Kemp Powers

Spider-Man: Across the Spider-Verse (2023): The Citizen Kane of Comic Book Movies

Posted on by Jack Drees

“Spider-Man: Across the Spider-Verse” is directed by Joaquim Dos Santos (Avatar: The Last Airbender, Voltron: Legendary Defender), Kemp Powers (Soul, One Night in Miami…), and Justin K. Thompson (LittleBigPlanet, Cloudy with a Chance of Meatballs). This film stars Shameik Moore (Dope, Incredible Crew), Hailee Steinfeld (The Edge of Seventeen, Hawkeye), Brian Tyree Henry (Godzilla vs. Kong, Bullet Train), Luna Lauren Vélez (Dexter, New York Undercover), Jake Johnson (New Girl, Let’s Be Cops), Jason Schwartzmann (Rushmore, Scott Pilgrim vs. the World), Issa Rae (Little, Insecure), Karan Soni (Miracle Workers, Deadpool), Daniel Kaluuya (Nope, Get Out), and Oscar Isaac (Star Wars: The Force Awakens, Moon Knight). This film is the sequel to “Spider-Man: Into the Spider-Verse” and follows Miles Morales as he faces conflict through his personal life, while balancing his time as his superhero persona. Meanwhile, he is introduced to the Spider Society, a realm of Spider-people just like him, where he must realize his true purpose.

“Spider-Man: Into the Spider-Verse” has had an interesting history in the realm of comic book movies. The film did well with critics and fans alike. But it did not garner as much box office revenue as its live-action counterparts. It was not a complete loss, as it grossed $384.3 million against a budget of $90 million, but the individual films starring Tobey Maguire, Andrew Garfield, and Tom Holland, all ended up making more. To be fair though, animated comic book movies were an unfamiliar territory in the theatrical market, not everyone knew who Miles Morales was compared to Peter Parker, and the film was already competing other blockbuster titles at the time including “Mary Poppins Returns,” “Bumblebee,” and DC’s “Aquaman,” which turned out to be the comic giant’s biggest hit.

That said, it does not change the fact that many people continue to hail “Spider-Man: Into the Spider-Verse” as one of the greatest comic book films of all time. I personally consider it a slight runner-up in 2018’s slate to “Avengers: Infinity War,” but it was a solid animation whose strengths came from its quick pacing, likable characters, intriguing storyline, and maybe the most unique animation style of the decade. I loved it in theaters, watched it a couple times at home, and find it to be one of the more refreshing animated titles to come out in recent years. I was pleasantly surprised to find out Sony Pictures Animation knocked this film out of the park after the gosh awful “The Emoji Movie.” Between “The LEGO Movie” and “Spider-Verse,” Phil Lord and Christopher Miller are partially responsible for some of the most memorable animations of the 2010s.

Naturally, I got excited when a “Spider-Verse” sequel was announced, which with the release of a trailer in 2021, received the title “Spider-Man: Across the Spider-Verse – Part One.” Since then, it has removed the “Part One,” but the concept remains the same. I thought if we got more of what the original provided, we would be in for another great time at the movies, but little did I know what I would be in for.

To clarify, “Spider-Man: Across the Spider-Verse” delivers the same strengths as its predecessor, but it also brings forth tons of new elements. Between the added animation styles, the Spider Society, new characters, and the expansion of the multiverse’s lore, there is a lot to love about this sequel, and I mean it when I say that. Not only do I find “Across the Spider-Verse” to be a step up from its predecessor. Not only do I find it to be one of the best movies of the year. Not only do I find it to be one of the best animated movies of all time. Not only do I find it to be one of the best comic book movies of all time. I think this movie falls into my top 20 or 10 movies EVER.

When it comes to superheroes, Spider-Man has always been my personal favorite. Mainly because of how I would often find myself in the shoes of Peter Parker as he tries to balance everything in his life. Granted, I do not have the same responsibility of protecting a major metropolitan area, but that is what makes the character likable in addition to his down to earth qualities. “Spider-Man: Across the Spider-Verse,” like its predecessor, instead focuses on the problems and life of Miles Morales, who much like the recently mentioned Parker, has to neverendingly deal with the problems of being a teen while also saving New York. Whenever I see Miles, he reminds me of my own life as I grew up. There are moments where I hear him talk and it reminds me of how much I wanted to either be by myself or take a chance to spread my wings a little.

In addition, throughout the film, we get a greater dive into Miles’s relationship with his mom, Rio. While we still get the connection between Miles and his dad that has defined the first film in a way, Rio has more of a presence in this picture. She has more of an impact on where things go compared to before. What captivated me is not only the chemistry she and Miles have, but the dialogue that supplements these two in their scenes. I always got a sense that Rio wanted what is best for Miles even if there is a disconnect between the two. But even in the moments where Rio would end up losing her mind over something Miles did, I am still rooting for Miles because I always got the sense that he was just trying his best to balance everything he can. These are emotionally complex, rich characters who I am glad I got to see in this film and hope to see more of in the future.

This movie handles multiverse a tad differently than “Spider-Man: No Way Home,” which does so in a way that serves as a love letter to the character. This movie also serves as a love letter at times, and each time that is done, it works. That said, the more I thought about “Spider-Man: Across the Spider-Verse,” it can also be seen as a jab on formula, a jab on traditional storytelling. But at the same time it could also serve as a tribute to it. There is a certain aspect of the film that dives into Miles’s destiny, in addition to the destiny of other Spider-people. As this is addressed, I could not help but recognize how such familiar tropes worked and we may similarly see something that could eternally impact Miles no matter which path he follows. At the same time, Miles wants to avoid facing a certain destiny that may seem familiar to audiences and the many Spideys this film possesses. That adds to the unpredictability of this film. I could name quite a few moments in this film where I was taken aback by what was on screen. There are so many things going on in “Across the Spider-Verse,” much of which just so happens to be colossally epic.

Part of why I found “Spider-Man: Across the Spider-Verse” rather unpredictable as it went along is not only from how the film itself is laid out, but Miles’s overall connection with Miguel O’Hara. There is a scene in the trailers where Miguel presents a certain dilemma to Miles regarding the fate of other people. When Miles takes that conflict in a certain direction, the rest of the film delivers a flavor to it that I have not seen in a comic book-based story prior to this one.

That said, part of that flavor represents a tonal shift from one film to the next. If things go in a certain direction, the “Spider-Verse” trilogy may be this generation’s version of the original “Star Wars” trilogy. I am not saying they have completely similar stories, but from a technical perspective, both movies brought something innovative to the table. Both have a first film that follows that typical hero’s journey formula. The films are great for all ages. And sticking with the tonal shift, I would say that “Across the Spider-Verse” has the shocks, goosebumps, and occasional gloom of “The Empire Strikes Back.” There is a lot of fun to be had in “Across the Spider-Verse,” but once the film reaches the halfway mark, its sullenness dramatically increases. When this movie ended, I was excited to know what could happen in the eventual “Beyond the Spider-Verse,” but I also recognized that much like “Empire,” “Across the Spider-Verse” does not end on the highest note. This is not a bad thing because I am rooting for the heroes even more than I was before.

If you are a “Spider-Man” fan, you will adore this movie. If you are not as interested in other iterations of “Spider-Man,” I think you may still find something to love about how this movie handles its storytelling methods. This is far from your typical comic book movie. This is also far from some of your typical animated fare. Despite this movie earning a PG rating, it is honestly very adult at times. There is some mild language, mature themes, and most of the humor avoids gearing itself specifically for younger crowds. I honestly think like some Pixar films, there is a chance that if you are parent and end up taking your kids to see “Across the Spider-Verse,” you might end up liking it more than them. Maybe it will end up aging for some kids in the same way “Wall-E” aged for me. When I first saw the film at eight years old, I was enamored with the spectacle and adventure of it all. Then as I aged I began to appreciate the lessons it told and the “show don’t tell” method it employs. I think if some young children end up liking “Across the Spider-Verse” the first time they see it, they might carry it into adulthood and recognize how powerful that film is in a different way. It is more than just cool action and funny jokes. If I were eight years old I might witness those two things and think that is enough to satisfy my appetite. But as a 23-year-old, I feel “Across the Spider-Verse” is about being your own person, appreciating your family in addition to your friends, dealing with potential failure, and realizing that everyone is just trying their best to live to fight another day. If you want to see a paint by numbers animation that takes no risks and plays it safe, then by all means watch “The Super Mario Bros. Movie.” If you want to see an animation that takes risks, delivers something new, and expands an already exciting universe, or multiverse in this case, then “Spider-Man: Across the Spider-Verse” is the movie for you.

This film is as close to perfect as it can get. If it were not for one thing, the movie would be even better. My one problem with “Spider-Man: Across the Spider-Verse” is the sound mix. To be clear, the sound design in “Across the Spider-Verse” is great. It is a completely immersive movie in terms of audio. But at the beginning of the film and during one or two more increments, there are certain lines of dialogue I could not make out. If they turned down the music just a tad or increased Hailee Steinfeld’s audio as close as they can to avoid clipping, this problem may cease to exist. Maybe the movie will get the “Thor: Love and Thunder” treatment. Remember how that movie changed the CGI after its theatrical release? Perhaps this film could contain a slightly different sound mix before putting it out on digital and Blu-ray. Who knows? Although I say this is a slight dig because if I dilate my ears a little, I could make out what is being said, and even if I did not understand something, the visuals gave me enough context to know what is going on. Filmmaking is showing, not telling. And this film shows like few others do.

The first “Spider-Verse” is an achievement of the animation medium. This sequel takes that achievement the extra mile. That said, I am trying to be quite vague on how it does such things, because this movie is full of surprises, and I want you to go in as blind as I did to experience it to the fullest. If anyone reading this is experiencing what some may call “comic book movie fatigue,” I urge you to check out this film because it is likely to change your mind. If we keep getting movies like “Black Adam” or “Ant-Man and the Wasp: Quantumania” that are below the par of some of the better titles the genre has delivered over the years, then I could see where the fatigue is coming from. It is coming from mediocrity and blandness. “Spider-Man: Across the Spider-Verse” flips the entire genre on its head.

In the end, “Spider-Man: Across the Spider-Verse” has delivered something brilliant that I felt as if I have not seen before in this overstuffed genre. “Spider-Man: Across the Spider-Verse” is the “Citizen Kane” of comic book movies. In addition to being a fantastic watch that pushes its medium forward, I think this is going to be one of the most influential and talked about films of the genre for years, possibly decades to come. This is a film that not only takes what is great about the original and imports it here, but attempts to take that greatness to the next level. Sequels naturally have to go bigger than the original. Sometimes it works, sometimes it does not. The jump this franchise takes from one movie to the next is seismic. “Spider-Man: Across the Spider-Verse” makes the original feel humble. And unlike say the transition from “The Matrix” to “The Matrix Reloaded,” the shift does not feel gimmicky. It is backed up by a good story, great characters, incredible dialogue, and animation that honestly looks better than what this franchise provided four and a half years ago. I rooted for the heroes, but I also sympathized for those who would be considered antagonists. There is not a character that comes to mind who I thought was not properly constructed. I have thought about this film long after I saw it. I found my experience to be overwhelming in the best possible ways. I walked out of the auditorium not believing what I just saw. And in a time where comic book movies dominate, “Spider-Man” movies come at you quicker than a bullet, and when sequels pop up all over, this feels like one of the most original, fresh films I have not just seen recently, but in my entire life. I need time to marinate where I rank this film amongst my favorites of all time. Maybe if I see it again, it would help. And yes, I do want to see it again soon. Therefore, I think it is inevitable that “Spider-Man: Across the Spider-Verse” is a 10/10!

Also, what is it with multiverses lately? “Everything Everywhere All at Once,” which was set in different universes, was far and wide my favorite film of last year. Meanwhile, “Spider-Man: Across the Spider-Verse” also joins the ranks and has now become my top film of 2023. I hope people do not overuse the multiverse concept just because of these successful outings. If it is used in the future, I hope they try to implement what these movies did. Specifically, a developed story with likable characters. I hope people do not just do multiverse for the sake of being crazy. Story should come first, characters should come first, the craziness may as well be bonus points.

“Spider-Man: Across the Spider-Verse” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you want to see more reviews, I have some coming soon! Specifically for “Hypnotic,” “The Machine,” and “The Flash!” I ended up seeing a couple of these movies before “Spider-Verse,” but I could not contain myself. I had to talk about this movie before anything else. “Spider-Man: Across the Spider-Verse” is a movie that if you asked me what to watch this weekend, I might pick that one for at least a month. It’s that good. 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 “Spider-Man: Across the Spider-Verse?” What did you think about it? Or, what is your favorite “Spider-Man” movie? Let me know down below! Scene Before is your click to the flicks!

One Night in Miami (2020): Four Icons, One Average Story

Posted on by Jack Drees

“One Night in Miami” is directed by Regina King (Ray, If Beale Street Could Talk) and stars Kingsley Ben-Adir (Vera, The OA), Eli Goree (The 100, Race), Aldis Hodge (Brian Banks, City on a Hill), and Leslie Odom Jr. (Murder on the Orient Express, Central Park). This film is also written by Kemp Powers, who wrote the play of the same name. The story revolves around four black men, Muhammed Ali, Malcom X, Sam Cooke, and Jim Brown as they meet in a hotel room and discuss their places in the Civil Rights Movement.

This film premiered last year in one cinema, appropriately in Miami, Florida. But of course, since I don’t live in Florida, and I don’t plan on setting foot there for some time, I did not see the film when it came out. However, the film has expanded to other territories, including my very own Massachusetts, and put itself on Prime Video for all subscribers. I decided to watch the film at home considering my supposed need to use my Prime subscription at one point or another.

You’re welcome, Jeff Bezos… Gosh I miss Sears.

Either way, going into “One Night in Miami” I did not watch any trailers (that I recall), and I do not think I read any synopsis or description about the film. Other than the facts that the film is on Amazon, directed by Regina King, and set in Miami, I knew nothing about this film. To me, it was almost like “Summerland” before I saw that film. Also, please watch “Summerland.”

With this in mind, I want to bring up something that movie viewers occasionally bring up. The power of marketing. Part of this is due to my lack of knowledge of the film, but going into “One Night in Miami,” based on the title, it almost seemed to be set in modern times, and it sort of had this “Entourage” feel to it. Everything felt kind of sexy.

This is the kind of confusion that comes about from not watching trailers. The film is vastly different from what I expected to be, both in terms of overall vibe and the storyline. I guess you can say part of this is my fault for perhaps being a lazy critic and not doing my homework, but at the same time, there are points where going in blind for a film has enhanced the experience. Perhaps doing so makes it worthwhile, because it gives you a fresh perspective and allows you to watch everything as if (or perhaps in a more literal sense) you were about to watch it for the first time.

With that being said, I wish “One Night in Miami” were a better movie. There have been some good movies over recent years involving the Civil Rights Movement and African American history. Movies like “Selma” and “Hidden Figures.” Both were entertaining and a great reflection of their respective times. Now, I wanted to like “One Night in Miami” and going back to what I just said. Knowing what a movie is about sort of improves the experience. When it starts, you have this boxing match. So I think to myself, “Is this a boxing movie?” Then I see a concert. I ask, “Is this about music?” Not really. It’s one of those movies where things sort of come together, but it took awhile for my brain to click and put all these elements into a puzzle. So, maybe it is my fault for being a brick, but nevertheless. During that time, it sort of shows that the movie needs better pacing. I sat on my bed wondering if this movie was going to go anywhere, and it felt like we spent an eternity trying to answer that question. I like when movies make the viewer ask questions. That can be engaging. That can be exciting. But for whatever reason, this movie took longer than an Amtrak ride from Boston to Washington DC to get me going.

I will spit out some positives though. For those who do not know, this is Regina King’s first feature theatrical release under her direction. King reveals that she has chops to be a competent director in the future if she decides to take on more projects. I would not mind seeing another drama from her. Maybe if she keeps that up, she could helm a blockbuster. I have faith she can continue to visualize solid content. As for how good that content will end up being, that is another question. Because I was not fully impressed with this outing.

With that in mind, getting invested in the main four characters almost felt difficult because I spent almost an hour just wondering whenever things were going to pick up. At the same though, it was fascinating to hear the four main characters interact, mainly because they all had a natural sense of chemistry. There is not one moment or slice of dialogue that did not feel wasted or unrealistic. All of it was raw, and occasionally compelling. I thought it was fascinating to see a transformation of Cassius Clay as he goes from one identity to another. But the man who’s story intrigued me the most has to be Sam Cooke.

The movie does a fine job at highlighting that despite the color of his skin, despite his heritage, despite coming across a supposed success, Cooke is perhaps partially aiding in the contributions of white people to a degree, including the Rolling Stones. Hearing him speak with Malcom X and listening to him reveal his personal history is probably the highlight of the movie for me. Malcom X confronts Cooke’s feel good music and notes Bob Dylan perhaps being a more popular reflector of social commentary. I think from start to finish, his story is partially reflective of what this movie is about, what it stands for, and the overall message it tries to convey. In the United States, black people may succeed, but sometimes it is with the assistance per se of white people. And in some ways, they help white people achieve their own success. The performances from scene one are all worthy of attention. I just wish it aided in a slightly better film.

I should note, this is my *first impression*. I did something for “One Night in Miami” that I don’t usually do. I noticed that the film has universal acclaim. There are positive reviews being handed over left and right. People are really enjoying this film. So I thought, what is wrong with me? Why can’t I like this movie? Granted, I was watching at home, where it is easy for me to get distracted. So I turned on the film again to see if anything has changed.

I will say that this film is better the second time around, and maybe it is because I understand the concept now. I think as a story, “One Night in Miami” is uniquely laid out and one of the more original tellings I have witnessed in recent memory, despite being somewhat based on true events and containing real historical figures.

As mentioned earlier, Sam Cooke is my favorite character in the film, and he is nicely performed by Leslie Odom Jr.. However, one performance that I also began to appreciate more the second time around is Kingsley Ben-Adir as Malcom X. I think his mannerisms are superb and he admittedly kind of looks suave. I would not mind seeing Kingsley Ben-Adir in a spy movie sometime. I will also say that the first hour is most definitely better. Not only does it do a fine job at introducing the core characters, but some of the hour is quite entertaining between the boxing match, the early concert, and Jim Brown visiting the plantation.

But having said all this, when it comes to 2020 in film, this one will not likely be remembered as much as others. Who knows? Maybe with my recent experiment it gets better with each watch, and it was better the second time, so maybe that is a step in the right direction.

In the end, “One Night in Miami” may speak to some people, in fact it may speak to a lot of people, but for whatever reason, it was just not the right movie for me. Was it entertaining? Yes. But not entertaining enough. Was it compelling? Yes. But not compelling enough. Was it worth a rewatch? Sure. But part of me only did so to see if would actually improve the experience. And while it did so slightly, it did not sparkle and shine as much as I would want it to. I am going to give “One Night in Miami” a 6/10.

To me “One Night in Miami” is sort of like “Mank.” It is a movie that a lot of people saw, a lot of people like, and maybe it will end up getting some attention during awards season. Although for whatever reason, I could not fully connect with it. It is a passable film and there are good things about it. But I just wanted more, what else could I say?

“One Night in Miami” is now available in select theaters and on Prime Video for all subscribers. Get your tickets if a theater is open near you, or subscribe to Prime if you are not subscribed already.

Thanks for reading this review! I will say, I am not quite sure what my next review is going to be, but I will say as the crazy guy who always promotes IMAX, I have a special treat for those who are not in the loop. One of 2020’s most acclaimed films, “Nomadland,” is coming to select IMAX screens starting January 29th. Unfortunately, I might not be able to see it. I say so because as of writing this, the closest place showing the film is located in Paramus, New Jersey, which is about a three to four hour hike from where I live. But if anyone at IMAX reads this and wants to put more screenings in the Massachusetts, New Hampshire, or Rhode Island areas, I will make an effort to watch the movie and have my review up for it as soon as possible. We’ll have to see what happens. 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 “One Night in Miami?” What did you think about it? Or, what are your thoughts on Regina King as an entertainer? Let me know down below! Scene Before is your click to the flicks!

Soul (2020): Pete Docter’s Latest Attempt at Making You Cry

Posted on by Jack Drees

“Soul” is directed by Pete Docter (Up, Inside Out) alongside first timer for feature-length directing, Kemp Powers. This film stars Jamie Foxx (Ray, The Amazing Spider-Man 2), Tina Fey (30 Rock, Saturday Night Live), Questlove (The Tonight Show Starring Jimmy Fallon, Late Night with Jimmy Fallon), Phylicia Rashad (The Cosby Show, Creed), Daveed Digs (Snowpiercer, Black-ish), and Angela Bassett (What’s Love Got to Do with It, Black Panther). This film centers around a middle school jazz teacher who often tries to find music gigs. He gets transported out of his body and must find his way back with the assistance of an infant soul.

Like many movies this year including “Scoob!,” “Trolls: World Tour,” “Greenland,” and “Mulan,” “Soul” joins the list of films that were once slated to have a big theatrical debut, but due to COVID-19, that became an impossibility. Therefore, Disney decided to put the film on their own streaming service, much like the just recently mentioned “Mulan.” However, unlike “Mulan,” to watch “Soul,” you did not have to pay an extra fee. You had to be a subscriber, but the one time fee of $29.99 was nonexistent. Yay!

Regardless of “Soul’s” fate, this was on my list of films to anticipate. After all, Pete Docter has directed three Pixar features, all of which by the way have been really good. “Monsters Inc.” puts a clever spin on the way we think about creatures that invade our nightmares. “Up” is a fun adventure with arguably the greatest on-screen dog ever made. “Inside Out” is not only one of my favorite Pixar movies, but it is by far one of the best animated films I have ever watched, and really shows that the studio does not cater to kids, and respects its entire viewer base.

Speaking of Pixar, they’ve yet to have a bad day at the office. Even a movie like “Cars 2,” which many people suggest lacks luster compared to many of Pixar’s other offerings, I would consider fun and thrilling all the way through. To be fair though, I have not seen all of Pixar’s work. I skipped “The Good Dinosaur” in the theater and I have yet to watch it at home. So who knows? Maybe that movie will disappoint me. So, does “Soul” keep up the positive streak Pixar has been hammering home by now?

Ehh… Kinda.

Let me say one thing about “Soul,” where there are positives, they are obvious. This film, much like all of Pixar’s recent work like “Incredibles 2” and “Toy Story 4” is beautifully animated. Even though I watched “Soul” on the small screen, New York looked as stunning as a snowfall on Christmas morning. I really like that Pete Docter decided to do another project where the main characters are not necessarily just humans, but little figments of ourselves. “Inside Out” is one of my favorite films of the past five to six years, and part of why I love that movie so much is because it takes emotions and utilizes them to make you feel emotions. Sort of in the same way, I kind of expected that going into “Soul.” In some ways, my expectations to such a matter were met. In others, not so much. The thing about “Inside Out” is that the movie managed to take characters, who in actuality are just parts of one humanized character, and turned them into something bigger, something bolder. In “Soul,” it kind of puts humans and souls in the same perspective and somewhat equalizes them despite their differences. This movie tries to do something with that, and there are a series of pros that come with the concept’s execution, but as the movie goes on, it becomes less interesting, especially towards the final few minutes.

“Soul” is by no means the worst movie of the year, however it may have the worst ending. I will not spoil anything, but this film does not exactly follow the structure of your traditional animation, and I think in some ways, that’s great. I love when films become experimental. But experiments are about trial and error. I think we’ve hit “error” territory with this vision. In a way, each character’s arch was fulfilled. All the actions lead to inevitable reactions. But I left the film feeling empty. I did not feel happy. I did not feel sad. I left not knowing what exactly to think. The usual thing about films is that they try to build up to an epic and satisfying climax. “Soul” has a climax, thankfully. However, as I watched the film, it did not feel climactic. It felt like we were somewhere in act two a little too long. I do not know why. When I watched “Inside Out,” it kind of felt like sex for your brain. You built up all this information, it’s all clogged in your mind, and when the big moments of the end come, I felt shook, it is a feeling that left me with a series of emotions. “Soul” left me with one question.

“Wait, that’s the movie?”

I felt like we’ve left the story unfinished, when in reality it wasn’t. Nothing really felt big or grand, and while I do not expect all my movies to feel like that, it feels weird to be saying that about a Pixar movie. The studio typically does a good job with scale and reminding you of the importance of its characters. “Soul” does that, but it couldn’t stick the landing.

However, speaking of characters, I admire the chemistry between our two leads. You have the main character, Joe Gardner (Jamie Foxx), who has to deal with his new normal after death. And you also have 22 (Tina Fey), who had a particular normal for centuries, and this movie presents the latest iteration of that normal. One of my favorite scenes of the film are the flashbacks of the past examples of what 22 is going through in the not the great beyond, but the great before, where souls remain before they journey to earth to live out their lives. I thought the duo were cast decently, and they had a couple funny lines here and there. Yes, “Soul” is funny, but I will not say it is as funny as other Pixar flicks including “Toy Story 2,” “Up,” and the incessantly mentioned “Inside Out.”

If anything, “Soul” is a movie that is probably going to be looked over by students. This is partially because it is a family friendly movie revolving around music, so this may be good for music classes of all ages. Also, the way it handles the afterlife (or the bare exposition to the afterlife) provides an intriguing peek at what may happen when we go bye bye. It is stunningly animated, and kind of creative. I wonder how other people are going to view “Soul” as far as the human condition message goes.

This movie is marketed to provide a message to remind people to follow their path, chase their dreams, achieve what they believe is their destiny. And the movie sort of dives into that, but it comes with a little more. And while “Soul” comes with a solid moral of the story, it almost feels inconsistent. Then again, the way this movie structures itself feels nearly inconsistent. At times it works, but if I had to give a percentage, it would not be 100%. Many movies have the neverending question, “What is human?” It is a great theme to dive into and can make for a terrific movie. “Soul,” much like how many of its characters are partial figments of ourselves in a way, has many of the positives of other Pixar films, but its positives do not stand out as much as other examples. The best phrase I can give to describe “Soul” is “partially positive.” “Soul” is emotional, but not “Toy Story 3” emotional. “Soul” is funny, but not “The Incredibles” funny. “Soul” is fun, but not “Ratatouille” fun. “Soul” is deep, but not “Inside Out” deep. Maybe it’s deeper, who knows? But regardless, “Soul” does not handle depth like “Inside Out” handles depth. “Soul” tries to encapsulate all these positive qualities, and it does to a degree, but it cannot do so all the way through. And that is really sad, because this film got me to subscribe to Disney+, and now I may be regretting my purchase. First impressions matter!

In the end, “Soul” may not be soulless, but it is also a far cry from what I expect from Pixar. Maybe my disappointment has to do with too much hype, because it’s the typical cycle. In addition to “Soul” having overwhelmingly positive reviews, with quite a few people I’ve come across suggesting it is a masterpiece, I went into the movie expecting one of the best things ever, only to be let down somewhat. That’s not the first time that’s happened to me with Pixar, because that happened to me with “Coco.” I was expecting an emotional thrill, but I left the film going “Okay, that happened. Next.” Again, this film looks great, even on a small screen where it was not originally meant to be seen, but as we progress through the second half of the film, it becomes progressively less fascinating, even with the whole links to what it means to be human. There’s good morals here, I just wish they were in a better movie. For those of you who have never seen a Siskel & Ebert review, their rating system is simple, thumbs up or thumbs down. If I had to give my thoughts on the animation and tech for this film, it is a definite thumbs up. The story, it depends on what we are talking about, but it is going to get the slightest of a thumbs up as I was entertained and hypnotized for a majority of the film. I’m going to give “Soul” a 7/10.

“Soul” is a positive movie, but as far as Pixar goes, it is not up to par with other films. It might even be my least favorite from the studio. When it comes to Pixar films from this year, I need time to marinate, but I might rather want to watch “Onward.” Just bein’ honest. And I will be fair to Pixar. To have a studio’s possibly worst movie get a 7/10 speaks volumes of its history. Just to be clear, Pixar has released feature films since the mid-1990s, and since then, they would put one or two out almost every year. I hope Pixar steps up from here, but I think they’ve created many great films and developed tons of memorable characters over the years. Here’s hoping they can conceptualize more.

“Soul” is exclusively available on Disney+ for all subscribers. And unlike one of the service’s other exclusives (for a limited time), “Mulan,” “Soul” is available at no extra cost.

Thanks for reading this review! Next week I will be reviewing “Wonder Woman 1984,” which is now in theaters wherever they are open. If your theaters are closed or you don’t feel safe going to a cinema right now, the film is also available on HBO Max to all subscribers for 31 days. I personally have my IMAX tickets ready for Sunday, and I cannot wait to watch the film! Also, at the start of 2021, I will be listing my top 10 BEST movies of 2020 and my top 10 WORST movies of 2020! These countdowns have been a tradition of mine for years, and I am glad to keep it going! 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! …If you wanna keep your soul. I want to know, did you see “Soul?” What did you think about it? And what is your LEAST FAVORITE Pixar movie? Worst, not best! Just want to make sure we’re clear! Scene Before is your click to the flicks!