figured some topics having to do with the movie (that can be talked about without having seen it) are relevant and I wanted to spit those out. Stay tuned for more great content! I want to know, if there’s still time to type them em in, what are some of YOUR hopes and predictions for the 90th Academy Awards? Also, which is better? “La La Land” or “Moonlight?” Me personally, I’d choose “La La Land!” Leave that info down below and please make sure you’re not too busy sending out important tweets, otherwise I might possibly have some false comments on my hands, so be careful! Scene Before is your click to the flicks!

Also, one more thing…

GIVE ROGER DEAKINS HIS OSCAR ALREADY!

Blade Runner 2049 (2017): Is the 35 Years Worth the Wait?

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“Blade Runner 2049” is directed by Denis Villeneuve (Prisoners, Arrival), stars Ryan Gosling (La La Land, Crazy Stupid Love) and Harrison Ford (Star Wars, Raiders of the Lost Ark), and is the sequel to 1982’s “Blade Runner” which was directed by Ridley Scott (Gladiator, The Martian), a movie considered by many people to be one of the greatest sci-fi films, if not one of the greatest films, ever made. “Blade Runner 2049” takes place in the year of 2049 in the US state of California, the plot is that there’s a young blade runner (Ryan Gosling) who discovers a long-kept secret which leads him into tracking down former blade runner Rick Deckard (Harrison Ford), who’s been out of sight for three decades.

When it comes to the original “Blade Runner,” it’s a movie I haven’t actually watched until fairly recently. For the record, when I say that, I’ll have you know I didn’t even watch the original version of the film, which by the way the version I watched which isn’t original, is the one I viewed five times at this point. I say that because if you know this movie’s history, you’d be aware of how it has received endless cuts. In 1982, they started out with a movie that not many people saw but was on the rise to prove its influence to film. I mean, seriously! If you look at films and material which came out after it, you’ll understand what I’m talking about. Just check out “Ghost in the Shell,” “The Matrix,” the “Star Wars” prequels, “The Fifth Element,” all of these just look at them and don’t tell me you don’t see a bit of “Blade Runner” in them. The redo of the TV series “Battlestar Galactica,” according to the producers, cited “Blade Runner” was a major source of influence to the series. It has also been parodied in material such as the British science fiction TV show “Red Dwarf.” Based on what I have told you, it’s not surprising that people revere this movie. Overtime it has gained a cult following, and has been considered one of the greatest science fiction films, not to mention one of the greatest films in general, ever made. It was nominated for two Oscars (Best Effects, Visual Effects, Best Art Decoration-Set Decoration), it was also nominated for a Golden Globe (Best Original Score-Motion Picture), which I wholeheartedly approve of because the score is probably one of my favorites in movie history. BAFTA also praised the score by nominating it, which was one of the eight nominations the movie received in that particular show. By the way, it won three. It currently has a spot on the IMDb top 250, it’s on AFI’s 10 Top 10 as the #6 science fiction film, and IGN put it as the #1 spot in its “Top 25 Sci-Fi Films of All Time.” I watched the film multiple times now, specifically “The Final Cut,” and it gets better with multiple watches. So, how is “Blade Runner 2049?” Holy crap, this movie was an experience. I went to see this movie in IMAX, and I don’t regret it, because this is one of those films that MUST be seen in a theater! You know how I kept talking about “Dunkirk” and what an amazing experience that was? This was just as great! And with that I’m gonna give you guys a little sidenote…

I don’t use Netflix, in fact, I’d go as far as to say that Netflix is slightly overrated. I may be biased because they killed Blockbuster Video, a significant memory from my childhood, but I’m gonna let you know a little information about them that you may or may not be aware of at the moment. Netflix may be known for its selection of movies and TV programs to watch which are available at your fingertips, but they’ve also done original content. They’ve done TV shows such as “House of Cards,” “Orange is the New Black,” and “Stranger Things,” all of which received positive reviews and a following by many people. That’s not to say all Netflix shows were considered watchable, there are disliked ones such as “Iron Fist” despite it having a following. They’ve also done movies such as “Gerald’s Game,” “The Ridiculous Six,” and “Beasts of No Nation.” What I’m going to say next is rather unnecessary for their TV shows, but can fit for their movies. When it comes to Netflix movies, they go straight to the streaming service. There’s no theatrical release for it, it just hops straight on over to the service, so people might get a theatrical experience depending on their setup, but chances are someone might end up watching the movie on their laptop without headphones, or heck, even their phone! Critically acclaimed director Christopher Nolan agrees with me when say that this is bullcrap, because Netflix is missing out on a opportunity for their movies to be shown in theaters, where audiences pay money to go see it in an immersive setting. Want to know something else? There’s an event called Cinemacon, which is a convention dedicated to film, it shows off what upcoming movies have in store, it also does screenings for flicks, stars show up, and it also has has a focus on cinemas themselves and technologies related to them. When “Blade Runner 2049” footage was being presented to attendees at the show, Sony chairman Tom Rothman said this…

“Netflix, my ass.”

Well said, Tom. For the record, Netflix has never presented at Cinemacon, so that shows what they stand for in the realm of cinema. At least Amazon releases content in theaters!

If this movie were released on Netflix, I would have been outraged, partially because I don’t use the service, but having seen this movie, this movie looked and sounded SPECTACULAR! Yeah, that was a long point, but I felt it had to be made. This movie was directed by Denis Villenevue, who also directed “Arrival,” one of my favorite movies from last year. I think he’s a great director, and his vision for this movie was brilliant. Every single frame had something worth appreciating. I can only imagine the detail that went into storyboarding this thing! Although, I can’t exactly say that he’s only in this fest of praise, because I gotta give kudos to Roger Deakins, the cinematographer of the film. For the record, this isn’t the first time Deakins and Villenevue worked together. They’ve also collaborated in “Sicario” and “Prisoners.” I haven’t seen those films, but I will say that Deakins is a fine cinematographer, just watch “No Country for Old Men” to see what I mean.

The original “Blade Runner” came out in 1982, and when it comes to movies with great lighting, as of right now, it’s probably the first movie that comes to my mind. The lighting in “Blade Runner 2049” personally isn’t as great as the original, but that doesn’t mean the lighting’s bad. However, from an overall perspective, much like its three decade old predecessor, “Blade Runner 2049” has terrific effects. Every single effect in the movie felt realistic. Sure, there are moments of the movie containing visuals that probably would be impractical (the giant sex doll with blue hair for example), but in all reality, even those felt like they actually existed for the universe this movie was presenting.

Speaking of things that aren’t as good as the original, I gotta say the music isn’t as great. Once again, this doesn’t mean the music was bad, the music was almost as brilliant as the 1982 film. But the thing about the 1982 film, is that it was unique. The music by the way in that film was done by Vangelis, who also did the score for “Chariots of Fire.” Also, Vangelis did not return for this movie, and yes, he’s still alive. The guy doing the score this time around is one of my favorite composers. I’ve brought him up in a number of posts this year, Hans Zimmer. Like the original score, it’s techno, and at times you do hear booms, which is pretty much the first thing you hear in the original movie when the titles show up. By the way, those booms sound amazing in IMAX. Also, this score at times felt a little more traditional than the original “Blade Runner.” The “Blade Runner” score is something you’d rarely hear, and while this newer film does have qualities of the older score, the new doesn’t have the absolute uniqueness of the old. I say that because I remember the original having moments that almost sounded like chimes, it was different. You could also hear vocalizing in the score, and I mentioned how much of an influence this had on “Ghost in the Shell” and I wouldn’t be surprised if the original movie’s score was partially influential. The vocalizing, the more I think about it, reminds me of “Ghost of the Shell’s” intro music. “Blade Runner 2049” was just released, so only time will tell how much the music, plus the rest of the movie will influence future products. Nevertheless, “Blade Runner 2049” had a GREAT score and I’d love to listen to it again and again.

Let’s talk about one of the leads in the film, specifically Ryan Gosling. This fellow has proven to be an excellent actor. By the way, there’s a couple scenes in this movie where Ryan Gosling is in front of a piano, and that’s not the only film where Gosling is in front of a piano, just watch “La La Land” to see what I mean. Gosling plays K and he’s basically this movie’s young Blade Runner. He’s given a mission at the beginning of the film, and seeing his character progress throughout the picture was entertaining and very moving. At times, Gosling’s acting chops were unleashed to full potential, which happened to be prominent during the movie’s emotional scenes which I won’t get into to avoid spoiler territory. K also had some qualities which were noticeable that could be compared to Harrison Ford’s character of Rick Deckard, who we’ll get to momentarily. K starts off in the movie as being directed by Lieutenant Joshi, a character played by Robin Wright, who in terms of looks and attitude, almost reminds me of your typical Charlize Theron role such as the ones she’s done in “A Million Ways to Die in the West” and “Hancock.” Anyway, seeing Gosling focus on his objectives was fascinating and despite this movie, like the original, appearing to be a slow burr, my eyes were never taken off the screen. Yes, this applies to more than Ryan Gosling in all technicality, but I’m just making a point. There’s also a spouse Ryan Gosling has, by that I mean a futuristic spouse, and by THAT I mean a spouse that is basically holographic, oh yeah, and she can change form. I can’t even get into the mission Ryan Gosling does in the film because I have a feeling this is something the trailers are hiding. I’ve seen all the main trailers, but it’s been awhile since I’ve seen one in particular, and I’m not sure if the hidden details are there, but for the sake of keeping some information a secret to possibly have some folks savor the movie’s flavor, I’m going to ignore uttering these details.

Now let’s talk about Harrison Ford. If you remember the original “Blade Runner,” Harrison Ford played Rick Deckard, the main character of the film. He was hunting down replicants just because he had a job to do. Speaking of the original film, we do get some callbacks. As mentioned recently, the music can qualify as a callback, but we do get some audio from the first film. During the film I heard Harrison Ford’s voice as it was in 1982, and I remember hearing Sean Young’s voice too. The origami unicorn makes a return here, which has brought up an interesting theory of whether Deckard’s actually a human or a replicant. By the way, I’d say he’s human. Also, I may have said that Ryan Gosling did a great job, but in all reality, Harrison Ford probably did better. By the way, out of all the performances I’ve seen Ford do, this might be his best one. Also, Deckard’s introduction is definitely one of the best scenes in the entire flick. You may have gotten a glimpse at it in the trailers, but there is more to it then what was there. I won’t go into detail though.

As much as I praise this movie, it’s not perfect. For example, some characters didn’t stand out as much as others, and speaking of characters, there’s one character who goes by the name of Mariette. She’s not unlikable, but she didn’t really add much of anything to the movie in terms of story except for maybe one part where she and K’s holographic wife are shown to have no clothes on. Also, this isn’t really a complaint but it’s mainly something I noticed, Jared Leto is barely in this movie. In fact I think he may have spent less time here than “Suicide Squad,” although I liked Leto better here than “Suicide Squad.” I may be nitpicking, and from experience, this is probably one of those movies I have to watch more than once to fully appreciate, so maybe I’m just imagining things. Other than what I mentioned, this movie’s pretty much a masterpiece, which is saying something considering what many people say about 1982’s “Blade Runner.”

Now I just mentioned this could take multiple watches to fully appreciate. And I’ll have you know I watched the original “Blade Runner” four times from start to finish since early September. I also saw it not long ago and I fell asleep to it, but to be fair, it was late. This is one of those movies, like the original “Blade Runner” that I’m probably gonna watch over and over.

In the end, “Blade Runner 2049” is a movie that defines how sequels should be made. This to me is 2017’s “Tron: Legacy,” by that I mean you’ve got this film which came out a long time ago, in fact the original “Blade Runner” actually came out the same year as the original “Tron.” The film now has a sequel, years in the making, and people enjoy it. Granted “Blade Runner 2049” has gotten more positive reception, but it doesn’t mean people didn’t appreciate “Tron: Legacy.” I love the film from a technical perspective, this movie and “Dunkirk,” so far, have been my two favorite cinematic experiences of 2017. Hans Zimmer created a great score, the screenplay hit every necessary emotion, the direction and cinematography are stellar, I’m glad to see Harrison Ford return as Rick, Ryan Gosling was great as well. Overall, this movie did what it needed to do. I’m gonna give “Blade Runner 2049” a 9/10. If you saw “Blade Runner” thinking that this movie could never be recreated, chances are you’ve just been proven wrong. This is a sequel worth remembering, and as far as sequels go, this is probably the best one I’ve seen so far this year. I can’t wait to buy this movie when it comes to home video, I want to see it again, possibly pick up on some details I missed, we’ll see what happens. Thanks for reading this review! As far as upcoming reviews go, I hope to see “Stronger” starring Jake Gyllenhaal, which is about a guy who manages to survive the Boston Marathon bombing, and I also am planning on reviewing “Thor” and “Thor: The Dark World” in preparation for “Thor: Ragnarok.” Stay tuned for those reviews, and more reviews! Also, if you’re into “Blade Runner,” you might be interested in checking out my post dedicated to things “Blade Runner” got right about the future. Here’s a question, which “Blade Runner” was better? The first one or the second one? Also, one more question, what is a movie that gets better the more you watch it? Let me know down below in the comments! Scene Before is your click to the flicks!

WHAT “BLADE RUNNER” GOT RIGHT ABOUT THE FUTURE: https://scenebefore.wordpress.com/2017/10/06/what-blade-runner-got-right-about-the-future/

The Last Samurai (2003): Not a Perfect Blossom, But Not a Bad One Either

Hey everyone, Jack Drees here and welcome to an all new series of reviews! Today we are going to be starting my Tom Cruise series. Why? On September 29th, “American Made” comes out in the United States, so before that film releases, I’m going to talk about three of Cruise’s prior films. Now before we dive into the first review of the series, let’s talk a little about Tom Cruise. If you ask me, I think Tom Cruise is a fine actor. You may know him nowadays from big action flicks like “Mission Impossible,” “Edge of Tomorrow,” and “Jack Reacher.” You may know him from a bunch of other films like “Collateral,” “The Outsiders,” and “Cocktail.” The man’s been nominated for three Oscars, he’s also been nominated for seven Golden Globes and ended up winning three of those seven. Today we’re gonna talk about a movie starring Cruise which gave him one of his Golden Globe nominations, he hasn’t won that one, but he was nominated. What film am I talking about? I’m talking about “The Last Samurai.” This movie came out in 2003 and it has been nominated for four Oscars, three Golden Globes, and it was AFI’s Movie of the Year. So what did I think of this? Read to find out!

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“The Last Samurai” is directed by Edward Zwick, director of “Glory” and “Legends of the Fall” and stars Tom Cruise, Ken Watanabe (Inception, Batman Begins), Billy Connolly (The Boondock Saints, Timeline), Timothy Spall (Chicken Run, Secrets & Lies), Tony Goldwyn (Ghost, Tarzan), and Hiroyuki Sanada Koyuki (The Wolverine, 47 Ronin). This film is about the birth of modern Japan, an American military advisor is in Japan, while he’s there, he embraces the Samurai culture.

Now I’ve watched other movies involving Samurai before, well sort of, have you guys ever heard of “Samurai Cop?” That so-called movie from 1991 that went straight to VHS? If you haven’t, it’s a movie about two cops who think they’re in “Lethal Weapon,” by that I mean they resemble Mel Gibson and Danny Glover, and they have to stop a bunch of drug dealers. What’s my problem with “Samurai Cop?” Well, pretty much everything to be honest, but one big problem is despite being called “Samurai Cop,” there’s almost nothing Samurai-esque in the movie, it’s more your traditional chases you’d see in modern-day movies, only these chases are the movie equivalent to vomit. Luckily for the “The Last Samurai,” this movie is nothing like that at all. This movie takes place in the late 19th century, and the Samurai culture itself was vanishing. I’m gonna give you some of my positives concerning this movie.

The first positive I’ll give to you is that the action in this movie was awesome. During the moments which we see massive battles it never feels bloated, it is pretty engaging, and I’ll even say the action that technically isn’t action was pretty cool to watch as well. What do I mean? Two people are swordfighting and it’s more like practice than an actual battle. I will say though, watching the big battle which you see at the end of the movie, kind of reminded me of “Braveheart,” not to say that was something that degrades the movie, it’s actually a compliment. This movie did feel like “Braveheart” at times as a whole. By that I mean it’s a good movie, but I felt I needed to pause at times. Then again, the weekend I watched this was the first weekend I had since going back to school, so whaddya know?

Another positive at times was the score. If you weren’t already aware, this movie was scored by Hans Zimmer. Before this movie, he scored “The Lion King,” “Mission: Impossible II,” and “Pirates of the Caribbean: The Curse of the Black Pearl.” After this movie, he did “The Dark Knight” trilogy, “Sherlock Holmes,” and my favorite movie score of all time, “Interstellar.” Here in this movie, his score suits the atmosphere of Japan and the movie itself. It displays the right moods at the right times, and I’d definitely listen to it sometime if I have nothing better to listen to. Also, I’ll remind you this guy went on to compose the “Kung Fu Panda” trilogy, so this isn’t the only Asian type movie he’s composed for. By the way, the music in those movies is pretty great too.

Now let’s talk about Tom Cruise. He plays a character named Nathan Algren. When comparing this to other Tom Cruise performances I’ve seen, this one is rather unique. This is because when I watch other Tom Cruise movies like “Mission: Impossible” or “Edge of Tomorrow,” I think what I see from Tom Cruise delivered in those movies happens to be pretty good, but I might also think to myself, that’s Tom Cruise. Here, he was a completely different character. Sure, he wasn’t Japanese, but he played someone who doesn’t always make you think, “Oh, that’s Tom Cruise.” Granted at times, I did actually think that, but I already knew beforehand that Tom Cruise was in this movie.

One of my biggest problems with the movie is that the supporting characters are rather unmemorable, I don’t recall who they are, I don’t remember any of their names, anything like that. I remember some of them being in engaging scenes, but chances are I won’t remember a majority of them soon. I will say though, this is my first time watching “The Last Samurai,” maybe if I watch it again, I’ll become more invested in the supporting characters and get to know them a little more.

One of my personal favorite parts of the entire film was the scene when Tom Cruise gets in front of a target and forces a Japanese soldier to fire at him. This isn’t a battle, it’s more like an exercise. He’s telling the Japanese soldier to shoot him, and he’s also telling him to quickly load his weapon, he’s yelling strictly, and it’s really compelling to watch. If you want to watch it, the clip is displayed above. Overall, in terms of acting and writing, this is one of my favorite scenes in a Tom Cruise movie.

As I was researching this movie on IMDb, I came across some information worth sharing. This movie was directed by Edward Zwick and I gotta give some credit where its due. Why? The movie takes place in Japan, and it was generally well received over there. One viewer, Tomomi Katsuta, of “The Mainichi Shimbun,” a major Japanese newspaper, said that Zwick did his research, cast well-known Japanese actors, and consulted dialogue coaches in order to avoid confusion between casual and formal Japanese speech. The only problem he had with the movie is the storybook feel it had. Japanese viewers such as the one suggested here, thought of the Samurai as more corrupt. Despite flaws being picked up overtime, it’s nice to see this sort of reception for a movie like this. In a world where we got a movie called “Gods of Egypt” years later, a movie that has pretty much not one Egyptian actor in the entire runtime, it’s nice to see a movie like this.

In the end, “The Last Samurai” wasn’t as good as I was kind of expecting it to be, but that doesn’t mean it was bad. A lot of people praise this movie, in fact there’s a significance with this movie when it comes to the day May 26. If you didn’t know, the movie’s final battle takes place on May 26, which is a reason why people watch the movie on May 26. Think of it as “Star Wars Day,” only you have less content to choose from, and instead of being on the fourth of May, it’s on the twenty-sixth of May. Overall there were many aspects I was able to appreciate and while I don’t think I’ll be popping the disc in again anytime soon, I’m glad I watched it. I’m gonna give “The Last Samurai” a 7/10. Oh yeah, just a fun fact. I actually bought this movie used on Blu-Ray and its original cost was $3.99 (before taxes), but the store had everything 25% off since it was moving, so ultimately I got this for just a little over $3. That’s a good deal considering how revered this movie is by many people. Thanks for reading this review, I should let you know in at least a couple of weeks from now I’m planning on reviewing “Kingsman: The Golden Circle,” and just to let you know I’m not gonna review “Kingsman: The Secret Service” beforehand, so get that out of your mind now if you’re thinking that.

Next up in my Tom Cruise review series I’m gonna be talking about the movie “Risky Business,” I actually already started my review on that, I’m not finished, I still have to rewatch it in order to get everything I need out of it. That review will be up on Monday, September 18th so keep your eyes peeled. Stay tuned for that review, along with more reviews! Scene Before is your click to the flicks!