Horror

I Saw the TV Glow (2024): A Colorful, Trippy, Unique, Dream-Like Hour and a Half I Would Rather Forget

Posted on by Jack Drees

“I Saw the TV Glow” is written and directed by Jane Schoenbrun (A Self-Induced Hallucination, We’re All Going to the World’s Fair) and stars Justice Smith (Dungeons & Dragons: Honor Among Thieves, Jurassic World: Fallen Kingdom), Brigette Lundy-Paine (Atypical, Bill & Ted Face the Music), Helena Howard (The Wilds, Madeline’s Madeline), Lindsey Jordan, Conner O’Malley (Joe Pera Talks with You, I Think You Should Leave with Tim Robinson), Emma Portner, (Ghostbusters: Afterlife), Ian Foreman (Let the Right One In, Exhibiting Forgiveness), Fred Durst (The Longshots, The Fanatic), and Danielle Deadwyler (Till, The Harder They Fall). This film is about two teenagers who bond over a supernatural television shows that eventually winds up mysteriously canceled.

A24 is one of those names in the film industry that is synonymous with prestige. At least if we are talking the last decade or so in cinema. Even if the film is not the highest in budget, you expect a certain level of quality and artistic merit from each title they distribute. In addition to already having a number of bangers on their hands, their 2022 slate was one of the best I have seen from a distributor. From “X” to “Everything Everywhere All at Once” to “Marcel the Shell with Shoes On” to “Pearl,” A24 is one of those companies that is capable of delivering all different kinds of movies with an admirable touch to them in such a short span of time. Now, a couple years later, we are continuing this path of diverse, but nevertheless artistically sound titles. In March, we had “Civil War,” the company’s most expensive film to date. While I was not able to appreciate everything the movie had to offer, I liked the film’s scale and ability to immerse me into just about every scene. I have not seen all of A24’s films this year. I want to check out “Problemista” at some point, but I missed it when it came out, so I will wait on that one. Until then, let’s talk about one I did see, “I Saw the TV Glow.”

The best thing I can say about “I Saw the TV Glow” is that much of the film delivers a colorfully intriguing aesthetic. The best word I can use to describe this film is moody. I found myself transfixed with each frame just wanting to jump inside. The entire film delivers on vibes. It comes off as this fantasy you can somehow place in our own world. I guess you can say the film plays out like a dream. Sure, a lot of it feels like something that could happen in real life. But as I have noticed myself in dreams, there are certain aspects that are much like the reality in which I find myself each and everyday, but there may be some minor change that separates my dream state from that of which I experience in the real world. If you were to tell me that Jane Schoenbrun kept a dream journal and based some of this film off of that, I would buy your claim.

But much like some dreams, the film is kind of forgettable. And you know that saying that horror movies can give you bad dreams? I cannot say this movie has ruined my sleep patterns, but it does not change the fact that “I Saw the TV Glow” does occasionally come off as nightmare fuel. Not in the way I would have hoped…

This is especially noticeable by the end. I am not going to go too deep into the ending because I want to keep spoilers to a minimum, but by the end of this movie, I felt similar, in A24 speak, to how I felt watching “Midsommar.” The film had a clear goal to haunt me, and I just ended up more annoyed with what was happening than anything else. Was this film’s climax perhaps more eerie than the one in “Midsommar?” Perhaps. But much like “Midsommar,” “I Saw the TV Glow” ended in such a way that was less than satisfying. I left the film either wanting more or something different than what I got.

In fact, by the end, the film basically takes one noticeable downward spiral for me. I start the movie intrigued with the plot, intrigued with the characters, and of the course, the aesthetic. That last aspect is the one constant saving this movie for me. “I Saw the TV Glow” feels like two different movies. In one hand, it is a story about a man growing and his bonds with other people all the while finding himself fascinated with a TV series. On the other hand, it is a boring horror show that offers few chills. And of the chills that are offered, they do not have much of a kick to them.

If there are any other notable positives about this movie, it is that it does somewhat remind me about our connection to our favorite media. In this case, we see our main characters bonding over a late-night TV series aimed at somewhat younger audiences, perhaps young adults or teenagers. It also shows how when we grow older, our opinions of that media can evolve as our tastes mature.

This happened to me with “Star Wars Episode II: Attack of the Clones.” When I watched it in my youth, I liked the action. I liked the adventure. I liked the effects. I liked the sound. I liked a lot of what it had to offer. But as I grew older, the film fell apart for me when I judged it as a story. When I was younger, I was not able to see certain things I watched in a negative light like I do today. When I first watched “Attack of the Clones,” I was not able to determine what a “good” or “bad” movie was. It was something to kill time, and I thought it was a solid time-killer. Then I grew up.

The film shows how sometimes people be blinded by nostalgia, or as it also may suggest, friendship. Maybe we have something we grew up with and have fond memories over that we like for reasons having to do more than that thing’s existence by itself. We see this movie’s established TV show, “The Pink Opaque” as something that connects our characters to a certain degree. At the beginning of the film, we someone reading a guide about “The Pink Opaque.” After our main character talks with the person with said guide, the movie leads itself down a path where they become companions and that show is a commonality between them.

Does Justice Smith do a good job in the lead role? Yes. Does Jane Schoenbrun direct the heck out of this movie? I would say so. In fact, one of the biggest positives is that this movie, at times, comes off as something only she can do. Does this movie take big risks? Of course it does. But unfortunately, unlike some big risks, the ones on display here do not pay off in big rewards. Part of me is glad, per se, that I checked out this movie. But it does not indicate that I had a good time with it. Maybe I just have a slight fascination with torturing myself.

In the end, “I Saw the TV Glow” is like a lot of A24 movies. Unfortunately, unlike a number of them, this one is not that great. But much like just about every one I have seen, it was able to bring out such an enormous reaction out of me. Even though I was not satisfied by the climax, I can say I lowered my jaw a bit as it was happening. The movie reminded me a bit of my obsession with some movies or TV shows I have watched over the years and how in some ways they became a large part of my life. And I have to say of the movies I have seen this year, “I Saw the TV Glow” may have delivered my favorite color palette of them all. That said, in a thumbs up, thumbs down world, this is a thumbs down. I am going to give “I Saw the TV Glow” a 5/10.

“I Saw the TV Glow” is now playing in theaters and is also available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for “Back to Black,” the brand new movie starring Marisa Abela as Amy Winehouse. Also coming soon, I will have reviews for “Summer Camp,” “Young Woman and the Sea,” “Inside Out 2,” “Furiosa: A Mad Max Saga,” and “Thelma.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you watch “I Saw the TV Glow?” What did you think about it? Or, what is a TV show that at one point in your life, or even right now, that you consider to be a personal obsession? For me, my biggest TV show obsession is, and probably always will be, the TBS reality competition “King of the Nerds.” Not only was it a killer hour of cool concepts, likable contestants, and a celebration of geek culture, but it helped my find some of my best friends. Let me know your obsessions down below! Scene Before is your click to the flicks!

Tarot (2024): A Stupid Horror Flick with Stupid People Playing Stupid Games and Winning Stupid Prizes

Posted on by Jack Drees

“Tarot” is directed by Spenser Cohen and Anna Halberg and stars Harriet Slater (Pennyworth, Belgravia: The Next Chapter), Adain Bradley (Mr. Student Body President, The Bold and the Beautiful), Avantika Vandanapu (Spin, Mean Girls), Wolfgang Novogratz (The Half of It, Feel the Beat), Humberly González (Ginny & Georgia, In the Dark), Larsen Thompson (The Midnight Club, Pearl), Olwen Fouéré (The Tourist, Texas Chainsaw Massacre), and Jacob Batalon (Spider-Man: Homecoming, Let It Snow). This film is about a group of friends who unleash an unspeakable evil trapped within Tarot cards. With time not on their side, each person must do all they can to avoid certain death.

If you have never heard of the movie “Tarot,” you are most likely off the grid or refuse to use the Internet. Personally, I found out about “Tarot” through a movie trailer before watching something else in the theater. But that is one of the few ways you could have actually been made aware of this movie’s existence. This movie had a digital-only campaign. No TV spots. No billboards. I must say, on paper, I thought this was a ridiculous idea. Because without traditional spots or billboards, the movie and its studio just so happen to be potentially missing out on a wide audience. Lots of people watch TV, and lots of people drive on the highway. Turns out, I was wrong. Worldwide, this film has made more than $42 million at the box office so far against an $8 million budget. That box office total is more than “Abigail.” For the record, that movie cost $28 million including production and marketing when all is said and done.

Now about that trailer… I was not in love with it. If anything, “Tarot” looked like a January movie. It looked like a schlocky horror title with a disengaging story that the studio is simply going to dump into theaters because it has nowhere else to go. Only in this case, they somehow thought it was a good idea to release it in May.

And you know what? The most shocking thing happened during my screening… I cannot believe I’m saying this…

Bah, just kidding! This movie’s garbage!

The characters in this movie are not quite “Madame Web” bad, but each one of them feels like they are on a haphazard network TV show that never found its footing and is likely going to get canceled after one season. They’re not that well written, not that likable, and as much as the actors give their effort, it is not exactly shown on the screen.

Few things suck more in cinema than a horror movie that fails to deliver on scares. Thankfully, when it comes to a lack of scares, “Tarot” could be a lot worse. I will admit, it does get creative when it comes to how it goes about victimizing its characters. And the events in which each of characters finds themselves waltzing through happen to make sense based on everything that has been built up from the beginning. But the movie honestly could be a little scarier.

Now it has been about a month since I have seen “Tarot,” but time has proven that it is not on the movie’s side. “Tarot” is easily one of 2024’s most forgettable movies. If you were to ask me what this movie was about, I could tell you the basics where a bunch of people are at a cabin and play with Tarot cards, even if it is a ridiculous idea. I know a bunch of people are supposed to meet their fates from their actions. But if you were to ask me which character was who, what somebody’s name was, or some minor detail towards the climax, I’d probably go blank. My brain literally vomited the information the screen fed me into an imaginary trashcan as soon as the movie was over. That said, the deaths did not leave much of an impact, even if the process to get to them unleashed some creativity. We do not get enough time to get to know the characters in order to care about any of them. Maybe we get glimpses of their personality and flaws, but we do not know much about them other than them being college students. And the rundown of the movie itself is somewhat predictable. A bunch of people make an unreasonable choice, and that is followed by onslaught of blood, gore, and deaths.

If any other movie comes to mind when thinking of “Tarot,” it would probably be “Ouija.” It is a stupid movie where a bunch of stupid young people play a stupid game only to win stupid prizes. I have only seen the original “Ouija,” but never the sequel. That said, I hear the sequel is better. Maybe through some dumb luck we can have a future where this movie gets a sequel that is significantly more worthwhile than what we got here. But until then, if this movie comes out on DVD anytime soon, I think it will not take too long for it to meet its fate in the Walmart $5 bin. “Tarot” is probably not going to catch on in the same way “Ouija” did. After all, the latter made more than $100 million at the box office, but I think based on the limited budget this movie has, Sony and Screen Gems, to my surprise, were able to manufacture something that technically qualifies as a hit out of this.

But if you are looking for a good story, good characters, and good execution out of the movie’s promised concept, you might want to stay away from this. To my lack of surprise, the film’s directors… Yes, that’s directors, with an “s,” have never helmed a feature before. As far as I am concerned, both of them can only go up from here. In addition to their directing duties, Spenser Cohen and Anna Halberg also wrote the movie together. I cannot say much about Halberg’s writing background, but having looked at Cohen’s resume, I will admit this is probably not the most infuriating screenplay he has done. Because back in 2022, he was credited for writing “Moonfall,” which I had as my #2 worst movie of the year. Apparently Cohen also wrote “The Expendables 4,” which Halberg happened to produce. I did not see it, but I cannot say I heard the greatest things about that project either. Unfortunately, “Tarot” is not much better.

In the end, “Tarot” is one of those movies that as soon as the credits showed up, my brain just incinerated any information connected to it that it could. It reminds of that feeling in school where you study for a test on something you could not give two craps about, and once it is over, you refuse to care about it until the final. You did it once, and you put it behind you. That’s that. “Tarot” is a generic movie with underdeveloped characters and not that many memorable scares. I will admit though, as someone who lives near Boston, used to take the T every day, and sometimes find himself angered by its blunders, there is one scene in this film that kind of connected with me. I will not give anything away, but I will let you see it for yourself. I am going to give “Tarot” a 3/10.

“Tarot” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for John Krasinski’s “IF.” Spoiler alert, it is much better than this movie. Also, stay tuned for my reviews for “The Garfield Movie,” “I Saw the TV Glow,” “Back to Black,” “Summer Camp,” and “Young Woman and the Sea.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account. Also, check out the official Facebook page! I want to know, did you see “Tarot?” What did you think about it? Or, have you seen “Ouija” or “Ouija: Origin of Evil?” Tell me your thoughts about those movies if you have seen them. Let me know down below! Scene Before is your click to the flicks!

Abigail (2024): Another Epic Win for the Directing Team Behind Ready or Not

Posted on by Jack Drees

“Abigail” is directed by Matt Bettinelli-Olpin and Tyler Gillet, the same directing team behind the last two “Scream” films and “Ready or Not.” The film stars Melissa Barrera (Scream, Vida), Dan Stevens (Night at the Museum: Secret of the Tomb, Godzilla x Kong: The New Empire), Kathryn Newton (Blockers, Lisa Frankenstein), Will Catlett (Love Is, Black Lightning), Kevin Durand (The Strain, Dark Angel), Angus Cloud (Euphoria, Your Lucky Day), Alisha Weir (Matilda the Musical, Fia’s Fairies), and Giancarlo Esposito (Maze Runner: The Scorch Trials, Breaking Bad). This film is mostly set in a house where a group of criminals who kidnapped the ballerina daughter of a powerful underworld figure come to the realization that there is more to this girl than meets the eye.

Before we begin this review, I want to remind everyone that if I had to name a favorite horror movie of the past five years, chances are my answer would be “Ready or Not,” helmed by this film’s directing duo, Matt Bettinelli-Olpin and Tyler Gillet. What made the film work for me is that in addition to all of the blood, gore, and occasional violence, there was a sense of unease in every scene. And part of it is because of how the script tends to handle Samara Weaving’s character, Grace. Because her situation makes her the outlier amongst a sea of rich, snobby monsters. Specifically, the one where she must win a game of hide and seek to avoid getting killed by recently mentioned rich, snobby monsters.

This time around, Bettinelli-Olpin and Gillet are helming a story that comes off as an antithesis of sorts to the “Ready or Not” structure. But it does not mean there are not similarities between the two titles. For one thing, both movies slap. Truthfully, “Abigail” might end up being one of my favorite movies this year. I can say this is some of the most fun I have had at the movies in months. If you are looking for something that will make you laugh, grab your attention, and question everything that is going on, “Abigail” might be a great watch for you.

What makes “Abigail” different from “Ready or Not?” For one thing, whereas “Ready or Not” is a tale of one against many, “Abigail” is a tale of many against one. Also, in “Abigail,” we tend to know more about our protagonists’ history of rebelling and breaking the law. “Ready or Not’s” Grace, as far as the movie can suggest, does not really have much of a criminal history. It is never highlighted, therefore I would have to assume if she did have one, it is not that heavy or important. In other words, Grace seems like a good egg. Much of the movie dives into these characters’ backstories and I would have to say the way they go about it had me engaged. Sometimes, the movie lingers too long on the backstories, in fact, it almost lingers long enough that at times, it had me wondering when exactly the movie is going to get into gear, but it does not change my overall attachment to the characters themselves.

By the way, the cast for this film is quite good. The film is marvelously led by Melissa Barrera, who kills it as the character of Joey. Alongside her, you of course have Kathryn Newton, who is becoming a bit of scream queen now with this movie on her resume in addition to “Lisa Frankenstein” and “Freaky,” both of which I enjoyed. There’s Giancarlo Esposito, who I’ve particularly enjoyed in “The Mandalorian.” I am glad to see him here. This movie is also likely going to introduce a fresh young talent to the world, Alisha Weir.

While she does not have a ton of credits just yet, I have a strong feeling that her performance in “Abigail” as the title character is going to change that. Weir plays a centuries old vampire who takes the form of a 12 year old girl. Oh, and she’s also a ballerina, because why not?… I love this movie. This role gives Weir plenty to bring to the table in terms of her delivery and her physicality. There is always this sense of unpredictability when watching this character. You just never know what she is going to say, what she is going to do, who exactly she is going to kill. Abigail is a beautifully unhinged mastermind of a 12 year old girl. While M3gan is probably going to end up being the more popular “dancing horror villain” by the end of this decade, I think I have a greater fondness for the Abigail character for how much the movie successfully handles its cute but not cuddly approach with her.

Of course, this movie is bloody and gory to the tenth degree. That should not come as much of a surprise. But even with that in mind, part of me could not believe just how much blood and gore this movie delivered at times. But again, I should have seen this coming from the team who did “Ready or Not.” A movie featuring some of the bloodiest explosions of all time. The movie just gets more beautifully disgusting as it goes, then when it hits the climax, oh boy, is it glorious! And much like this duo’s 2019 masterpiece, this film successfully blends horror and comedy to a perfect degree. This movie is scary. Not quite as scary as “Ready or Not,” I would say the terror itself is a bit on the lighter side in certain moments. But the movie is also very clever on the jokes. There are times where I found myself laughing hard. You could almost put this horror movie in a camp category. But the reality is that as I watched this film, every moment felt like it belonged in a story of its kind. There are campy, abnormal moments. But even those felt like moments that I could buy into. This movie made me convinced that in its world, a ballerina vampire like Abigail could exist. The movie clearly plays her up, gives her some over the top lines and exchanges with her fellow castmates, but for some reason, all of it clicks.

If you saw the trailer for “Abigail” and thought that maybe they should have saved the big hook regarding the title character for the movie itself, I kind of get where you are coming from, but as far as I am concerned, that is sort of what sold me from the start. As far as WHAT THEY DO with that hook, I can tell you it makes the movie worth your time and money. I had a great time with this movie, and if you like blood and gore, I am certain you will too.

In the end, “Abigail” is a ton of fun. It kind of takes me back to 2022, because in that year, I just so happened to stumble upon one great horror film after another. From “The Black Phone” to “Smile” to “Pearl.” “Abigail” is on that level for me. After seeing two bloody fantastic original horror titles from Bettinelli-Olpin and Gillet, it only makes more excited for what other tricks they have up their sleeve. Between a newlywed playing hide and seek against her in-laws who are part of a so-called gaming dominion and now a bunch of criminals trying to keep a ballerina vampire at bay, these two are onto something with taking crazy concepts and unleashing their best possible outcome. After seeing “Ready or Not” and now “Abigail,” maybe I will go back and give their “Scream” movies a shot. Who knows? I am going to give “Abigail” an 8/10.

“Abigail” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for “Civil War,” which so far, is one of the year’s most talked about films. Why not have one more voice in the conversation? Also, stay tuned for my reviews for “Boy Kills World,” “Challengers,” “The Fall Guy,” “Tarot,” and “IF.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Abigail?” What did you think about it? Or, did you see “Ready or Not?” If not, what are you doing with your life? Let me know your thoughts on the movie if you have seen it down below! Scene Before is your click to the flicks!

Lisa Frankenstein (2024): Kathryn Newton Shines in a Forgettable John Hughes-Esque Coming of Age Story with an Edge

Posted on by Jack Drees

“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.

When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.

You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.

This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.

Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”

Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.

The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.

For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.

Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.

In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.

“Lisa Frankenstein” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!

Night Swim (2024): The Best Movie of 2024! Because It Is Unfortunately the Only One I Have Seen So Far.

Posted on by Jack Drees

“Night Swim” is written and directed by Bryce McGuire and this is his feature directorial debut. This film stars Wyatt Russell (22 Jump Street, Overlord) and Kerry Condon as a couple who move into a new house, they settle in with their family, and they quickly become accustomed to their surroundings. Only thing, there is a haunted swimming pool in the backyard.

To start things off, this is my first review of a 2024 film. I just saw “Night Swim” over the weekend. I did not get around to it the weekend before as I was a bit busy. But as we cannonball into this review, I thought the idea for this film had potential of working. There have been numerous titles over the years that have used water environments and turned out to be really scary. Look at “Jaws” for instance. Despite the shark looking fake, that movie continues to make people not want to go in the ocean. Shark movies like that one have been a cinematic staple for years. Not many films have lived up to that 1975 original classic, but I cannot deny that even lesser shark movies understand how to make the ocean or sharks scary.

When it comes to “Night Swim,” it is a much different scenario. There are no sharks, and there is also no ocean. Instead, we have a swimming pool. But again, there is potential. If you learn how to swim when you are young, that can be scary. Sometimes there are cases where people never learn to swim. Depending on the direction those people’s lives lead them, it could induce anxiety. I like a good pool. But I am just saying, the potential to make pools terrifying is there.

And I can confirm something about “Night Swim” was absolutely terrifying indeed. No, it was not the pool. It was the fact that the movie somehow released!

Then again, I should not be surprised that we are getting a throwaway horror film at the beginning of January. This is an unfortunate tradition in cinema as infamously consistent as showing all the funniest parts of a comedy movie in the trailer.

I want to be fair though, because this film is directed by Bryce McGuire, and this is his first feature as a director. He has done a number of short films in the past, and for all I know, he has a knack for filmmaking. That said, “Night Swim” is based on a previous short film he did of the exact same name. As someone who has made short films himself, I have often thought about maybe one day turning them into a feature. I made a short film in college that I am still proud of to this day. I consider it some of my finest work as a creator. But part of me wonders if taking that movie and making it longer would sacrifice some quality. I feel like that is what happened here. It’s not like this is a completely new thing. This is not a short film, but take “The Lion King” for example. The 1994 animation was short and sweet. There was no filler whatsoever. So when I watched the so-called live-action remake that came out in 2019, I was not afraid to point out that one of the biggest critiques I had was that the new material, which extended the movie’s runtime, dragged the product as a whole. Longer does not always mean better.

You might be thinking I am pulling these statements out of my butt. You might be thinking I did not watch the original short film. This link I pulled from YouTube may suggest otherwise. Having watched the film, it is very simple in premise and effective in what it is trying to convey. I think as a horror short, it’s not bad. But this new feature inserts all sorts of concepts that honestly don’t work only to make the runtime somewhat reasonable.

It is not that the entire movie fails to make sense. In fact if you want me to be real, much of the movie’s story and structure derails for me mostly in the second half. The first half is serviceable to some degree. The reason why I enjoyed “Night Swim” is because I feel the film did a decent job at establishing Wyatt Russell’s character, Ray Waller, a former professional baseball player. I like the little hints they drop about his backstory. There is also a part of the film where we see him playing baseball with a bunch of kids and that made for one of the film’s highlights for me. I liked the scene overall. It felt rather wholesome, nostalgic, and fun. But as I am watching this film, I got the sense that Ray Waller probably ended up being the only character I was remotely interested in watching. It is not that the other characters were incomprehensible, poorly structured, or the banes of my existence. It is just that when it comes to putting these characters together, explaining their backstories, and what makes them tick, the movie almost refuses to go above the bare minimum. Even in moments where it feels like it tries to, they just cannot stick the landing.

For example, there was a decent subplot about the character of Izzy, played by Amélie Hoeferle. She, naturally, decides to join the swim team, develops an instant crush on this one boy, and that becomes a driving force of the plot. I think their chemistry is in a word, acceptable. It is a fine depiction of puppy love to some degree. But when I am looking back at these characters, some of them feel cliché. Or, I did not care about them that much to recall everything about them upon leaving the theater.

But characters and story aside, I must ask the million dollar question. Is “Night Swim” scary? Kind of. It’s got a few neat tricks up its sleeve. I think the film gets rather creative with what random ideas they could utilize regarding the pool every once in a while. Sometimes that feels inventive. But again, by the second half of the movie, I just stopped caring. One thing led to another where I lost any and all interest in the plot, the characters, and whatever events could follow. When I reviewed “Godzilla Minus One” a month ago, one reason why I gave that movie such high marks is because it knew what to do with its characters. I said a large part behind why that movie was horrifying was because I cared about the characters and did not want them to get hurt. While the story in “Night Swim” makes sense, its characters kind of go off the rails to some degree by the movie’s end. There is a certain flair that they are missing as the movie progresses.

The film features a character named Kay, played by Jodi Long. Knowing what I am watching, I should be shivering during the moments in which she happens to be on screen. But knowing what is happening in the scene in addition the visuals and sound that could potentially make the scene eerier, I am watching it feeling more annoyed than terrified. It reminded me of when I watched “Midsommar.” I didn’t find that movie scary. If anything I found it annoying in terms of how they went about executing certain scenes. I was not amused. “Night Swim” is the first major movie to release in 2024, and as far as I am concerned, the cinematic calendar this year can only go up from here.

In the end, “Night Swim” dives head first and hits the ground hard. The first two thirds are mildly interesting and somewhat compelling. It is not perfect, but it had my attention the whole time. I like the main dad character, but everyone else took a back seat for me. That said, the film is not that scary. There are occasional scares, do not get me wrong. But at the end of the day, there is nothing to write home about. And by the third act, I tuned out. This film is cliché, tonally inconsistent, and I had my arms crossed for a good portion of the runtime. If you are looking for a good movie at the cinema to start off the new year, maybe pick something from last year. I am going to give “Night Swim” a 3/10.

“Night Swim” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! I want to end this post by saying that you may have noticed something missing from me this year. Specifically, my most anticipated movies of the year list. I do not do one every year, but I did them for 2021 and 2023. Sadly, I am not doing one this year. It is a bit late and when I was making one, my head almost burst open because one movie switched its release date as I was making it and I had no idea. So I am just going to say that my most anticipated movie of 2024 is “Dune Part Two.” I will leave it at that. But if you are interested in knowing my thoughts on the movies of the previous year, check out my countdowns for the top 10 BEST and WORST movies of 2023! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Night Swim?” What did you think about it? Or, what movies are you looking forward to seeing in 2024? Let me know down below! Scene Before is your click to the flicks!

Dream Scenario (2023): Unlike Dreams, This Film Will Be Hard to Forget

Posted on by Jack Drees

“Dream Scenario” is directed by Kristoffer Borgli (DRIB, Sick of Myself) and stars Nicolas Cage (The Unbearable Weight of Massive Talent, Raising Arizona), Julianne Nicholson (August: Osage County, Masters of Sex), Michael Cera (Scott Pilgrim vs. the World, Superbad), Tim Meadows (The Goldbergs, Saturday Night Live), Dylan Gelula (Unbreakable Kimmy Schmidt, Shameless), and Dylan Baker (Spider-Man 2, Kings). This film is about a professor at a Massachusetts college who for some reason starts showing up in all sorts of people’s dreams. Now this ordinary man must deal with extraordinary fame as the dreams, in addition to his life, take a nightmarish turn.

Who here likes Nicolas Cage? *raises hand*

Actually, better question, who doesn’t like Nicolas Cage? Okay, of course, he has done way too many projects for every single one to be an acclaimed masterpiece, but he has quite a prolific resume, he is a good actor, and he commits in every just about every role that is given to him. Nicolas Cage is one of those actors who will show up in any project and automatically turn it into gold. But I am going to be honest, when it comes to the concept of “Dream Scenario,” that alone is a golden idea. Basically, it is one guy showing up in people’s dreams and becoming a celebrity as a result. It is an idea that could potentially lend itself to decent comedy and tons of engaging consequences. But of course, if you put Nicolas Cage in the lead role, you are going from a golden nugget to a platinum gem. Literally. This might be because of meme culture and such, but when it comes to people’s faces, Nicolas Cage is one of those that I cannot get out of my head for some reason. Between those big eyes, expressive mouth, and crazy hair, it is impossible for that image to leave my noggin. In the case of “Dream Scenario,” Nicolas Cage’s character has a bit of a different look to him, but there is a vibe here that I have also managed to achieve from Cage’s other roles.

Of course, knowing what I just said, Nicolas Cage and the concept have clearly had me knocking on this movie’s door. But how was the execution? For the most part it was quite good, until it begins to falter by the film’s conclusion.

Per usual, Nicolas Cage is bringing his A-game here as the character of Paul Matthews. He has a natural and admirable presence throughout the film that made him come off as a standup gentleman. When it comes to the fame that is brought upon him in the movie, it turns out to be something he clearly never asked for. Fame can be fine and dandy, but it is clearly not for everyone. The movie dives into the downsides of being famous and the consequences that are more likely to ensue to those who achieve fame.

There are a good amount of characters in this movie, and there happen to be more than I expected at the forefront. But one of my favorite characters in the film just so happens to be Molly (right), played excellently by Dylan Gelula. I doubt she is going to be considered for an Oscar this awards season, but when it comes to the demands of her role, she basically checks every box and gets extra credit. Her character also adds a bit to the overall insanity of this film’s premise. She explains her part in the whole dream scenario, what Paul is doing in those dreams. To be honest, when she mentioned what that thing is, I honestly found it to be a bit predictable. I thought based on where the movie was going, I did not find the idea all that shocking, but it does necessarily mean it was stupid. It made sense and what the movie does with it is a highlight.

If anything, I will add that not only would I mind seeing Dylan Gelula in more stuff down the road, but I also would not mind seeing a movie where she and Nicolas Cage happen to be co-leads. Maybe a buddy cop movie or a father-daughter road trip adventure. Both actors do a really good job and unleash tremendous chemistry.

The film kind of goes back and forth between genres. Specifically horror and comedy. But never once does either genre overpower or jeopardize the other. They feel perfectly balanced. But when it comes to the horror aspects, I cannot say I was overly scared by “Dream Scenario.” Although I highly doubt that is what the film was going for. I think it was going more for hypnotizing chills than heart-stopping terror. But when it comes to comedy, I was surprised with how far the movie went. I wasn’t surprised it was funny. I was expecting that from the getgo. I was shocked with how funny it turned out to be. Now I don’t remember every joke in the movie, and when it comes to comedies this year, I think “Bottoms” and “Joy Ride” are better films overall. But there is one joke in this movie that had me laughing so hard to the point where I probably embarrassed my family members with whom I saw this movie. There is one particular joke in the middle of the film. I am not going to share too many details other than to note it was a fart joke. I find fart jokes to be a bit hit or miss, because they sometimes feel like copout jokes when there is nothing else that comes to mind. But here, it could not have been timed any better than it was. I was laughing so hard I almost died. That joke alone makes the movie worth seeing.

My biggest problem with “Dream Scenario” would have to be the climax. Because at this point, the movie almost decides to change course with its tone, vibe, and ideas, and deliver something different than what we have already seen. “Dream Scenario” very much feels like two different movies in one. There is a fairly enjoyable feature we see from the start, then there is some tacked on, rushed short film by the end. You can say the transition between these ideas makes logical sense, but you can also say they don’t belong in the same movie. Maybe the idea could be used in a sequel or spinoff to this film, but the climax takes a short amount of time to establish something we have not seen in the movie and quite honestly, barely even felt like we were building up to. If you had to ask me if “Dream Scenario” is a thumbs up or thumbs down, I would easily give it a thumbs up. But the climax made the film lose a point in my book. At the end of the day, I choose to look at the positives. The idea of the film is clever, and its cast from the lead to everyone else, turn things up to an 11. The movie is sometimes pretty funny. In fact, it probably delivered one of the biggest laughs I had watching any movie from this year. There is some fairly decent social commentary on cancel culture, fame, and how one bump in the road can jeopardize your life.

In the end, “Dream Scenario” is not the best film about dreams. Let me just remind everyone that “Inception” is a thing, but it is quite a good time and you would be doing yourself a favor if you watch it. “Dream Scenario” comes from A24, which is a rather polarizing distributor. A lot of their films are bangers, but there are also a notable few that are less than stellar. This is one of the better ones. And similar to even their bad or less notable films, I will be thinking about parts of this one for some time. I was pleasantly surprised that a movie diving deep into cancel culture and the consequences of fame may have had the best fart joke I have witnessed in a long time. Everyone is really good in this movie. The screenplay is fun, crazy, and wild. But if it were not for the third act, I probably would have liked this movie a little more. The positives heavily outweigh the negatives on this one, so I would have to give “Dream Scenario” a 7/10.

“Dream Scenario” is now playing in select theaters. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for Bradley Cooper’s “Maestro!” Stay tuned! Also coming soon, I will have reviews for “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Dream Scenario?” What did you think about it? Or, what is the wildest dream you remember having? Let me know down below! Scene Before is your click to the flicks!

Godzilla Minus One (2023): A Jaw-Dropping, Planet-Shaking, Monster-Sized Masterpiece

Posted on by Jack Drees

“Godzilla Minus One” is written and directed by Takashi Yamazaki (The Great War of Archimedes, Lupin III: The First) and stars Ryunosuke Kamiki (Summer Wars, Your Name) Minami Hamabe (Let Me Eat Your Pancreas, The Great War of Archimedes), Yuki Yamada (Strobe Edge, Tokyo Revengers), Munetaka Aoki (Rurouni Kenshin, The Roundup: No Way Out), Hidetaka Yoshioka (Rhapsody in August, Always: Sunset on Third Street), Sakura Ando (Shoplifters, Love Exposure), and Kuranosuke Sasaki (Hancho, Samurai Hustle). This film is set in postwar Japan when a new crisis emerges in the form of the giant monster, Godzilla.

Before going to see this movie, I found myself to be an appreciator of “Godzilla.” That said, my experience with the character has been mostly limited to the MonsterVerse movies. While there are some cool fights and dazzling displays of VFX from one movie to the next, there is a consistency bogging these movies down. Uninteresting human characters. It’s not that uncommon for movies of this kind to come out in this age and have that problem. As much as I liked the action in say “Transformers: Age of Extinction,” I would not be disappointed if I ever ended up forgetting about Mark Wahlberg’s character. The recent “Jurassic World” movies all have characters that may promise star power, but fall short on fleshing themselves out. I enjoy a good movie where people are running away from titans, but if you are going to have humans at the center of the film, you might as use them to their fullest potential. I should be able to give a crap as to whether the human characters are hurt, or heck, dead, in the next moment or two.

I saw the trailer for “Godzilla Minus One” a couple times in theaters, but I am not going to pretend it was the movie I was looking forward to the most this season. My recent encounters with the so-called king of the monsters have kept my expectations from rising to the beast’s magnificent height. But I saw the movie anyway. It had great reviews, a lot of acclaim, and plenty of chatter in my virtual circles. So I saw the movie.

I have three words for you. Oh my god.

Actually, you know what? Add a “zilla” to the end of that.

This might be the best movie of the year.

Just when I thought 2023 could not get any better when it comes to this year’s roster of movies, this movie stomps forward in the form of a gigantic surprise. And with my limited “Godzilla” experience, I can say this movie gets right what I usually see the other movies with him get right as well. First off, the effects look really good. Some of the best I have seen in recent memory. Any of scenes involving the monster’s power, intense action, and human despair all stand out. And I want to continue on with this last aspect for just a moment.

Of course, when you put Godzilla and terrified humans together, that should result in something intriguing on the surface. But in this film, not only does the basic idea of a collection of people fleeing from Godzilla keep my attention, but the film gets something right that the other films did not. Making me care about specific people in this situation.

Everyone in this film’s cast does a fantastic job in their individual roles. Additionally, I bought into and rooted for all the characters. They might be some of the best I have seen this year. “Godzilla Minus One” centers around a kamikaze pilot who fled from his duty. This plays heavily into some of the movie’s lessons and themes about war, survival, and how we neglect danger. If you look back at the original “Godzilla,” part of why that film continues to stay relevant today is because of its allegorical ties to nuclear war. The movie explicitly suggests that if nuclear war continues, an event akin to Godzilla may be imminent. “Godzilla Minus One” not only utilizes that idea once again in a different manner, but does so while creating a more attractive roster of characters. And I have nothing against the characters in the 1954 “Godzilla,” but these people resonated with me more.

The best side by side comparison I can use when it comes to describing “Godzilla Minus One” is “Star Wars.” As in, the 1977 original. Not only is this film exhilarating and exciting, packed with great characters, and shines as one of the year’s best-looking pictures, but much like Luke Skywalker, I found myself fully invested in the journey of this film’s protagonist, Kōichi Shikishima. Both of these mentioned characters have their major differences in personality and life experiences. But they progress through their own movies realizing similar arcs and journeys that result in giant impacts. There is a particular event that happens in this movie involving the main character and someone else that becomes a love interest that had me in such a state of shock and aghast that no other film experience this year has come even close to providing. Even with their personal flaws established from the film’s start, I got the sense that just about every human character somewhere around the film’s center is a genuinely good person. When that “particular event” goes down, it made me root for the main character even more, and it made me all the more attached and obsessed with his love interest. This character may be one of the most kindhearted, patient, caring souls on the face of the earth.

When we first see the love interest character, specifically Noriko Ōishi, we find out she rescued an orphan baby and now she is raising said child on her own. I have nothing but respect for this woman. She is in every sense of the word, a saint. I am 24 years old, if you were to ask me if I wanted to have a kid at this point in my life, my answer would probably be a “no.” I am still young and I cannot trust myself to raise one properly. But Noriko is honestly one of the most inspiring characters I have ever seen in the history of film. She is living through postwar times trying to survive all the while caring for an individual she probably never asked for in the first place. And she is not just phoning it in, she is a phenomenal motherly figure.

What separates this film from the other “Godzilla” movies I have seen is that it treats its titular titan exactly how he is often described, a fearsome monster. This is not to say he was never once at least slightly intimidating in the other titles I have seen, but you could almost make an argument that “Godzilla Minus One” is more of a horror flick than something along the lines of action and adventure. And part of that has to do with how Godzilla not only looks like pure nightmare fuel, but his actions in the film as well. If I were watching this movie at 7 years old, my skin would crawl to the floor. The creature in the context of the film is a word I was genuinely not expecting to use. Frightening. And I did not sense a single ounce of remorse in the titan’s actions. Everything sinister he did, he did on purpose. And if he had it his way, he would do those things three times over. Sure, watching Godzilla destroy things is cool. But that is only enhanced by the humans at the center of it all who did not ask for any of this to happen. It’s just there. Every time he does something destructive, I’m panicking in the back of my mind. Anybody remember “Halloween Kills” and how cool it was to see Michael Myers go to town on people? Here’s the thing about that movie, the characters are honestly forgettable. I don’t care if Michael Myers chops them up to pieces and plays with their body parts for fun. Because I was never attached to those people. As soon as most of this movie’s characters are introduced, I am fully engaged and I never want to let go of my attachment to them.

If there are any flaws with this movie, they do not bother me specifically. But I should note that as I watched the movie, there are a couple things that made for a slightly predictable structure. Although I say that in full appreciation of how the movie lays everything out in its narrative. You can be predictable and still be great. In this film’s case, the predictable moments work because they feel earned. As a matter of fact, every moment in this movie, regardless of predictability, feels earned, and that is because time is given to establish the characters. Their struggles. Their aspirations. Their everyday lives. When certain things happen later in the movie to these characters, it makes my initial attachment to them worthwhile. I was not expecting a Shakespeare-level screenplay out of a movie with a giant atomic monster, but ladies and gentlemen, we have one. “Godzilla Minus One” is doing very well in the United States. Yes it is based on a popular property, but it certainly helps that the property is handled with care and respect.

In the end, this movie took me from being a “Godzilla” appreciator to a “Godzilla” fan. This film made me not only excited to see what could be done with “Godzilla” next, but it intrigues me to look back at a ton of the “Godzilla” material I have not seen. In fact, you may remember I used the 1954 “Godzilla” to set an example of something in this review. Fun fact, I actually ended up watching that film for the first time because of how much of an impact this movie had on me. Similarly, I am quite curious as to what Takashi Yamazaki has up his sleeves next. Because as far as I am concerned, this is god-tier writing and equally as incredible directing. He aces this picture like a boss. Every actor in this film is admirable and brings out the best in their character. This movie’s interpretation of “Godzilla” is one of the most horrifying sights I have ever come across. The climax of this film is captivating. The score is booming. And there is a sense of awe and wonder I got out of this film I was not expecting. I ended up crying at the end because of how great the final scene was. I genuinely felt like I was 7 years old and just discovering some of my favorite films like “Star Wars.” This film was a ride like no other, delivering a narrative that makes many others from this year look utterly inferior. It is amazing what four years can do. When I watched “Godzilla: King of the Monsters” back in 2019, I gave it a 1/10 because of bad characters, headache-inducing scenes, and the absolute lack of satisfaction I felt as soon as the movie was over. Little did I know what we would get in 2023 from Japan. I am going to give “Godzilla Minus One” a 10/10!

“Godzilla Minus One” is now playing in theatres everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Ferrari.” The film is not in theaters yet, but I did manage to catch a screening of it earlier this month. Also, be sure to look out for my reviews for “The Boy and the Heron,” “Dream Scenario,” “Maestro,” “Wonka,” “Migration,” and “Aquaman and the Lost Kingdom.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Godzilla Minus One?” What did you think about it? Or, what is your favorite “Godzilla” movie? Let me know down below! Scene Before is your click to the flicks!

It Lives Inside (2023): A Thumbs-Up Worthy Feature-Length Debut from Bishal Dutta

Posted on by Jack Drees

“It Lives Inside” is directed by Bishal Dutta (Triads, City Nights) and this is his feature-length directorial debut. Dutta has prior experience directing television shows as well as shorts. The film stars Megan Suri (Atypical, Never Have I Ever), Neeru Bawja (Channo Kamli Yaar Di, Jatt & Juliet), Mohana Krishnan (Spinner, I Am Frankie), Vik Sahay (Sean Saves the World, Chuck), Gage Marsh (You Me Her, Big Sky), Beatrice Kitsos), and Betty Gabriel (Counterpart, Get Out). This story centers around an American-Indian teenager who has a falling out with a friend and unleashes an entity who feeds on her loneliness.

Before we go any further, I just want to note that if for any reason this review is of lesser quality than usual, I blame the audience at my movie theater. I ended up watching “It Lives Inside” at the one place I could see it less than an hour from home, because the film tended not to do gangbusters at the box office. And let’s just say the entire back row was filled with teenagers who do not know the first thing about how to behave in a theatrical environment. That said, I ended up going to see “It Lives Inside” after the title appeared a few times on my social media feeds. People in my circles, even if I did not know them personally, seemed to be talking about it quite a bit. So, I wanted to see what the hoopla was about. I was not familiar with the marketing, so I was going in relatively blind.

As for my first impression with the film, it has a wonderful aesthetic to it all. The film looks like a product manufactured in a particular circle of Hell at times. Given how the film falls into the horror genre, that is nice to see. The lighting is often darkened with often fitting color stylization. It kind of reminded me of “The Black Phone” aesthetically at times. Granted, a notable part of the film is set around a school.

I walked out having a decent time with “It Lives Inside,” so I was very surprised to see how audiences viewed the film, at least on Rotten Tomatoes. The aggregator site currently lists “It Lives Inside” at a 48% audience score. It’s not the lowest of the low, but I was a little shocked to find out most audiences who saw it ended up giving it a thumbs down. At the same time though, I can kind of get why. There is a pace to this film that I thought was perfect for what was there, but it is also one that I think some mainstream audience members would not prefer. There are definitely more memorable creatures in the history of cinema. This is also not the most revolutionary plot if you break a few things down. But even with that in mind, I do think the concept itself is executed very well here.

One common complaint I heard from those who gave the movie poor scores is that the film itself is not that scary. The more I think about it, they may be onto something. I don’t think the film is terrifying enough to make your heart beat out of your chest. That said, there are plenty of tense, eerie moments that had me on the edge of my seat at times. “It Lives Inside” may not be the most bone-chilling film out there, but it is one that had my attention the whole time. It is a film that works because of how it builds up everything in its premise. It is a matter of how the obstacles tend to get in the protagonist’s way. Maybe the film does not maximize the effect of its scares, but there is a constant feeling of unease somewhere in the background the entire time. Part of the reason why this film works so well is the relationships between the characters, and when it comes to how they deal with the supernatural horror aspect, it makes for an intriguing watch.

Megan Suri leads the film as Sam, and she is very much the heart and soul of this production. I may not share her background, but despite my differences from her in that light, I found her to be a relatable individual. There is a saying in screenwriting that you should write what you know, and that saying is very much applied to this film and the character of Sam. This is noticeable because the film’s writer and director, Bishal Dutta, has a background much like this character. He was born in India and eventually moved to North America. Dutta’s passion for the material at hand shows in every frame. I cannot see anyone else telling a story like this, unless it is someone of a very similar background.

Sticking with Sam, I found her connections to be genuine and they kept me attached to the film. Her relationship with her mom is a driving force behind some of the film’s events and even though there may be a rivalry between them, I at the very least somewhat understood both sides of the rivalry. I will often criticize certain characters in movies for making stupid decisions, almost in the same way a sports fanatic will bash their team when they make a game-losing move. Sometimes those choices can be unrealistic and far-fetched, therefore affecting my final score. That said, Sam is in her teens, and I think the film does a good job at reflecting how someone in those years would make questionable choices. In a way it made her character human and a fine reflection of that age group. Going back to her rivalry with her mom, one reason why these two do not always get along has to do with a particular choice Sam makes where she goes to hang out with a friend, therefore missing an event that her mom would consider important.

“It Lives Inside” is a film that never goes all the way in terms of delivering a scary good time. There are times where it comes close, but not to a whole percentage. That said, it is a film that as soon it begins, it understands what it is going for. Not once does it lose track of what it is trying to be, what it is trying to encapsulate, and what it is trying to accomplish. By the time we got to the climax, I was invested, and I remained invested afterwards. When it comes to recent horror, the film is not as twisted as “Talk to Me” and it is not as chill-inducing as “Smile.” But much like those films, “It Lives Inside” handles its concept with excellence, and it had me paying attention all the way through.

In the end, “It Lives Inside” is a film that I honestly think could have performed a little better than it did. I have a feeling that if the strikes were not happening right now, this film, like many others that came out recently, would have done better. Granted the audience reactions are not helping, but nevertheless. The job of a horror film is to, well, horrify. While “It Lives Inside” is not nightmare fuel, I think it is a nice addition to the genre. I think when it comes to what the film handles best, it is its characters and relationships. Those two things stand out a lot more than the scares the film has to offer. Then again, if you read the beginning of my review, the scariest thing about this movie to me is not even the movie itself, it is that we as a society are losing movie theater etiquette. But much like a nightmare, I endured through it and I got a good movie out of it. Well done to everyone involved. I am going to give “It Lives Inside” a 7/10.

“It Lives Inside” is now available to stream on various VOD services.

Thanks for reading this review! I have plenty of new reviews coming soon! My next one is for “Dicks: The Musical!” Following that, I will have reviews for “Killers of the Flower Moon,” “Freelance,” and “The Persian Version!” I will also soon be seeing the brand new film “Priscilla,” so I promise you that plenty of new material is on its way. If you want to see all this new material and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “It Lives Inside?” What did you think about it? Or, what is your favorite horror film you have seen this year? Let me know down below! Scene Before is your click to the flicks!

A Haunting in Venice (2023): A Not so Happy Halloween with Hercule Poirot

Posted on by Jack Drees

“A Haunting in Venice” is directed by Kenneth Branagh (Belfast, Hamlet), who also stars in the film as Hercule Poirot. Also joining him in the cast are actors including Kyle Allen (West Side Story, The Path), Camille Cottin (Stillwater, House of Gucci), Jamie Dornan (Fifty Shades of Grey, Belfast), Tina Fey (Saturday Night Live, 30 Rock), Jude Hill (Belfast, Magpie Murders), Ali Khan (Red Rose, Everyone Else Burns), Emma Laird (The Crowded Room, Mayor of Kingstown), Kelly Reilly (Sherlock Holmes, Yellowstone), Riccardo Scamarcio (John Wick: Chapter 2, The Woman in White), and Michelle Yeoh (Everything Everywhere All at Once, Shang-Chi and the Legend of the Ten Rings). This film is the third installment in Kenneth Branagh’s ongoing series of Agatha Christie novel adaptations. In this movie, Poirot is retired, but reluctantly attends a seance, an event where people attempt to make contact with the dead. Interestingly, that is how one person at the event ends up. Therefore, it is up to Poirot to figure out the mystery behind said person’s death.

Given how this is Branagh’s third Hercule Poirot adaptation in six years, I think his passion for the character is more evident than ever. He is once again starring as the heavily-mustached detective, in addition to putting his cushion in the director’s chair. That said, I wish I share the same passion for this series that he must have. For the record, I have still not found any time, and supposedly any interest, in checking out “Murder on the Orient Express.” I bought the 4K Blu-ray for a fairly cheap price, but even with the bargain, I still ended up never checking it out. Although I did see “Death on the Nile” last year, which I thought was in a word, fine. Even though it barely meets decency, I did technically watch it twice, as I put on HBO in a hotel room earlier this year and used it as background noise. I thought the casting was effective. And yes, I even liked Gal Gadot in it. Was she stiff at times? Maybe. But she still had enough charisma throughout the picture to be a highlight. Perhaps by just the barest of minimums, I still had enough interest to check out Branagh’s latest attempt at bringing the Poirot character to the screen.

Oh, and Michelle Yeoh is heavily used in the marketing for this film. So that won me over as well. With that in mind, how is the movie?

Unfortunately, not great.

I have seen some people saying online that “A Haunting in Venice” is apparently their favorite or the best of this particular franchise. Again, I still have not seen “Murder on the Orient Express,” but between “A Haunting in Venice” and “Death on the Nile,” I honestly would give the slight edge to “Death on the Nile.” Even with the film’s problems, I will still rather invested in everything that was going on. “A Haunting in Venice” has some entertaining moments. But it is also riddled with its fair share of moments that either annoyed or bored me. The pacing of this film is probably the most insufferable of the year.

The reason why “A Haunting in Venice” does not work, and I hate to say this because there are people I admire in this movie, is the cast. When it comes to these murder mystery style stories, I cannot imagine how hard it is at times to balance a large roster of characters like this. I do not envy Kenneth Branagh for putting himself in this position. That said, I wish the execution for these characters happened to be better. It’s been a little over a week since I have seen “A Haunting in Venice,” I honestly would not be able to tell you a single character’s name without the assistance of the Internet. That goes to show you how unappealing this movie’s characters are. And this is also why I give the edge to “Death on the Nile.” The story is more appealing. There’s more interesting drama. The rivalries kept my attention throughout. “A Haunting in Venice” had none of that. Honestly, as soon as the murder happens, the movie goes from being mediocre to a hot mess.

To be honest though, it is really sad to be saying this, because I think when it comes to the aesthetic of the film, that is the best part of it. I was totally immersed in the film’s environment, but not so much the story. Watching this film reminds me of sometimes when I would play “Watch Dogs.” I would spend some time playing that game neglecting the actual story and find myself more invested in hacking things around Chicago.

The production design of “A Haunting in Venice” is some of the best I have seen all year. I imagine if “Barbie” or “Oppenheimer” did not already exist, it could be my favorite production design of 2023. The film is set in the 1940s and the architecture, interior, and everything in between felt like they fit in with the time. While I will say “Death on the Nile” is the better film, I must admit this is one consistency that is carried over from that film to here, and it is one that is possibly better realized in this case.

Speaking of the film’s look, the cinematography is very well done from start to finish. It sort of fits the spooky, almost creepy crawly vibe the film is going for. If I had one complaint, it is that some of the imagery seems to be a bit fish-eye-like at times. It might not fish-eye by definition. But a lot of it reminds me of a fish eye effect. I would prefer if that effect, if there is one, were removed. There were some shots that were kind of distracting and took me out of the film for a second.

“A Haunting in Venice” is not just a murder mystery, it also doubles as a horror flick. Unfortunately, it is not much better as a horror flick than it is a murder mystery. The film is barely scary, if at all. There are a couple attempts to scare me that probably annoyed me more than they made me jump out of my chair. They kind of felt cheap.

To top this all off, I would like to remind you that this movie prominently features Michelle Yeoh, which I will remind you, earned an Oscar this year for her epic performance in “Everything Everywhere All at Once.” I honestly think the Academy made the right choice by giving her the win. With that in mind, it is still too early to tell, but I think the Razzies could potentially make as equally of a smart choice by nominating Yeoh for the next ceremony. This performance is not only a significant step down from her previous effort, but honestly, kind of wasted. Yeoh is a great actor, so I want to hope that this may just be based on the direction that was given to her by Branagh. But when we get to the moment where Yeoh says “Listening…,” I almost had a headache. Do not get me wrong, I still love Michelle Yeoh, but she has been in better movies, and given better performances.

In the end, “A Haunting in Venice” is one of the biggest bores of the year. Thankfully, it is not even Kenneth Branagh’s worst outing in the past few years. Have you ever seen “Artemis Fowl?” If your answer is no, you have just saved yourself an hour and fifty-five minutes of torturous nonsense. That said, of the two Branagh-directed Poirot films I have seen, “A Haunting in Venice” is the worst of them. Maybe one day I will watch “Murder on the Orient Express,” but knowing that this franchise not earned the highest of praise overall, it is hard to say whether I actually will check out that film anytime soon. I have no idea if Kenneth Branagh wants to continue this franchise, but part of me thinks the franchise has died at this point. Then again, maybe he has something neat up his sleeve and I am underestimating him. I always love a good surprise. Sadly though, “A Haunting in Venice” fails as a murder mystery, and it also fails as a horror movie. Terrible combo if you ask me. I am going to give “A Haunting in Venice” a 4/10.

“A Haunting in Venice” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! Fun fact, this film was produced by one of the industry’s most revered directors, Ridley Scott. And this is the perfect segway to introduce an all-new segment that I will be debuting this month, RIDLEY SCOTTOBER! That’s right! Once a week, I have not decided on the days yet because this month is kind of busy for me, I will be dropping a brand new review for a Ridley Scott-directed film. It only feels appropriate. There is not too much coming out this month that I want to see right away. I should also note I am not a Swiftie. Plus Scott has a brand new film coming out in November, specifically “Napoleon,” therefore this serves as proper preparation. The first film in the series is going to be “Body of Lies,” a 2008 action thriller starring Leonardo DiCaprio and Russell Crowe. I will announce the other films to be reviewed at a later date. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “A Haunting in Venice?” What did you think about it? Or, what is your favorite of Kenneth Branagh’s Agatha Christie adaptations? Let me know down below! Scene Before is your click to the flicks!

Meg 2: The Trench (2023): Shark Stank

Posted on by Jack Drees

“Meg 2: The Trench” is directed by Ben Wheatley (Rebecca, Free Fire) and stars Jason Statham (Furious 7, The Transporter), Wu Jing (Wolf Warrior, The Wanderers), Sophia Cai (Mr. Corman, Something Only We Know), Page Kennedy (S.W.A.T., Blue Mountain State), Segio Peris-Mencheta (Snowfall, Rambo: Last Blood), Skyler Samuels (Wizards of Waverly Place, Scream Queens), Sienna Guillory (Eragon, Resident Evil: Apocalypse), and Cliff Curtis (Avatar: The Way of Water, Fear the Walking Dead). This film is a sequel to the 2018 shark movie “The Meg” and once again centers around Jonas Taylor, who collaborates with a research team to uncover the many mysteries of a trench and the potential threats that lie within. The film is also inspired by the book “The Trench” by Steve Alten.

I got a good kick out of “The Meg” back when it came out five years ago. I did not think it reinvented shark movies, but when it comes to pure summer fun, that film was obscenely enjoyable. In fact, given how that film came out in the 2010s, the “Sharknado” franchise, which yes, are technically TV films, but still, were heavily on my mind at the time. I watched them, probably because deep down I must have liked torture. But I am kind of glad I watched the “Sharknado” films because when it comes to “The Meg,” they influenced my opinion towards the film. It feels like “The Meg” took the vibe from a “Sharknado” type of film, gave it a bigger budget, and added more pizzazz. I thought if they could keep that mentality going into the second movie, we could be in for yet another fine summer popcorn outing. I was looking forward to “Meg 2: The Trench.”

And just as I wanted, the marketing lived up to my expectations. It looked like it was going to be heavy on Jason Statham being awesome, marvelous visual spectacles, and shark action. It looked like colossal summer fun and I did not care if I ended up giving the film a barely passable score, because it did look like it would meet those terms, but it would have been one of the more memorable barely passable films I have come across if that were the case. Despite my barely passable score for the original “Meg,” I still think about it on a regular basis because I had a great experience watching it. And it actually managed to emit some shock for me in terms of its screenplay. While definitely not Shakespeare, I was pleasantly surprised as to where the movie would end up going.

When it comes to “The Meg,” that “Sharknado” comparison stands true today. Speaking of comparisons, I am happy to declare that “Meg 2: The Trench” makes “The Meg” look like “Jaws.”

Looking back, what must have tied “The Meg” together nicely is that it presents itself in a nice, solid pace. It is a pace that allows for crazy shark mayhem with some other moments to breathe in order to balance everything out. Sure, the first act is a tad dull at times, but the movie manages to work the more it builds. When it comes to “Meg 2: The Trench,” shark mayhem and moments to breathe also make their presence known, but when it comes to the faster paced shark scenes, I am not thinking about those as consistently as the moments that bored me. Maybe it is because I had, I am not going to say high, but moderate at best expectations going into this film. I really liked the first one, and even if this film barely scratches the surface of what the original delivered, it would still be a decent time. But it was not. This film is subtitled “The Trench,” but quite frankly, much of what involved the trench as the film went on made me tune out. It kind of made me sleepy. It made me fall into a trench of dreams.

And sticking with the topic of balance, when it comes to transitioning the horror aspect of “The Meg” from the franchise’s predecessor to this film, the results are not that great. The scares are cheap and uninteresting. The first film had a fine balance between action and scares. When it comes to the latter, it carries a significant absence this time around.

Despite my complaints about this movie, I will admit one positive consistency from the last film that is seen in this one happens to be the charm of Jason Statham. I am not going to pretend that Statham gives an Oscar-caliber performance or anything. In fact, in some ways, he seems to be playing a variation of himself. But when it comes to instant charm, he emits it throughout his entire time on screen. In fact, I like where they take his character when it comes to transitioning between the film’s events. Because we see he has become some sort celebrity figure because of his shark encounter. I like how the movie handles this aspect in particular.

I said “The Meg” is basically “Sharknado” if it were more down to earth and had a bigger budget. It is the kind of the thing that looks real and barely puts itself below a brain-melting threshold. “Meg 2: The Trench” honestly is what “Sharknado” would be if it were made for the big screen instead of Syfy. There are select moments in this film that jump the shark. Literally. And I am sometimes okay with an occasional whiffing away from reality every once in a while if the results are good. But in this case, they are not. There is one moment where one of the characters have to latch themselves onto a helicopter before they are executed by an explosion. By the time the explosion expands into the helicopter, part of me wonders how the fleeing individual even made it onboard. I could not believe my eyes. And that is ultimately what this movie is. A sight to behold. Except when it comes to the sights, they are not fun to look at. This film somehow looks worse than its predecessor. And that includes the trench, which I will remind you again, is in the title!

If anything, “Meg 2: The Trench” looks like an enhancement of our world, and I do not mean that in a good way. Everything in this film, and I kind of mean everything, looks too clean. All of it looks palatable, but yet it does not *feel* real. It kind of reminds me of what some people think of the “Star Wars” prequels. And unfortunately everything surrounding the shiny coat fail to make my time spent watching this film worthwhile. The screenplay and dialogue are extremely predictable at times. The supporting characters are beyond forgettable. And while this movie surprisingly has some halfway decent visual storytelling, it is also met with various scenes that did not offer any engagement. There is a lot of shark action by the end. But to be frank with you, I do not remember all of it, and to get to that shark action, you have to sit through the film equivalent of being tied to a chair with a gun to your head, and the only way you can survive is by fully reading through every word of a terms and services agreement. Between “Fast X” and now this garbage, Jason Statham is honestly not putting out his best work in 2023.

In the end, “Meg 2: The Trench” is a hot, watery mess. When it comes to shark movies, it is hard to know if we will ever see anything that surpasses “Jaws,” but with “Meg 2: The Trench,” today is not that day. If you want a halfway decent shark movie, “The Meg” is right there. Skip this one. Jason Statham is charming and there are some occasionally campy moments that can be considered fun, but they fail to match the joy of the first film. This film is dull, uninteresting, and by 2023 standards, the visual effects might not be up to par. Although that last part might be a little unfair because it is hard to match the look of “Avatar: The Way of Water.” I am going to give “Meg 2: The Trench” a 3/10.

“Meg 2: The Trench” is now playing in theaters. The film is also available to buy on VOD.

Thanks for reading this review! My next reviews are going to be for “Bottoms” and “A Haunting in Venice!” This weekend, I also plan to watch “The Creator” and “Dumb Money,” so I will have even more posts in the pipeline! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Meg 2: The Trench?” What did you think about it? Or, what is your favorite of the two “Meg” installments? Let me know down below! Scene Before is your click to the flicks!