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The Secret Agent (2025): Wagner Moura Excels as the Lead in This Drawn Out Thriller

Posted on by Jack Drees

“The Secret Agent” is directed by Kleber Mendonça Filho (Aquarius, Bacurau) and stars Wagner Moura (Puss in Boots: The Last Wish, Narcos), Carlos Francisco (Bacurau, A Strange Path), Tânia Maria (Bacurau), Robério Diógenes (As Tentações do Irmão Sebastião, Onde Anda Você), Alice Carvalho (New Bandits, Love is a Knife), Gabriel Leone (Dom, Your Heart), Maria Fernanda Cândido (My Hindu Friend, The Traitor), Hermila Guedes (Second Call, New Bandits), Isabél Zuaa (Good Manners, Joaquim), and Udo Kier (Blade, Don’t Worry, He Won’t Get Far on Foot). This film, which is set towards the end of Brazil’s military dictatorship, is about a technology expert who returns to his hometown seeking peace, only to realize it may not be the right place take refuge.

If you read my review for “No Other Choice,” you’d know that my experience with Korean cinema is fairly limited. But at least when it comes to that nation’s output of movies, I at least knew who Park Chan-wook was prior to checking out his latest flick. I have a similar situation with Brazilian cinema, only worse. While some of this film’s cast has achieved international fame, I could not honestly say I recognized their faces going in. I had no idea who the director, Kleber Mendonça Filho, was before watching this movie. The only reason why I checked out this film is because of all the praise it appeared to be getting ahead of awards season. I never watched a trailer. I never saw a commercial. In fact, I went to see the film at one of the two theaters in my area playing it at the time. Was it worth the trip? I’d say so. The film is not bad, but it is far from my favorite of the year.

“The Secret Agent” is a great watch, but not the easiest watch for a number of reasons. Although one can say the film is rewarding if you can sit through all of it. The movie draws itself out pretty heavily and several scenes go on for what can best be described as a snail’s pace. Films like “Blade Runner” prove that a story can move slowly and still keep you hooked, therefore making the pace come off as a positive. “The Secret Agent’s” pacing often had me checking the time, and it made me less invested in the supporting characters than I probably should have been. However, that is not to say I disliked any of them.

On the surface, “The Secret Agent” is a solid narrative. But it is one that is probably at its best at the beginning and the end. The middle is where the film’s slowest and least engaging points tend to come up. The film starts off with a great hook, introduces a neat concept, and lets us get to know some admirable characters. The end, while not larger than life, is pretty killer with very little filler. The middle is by no means a bad watch, but the film’s highlights for me happen before and after said point. People often talk about how some audiences these days have very short attention spans, and I wonder, fairly or unfairly, how this movie would sit with people who are watching at home for the first time, or looking at their phones. When people think of movies that are best experienced in a theater, people will often lean to adventure, fantasy, or sci-fi blockbusters. “The Secret Agent” is a bit more grounded, but like those more expensive and flashy pictures, I think this film crafts a unique cinematic experience of its own.

“The Secret Agent” oozes an atmosphere like no other. Again, this film is slow, but if anything, it allowed me to carefully take in just about each scene one at a time. This film is often quiet, but it only allows me to suck myself into its environments. The film starts off in the middle of a desert. With the drawn out editing and lack of music, part of me felt like I was stranded in the middle of that desert. Part of the atmosphere is also highlighted by the production design. This film is set in 1977, so it felt classy to see a bunch of old cars in every other frame.

The cinematography, perfectly executed by Evgenia Alexandrova, is also a standout. Granted, going back to the desert at the beginning, having decent locations definitely helps. But each frame allowed those locations to shine. There is also a really cool POV shot involving blood towards the end of the film that blew me away. Each frame also weirdly goes against the film’s vibe. Every second of the film involves our protagonist trying to seek safety. Yet at the same time, nearly all the film’s frames feel bright and colorful. I am not mad about it though. The film looks incredibly picturesque. Another weird technical choice if you had to ask me involves the film’s music. For the most part, I thought the film had decent music choices that matched every scene. Then in the climax, there is a song choice that is oddly happy sounding for a chase sequence where our protagonist could die at any point. To me, this almost rubbed me the wrong way. If I were in charge, I would have picked a different song. Then again, the “Challengers” score left me with a headache and people seem to love those tunes, so what do I know?

The standouts to this film do not just extend to the technological elements, but little things like dialogue also pack a punch. “The Secret Agent” may not be my favorite screenplay of the year, but it most definitely has one of my favorite lines. When Marcelo says “I’d kill him with a hammer,” I felt that. There are few, if any lines of dialogue from a film released this year, that sent a chill down my spine like that one.

Also, Wagner Moura is fantastic in this movie. Moura is fairly well known internationally through the series “Narcos,” which I have not watched. Although I had the tremendous pleasure of seeing him play an infinitely haunting antagonist, specifically Death in “Puss in Boots: The Last Wish.” I love him in that movie, but “The Secret Agent” will be remembered as the film that made know his name. I cannot wait to see what roles he takes on next. Though this is no way of suggesting the supporting cast did not do a good job themselves. The two biggest MVPs in the supporting cast for me are Elza (Tânia Maria), whose charm knows no bounds, and young Fernando (Enzo Nunes) whose adorableness leaps off the screen.

In the end, I know there is a bit of hype going around for “The Secret Agent,” but frankly, I had the same reaction coming out of this movie that I had for “Sinners” and “Weapons.” I know both of those movies have their fans, and they are undoubtedly well made. If you read my reviews for those movies, you would know that I like both of them. “The Secret Agent” is not an exception to the rule. But I am not chomping at the bit to get an immediate second viewing of “The Secret Agent.” I would watch the film a second time, considering how much I liked the characters and production elements from the first watch. But I have personally seen more appealing films this year. I can see “The Secret Agent” winning a lot of people over, to the point where it is their film of the year. For me, it is a good watch, and I will leave it at that for now. I may revisit it in the future. I may not. Only time will tell. I am going to give “The Secret Agent” a 7/10.

“The Secret Agent” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “Hamnet” and “Avatar: Fire and Ash!” 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 “The Secret Agent?” What did you think about it? Or, what is a film released this year that you like but also think is a tad overhyped? Let me know down below! Scene Before is your click to the flicks!

Sentimental Value (2025): The House That Joachim Trier Built

Posted on by Jack Drees

“Sentimental Value” is directed by Joachim Trier (The Worst Person in the World, Louder Than Bombs) and stars Renate Reinsve (Presumed Innocent, A Different Man), Stellan Skarsgård (Dune, Andor), Inga Ibsdotter Lilleaas (Women in Oversized Men’s Shirts, A Beautiful Life), and Elle Fanning (Maleficent, The Neon Demon). This film is about the relationship between a filmmaker and his two estranged daughters, which only becomes more complicated when one of them declines to be in a film based on their family’s history.

Of the many prestige titles coming out at the end of 2025, one of the names that eventually found its name somewhere on my must see list was “Sentimental Value.” The film’s trailer seemed to tap into its central family drama, making for a rather intriguing idea. I did not care that it had a couple big stars or acclaimed names behind the scenes, though such things happened to be a bonus. Though selling me on a movie is not enough, I wanted to dive deeper into what I was buying, and what I bought was a fulfilling experience that highlights the ups and downs that comes with making personal art. Or in this movie’s case, perhaps as close as one can get to personal art.

Few things in life are as important as a good first impression. And “Sentimental Value” brings forth a dynamite first impression. The movie starts off with some of the best narration I have heard in a long time. The opening scene of the film is narrated from the perspective of a young Nora, one of the two daughters who play a large role in the story, and it taps into the idea of whether her house was alive, or happened to be aware of everything happening on the inside. Things such as the memories being made as well as the wear and tear that was being done to it over time. The editing throughout the scene perfectly matches each thought and neatly sets up everything that happens after, considering how much of a role that house continues to play in the characters’ lives.

Despite the film being a Norwegian production, “Sentimental Value” at times feels more like something straight out of Hollywood. Part of it has to do with the film having recognizable cast members including Stellan Skarsgård, who kills it as Gustav. But there is also Elle Fanning, who plays Rachel Kemp, an American actress. Kemp ends up taking the role in which Gustav originally asked Nora to play in his film, and I thought her presence often did a great job at representing Gustav’s tendency to sell out for the sake of his project. There is a great scene where Nora is riding an escalator and we see endless screens playing the same ad of Kemp as she’s going up.

The events in “Sentimental Value” very much reflect its name. Much of the movie revolves around a family home. In fact, one of the things Gustav wanted to make happen in his movie was being able to shoot it at said house. While the film does not dive into Gustav’s entire resume, it is easy to assume that  “Sentimental Value” is arguably Gustav’s most personal project yet considering he wants either someone or some place he knows in it. There is a saying that people should write what they know. There is also a saying that in filmmaking it is not a matter of what you know, and instead, who you know. While the latter can sometimes be seen as a negative in terms of allowing certain people a chance to find work, this movie does sometimes showcase the beauty and fun of working alongside family. For something like Gustav’s project, it only makes it more personal.

“Sentimental Value” is far from my favorite 2025 release. Though I do highly recommend seeing it, especially with someone you know. I had the privilege of seeing this film with a friend, and we had a pretty insightful discussion about it after. We knew a bit about each other so we were able to connect this movie to our lives. For example, throughout the film, we see that one of the differences between Nora and Agnes is that the latter has children. Of course, Nora gets the comment from her dad that having children is something she will not regret. That is an area in which the two seem to disagree. One of my favorite moments in the film is when Nora and Agnes are talking about the concept of having children, and Nora says while she does not have them, she said being Agnes’ big sister felt like being her parent. I am 26 years old, single, and do not have children. Frankly, I debate each and every day whether it is actually right for me to have children. And if my children read this years from now, please know, I am not saying this because I regret having you, or that I fear I will regret having you. But when I was younger, part of me felt like I was playing, to a certain extent, a fatherly role with my sister’s upbringing.

I was also pleasantly surprised to see the film’s occasional comedy chops. At its core, “Sentimental Value” is a drama, but it also weaves in some natural humor. Every instance of comedy felt more like something in the moment rather than a planned attempt to make people holler. One of my favorite moments of the film is getting to see Gustav explaining to Rachel the main idea for one of his film’s scenes involving a stool. When it is revealed that the story that inspired said scene was fabricated, the way that such a thing is done had me laughing. That said, whether the film goes into its more lighthearted laughable moments, its darker moments where we get some backstory, or the quite literally sentimental moments somewhere in between, it makes for one of 2025’s most compelling screenplays.

One final note about the film. While Netflix had no hand in producing or distributing “Sentimental Value,” I found it amusing how Gustav’s upcoming project was at one point going to be a Netflix movie. The film notes that this is not exactly Gustav’s first choice. Of course, one of the questions asked by the press about the movie is if it is going to be in theaters, to which I chuckled. Netflix’s refusal to put movies in theaters is astounding to me. By the way, as a reminder, please check out my reviews for “A House of Dynamite” and “Frankenstein,” two Netflix movies I saw in theaters this year, as much as they want me tied to my couch.

In the end. “Sentimental Value” is a completely inviting and moving package. It is film that showcases the importance of family while also diving into one’s personal struggles of being an artist. It balances both of these ideas perfectly and makes something beautiful out of both of them. Again, there are other films released this year I prefer, but I could see “Sentimental Value” having replay value somewhere down the line. I am going to give “Sentimental Value” a 7/10.

“Sentimental Value” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Zootopia 2!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Wake Up Dead Man: A Knives Out Mystery,” “Jay Kelly,” “Bugonia,” “No Other Choice,” and “Fackham Hall.” 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 “Sentimental Value?” What did you think about it? Or, would you ever want to make a movie based on your family’s history? Let me know down below! Scene Before is your click to the flicks!

Cold War (2018): The Colorful Technology of Amazon Meets Black and White

Posted on by Jack Drees

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“Cold War” is directed by Pawel Pawlikowski (Ida, My Summer of Love) and stars Joanna Kulig and Tomasz Kot as a music director and a singer who eventually find themselves in an unlikely romance. The music director is also trying to get the singer to flee Poland and enter France alongside him.

I actually heard some things about “Cold War” before going into it, but my prior knowledge didn’t really encompass of much. The main thing I did know however is something that I imagine a number of people don’t truly care about, which is the fact that this movie, at least in the United States, released on the infamous December weekend of death. It was released alongside big features including “Aquaman,” “Bumblebee,” and “Mary Poppins Returns.” Not to mention, another disadvantage this movie had is that it is a foreign film. And as much as everybody hates America right now for how it is being run as a country, many Americans can’t turn down a Hollywood film. I am usually the type of person who doesn’t care what country a film comes from. As long as a film is properly executed or well done, I can approve of it. And regardless of where this film in particular comes from, I enjoyed it.

From a technical perspective, “Cold War” shines. The film is presented in a 4:3 aspect ratio, which is rare for a film nowadays, but at the same time, has happened in the past with recent films like “The Grand Budapest Hotel.” It successfully provides an old-timey feel. Speaking of old-timey things, the film is also in black and white. Artistically speaking, I can approve of such a choice because this film does take place between the 1940s to 1960s, when not everything has been put in color yet. Speaking of things that are quirky by today’s standards, one thing I found interesting is that if the film makes a time jump, it cuts to black and goes back to providing images in a snap. There are also various shots containing a plethora of information and it is just f*cking beautiful. I won’t go into detail, but the ending shot reminded me of Orson Welles’ “The Third Man” and Robert Zemeckis’ “Cast Away.” And I’m surprised to say that because this movie, again, is entirely shot in 4:3. Although at the same time, the more square-like images can make the information provided feel crammed, and I don’t mean that in a bad way. It almost reminds me of when I go to see certain movies in IMAX like “First Man” or “Star Wars: The Force Awakens” because those have scenes shot in IMAX and when you go into the IMAX theater to see the movie, the screen fills up for a period of time, taking a break from the scope aspect ratio.

Moving onto our two main characters, Zula and Wiktor, the best thing I can say about them is that they actually feel like a real couple at times. Not all the time, but there are many times where their relationship feels extremely authentic. I will say however, I did see the movie earlier this week, specifically Tuesday, and to give you a sense as to how I feel about this film as a story, I will remind you that I saw this in an art-deco theater. If you live in the Boston area, there’s a possibility you may have heard of the Coolidge Corner Theatre. It’s probably one of the most gorgeous and state of the art cinemas I’ve ever set foot in. I saw this movie in their largest auditorium, which has the old-timey red curtain, and I found myself to enjoy it. But days after viewing the movie, I almost don’t even recall a good portion of it. Whereas just the other day, specifically Saturday, January 19th, I just saw “Roma” at that same theater. I still remember it, I can’t stop thinking about it, and I can’t recommend it enough. “Cold War” on the other hand is a good movie, but really stands out more from a technical point of view as opposed to a character point of view.

When it comes to “Cold War” as a movie, it sort of reminds me of “Hail, Caesar!” directed by the Coen Brothers. “Hail, Caesar!” is a beautifully shot movie, which is not that surprising since it was done by Roger Deakins, who recently, FINALLY won an Academy Award for his work on “Blade Runner 2049.” Hell, both movies even have great moments of music and choreography! However, in terms of overall quality from characterization and other parts related to the story, that’s where the movie leaves a little bit to be desired. Granted, on paper, the movie sounds like a good, intriguing story, but the fact is, much of it is actually not that memorable. “Cold War” is kind of the same thing. It sort of attempts to harken back to a certain time period with as much purposeful authenticity intact. Granted, there is fiction inserted throughout the entire runtime, but said fiction is taking place in a time that realistically happened, and such a thing manages to provide a quirky vibe for both films. They aren’t exactly the same considering how “Hail, Caesar!” is sort of marketed to be more fun, but “Cold War” is advertised as a more serious, compelling drama.

I’m not saying I have the inability to sit through movies like “Cold War” that are sometimes slow in terms of pacing, which coincidentally is a minor problem at times. Although what I am saying is that this movie just kind of underwhelmed me. Granted, it didn’t underwhelm me all that much. When I watched it, I had a certain positive score for it in my mind once I left the theater, which by the way still stands. Plus, this movie is not even that long. The total runtime comes out to an hour and twenty-nine minutes. Although at the same time, maybe it did feel long because I did something I am somewhat ashamed to have done.

*Clears throat*

Forgive me father for I have sinned.

I had my phone on during the movie. Now don’t worry, the ringer was off! I often leave my phone on with my ringer silent during many of my moviegoing experiences. But given how I don’t have a watch on me, and since I don’t have an iPhone, nor do I care to possess an iPhone, meaning I never wasted hundreds of bucks on an Apple Watch, I put my hand in my pocket, took my phone out, and checked the time. If I recall correctly, the brightness was low. Also, don’t worry that much! There were a few other people in the cinema alongside me, I only had it on for a few seconds to check the time, the screen was hidden from everyone’s sight, then I shut it down and put it away!

Man, that felt good and horrible at the same time.

In the end, “Cold War” is kind of an enigma. I don’t really hate the movie, but over the past few days, bits and pieces of it are continually being erased from my mind. Granted, now that I am back in college, certain assignments and classes are affecting my time to keep this blog up to date, but still. Although on the bright side, the fact that I am reviewing this now as opposed to immediately once I get home from the theater might actually be a positive thing because I reviewed certain movies like “Star Wars: The Last Jedi.” I gave that film a 9/10 when I first saw it. Why did I give it a 9/10? Because I was a crazy fanboy that had certain requests I wanted fulfilled with the film. And while at the time, I had those requests fulfilled, little did I realize how much I would come to hate the movie in the very end. To sum it up, “Cold War” is one of the best-looking movies of the year, but story-wise, needs a boost, at least for me. I don’t know if this grade will make sense, or surprise some of you, but this movie was still enjoyable enough, and likable enough, that I’m going to ultimately give “Cold War” a 7/10. And who knows? Maybe the second time watching this will be better. It is coming to Prime pretty soon since it is an Amazon movie, so I can watch it for free in the future if need be. For all I know, maybe it will somehow be worse. It’s hard to tell. We’ll just have to see what happens. Thanks for reading this review! And if you have made it to the end of this post when it was released, congratulations! You picked a good post to read! Because this Sunday, I am planning to release my ultimate list of my nominees for the upcoming Scene Before Jackoff Awards ceremony. I am not going to say whether “Cold War” actually is nominated or not, but I will point out that this might be the last 2018 movie I watch before the nominees are announced. I might be going to see “On the Basis of Sex” this weekend, I don’t know for sure, but it is a possibility. But speaking of movies, I will admit that I have seen a 2019 movie recently by the name of “Serenity.” And no, this is not attached to the “Firefly” franchise, this is entirely different. My review for that will be up very soon, I’m not sure if I’ll release my “Serenity” review before or after the nominations, but it is a 2019 movie so it won’t even count in this current ceremony. Be sure to follow Scene Before either with a WordPress account or an email so you can stay tuned for more great content! I want to know, did you see “Cold War?” What did you think about it? Or, since I can praise this movie’s final shot, what is your favorite concluding shot to a movie? Let me know down below! Scene Before is your click to the flicks!