Movie

Spider-Man: Brand New Day (2026): Tom Holland’s Webhead Enters a Fresher, More Mature Era

Posted on by Jack Drees

© 2026 Sony Pictures Entertainment Inc.

“Spider-Man: Brand New Day” is directed by Destin Daniel Cretton (Wonder Man, Shang-Chi and the Legend of the Ten Rings) and stars Tom Holland (Cherry, Onward), Zendaya (Dune, Challengers), Sadie Sink (Stranger Things, The Glass Castle), Jacob Batalon (Novocaine, Reginald the Vampire), Jon Bernthal (The Accountant, The Wolf of Wall Street), Florence Pugh (Dune: Part Two, Don’t Worry Darling), Tramell Tillman (Mission: Impossible – The Final Reckoning, Severance), Marisa Tomei (The King of Staten Island, My Cousin Vinny), and Mark Ruffalo (Spotlight, Dark Waters). This film is the fourth standalone Tom Holland “Spider-Man” installment and follows a forgotten Peter Parker as he lives life without his former friends and loved ones. He also has to deal with physical changes and a telepathic threat.

The Tom Holland “Spider-Man” movies remind me a bit of the Tom Cruise “Mission: Impossible” movies, particularly the run from “Mission: Impossible II” to “Fallout,” because each film, for me anyway, entertained me more than the preceding one. The run from “Spider-Man: Homecoming” to “No Way Home” played out in a similar manner.

As much as I enjoyed “Homecoming,” I found parts of it underwhelming, and I had some gripes with certain portions of the story. Then came “Far from Home,” which not only did I think was better than “Homecoming,” but the best comic book movie of that year. Keep in mind, this is 2019… A year that includes “Joker” and “Avengers: Endgame.” I liked both movies. I prefer “Far from Home.” Flash forward to 2021, when “No Way Home” hit theaters. This was a movie that I was both looking forward to as a fan of the property, but found myself incredibly nervous about, as I was worried it was focused more on quantity than quality. While the film may not have been the best-looking or directed of the “Spider-Man” movies, I still find it to be one of the most entertaining, exciting, and engaging films of the decade. I rewatched the film recently and thought it maintained a perfect pace. It even made me tear up at one point.

With “Spider-Man” being Sony’s most notable property, it should not be a surprise that “Brand New Day,” also starring Tom Holland, would be happening. After all, “No Way Home” ends in a way that effectively closes out the Jon Watts-directed trilogy, while setting a rather clean slate for someone new to add a touch of their own. Enter Destin Daniel Cretton, whose credibility at Marvel is fairly high at this point given how he directed “Shang-Chi and the Legend of the Ten Rings” and was involved in the production of “Wonder Man” on Disney+.

Going back to what I said about “No Way Home” not being the best-looking “Spider-Man” movie… When I say that, I do not necessarily mean that it looks downright terrible, but there are a couple effects or minor points that I thought could have been cleaned up. To reference another “Spider-Man” movie, those specific parts failed to “maintain the illusion.” Nevertheless, if I said that “Brand New Day” was a bad-looking movie, I would be lying to you.

Courtesy of Sony Pictures – © Sony Pictures

Of the Tom Holland “Spider-Man” installments, this is definitely the best looking of the four, just from a general color perspective. Not only is the film graded in a way that often pops, much like an epic comic book frame, but a lot of the costumes and character designs make for eye candy as well. From Spider-Man’s new, simple suit to the outfits worn by the Hand. In fact, when those characters are in the same space, they face off in an incredible looking-action sequence with immaculate framing. By the way, said camerawork just so happens to be pulled off by Bill Pope, who in addition to collaborating with Destin Daniel Cretton in “Shang-Chi,” was also the cinematographer for “Spider-Man 2” and “Spider-Man 3” directed by Sam Raimi.

That Hand faceoff is just one of the many action scenes that stand out, including a chase sequence early on where we first see Spidey with the Punisher. Not only is it a good-looking scene, but it is just the first moment where we get a sense of Tom Holland’s brilliant chemistry with Jon Bernthal.

Courtesy of Sony Pictures – © Sony Pictures

Another incredible-looking aspect of the film is the swinging. As far as the “Spider-Man” movies go, I cannot name any that had outright awful swinging scenes, but there are some that stand out more than others. Even though I was not a fan of the film as a story, I did find the swinging scenes in “The Amazing Spider-Man 2” to be creatively done, immersive, and downright sick. “Brand New Day” has my favorite swinging scenes in a “Spider-Man” film since “The Amazing Spider-Man 2.” These scenes are absolutely fluid and awe-inspiring. I truly felt at times that I was leaping through Manhattan.

Not to digress, but I do not know how this is not amazing… This is the second movie released in the span of two weeks that has Tom Holland, Jon Bernthal, and Zendaya in it. I should note, for those who wanted more from these three as opposed to “The Odyssey,” good news, “Brand New Day” has you covered. Holland should be no surprise as he is playing the lead. Bernthal takes up a good amount of screentime and is maybe the funniest of all the characters in the cast. Well, except for one… I will leave that as a surprise. And if you like the sound of Zendaya’s voice, you will be hearing a lot more of it in this movie than “The Odyssey.”

I am not surprised that Peter Parker’s former friends, M.J. (Zendaya) and Ned (Jacob Batalon) are in this movie for as long as they are. For one thing, the two are genuinely likable and bring some soul into these flicks. I am surprised to say this as these are two characters who, quite frankly, I did not immediately latch onto while watching “Homecoming,” but I thought they improved vastly as more movies came out. Early on in the film, we see Peter watching his friends from the sidelines, or more accurately, via the Internet, as they attend M.I.T.. For those who missed “No Way Home,” M.I.T. was the top college Peter, M.J., and Ned were trying to get into, but all of them were rejected from the school, given the public’s shift on how they viewed Spider-Man following Mysterio’s death, before which he revealed the webhead’s identity. M.J. and Ned now forget Peter courtesy of Doctor Strange’s spell towards the end of “No Way Home,” but the two start off the story creating a time to remember at M.I.T., Peter is not tagging along. In fact, he seems to be skipping college altogether. It does make sense, as he is living on his own in New York and needs to pay rent to a landlord who I can only assume has eyes like a rodent.

Instead, Peter seems to start off this movie fighting one bad guy after the next. The information given in an early action montage is being fed at such a breakneck pace and serves as a solid start to the webhead’s journey. It establishes him as the hero New York loves, which for him, must be a nice change of pace after being chased by haters left and right in the last film. Maybe that is a bit of an exaggeration, as Doctor Strange’s spell may have helped Peter get out of one problem, but ultimately created another. He has to start his life from scratch. While onlookers through New York may shower Spider-Man with love, Peter is dealing with the fact that he has nothing left to lose. No one knows who he is at this point. His most prominent mentors, particularly Tony Stark and Aunt May, are both dead. All Peter can do is take life one day at a time. It has gotten to the point where Peter himself has almost forgotten who he is. Throughout the film, Holland’s Spider-Man reminds me a little of Robert Pattinson’s Batman. While Bruce Wayne was never erased from existence, I got the sense that there was more “Bat” than “man” out of the character, the Spider-Man in this film feels more Spider than Man. Both figuratively and literally.

If you are tired of “Spider-Man” getting sidelined by other Marvel characters in his own movies, then “Brand New Day” may be the closest the series has come to avoid doing such a thing. Note that I said this is “the closest” example and not that this film has outright kept such a thing from happening. After all, Bruce Banner plays a prominent role in this film, and the Punisher has a fair amount of screentime, but of the MCU “Spider-Man” titles, this may be the purest “Spider-Man” story yet. It feels, in certain ways, more traditional. Spider-Man has no shortage of tech around him, but the suit he wears throughout this latest installment is a lot simpler than the ones he had previously. We see moments of Peter trying to live up to the expectations of important people he lost in life. The stakes in this film are by no means small, but by the end of the film, it was Peter’s mission to “save New York” as opposed to the entire world, or the multiverse. Although the film does in some ways continue to acknowledge the multiverse, as well as the Spider-Men he met in “No Way Home.” It should not be too surprising as the MCU is still in its Multiverse Saga.

The vibe of “Spider-Man: Brand New Day” reminded me quite a bit of “Thunderbolts*” by the film’s conclusion. Much like how “Thunderbolts*” centers around its characters’ handling of their mental health, “Spider-Man: Brand New Day” features Peter Parker constantly trying to deal with the fact that his life has changed. Even as the years go by, it still hurts. The mental struggles are not just exclusive to the heroes, as the film’s antagonist also has struggles their own that we see through flashbacks.

While “Spider-Man: No Way Home” remains my favorite of the Tom Holland “Spider-Man” movies, “Brand New Day” comes with a perk that “No Way Home” lacks. I think one can find enjoyment in “No Way Home” even if it is their first “Spider-Man” or Marvel film, but I think the experience watching that movie would be ten times better if you watched “Far from Home” or some of the other “Spider-Man” stories. As an entry point, “No Way Home” is not the best option. Despite “Brand New Day” being the fourth film in this saga, it is a good place to start if you are a “Spider-Man” newbie. That is despite having familiar characters like Hulk and Punisher. Yes, it piggybacks off of “No Way Home’s” ending. But the film does a good job at bringing viewers up to speed on what Peter is up to, what happened in his life, and so on.  The only factors that would perhaps keep it from being the best entry point are Ned and M.J.. I appreciated the movie as someone who has grown fond of those characters in the original trilogy, as well as their connection to Peter. Even if you are not familiar with Ned and M.J., it is still fun to watch them. Their chemistry with each other, as well as Peter, is terrific.

The film is on the longer side, clocking in at 145 minutes. The pace does get a tad tiresome towards the end. At that point, things felt a bit slower than I would have anticipated. The movie is quite fast at the beginning, but almost the opposite towards the conclusion. For the most part, the pace works, but it is not perfect.

Speaking of credits, there is a post-credits scene in the film, which I will not reveal, but of the scenes that can be found in the end credits of MCU movies, I found this to be one of the weaker ones. Sure, it does play off of something that was previously highlighted in the movie, but it kind of feels lazy. For one thing, unlike most post-credits scenes in Marvel films, which are done physically and in-camera, this one, which only lasts 10 to 15 seconds max, is done on a virtual screen. Heck, even that stupid post-credit scene in “Ant-Man and the Wasp” where the ant plays the drums had more soul put into it! Sure, this new scene offers a tease of sorts, and I would probably would have been underwhelmed to have sat through the credits and not witnessed a scene at all, but the one we got sort of feels like a waste of time.

Keep in mind though, we are just talking about credits here. The post-credits scene did not ruin the movie. The movie is still awesome. It does a spectacular job handling Peter’s character, introduces a fairly compelling villain, has some great-looking and fun action sequences, and offers some really good performances from the entire cast. The pace of the film is not always perfect, it almost doesn’t know when it wants to end, and the story does get to a point where it is nearly overstuffed. Yet as I address these criticisms, the positives heavily outweigh the negatives when it comes to my thoughts on “Spider-Man: Brand New Day.”

In the end, “Spider-Man: Brand New Day” is some of the most fun one can have at the movies this summer. Tom Holland continues to prove that he is an incredible Spider-Man and offers another fine portrayal of the iconic hero. The film is at its best when its main character has to navigate various relationships. It is fascinating to see someone who feels he is alone trying to maintain some semblance of a social life when the opportunity comes up. I was glued to the screen whenever Peter had a chance to reunite with Ned and MJ. These three played off each other well in the previous films, so it is no surprise that they continue to do so in this one. The Punisher and Hulk are fine additions to the narrative, even if, again, some threads nearly make the whole story feel almost overstuffed. I have no idea what is in store for a Tom Holland “Spider-Man 5,” but if one is coming, and it probably is based on how much money this movie has earned so far, I would not mind seeing Destin Daniel Cretton come back to direct. As much as I praise Jon Watts for helming a solid original trilogy, I think Cretton a better eye for visuals. Of all the Holland “Spider-Man” films, “Brand New Day” is by far the easiest on the eyes. This movie has made more than a couple billion dollars worldwide, so chances are you have probably seen it by now, but if you have not seen “Spider-Man: Brand New Day,” consider this a recommendation. I am going to give “Spider-Man: Brand New Day” an 8/10.

“Spider-Man: Brand New Day” is now playing in theaters everywhere. Tickets are available now!

Thanks for reading this review! THIS SUNDAY, AUGUST 23RD, get excited! Because the newest episode of Movie Requests will be available to watch on Flicknerd.com and YouTube! This episode features the incredibly talented comedian Amy Sedaris, who suggested I should watch two of her favorite movies. You may know Sedaris from shows like “Strangers with Candy” and “At Home with Amy Sedaris,” as well as films including “Jennifer’s Body” and “Puss in Boots.” You can watch a promo of the episode above, where Sedaris gives her suggestions. What do you think they are? If you would like to watch the episode, you can do so here, but if you want the fastest way to see it, then by all means subscribe to my YouTube channel!

My next review is going to be for “I Want Your Sex.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Invite,” “Cookie Queens,” and “Tony!” 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 “Spider-Man: Brand New Day?” I mean, look at the box office… Of course you did. What did you think about it? Or, what is your favorite of the Tom Holland “Spider-Man” movies? Let me know down below! Scene Before is your click to the flicks!

Haunted Heist (2025): Lil Rel Howrey’s Middle of the Road Directorial Debut Has Good Ideas, Funny Jokes, But an Underwhelming Climax

Posted on by Jack Drees

“Haunted Heist” is directed by Lil Rel Howrey (Uncle Drew, Judas and the Black Messiah), who also stars in the film alongside Tiffany Haddish (Night School, Girls Trip). This is also Lil Rel Howrey’s directorial debut. The film is about four estranged friends who reunite at a strange house. As one of these friends plans to rob an antique from the house, its ghosts force the friends to overcome their differences to survive.

We need more comedies in theaters. This is an imperative you are likely going to hear on this blog for who knows how long. It is not to say that there are no funny movies at all, it is just that most of the comedy found in today’s films come from projects that are not necessarily comedies. While “Haunted Heist” is not a pure comedy, it is still more of a comedy than most of the movies hitting cinemas. In fact, “Haunted Heist” features several people known for their comedic talents, including Lil Rel Howrey, who also serves as the film’s director.

This is not the first time in recent years we have seen people known for comedy diving into horror. Jordan Peele took a dive into the genre with “Get Out” in 2017, which won him an Academy Award for Best Original Screenplay. That said, “Haunted Heist” is no “Get Out.” And I am certain the people making this movie acknowledge that. They know that this is not going to win any Academy Awards, but it does not mean the film is not entertaining. It contains a likable cast of characters who play off each other fairly well. The film is simple in premise, characterization, and for the most part, is all killer, no filler. It is not overly gory, but it can deliver on creeps and laughs at the same time.

This is a good, but not fantastic movie. It is one that I felt never once wasted a second of my time. It would have been shocking for me to feel that this movie wasted my time, especially considering the film’s runtime clocks in just under an hour and a half. This is a quick, easy, fairly mindless, fun watch. It does not insult anyone’s intelligence, but it also never breaks new ground. The scares are not exactly revolutionary, but they work from time to time. In fact, despite this movie having “haunted” in the title, I think the film’s comedy elements are slightly better than its horror elements. Whether or not this is a sign that you should see the movie is up to you. As previously highlighted, the cast contains a lot of people who are primarily known for comedy. Lil Rel Howrey…  Tiffany Haddish…  Andrew Bachelor… By the way, if you have never seen Bachelor do standup, do yourself a favor and find out if you can catch him at a show near you. I saw Jo Koy do standup in Portland, Maine, and Bachelor, or “King Bach” as he’s known on stage, opened for him. I split my sides from laughing so hard. Is he as hilarious on screen as he was on stage? Not quite, but he was still pretty funny. If anything, it is more of a matter of the material given to him as opposed to his presence. King Bach has a likable presence in this film, as do the other cast members, including the villains, who are undoubtedly two of the most racist characters in any movie I will probably end up watching this year. I am not complaining, these are the antagonists. If anything, as far as “bad guys” go, these characters were a perfect fit.

Despite what I just said, the film manages to deliver plenty of laughs, and I am not going to pretend I remember each and every one, but if I had to name a favorite joke in the movie, it is one involving a white person defending themselves for using the n-word. Although technically it is not so much the white person’s defense that’s funny, but rather a black person’s reaction to their use of the word. Between the timing of the dialogue, the shot selection, and the way everything was edited together, it was perfect. No notes. I am not going to spoil the whole joke. In fact, it is more complicated than it sounds.

The movie does have some problems, including the lighting. I get that much of this movie is set in a haunted house at night, and as a result, the movie is going to look a bit dark. There are some scenes that were a little too dark to the point where certain details felt underemphasized.

I also am not the biggest fan of the climax. Not that I thought the climax was the worst thing I had ever seen, but it felt a bit underwhelming, as if it were promising something bigger that we never got. The story did not conclude on the most satisfying of notes. While this film is well-paced, partially because of its quick and easy runtime, part of me is willing to argue that this film is a smidge too fast. If anything, it would have probably benefited from a slightly longer runtime just so the climax could aim a bit higher. You know how some people watch certain comic book movies and think the climax looks messy due to its sheer scale? This feels like the exact opposite. This is too small.

Another unique thing about this movie’s storytelling is that there does not appear to be a standout character. The film does in a sense put Ron (Howrey) and Shari (Haddish) at the forefront to the point where their characters are more fleshed out than the others, but the screenplay appears to give a nearly equal amount of time to each of the four friends so they can all have their moment. It balances out the cast to a degree, which is good, but it also keeps the characters from being a favorite or a least favorite of mine, which depending on how you look at the situation, could be a good thing or bad thing.

That may as well be a perfect excuse to segway into the fact that this movie kisses the line between good and bad. There are quite a few things I like about the movie, but also a nearly equal amount of things that I do not. But I am not going to pretend that at any point that this movie made me jump for joy or make me want to jab out my eyeballs. “Haunted Heist” is… Fine… Let’s go with that.

In the end, “Haunted Heist” is fun and energetic, but only to a certain degree. To my lack of surprise, the movie comes with some funny moments. But even though it has “haunted” in the title, I very rarely felt any sense of genuine terror or fear throughout the film. There are no scares that come to mind that I despise. Some tend to work. But I would be lying if I said the film made my skin crawl. Once again, this film is the directorial debut of Lil Rel Howrey. This is not the best debut, but I would not mind seeing another comedy done from his point of view. In a world where comedy and horror tend to be all about timing, the comedy was better-timed than the horror. This movie could have been better, but it nevertheless gets a thumbs up from me overall. I am going to give “Haunted Heist” a 6/10.

“Haunted Heist” is now available to rent or buy on VOD.

Thanks for reading this review! As a reminder, the next episode of the Scene Before original series, Movie Requests, is dropping on Sunday, August 23rd, and it is going to feature Amy Sedaris! You may know Sedaris from many projects including “Strangers with Candy,” “The Mandalorian,” “Elf,” and “At Home with Amy Sedaris,” the last of which is a show I highly recommend if you are able to watch it. It is one of the funniest things ever. The episode will be available to watch on Flicknerd.com and on my YouTube channel. Also, please subscribe to the channel and hit the notification bell so you can see the episode as soon as it drops!

My next review is going to be for “Spider-Man: Brand New Day!” Stay tuned! Also coming soon, I will be sharing my thoughts on “I Want Your Sex,” “The Invite,” and “Cookie Queens.” 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 “Haunted Heist?” What did you think about it? Or, what is a movie you enjoy that you find to be scary and funny? For me, this is easy. “Ready or Not” and “Ready or Not 2: Here I Come” are two bonkers, spectacularly written horror-comedies. Go check them out if you ever get a chance. Scene Before is your click to the flicks!

Her Private Hell (2026): The Most Pretentious Science Fiction Schlock of the 2020s

Posted on by Jack Drees

“Her Private Hell” is directed by Nicolas Winding-Refn (Drive, The Neon Demon) and stars Sophie Thatcher (Heretic, Companion), Charles Melton (Riverdale, Beef), Havana Rose Liu (Bottoms, Tuner), Kristine Froseth (How to Blow Up a Pipeline, Oh, Canada), Shioli Kutsuna (Deadpool 2, Invasion), Aoi Yamada (First Love, Perfect Days), Dougray Scott (Mission: Impossible 2, Taken 3), Diego Calva (Babylon, Bird Box Barcelona), and Hidetoshi Nishijima (Drive My Car, Shin Ultraman). This film is set in a futuristic, neon-lit, mist-covered metropolis. At this time, an entity referred to as the Leather Man is taking the lives of the women he comes across.

Courtesy of NEON – © Courtesy of NEON

Nicolas Winding-Refn is not my favorite filmmaker. In fact, I do not think his films are particularly my taste. But I do have a soft spot for his handling on visuals. He knows how to put together a good-looking project. I have seen “Drive” and “The Neon Demon” and even if I do not think the stories of those films are perfect, I do remember the projects for their vibes and visual splendor. When I saw Winding-Refn’s name attached to this project, I was intrigued. I was under the impression that he could deliver something worth my time.

If you were to ask me to describe “Her Private Hell” to you on a whim, I would probably stand before you in awkward silence. I say this despite watching the entire movie in a cinema and somehow not managing to fall asleep. I kind of wish I did however, because this movie was a nightmare to sit through. Part of me is struggling to describe what exactly “Her Private Hell” is in essence, but Hell is certainly what I found watching this.

Anybody remember “Megalopolis?” If you thought that film reeked of pretentiousness, then you are clearly not ready for “Her Private Hell.” This movie essentially uses its, admittedly, sometimes pleasing visual stimuli, to compensate for its lack of an engaging narrative. There are some decent action shots and well-lit scenes that stand out. Note that I said the visual stimuli is sometimes pleasing. There are quite a few moments in this movie in which I wanted to nearly avert my eyes altogether. I am by no means epileptic, but there was a point during this film where I am shocked I did not have a seizure. I do have sensitive ears however, and there is a moment where the music is cranked so loud that I was convinced that I was dragged into one of those modern bowling alleys that thinks it is more important to deck out the place in colorful lighting as opposed to, well, provide a good bowling experience. Safe to say, I nearly left this film with a headache.

Watching this movie evokes the feeling of entering a trendy art museum with tons of colorful lighting, neon, special effects. But as soon as I leave said art museum, those are the parts of the experience I will remember the most as opposed to the exhibits within. When it comes to anything in this movie involving story or characterization, there is nothing that sparks my interest until act 3. This film strikes a remarkable first impression with its grand score, heaping production value, and concept of a mind-bending future. I even thought I would end up listening to Pino Donaggio’s music in spare time. But part of me is apprehensive with that idea as it will most likely remind me of the complete and utter boredom I had to endure during this film’s slog of a runtime. The movie is not even two hours. Yet it certainly feels like it is just a bit longer than that.

This is one of the slowest movies I had to sit through all year. I do not mind a slow movie as long as the content within it keeps me engaged. “Her Private Hell” tries to do that on every level. The film evokes the cyberpunk feel of “Blade Runner,” a movie which is also pretty slow itself. But unlike that 1982 classic, “Her Private Hell” does not present a cohesive story or series of events that kept my eyes and ears onboard. Does the dialogue make up for it at least? Heck no! In fact, it only makes things ten times worse! I understand that this movie is not in our reality per se, but I was not able to immerse myself in this film’s reality that showcases some of the cheesiest sounding lines I remember hearing in a sci-fi flick. There’s nails on a chalkboard, and then there’s the incredibly sluggish delivery given by some of this film’s cast.

I would love to sit here and suggest that this movie makes up in its style for what it lacks in substance. Thankfully, it does in certain ways. Yet as I look back on my experience, I remember not being able to buy one or two sets in particular. There is one set in this movie that has tons of crystals in the background. It is almost as if someone on the crew looked at the Meta Crystal stage from “Super Smash Bros.” and decided to make a more colorful, three-dimensional space out of it. I was expecting Metal Mario to show up at some point to show everyone who’s boss. There is a particular polish to this set that reeks of artificiality. It gave me high school play or “Saturday Night Live” vibes.

Story-wise, the only time I found myself somewhat engaged is whenever the movie enters a relationship drama between two women and one man. I will not spoil much about it, but when it comes to both women in particular, I was intrigued as to what was going to happen to them in relation to this matter. I wish I could have felt this way through the rest of the film’s content, but this is proof that we cannot have nice things.

There is an antagonist in this film referred to as the Leather Man. The film convinces me its characters fear this individual, but it somehow lacks the ability to make me fear him in the same way, or feel for the characters as they are fearing him. It is the difference between watching something and experiencing something if that makes any sense. Never once did I look at the Leather Man and tremble or get a bad vibe. Even when the movie showcases him doing immoral or terrible things, I sat in my seat as still as can be, desperately waiting for the credits to roll.

If I were to watch this movie on mute, maybe I would have a higher opinion of it. “Her Private Hell” is, again, in certain ways, visually pleasing. But whenever I had to dredge through the film’s cringeworthy dialogue, ostentatious nature, and snoozefest of a story, it only drags that opinion off a cliff.

In the end, “Her Private Hell” is one of the worst movies of the year. It is pretentious crap to the tenth degree. The best films can make you feel all kinds of emotions. But “Her Private Hell” simply made me feel frustrated and tired. While I have respect for Nicolas Winding-Refn’s visual approach, this movie makes me wonder if his work is actually for me. Part of me thinks it is not. Does the cast do a good job with the material given to them? One could argue they do. For all I know, everything I watched was as the director intended. But it does not mean the material was worth my time. I am going to give “Her Private Hell” a 2/10.

“Her Private Hell” is now playing in select theaters. Tickets are available now.

Thanks for reading this review! I am happy to announce that the ninth episode of MOVIE REQUESTS is in the works and it is going to feature the funny and charismatic Amy Sedaris! You may know Sedaris from projects like “The Mandalorian,” “Strangers with Candy,” and “Elf!” For the first time in the series, I will be reviewing two movies from the same person! What do you think they are? Leave your predictions in the comments! The episode will be posted here on Flicknerd.com and on my YouTube channel, which by the way, please subscribe to my YouTube channel if you have not done so already! Stay for the episode coming SUNDAY, AUGUST 23RD!

My next review is going to be for “Haunted Heist!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Spider-Man: Brand New Day,” “I Want Your Sex,” “The Invite,” and “Cookie Queens.” 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 “Her Private Hell?” What did you think about it? Or, what is the most pretentious movie you recall seeing recently? Let me know down below! Scene Before is your click to the flicks!

Gail Daughtry and the Celebrity Sex Pass (2026): The Wizard of Oz Meets Hall Pass Meets The Guardians of the Galaxy Holiday Special

Posted on by Jack Drees

“Gail Daughtry and the Celebrity Sex Pass” is directed by David Wain (Wet Hot American Summer, Role Models) and stars Zoey Deutch (Zombieland: Double Tap, Juror No. 2), John Slattery (Mad Men, Spotlight), Ken Marino (Wet Hot American Summer, Burning Love), Miles Gutierrez-Riley (The Wilds, Agatha All Along), Ben Wang (Karate Kid: Legends, American Born Chinese), Sabrina Impacciatore (The Paper, The White Lotus), and Jon Hamm (Mad Men, Keeping Up with the Joneses). This film follows Gail Daughtry, whose husband-to-be winds up having sex with his celebrity hall pass. Once Gail comes to this realization, she realizes there is only one appropriate action to get even… To seek out her celebrity hall pass, Jon Hamm, and have sex with him.

There is a saying that sex sells. Well, unless your sex-centric movie is coming out the same weekend as a highly unnecessary “Moana” remake. Granted, “Moana,” as of this writing, barely made its budget back, so I guess it is not doing as hot as Disney expected. Either way, as I ventured on my quest to avoid the much unneeded “Moana” reimagination, one movie that caught my eye was “Gail Daughtry and the Celebrity Sex Pass.” One vision I often have as a potential screenplay but have never been fully able to put together is the idea of someone hooking up with a real life celebrity crush. When I discovered there was a comedy coming out about a woman trying to sleep with Jon Hamm, I knew I had to be there opening weekend.

I am glad to say that “Gail Daughtry and the Celebrity Sex Pass” is not just good, but one of the funniest movies I have seen in some time. I saw this film on its opening weekend at my local multiplex. I was the only person in the 35 seat auditorium. Yes, 35… The room is as small as Rhode Island. It makes me kind of sad that no one showed up to support this movie. But it was also a blessing in disguise, as it allowed me to laugh as hard as humanly possible due to no one else being in sight. And believe me, this movie is full of laughs.

This is “The Wizard of Oz” meets “Hall Pass” meets “The Guardians of the Galaxy Holiday Special.” No, seriously, if you have seen part of that last example, there is an important point in the story that is vastly similar to that Disney+ original. No, Kevin Bacon is not in this movie. I sincerely Apollo-gize to the 13 people who give a crap.

Another film this reminds me of is “Happy Gilmore 2.” And by that I mean, this film feels like a significantly more watchable version of it. When I watched the long-awaited, gargantuanly inferior sequel to Adam Sandler’s classic, one thing that stood out to me is how many cameos the film had. I remember one or two being funny. I particularly like the Ken Jennings one towards the beginning. But the film as a whole wound up coming off as an excuse to shove in as many recognizable faces as humanly possible to the point where it superseded the importance of the story. It was almost overwhelming. There are plenty of prominent celebrity appearances in “Gail Daughtry and the Celebrity Sex Pass,” but quite a few of them effectively contribute to the story. There is one scene involving “Weird Al” Yankovic that had me in stitches. Look forward to it.

In today’s world of remakes, “The Wizard of Oz” is a film that I am both shocked and delighted has not been redone as a major release. “Gail Daughtry and the Celebrity Sex Pass” is one of the closest examples that comes to mind of the 1939 movie becoming reimagined for today’s generation. For instance, this film starts in a typical 16:9 ratio one would normally find on a flat-screen TV. But as soon as Gail arrives in Los Angeles, it changes to scope widescreen. Kind of like how the picture changed from black and white to color in “The Wizard of Oz.”

“Gail Daughtry and the Celebrity Sex Pass” puts a modern twist on the classic hero’s journey that Dorothy takes in “The Wizard of Oz.” However, instead of going from Kansas to a fantasyland, this film’s protagonist flies from Kansas to Los Angeles to fulfill her destiny. One that is undoubtedly much more twisted. …Okay, maybe not, there are no twisters in this movie. During her travels, she meets all kinds of characters along the way, each one dealing with their own hardships. There is Caleb (Ben Wang), who works for the Creative Arts Agency and runs into a complication with said job. There is Vincent (Ken Marino), a former paparazzo who has made it his life’s mission to photograph Jon Hamm himself. There is also Jon Slattery. Yes, that one – whose lack of a social life with Jon Hamm after “Mad Men” quickly becomes evident.

Of course, this movie also features Jon Hamm as himself. I thought the way they used him was perfect, and once again, going back to “The Wizard of Oz,” reminded me a lot of a particular character from that film. One person standing in the way between our heroes and Hamm is Terrance (Tobie Windham), a security guard who repeatedly threatens the group saying he is going to make them sick. Windham is good enough in Terrance’s shoes to the point I honestly cannot imagine anyone else in this minor role. Maybe except Craig Robinson, because when the character first showed up on screen, that is who I thought was playing him for some reason.

This movie feels like a breath of fresh air after having to sit through “The Breadwinner” weeks prior. In fact, one of my complaints about that movie is how much it felt like a commercial. There is no shortage of recognizable brands in this film, but they are used in smart ways. There is a scene where we see Gail and Otto arrive at a hotel in Los Angeles. What follows is a moment that made me die laughing based on what I knew about the Los Angeles tourist scene. I will not give much away, but it involves prominent brands like McDonalds, Starbucks, and Foot Locker.

“Gail Daughtry and the Celebrity Sex Pass” has so much fun with its perhaps unlikely premise. Much like “Bottoms” did a few years ago, “Gail Daughtry and the Celebrity Sex Pass” successfully managed to make me believe the unbelievable. The film requires quite a bit of suspension of disbelief, but I found myself completely immersed in what this picture had to offer. Everything from the horned-up premise to the over the top antagonist played with excellence by Sabrina Impaccitore to the celebrities getting involved in the story to the hilarious screenplay that sometimes addresses the most minor details in gutbusting ways.

In the end, “Gail Daughtry and the Celebrity Sex Pass” is one of the funniest movies of the past couple years. I may have a bias as this film constantly makes fun of the entertainment industry and Los Angeles, two concepts I hold deep in my heart. Yet at its core, “Gail Daughtry and the Celebrity Sex Pass” is an action-packed adventure that sees someone trying to realize a fantasy that I imagine everyone wants to fulfill at some point in their lives. In 1939, “The Wizard of Oz” showed the world that there is no place like home. Fast forward to 2026, “Gail Daughtry and the Celebrity Sex Pass” showed the world that there is no place like Jon Hamm’s bed. I am going to give “Gail Daughtry and the Celebrity Sex Pass” an 8/10.

“Gail Daughtry and the Celebrity Sex Pass” is now playing in theaters. Tickets are available now.

Thanks for reading this review! In case you missed it, last Sunday, I dropped the newest episode of the Scene Before original series, “Movie Requests!” This newest episode features “Lord of the Rings” star Elijah Wood, who suggested I should watch “Festen,” also known as “The Celebration!” To find out my thoughts, click the video above! Also, if you enjoy the video, leave a like and subscribe to my YouTube channel, that way you can check out new episodes of the series as soon as they drop!

My next review is going to be for “The Odyssey!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Her Private Hell,” “Haunted Heist,” “Spider-Man: Brand New Day,” “I Want Your Sex,” and “The Invite.” 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 “Gail Daughtry and the Celebrity Sex Pass?” What did you think about it? Or… Let’s be honest… Who’s your celebrity crush? Just say it! They might be listening and will likely decide right on the spot whether or not they are willing to accept your nonsensical desires. You miss 100% of the shots you don’t take! So, Ana de Armas, if you are reading this, I am single. Would you like to go grab an ice cream sometime? Your move. Scene Before is your click to the flicks!

Obsession (2025): Partner Problems Ensue in This Terrifying Film

Posted on by Jack Drees

© 2026 – Focus Features

“Obsession” is directed by Curry Barker (Milk & Serial, The Chair) and stars Michael Johnston (Teen Wolf, Slash), Inde Navarette (Superman & Lois, 13 Reasons Why), Cooper Tomlinson (Roommates, Milk & Serial), Megan Lawless (The Hate U Give, The Girl from Plainville), and Andy Richter (Conan, Madagascar). This film is about Baron “Bear” Bailey, who has a crush on his friend and co-worker Nikki. When he uses a One-Wish Willow to get his crush to love him, Bear soon realizes that Nikki becomes a bit a more clingy than he anticipated.

So, I finally saw it. This is the movie that I said I would watch week after week after week after week. Even when it dropped on VOD, I said to myself, no, I am going to check this out in a theatre. I essentially have a self-imposed rule that I will only review movies as long as I see them in theaters. Therefore, “Obsession” is getting my two cents.“Obsession” is one of several films recently that has caught my eye, not just because of the content, but because of who was making it. This film is the product of Curry Barker, who prior to this film, was known for his YouTube background. Barker is just the latest YouTuber to take their talents and translate them to feature filmmaking for the cinema. I am glad to see more of these people getting their foot in the door, especially if they make a good movie. In the case of “Obsession,” I would say this is a good movie.

Is “Obsession” groundbreaking? No. It is very simple in terms of its concept and structure. But it does not mean it lacks cleverness. The concept of the film is that Bear wishes that his crush, Nikki, would love him more than anything in the world. The good news for him is that the wish comes true! The bad news is the wish comes with various consequences. And this should not come as a huge surprise based on the exact wording Bear uses to declare his wish. He wishes that Nikki would love him more than anything in the world, and boy does she. There is love, and then there’s whatever kind of attachment Nikki has for Bear. It is a kind of love that is so deep that you would think she would never leave Bear’s side. It results in some eerie scenes and concepts that kind of makes me glad I am still single at the age of 26. I will not spoil what happens in this movie, and while I recommend it to a lot of audiences, I may steer clear of recommending it to cat people given one or two of the horrific concepts that this movie handles.

Despite being single, I have had a crush or two throughout my life. As a single man who wonders where things could have gone with those crushes had I made the right move at the right time, I adored this movie. And I think many other people are going to find something to appreciate about it too. Relationships are hard, I will not deny that. But arguably just as hard, at least in today’s world, is initiating a relationship. We see this play out between Bear and Nikki, who are good friends at the start of the film. As the story progresses, Bear increasingly gives Nikki the idea that he has feelings for her. When Bear fails to confess those feelings, he uses a Wish Willow to make Nikki fall in love with him. If only it were that easy. Not all relationships are created equal, but one of my biggest fears is if I had a good friend, and I wanted to be more than friends with said person. Asking for that to become a reality is daunting, considering what we have is supposedly great.

As highlighted earlier, “Obsession” is good, but not groundbreaking. Part of that is highlighted by some of the choices in the screenplay. The first two acts of the film to me are clear highlights. I found them relatable, sometimes fun, and they kept me hooked. As soon as this movie dived into act three, I found just about everything that happened next to be quite predictable. I do not mind predictable movies, but there was a level of predictability in this one that sort of lessened the experience. There is also a moment where two people are talking on the phone, only for one person to say to meet them at “x location,” suggesting “it’s important.” If you are familiar with this frankly, beyond insufferable cliche, I think you can probably imagine what happens next.

The screenplay is not entirely flawed. Not even close. The dialogue, even from some extremely minor characters like Carter Harper (Andy Richter) is brilliantly executed. The film’s standout star, Inde Navarette, is given a goldmine of material to work with as Nikki. She nails each scene. I did not know her name before this movie, but I am ecstatic to know it now, because I think her killer performance is likely an indicator of how bright her career is going to be.

I also like how this film handles the character of Bear (Michael Johnston). Because the moments leading up to that big wish of his, I was rooting for him, and I did not envy being out of his shoes. This is a character that in very little time, I found myself attached to based on his one fantasy. Some say there are plenty of fish in the sea, but he seemed so dedicated to his future with his crush that I could not help but admire his efforts to make that happen. If anything, Bear’s journey felt like it could have belonged in an excellent short film. But to my pleasant surprise, the film expands its simple concept and fleshes out its main character nicely. Though it should be noted that “Obsession” just so happens to be inspired by Curry Barker’s own short. Regardless of the length, this project made me a Curry Barker fan. I am curious to see what he does next, whether it is another small budget horror movie, or a super-sized epic. Even though this movie is yet another spin on “The Monkey’s Paw” or any other “be careful what you wish for” tale, I think Barker did a good job at bringing it to life and I would like to see him continue making quality cinema.

In the end, “Obsession” is a solid horror flick, even if it is fairly familiar. In fact, Curry Barker himself says he based this movie partially on an episode of “The Simpsons.” Even so, I thought this was a lot of fun. It showcases some pure chemistry between Bear and Nikki, from the moments where the two are simply friends to the point where they become something else entirely. The entire cast does a good job, but Inde Navarette in particular is given quite a bit to do and she kills her role. This is a role with awards potential written all over it. The third act of the film is the weakest point, but it does not mean it is necessarily awful. It is just the most inferior part of what is ultimately an enjoyable flick. If you are into horror, this is worth checking out at least once. I am going to give “Obsession” a 7/10.

“Obsession” is now available to watch in theaters, on VOD, and on Peacock for all subscribers.

Thanks for reading this review! As a reminder, THIS SUNDAY, AUGUST 2ND, I will be sharing my latest episode of Movie Requests, featuring special guest Elijah Wood! If you want to see the promo for the episode featuring my interaction with him, click the video above! I had a chance to meet Wood in Philadelphia earlier this year. On Movie Requests, one does not simply walk in and do a film review, they must go find the one guest to rule them all! If you want to see this episode as soon as it drops, please subscribe to my YouTube channel! It will also be available here on Flicknerd.com in a dedicated post.

My next review is going to be for “Maddie’s Secret!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Gail Daughtry and the Celebrity Sex Pass,” “The Odyssey,” “Her Private Hell,” “Haunted Heist,” and “Spider-Man: Brand New Day.” 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 “Obsession?” What did you think about it? Or, given the recent stream of online content creators transitioning to feature filmmaking, what is a movie you enjoyed recently made by someone famous for creating online content? Let me know down below! Scene Before is your click to the flicks!

Jackass: Best and Last (2026): Old Meets New in This Big Pile of Laughs

Posted on by Jack Drees

© 2026 – Paramount Pictures

“Jackass: Best and Last” is directed by Jeff Tremaine, who also directed the previous “Jackass” movies. This film’s cast includes Johnny Knoxville, Steve-O, Chris Pontius, Wee Man, Dave England, Danger Ehren, Preston Lacy, Poopies, Zach Holmes, Jasper, Rachel Wolfson, and Dark Shark. This is the fifth, and supposedly final “Jackass” movie, which showcases a mix of old and new stunts, footage, and shenanigans from its team of foolish daredevils.

When I watch movies, I traditionally make an effort to check out any previous installments before seeing the big, fancy, new installment. In 2015, I binged all the “Fast & Furious” movies before watching “Furious 7” in the theater. In 2017, I did that with the “xXx” movies before watching “Return of Xander Cage.” In the case of “Jackass: Best and Last,” I cannot say I have taken monumental efforts to familiarize myself with the lore of the property. Granted, what is there that I need to know aside from the basics? A freakshow named Johnny is the head honcho, and people do stupid, nonsensical things for others’ amusement.

I have put on an episode of “Jackass” here and there and found myself entertained. I am a casual watcher. When it comes to the movies, the only one I have seen is “Jackass Forever,” the installment prior to this newest one. But I had such a balls out time watching that film in theaters that I knew I had to be at the next “Jackass” movie opening weekend. Little did I know, sitting in that AMC auditorium as a 22-year-old college student that the following film would probably be the last one.

I am not going to pretend I had any kind of raw, emotional connection to the “Jackass” franchise. Had I watched it more, this film would have served as a more emotionally fulfilling conclusion perhaps. I know names from the franchise. I know faces from the franchise. Though it is not like I had MTV on all the time growing up watching these hooligans engage in tomfoolery. Though with a film like “Jackass: Best and Last,” this is not necessarily something in which I would need an emotional connection to fully enjoy. Watching grown men hurt themselves, while painful for those on the receiving end, is also sometimes hilarious.

In addition to its comedic emphasis, “Jackass” also has a dramatic factor, almost like watching Tom Cruise hang on the side of a plane like he did in “Mission: Impossible – Rogue Nation.” Only thing is, typically as I am watching Cruise pull off a big stunt, it is for a work of fiction. I would imagine if Cruise, in real life, did not pull a stunt like that off and perhaps died while trying to do so, the work would be scrapped. As I am watching some of the stunts in “Jackass: Best and Last,” I have a strong feeling that everyone involved is going to be okay. In fact, this movie appears to have fewer stakes than ever considering how it is using a lot of older footage. Yet at the same time, I am watching some of these clips and part of me simply wants to look away because I am nervous that the person in said clip is going to get hurt, possibly killed.

It does not mean the clips are not funny. In fact, even though I have seen some of these clips already, such as “Magic Trick,” they hold up after some time. That said, it is slightly disappointing to have the last movie of the franchise be a greatest hits compilation. If anything, it feels somewhat lazy compared to having the cast go all out and commit to doing their most ambitious dares yet from start to finish. At the same time, I kind of get it, some of the cast members are not spring chickens. That said, this feels more like a combined series finale with a clip show. It is kind of like when “Seinfeld” had a big final episode, as well as a separate retrospective. Only in the case of this latest “Jackass” installment, it is as if those episodes were combined into one project.

Of all the “Jackass” projects, I would have imagine that “Jackass: Best and Last” may be the weakest entry point of the franchise. Not necessarily because the main cast has aged, but rather because the movie feels the most like a love letter to those who stuck around so long. This movie feels like a culmination at times, as if it were building up to something. When I watched the last movie, “Jackass Forever,” there was no real buildup or culmination. It was just a group of people acting like idiots the entire time, and somehow it worked. This is not to say that “Jackass: Best and Last” has a plot or a story. Things happen, of course, but as a “Jackass” movie, this has more layers than I would expect.

Yet as I say all this, some of these bits were first time watches for me, like Big Red Rocket from “Jackass Number Two.” As an individual bit, I thought this was quite entertaining, as were some of the other vintage clips like Brad Pitt’s Abduction. While I would have loved to have watched these clips for the first time during their original run, I do appreciate getting an opportunity to have my first experience with these clips be in a theatrical environment with a crowd of people. Granted, it was a small auditorium. It held less than 50 people, which, goes to show the downside of reclined seats in cinemas nowadays. I know people say they are comfortable, but goodness, has the theatre lost a sense of community because of them. Although on that note, there are some scenes in this film that make for some delicious popcorn entertainment, but others that would make for weird watches while eating. Just a warning.

This is supposedly the last “Jackass” movie. There are moments that contribute to its finality and wrap things in a satisfying bow. If it truly is the end, then the franchise has had a good run. Johnny Knoxville and crew have done plenty to entertain the masses over the years, even if they almost killed themselves doing some of those things. But frankly, if the “Jackass” name were to live on without Johnny Knoxville, I might still show up. It is kind of like “Jurassic Park.” It does not matter who is playing the lead as long I get to watch dinosaurs trying to eat people. “Jackass” delivers pure entertainment out of daunting situations, twisted games, and scary stunts. It is balls to the wall fun. “Jackass: Best and Last” is no exception to the rule.

In the end, “Jackass: Best and Last” is a lot of fun, even if it has hints of, admittedly, somewhat understandable laziness. Seeing the main cast and crew come back together one more time made for an absolutely entertaining ride. If this is the end of the road, it is not the worst way to go out. I have no idea if this movie is going to have a ton of replay value down the line. Although if anything, it does make me, as a “Jackass” novice, want to go back and see parts of the franchise that I may have missed. “Jackass: Best and Last” has plenty of laughs and I am going to give it a 7/10.

“Jackass: Best and Last” is now playing in theaters. Tickets are available now.

Thanks for reading this review! As a reminder, this very blog, Scene Before, is now 10 years old! In honor of the 10th anniversary, I am working on an original video series, Movie Requests, and my next guest who will be on the series is “Lord of the Rings” star Elijah Wood! I got to meet him in Philadelphia over the spring, and I got to hear his film suggestion. What did he pick? Find out on SUNDAY AUGUST 2ND here on Flicknerd.com! If you want to see the episode as fast as possible, please subscribe to my YouTube channel!

My next review is going to be for “Obsession!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” “The Odyssey,” “Her Private Hell,” and “Haunted Heist.” 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 “Jackass: Best and Last?” What did you think about it? Or, what is your favorite “Jackass” episode or movie? Part of me wants to dive into the franchise a bit more, so I will gladly take any recommendations! Scene Before is your click to the flicks!

Supergirl (2026): A Colorless, Boring Super Snooze

Posted on by Jack Drees

“Supergirl” is directed by Craig Gillespie (Dumb Money, Cruella) and stars Milly Alcock (Upright, House of the Dragon), Matthias Schoenaerts (The Danish Girl, Red Sparrow), Eve Ridley (3 Body Problem, Emerald), David Krumholtz (The Santa Clause, Harold & Kumar Go to White Castle), Emily Beecham (Daphne, 1899), David Corenswet (Pearl, Twisters), and Jason Momoa (Aquaman, A Minecraft Movie). This film is about Kara Zor-El, also known as Supergirl, as she races to hunt down an adversary who harmed her dog, Krypto.

The DC Universe started with a big bang last year with the incredibly enjoyable “Superman.” It brought a particular flair to comic book movies that gave me a solid first impression of what its cinematic universe could be. It was helmed by James Gunn, who alongside Peter Safran, is forging the timeline in which this movie belongs. Now a year later, we get “Supergirl,” directed by Craig Gillespie. While I have not seen all of his filmography, he can crank out a decent picture. “I, Tonya,” while not the best sports movie I have seen, was stunning to look at and brought an excellent performance out of Margot Robbie. More recently, he did “Dumb Money,” which is not only based on an unbelievable true story, but it is also very funny. I recommend checking both movies out.

Craig Gillespie has proven that he can be a visionary director. I thought his work on “I, Tonya” came off as something that only he could helm. Sadly, “Supergirl” feels like it was made by a committee. For all I know, “Supergirl” was Gillespie’s vision. He could have had final say on just about everything. I highly doubt it, as this is a cinematic universe, and certain checkboxes need to be marked off so future stories can happen and the timeline is not ruined. That said, if Gillespie made most of the choices as this film’s director… I will praise him in certain regards.

The action scenes, while not the best I have ever seen, are sometimes fun to look at. I also saw the film in IMAX, which features an exclusive, taller aspect ratio in select scenes. I thought the occasional enhancements added to some sequences. They did a better job at enhancing the experience than “Mortal Kombat II,” which was a fun movie, but the aspect ratio switches in that project’s case were oftentimes distracting. I thought he also got some good performances out of the cast, most especially Jason Momoa. Although to be fair, I could clearly tell Momoa was just happy to be in the movie regardless of the script or director, simply because he finally got to portray Lobo, a role some would argue he was practically born to play.

But who am I kidding? I nearly fell asleep watching this movie.

If anything, “Supergirl” feels like it is directed by someone doing a lackluster James Gunn impression. I like James Gunn, for the record. In fact, he even produced this movie. I think Gunn has some bangers on his resume including “Guardians of the Galaxy,” “Slither,” and even “Superman,” which kicked this universe off. But “Superman” had elements of a project that James Gunn would normally write or direct, but those elements are not entirely effective in this case. I would want to give points in regards to keeping the cinematic universe consistent, but at the same time, not really, because I thought “Superman” was fun whereas “Supergirl” was melatonin in the form of a comic book movie. “Superman” had quite a few laughs, some good music, and a great villain in Lex Luthor. “Supergirl” on the other hand was not that funny, had some odd song choices, and had a fairly forgettable antagonist.

When I hear the terms “summer movie” or “summer blockbuster,” I think of big, loud, fun, adventurous escapes where you can munch popcorn and have a good time. This is not the only kind of movie that should come out during the summer, but that is often the stereotype that comes to mind. I expect to go into movies featuring superheroes, robots, dinosaurs, fast cars, or even robotic dinosaurs that are able to turn into fast cars, you name it, expecting to have fun. Sitting through “Supergirl” gave me the sense I was sitting in a cosmic DMV. The film felt soulless and tiresome. I hate to say that especially because this film follows an incredibly joyous and exciting “Superman” film from the year before.

I knew exactly how my experience with “Supergirl” would wind up from the opening scene. One of the first things shown on screen in this tinkle-riddled terror of a film is Krypto the Superdog pissing on a newspaper. I will not judge. When you gotta go you gotta go. But you took this adorable, albeit sometimes vicious sidekick that Superman had in his movie last year, and he does one of the most unattractive things any creature can do. Also, this is not the only reference to things coming out of particular holes during the movie. As these references continued through the dialogue and visuals, I was almost convinced someone was trying too hard to cater to the under 5s.

In fact, much of the movie revolves around Krypto. Well, sort of. Krypto does not exactly do much in this film. Krypto the Superdog is not doing a ton of “super” things. Part of it is due to what ends up being Supergirl’s inciting incident. Krypto gets shot with an arrow, leaving Supergirl with three days to keep him from dying. On paper, this should work. People want to see a dog’s owner kick butt whenever their pet gets put in peril. This could have been the “John Wick” of comic book movies! Maybe we will get to see Kara kill a guy with a pencil. For whatever reason, the movie does not give enough time to fully engage me into Kara and Krypto’s connection. I may sound like a moron, because I thought “Superman” did a good job at handling Krypto. He was cute, but not cuddly. This movie fails to give the dog a role this time around that matches the decency of the one he had in his previous go. When it comes to Krypto’s presence in “Supergirl,” he is nothing more than a pawn.

For those who have not been on the Internet that long, chances are you will run into, get this, sexist men who think women belong in the kitchen. Imagine that! If you clicked on this blog to see if there was a man running it with that viewpoint, you have come to the wrong place. I am not a woman, so my opinion here may not be as valid, but I think women deserve a better movie with its particular lead. This is not to say that Kara is a weak character. Judging by her powers and some of her actions in the film, she is quite strong. However, I wish the film gave her more of a personality. Yes, we see she loves to party. Yes, we see she loves her dog. But I never found myself attached to the character. Milly Alcock is not given the best material to work with, which may play into why a good portion of her line delivery feels flat in every other scene.

Part of my lack of enthusiasm towards Kara may be part of the film’s intentions. There is a line in this film given by Kara that sums up the differences between her and her super-cousin, Clark. She says that Clark sees the good in everyone, whereas she sees the truth. First off, did she steal Wonder Woman’s lasso? Give that back! It belongs to her! Second, I reflect on last year’s “Superman” with the sense that not only did I have fun watching it, but Clark maintained a sense of fun despite the many obstacles standing in his way. There is almost no fun to be had in “Supergirl.”

The film tries to be comedic, but I rarely even chuckled. In fact, while my auditorium was not quite sold out, there were a decent number of people there of various ages. I do not think a single person uttered a sound during the entire movie.

To top things off, Superman does appear in select sequences of the film, all of which are arguably the most fun parts of the entire runtime. “Supergirl” to DC sort of plays like “The Book of Boba Fett” does to the “Star Wars” universe. Not only does the film come off as cheap and fail to meet a certain standard, but I found the best part of it was when another character perhaps equal in terms of prominence got some of the spotlight. In this case, Superman is The Mandalorian, who shows up partway through the project and reminds the audience that it is time to have some fun. Supergirl, the “Boba Fett” in this example, is the character who, to my most unpleasant surprise, makes me want to fall asleep whenever she is on screen. Do I despise this character? No. I just was not that engaged with her, partially because I was not convinced she was wholly engaged in her own journey.

Going back to the time when I initially watched this film’s first trailer, I had a bad feeling about how this experience would go, but I was hoping to be wrong. Much like one particularly political intro to a 2016 episode of “The Simpsons,” I must say, “being right sucks.” There is a line from that trailer that made me nearly facepalm. Specifically, when Supergirl has a bunch of guns pointed at her, and she says to everyone holding said guns, “This is not going to end well – for you guys.” She sounds like a stand-up comedian dealing with a heckler, but she is turning her gears way too hard as she hopes to come up with a clever comeback, all the while she has nothing in the tank so she gives a response that makes said comedian go, “better than nothing.”

In fact, speaking of firsts, this script just so happens to be a first. The screenplay is written by Ana Nogueira, who has previous writing credits in theatrical productions and a short film, but “Supergirl” is her first feature-length script. You have to get your start somewhere, but I am not convinced that doing a second film in a cinematic universe featuring well-known comic book characters is the best way to get your feet wet. However, I do think it is smart to have a woman write the screenplay. I think a female perspective would enhance a project like this one. That said, I wish the screenplay had more to write home about and did not make me want to snooze. There is not a single character in the lineup that I found compelling, even if their respective performers are showing signs of effort.

If there is one thing I think DC has done better than Marvel, it is prioritizing female leads in their own films. We saw it in the DCEU with “Wonder Woman,” and with the current DCU, it only took two movies to make such a reality happen. Granted, we also live in a market that over time has likely become more noticeably open for female-led superhero movies. Plus, as general concepts, Supergirl and Wonder Woman have greater longevity than say Captain Marvel or Black Widow. I highly doubt that “Supergirl” is the second film simply because a woman is the lead. Though if this universe began in 2008 like the MCU did, chances are the world might not have been ready for a female-led superhero film following the failures of Marvel’s “Elektra” and DC’s “Catwoman,” at least from a financial point of view.

This is the second film in the DCU, so the timeline is still young. It is not easy to know where things will go from here. There’s “Clayface,” which sounds promising. Another “Superman” project is on the way. Also, just because this one project was a dud does not mean I am not looking forward to those other two. Sure, maybe my overall optimism about this timeline is lower than it was previously, but I am still onboard. In fact, for all I know, this universe could still turn out better than the previous one. We still have not gotten a deep dive into characters like Batman and Wonder Woman. Those characters are arguably more important to the overall state of DC than Supergirl. If those characters are featured in projects that are not up to a certain standard, then maybe an instant reboot may be necessary. The same can be said if future projects, regardless of the character, happen to showcase the same level of mediocrity that “Supergirl” did.

Also, going back to what I said about this film’s soundtrack, this film has one of the weirdest song placements I remember hearing in any movie ever. Towards the film’s end, there is a big action scene, the picture morphs into slo-mo, and in the background, Jimmy Eat World’s song “The Middle” starts playing. This is a great song. I love this song. I used to work at a Staples location, and this song would play constantly during my shifts. It was one of the highlights of my time there. Too bad they ended up playing a soft, quiet, cover version of it. For all I know, maybe there was a reason why they could not use the original song, but this cover version was not a good fit. Speaking of things that are not good fits, this movie was not exactly a good fit for my schedule. There is a list of more worthwhile things I could have done with my time. Watching this movie kept me from doing those things. Time is too valuable to waste on bad movies. I do not recommend watching this one.

In fact, to my surprise, I think I had a better experience watching the 1984 “Supergirl” movie starring Helen Slater. Sure, it looks dated at times, the villain is a bit over the top, the special effects are laughable, and some of the dialogue is plain awful. But there was a sense of wonder to be had with that film. The score is brilliant, the cinematography is sometimes beautiful, and even if her journey sometimes made for a questionable watch, I liked seeing Supergirl develop as a character. Is the movie flawed? Unquestionably. But it didn’t make me want to fall asleep unlike this 2026 counterpart.

In the end, “Supergirl” is a disappointment. Not only because this is simply a bad movie by itself, but because this sets a bad vibe for the DCU as a whole. Again, this is only the second film, so maybe this will wind up being the one bad movie in the entire run. Perhaps “Clayface” or the next “Superman” installment will change everything. But is this movie as super as its title suggests? Not really. This film lacks color, personality, and fun. I go to a big budget comic book movie with flashy heroes expecting to at the very least have fun. When these kinds of films lack fun, then what is the point of watching it? This wound up being one of the biggest bores of the year, sadly. I am glad to see Jason Momoa finally got to play Lobo, and maybe he will get to play the character again. Although I wish said character had a better start. Milly Alcock tries as the lead, but she is not given decent material to work with. If you want to watch a great DC film, just go watch “Superman.” If you want to watch a solid Craig Gillespie film, go back and watch “Dumb Money.” Avoid “Supergirl” if you can. I am going to give “Supergirl” a 2/10.

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

Thanks for reading this review! As a reminder, in addition to putting out film reviews like this one, I am also doing a special series in honor of Scene Before’s 10th anniversary called Movie Requests, which features me reviewing movies requested by your favorite stars. Be sure to check out my latest episode featuring Sandi Harding, who suggested I should review “The Goonies!”

I am also happy to announce that the next guest who will be featured in the series is “Lord of the Rings” actor Elijah Wood! I had a chance to talk to Wood in May during a convention in Philadelphia. With his permission, I was able to get his film suggestion. Hopefully, his suggestion is good enough that way he and I can have quite the fellowship! If you want to see the episode of me reviewing Wood’s film of choice, it is going to be out Sunday August 2nd! I will share the review here, but if you want to see the episode as fast as possible, please subscribe to my YouTube channel!

My next review is going to be for “Jackass: Best and Last!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Obsession,” “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” “The Odyssey,” and “Her Private Hell.” 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 “Supergirl?” What did you think about it? Or, have you seen the 1984 “Supergirl” movie? How does it compare to this new one? Let me know down below! Scene Before is your click to the flicks!

Another World (2025): A Stunning Animation with One of the Year’s Most Action-Packed Climaxes

Posted on by Jack Drees

“Another World” is directed by Tommy Kai Chung Ng (Shi Wai, Tale of Rebellious Stone) and stars Suet-Ying Chung (The Lyricist Wannabe, Time), Hiu-Tung Choi (Say I Do to Me, Left on Read), Louis Cheung (Keeper of Darkness, Narrow Road), Kay Tse (Band Four, Legal Affair), Will Or (A Foggy Tale, Drifting), and Thaimay in a film about the journey between a spirit guide and a young girl whose anger threatens to turn her into a monster.

“Another World” was barely on my radar prior to seeing it. I did not see any major trailers or posters, but I came across some ads for it on social media, and found out it was playing at a local theater in Boston. There were barely any showtimes available, which served as a challenge for actually being able to see it, but it also became an incentive. Maybe this film could be one of those hidden gems. Plus, GKIDS has a decent track record when it comes to their slate of international animated flicks they choose to distribute for the US audience.

“Another World” seems to ask the same question that a lot of other great pieces of cinema tend to ask, “What does it mean to be human?” When it comes to its analysis of the human condition, there is something there. Much of the film is centered around the relationship of Yuri and Gudo, the latter of whom is a soulkeeper constantly learning about Yuri’s human traits. He finds out about the concepts of being tired, hungry, what it means to long. Having these two polar opposites work together made for a fascinating relationship that ties everything together.

The film itself feels somewhat jarring when it starts. It is not exactly clear who or what this movie is about. In fact it is so jarring at a certain point that I nearly tuned out. Thankfully, the film does become a bit clearer by the second half. That said, it is kind of heady. Not “Tenet”-heady, but heady nonetheless. The climax of the film, while definitely entertaining and watchable, does feel somewhat convoluted. It is not convoluted enough to the point where it falls like a house of cards, but if you are going to watch this movie, go in making sure you are ready to use your head once or twice.

Granted, this is an animated film, so it is not like suspending disbelief is an impossibility. Sticking with the climax, this is arguably when the film is at its best. This is a 2D animated film, which nowadays is always a treat to see in a world where it feels like every major release is 3D animated, even if there is some kind of hybrid style implemented into the project. But there is a particular action sequence in the final ten minutes that has so many flashy cuts that I was under the illusion that I was flipping through pages of a comic book or playing a fantasy video game. In fact, the pace at the end feels like a reward for sitting through everything that comes before. It is not that this film is boring, but rather an occasional slow burn. It takes its time. The climax offers maximum exhilaration and a unique sense of immersion. The final twenty or so minutes of the movie are debatably worthy of a tech demo between the crisp sound mixing, stunning framing, and immaculate cuts that made my eyes nearly fly out of their sockets.

If you read my reviews for “I Love Boosters” and “The Mandalorian and Grogu,” you would know that I look at both films on opposite sides of the color spectrum. The former is as bright and lively as can be, while the latter is about as gray as an office with endless cubicles. I bring those two movies up as “Another World” feels like what happen if those two projects came together and had a lovechild. I thought the use of color in “Another World” was perfect and effectively differentiated the afterlife from the real world. The afterlife often has, no pun intended, a lot more life put into it. Whenever this movie takes place in the real world, the color palette is sometimes a bit darker. A bit less pleasing to the eye. While the latter may sound like a negative, it matches some of the more unfortunate events that happen through the story in said environment. It also seems to play into the general idea that life itself, as beautiful as it can be, is a struggle. This is not to say that all struggles are eliminated in this film’s afterlife, but when it comes to the afterlife scenes, the color palette feels like they belong in a Nintendo game. Yet for whatever reason, it finds itself intertwined with a story that refuses to hold back on its serious nature. Overall, the film looks fantastic and shows off some gorgeous animation.

Was this film worth the semi-short drive to Boston? Perhaps. Is it going to be my favorite animated film of the year? Probably not. “Hoppers” was pretty, and I apologize for the pun, dam good, so that is going to be hard to top. Is this film a must see? I would not say that is the case when there is so much else out right now. Granted, if you reading this review the day it is published, good luck finding a showtime for this film. I highly doubt you’ll find it in a theater near you. It took me a month to finally get this review out. Better late than never. When it comes to that age old question, “What does it mean to be human?”, I would argue this film effectively taps into that idea, but there are so many other movies that handle this topic better, and by extension, offer a superior viewing experience. This is not a bad movie, but I have no idea how much exactly I am going to remember from it by the end of the year. Maybe that would make for an interesting second viewing down the line, and frankly, while I am in no rush to watch this film a second time, I would not say I am against the idea.

In the end, “Another World” is a beautiful film. It is not a picture that I would instantly tell you to rush out and see, but I would recommend it to people looking for some grit in their animations. In North America, much of the animated material that is popular around here is aimed towards families and children. Tell the kids to skip this film. It is not officially rated by the MPA, but I would probably put it somewhere around the PG-13 mark given the violence. That said, should you watch “Another World,” look forward to same top-notch voice acting, stunning scenes, and an intriguing story despite some occasional convolution. I am going to give “Another World” a 7/10.

Based on recent Internet searches, “Another World” is neither playing in theaters or available to watch at home as of this review.

Thanks for reading this review! Before we go any further, I would like to apologize as it took me some time to get this review out. Life has been busy, but fun. I cannot complain. I have also been watching a lot of movies recently to the point where I have had little time to talk about them. That, and I am also hard at work on updating Scene Before’s original series Movie Requests, whose next guest is… Sandi Harding!

If you do not know the name Sandi Harding, you may nevertheless be familiar with her business. Harding owns the last Blockbuster Video still standing, located in Bend, Oregon. What movie do you think she recommended? Find out TUESDAY JULY 14TH on Flicknerd.com and YouTube! If you have not done so already, subscribe to my channel, that way you are able to watch the new episode as fast as possible! Also, if you are not busy, check out my last episode featuring Chris Hardwick, who suggested I should watch the 1985 comedy “Real Genius!”

My next review is going to be for “The Breadwinner.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Disclosure Day,” “Toy Story 5,” “Supergirl,” “Jackass: Best and Last,” “Obsession,” and “Maddie’s Secret.” 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 “Another World?” What did you think about it? Or, what is your favorite animation released so far this year? Let me know down below! Scene Before is your click to the flicks!

Masters of the Universe (2026): Travis Knight Strikes Magic with His Latest Movie Based on Toys

Posted on by Jack Drees

“Masters of the Universe” is directed by Travis Knight (Kubo and the Two Strings, Bumblebee) and stars Nicholas Galitzine (The Sheep Detectives, Purple Hearts), Camila Mendes (Do Revenge, Riverdale), Alison Brie (The Disaster Artist, Together), James Purefoy (The Following, Pennyworth), Morena Baccarin (Greenland, Deadpool), Jóhannes Haukur Jóhannesson (Vikings: Valhalla, The Innocents), Kristen Wiig (Bridesmaids, Sausage Party), Jared Leto (Blade Runner 2049, Suicide Squad), and Idris Elba (Sonic the Hedgehog 2, Pacific Rim). This film is based on the Mattel franchise of the same name and follows Adam who is sent from his home planet of Eternia to Earth at a young age. When he grows up, he is tasked with returning a magical sword back to his home planet, which he must save from the evil Skeletor.

I am a “Masters of the Universe” novice. Partially because I would have no clue where to start. Well, sort of, as I started my relationship with the franchise weeks ago when I checked out Amazon MGM Studios’ “Masters of the Universe” in theaters. Yes, I knew certain characters from the franchise, and sometimes I would talk in Skeletor’s cartoony voice because I thought it sounded cool. But I was born in 1999. I was not watching He-Man when I was a child, I was watching “SpongeBob.”

Despite my lack of knowledge of “Masters of the Universe,” I was mildly impressed with some of the film’s marketing. Note that I said mildly. It looked a little more serious than I imagined the property to be, but I was open to seeing what the crew cooked up behind the scenes. I am glad to say I thought the crew delivered something delicious.

This film feels like a Saturday morning cartoon brought to the big screen. Or, perhaps a more meta version of a Saturday morning cartoon. There are one or two nods to how absurd some of the concepts of the property happen to be. The film is basically this year’s “Thor: Ragnarok.” I do not know if this is going to have the lasting appeal that “Thor: Ragnarok” would for some people, but nevertheless.

Interesting enough, “Masters of the Universe” tends to take a lot of notes from the Marvel playbook. It presents the origin story of Adam, who we later come to know as He-Man. In fact, much like Thor, a particular incident brings him down to earth. Though whereas Thor was brought down as a consequence for his foolishness, Adam was brought down so he could be safe. If anything, his arrival, and therefore extended time, on earth is similar to that of the title character of the “Sonic the Hedgehog” movies.

Nicholas Galitzine continues his hot streak of enjoyable films this year between this and another Amazon MGM project, “The Sheep Detectives.” Galitzine plays Adam, who despite being on earth for several years, has not fully embraced the planet. His connection to his planet’s lore is not exactly helping him in his work life, dating life, social life. It makes him look like a bit of a dork. He spends time looking for a sword, which also does not help. Galitzine serves as a convincing lead and brings a dose of fun to the final product.

Given how little “Masters of the Universe” has grossed so far against its $170-200 million budget, this movie continues the Jared Leto curse. I said this before, I will say it again. Jared Leto is a great actor, and I will stand by that notion until the day I die. Sure, he did not play my favorite Joker, but he commits 110% with just about every role he is given, even as the lead in “Morbius,” a movie so bad that Spider-Man could not swing in time to save it. If you had no idea that Jared Leto was in this film, then there is a chance that you could end up watching it from start to finish failing to realize Leto is in front of you by the end of it. Leto plays Skeletor, and as a result, we never end up seeing his face. Leto is given some of the film’s finest material. There is a moment early on where he is delivering a vicious monologue, and once he raises his fist, he just stands there in awkward silence trying to emphasize that he is done, which prompts Evil-Lyn (Alison Brie) to softly affirm her understanding. I laughed quite a bit.

Speaking of Evil-Lyn, I thought Alison Brie was well cast as the character. This film is essentially a Saturday morning cartoon brought to life, and if you have ever seen Brie in real life, you might notice how large her pupils are. I mean that as a compliment. She is adorable. That said, the large pupils really work in Brie’s favor for this role, as she is not given a ton of lines to work with, but her character does spend a lot of time churning up wacky facial expressions. I thought Brie could have been given a tad more to do, but from a non-verbal perspective, I thought she did a great job with the character.

Daniel Pemberton composed the score for the film, which delights me to no end as he is quickly becoming one of my favorite composers between the “Spider-Verse” films and more recently, “Project Hail Mary.” Nearly every track feels larger than life. The real highlight of the music though is Brian May. Yes, the one from Queen, who dropped in some satisfying guitar solos.

This film is directed by Travis Knight, and overall, I thought he did a decent job at presenting a fun story with a balanced pace, despite a longer runtime. The film is 2 hours and 20 minutes long, but never once does it feel long. It is never boring.

This film is not doing so hot financially. About a month into its release, it has yet to make its budget back. Not a lot of people are checking it out in the theatre. But when it comes to those who did check it out, a majority of the reactions seem to be positive. Granted, overall, they seem to lean into mixed territory, but more people seem to like this movie compared to those who do not. This should not be surprising as Travis Knight seems to have a knack for bringing toy staples to the big screen. In 2018, Knight directed the “Transformers” spinoff “Bumblebee.” I personally think “Masters of the Universe” is a bit of a step down from “Bumblebee.” I think there is a little more humanity and wonder in “Bumblebee.” “Masters of the Universe” most certainly has those two elements, but not quite to the same degree. Even so, Knight does a great job at bringing Eternia to life and bringing things down to Earth precisely when he means to.

Also, if you check this movie out, be sure to stay for the credits. There’s bonus material as soon as the credits roll, in the middle, and at the end. You’re welcome.

In the end, “Masters of the Universe” is not the best movie I have seen this year. But if you are looking for something that could put a smile on your face that delivers on humor and action, this movie gets the job done. One note of caution for families… Even though is based on toys, part of me questions exactly how family-friendly this movie is. Granted, it is PG-13. So, not every child is likely going to be able to watch it right away. That rating is not unusual as the Michael Bay “Transformers” movies were also based on toys for example. Those were all PG-13. I watched those movies as a kid and turned out fine. But there is a running gag about “fisting” that makes me wonder if someone of a younger age could end up watching this movie and say something in public that maybe they should not be saying. Just something to keep in mind. Granted, I laughed myself silly whenever that gag played out. Does this movie make me want to explore more of the “Masters of the Universe” lore? I am not entirely sure. Perhaps if a sequel comes out, I will be there. I had fun with this movie. But if I am bored one day, I definitely have a greater chance of diving down a rabbit hole than I did before. The movie has a solid cast with some big names, a talented director, and despite feeling a bit paint by numbers at times, I found myself quite entertained. I am going to give “Masters of the Universe” a 7/10.

“Masters of the Universe” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! As a reminder, be sure to check out my latest episode of Movie Requests, featuring comedian and television host Chris Hardwick! He requested I should watch “Real Genius,” starring Val Kilmer. To hear my thoughts on the movie, click the video above and check it out! Also, if you want to see new episodes in the fastest way possible, do yourself and I a favor by subscribing to my YouTube channel!

My next review is going to be for “Another World.” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Breadwinner,” “Disclosure Day,” “Toy Story 5,” “Supergirl,” and “Jackass: Best and Last.” 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 “Masters of the Universe?” What did you think about it? Or, since we are on the topics of Travis Knight and movies based on toys, has anyone here seen “Bumblebee?” What are your thoughts on it? And if you have not seen it, please leave this post and go watch it. You will thank me once it is over. Scene Before is your click to the flicks!

Backrooms (2026): Kane Parsons Has Something Here, But Maybe Not for Me

Posted on by Jack Drees

“Backrooms” is directed by Kane Parsons, who also created a science fiction web series of the same name. This film stars Chiwetel Ejiofor (Doctor Strange, The Lion King), Renate Reinsve (Sentimental Value, The Worst Person in the World), Mark Duplass (Creep, Safety Not Guaranteed), Finn Bennett (Warfare, Hope Gap), and Lukita Maxwell (Afraid, Shrinking). This film is about a man who discovers an alternate dimension, as well as his therapist’s mission to save him.

“Backrooms” is a movie that I found out about through a friend of a friend. I spend a lot of time on the Internet. Where do you think I posted this review? But despite dedicating portions of my life to the web, I was never once familiar with the story behind “Backrooms.” Apparently, director Kane Parsons is, as this film is not only inspired by the 2019 Internet story, but this is not the first time he made a project linked to it. He turned the idea into a web series on his YouTube channel, and now, he is getting to bring his creativity to the big screen with the same concept.

I love seeing YouTubers get their shot at making theatrical releases. One of my favorite YouTubers, Chris Stuckmann, released “Shelby Oaks” last year, which I quite enjoyed. While I have yet to check out the movie, I heard some decent things about Markiplier’s “Iron Lung.” “Backrooms” looked like another great example of someone possibly transitioning from YouTuber to filmmaker. I am unfamiliar with Parsons’ background as a filmmaker, but I have to say I am thoroughly impressed with his efforts here.

Kane Parsons not only released a feature film through A24, which is an extraordinary bragging right at any age, but he did so at the age of 20. On top of that, he topped the domestic box office on the film’s opening weekend with $81.5 million. He is officially the youngest filmmaker to reach the number one spot.

This film definitely looks like it has less money put into it than some of its competition like “Star Wars: Mandalorian and Grogu,” which funny enough, looks cheap by “Star Wars” movie standards. But just because the film is made with a smaller budget does not mean that it is lacking in style. The film switches aspect ratios from time to time and even features some blurry 4:3 footage, sometimes enhancing the scares. The film reminds me a bit of “Weapons” in the sense that my skin never tended to crawl while watching it, but there was still a sense of consistent creepiness from start to finish. Parsons nails the atmosphere of his picture. It feels intimate, but packs a glorious punch while doing so.

In addition to reminding me of other movies, this film also reminded me of a couple video games including “The Stanley Parable” and “Portal.” The latter in particular, according to Parsons, served as a massive piece of inspiration for the film. It is easy to see why. Not only does this movie see its characters constantly going in and out of separate dimensions, but the score constantly lingers in the background. This takes me back to times where I played the first “Portal” game in particular. The music is by no means obnoxious. In fact, it is sometimes surprisingly calming, but does occasionally offer a chill. Speaking of the score, not only is this film helmed by Kane Parsons, one of the industry’s youngest directors, but he also collaborated on the making of its music alongside Edo Van Breeman.

In fact, despite a couple video game-based movies coming out this year like “The Super Mario Galaxy Movie” and “Mortal Kombat II,” one could argue that “Backrooms” is the most video game-like title released in 2026 yet. As our characters explore the titular alternate dimension, there is a sense that I was there with them, learning about the space in the same way they did. I have no idea if I would have felt any different if I had more familiarity with this material beforehand, but this film immersed me in the sense that I was someplace I had not been before and constantly trying to learn the way of the land.

Now that I have had time to think about it, “Backrooms” is not my favorite horror film. It is not bad. It has its moments, but if there is one thing about this film I am bound to remember more than anything else, one could argue it is the overall simplicity it delivers. While there are complicated elements throughout the film in terms of the story and characterization, there is a beautiful simplicity in the film’s sets, locations, and shots. I love a good film that reaches for the sky and offers tons of grand imagery, but that does not need to be the case every time, and “Backrooms” effectively shows why.

Having seen the marketing for this film, it does a really good job at succeeding where many other campaigns fail. Having seen a trailer or two, I had a sense of what this movie would be about, but the marketing splendidly hides so much material. It teases a lot, but it never gives a full picture. When it comes to the aspects involving the alternate dimension, I enjoyed unpacking more of what the film had to offer. That said, much of the film is about Clark’s (Ejiofor’s) journey in therapy, as well as his struggles with alcoholism and his marriage. I cannot quite put my finger on why I was not as attached as I could have been to the main character, but I wish I were a little more invested in his journey. That said, if I had to guess, part of it might be because the best character in the movie is not even a person. It is not even a living thing. One could argue it is the Backrooms themselves. Yes, we see Clark unravel the mystery of this alternate dimension and how such unraveling has an effect on his personal struggles in the real world, but despite a really solid performance on Ejiofor’s part, I did not find his journey outside the Backrooms as riveting as maybe the movie wanted me to. There are no “bad” scenes in the movie, but there are a handful of scenes in this film that I am going to remember more than others. Whether it is Clark discovering the backrooms for the first time, showing it off to other people, or the same character trying to keep himself together while making a commercial for a furniture store.

By the way, said furniture store is called Cap’n Clark’s Ottoman Empire. Whenever my dad and I would find ourselves in a furniture store, we would often utter the phrase “ottoman empire” as part of a joke. Fascinating to see we are not the only people with clever taste in furniture puns.

Not to beat a dead horse, but if I was not already clear enough, this movie took my “Backrooms” virginity. While I cannot quite say that this movie made me desperate to see more of the lore online, it did make me a fan of Kane Parsons, who clearly has a passion for the material he is showcasing. He also has a talent for directing by unleashing good performances out of his cast. Parsons proves that when it comes to making cinema, age is just a number. I have a feeling his next outing will be stronger than this, but I think “Backrooms” is a decent start.

In the end, “Backrooms” is an atmospherically pleasing horror film, but I am not going to pretend that it is the most riveting material I have ever seen. I like some of the characters, and the film for the most part is well-paced. But this film, despite being a connected story, feels like two movies in one where half the story is superior to the other. To my surprise, I was more interested in the Backrooms portion of the movie compared to the scenes involving Clark’s personal struggles. Even with its drawbacks, this movie made me a Kane Parsons fan. I wish nothing but the best for his future. I am going to give “Backrooms” a 6/10.

I do want to give a little disclaimer though about my experience watching this movie, as my reviews for the most part are based on first impressions, part of me does at some point want to give this movie a second viewing and see if my opinion changes. Because I did something at the cinema for this movie that I do not usually do. I walked out of it as it was playing and came back minutes later. For the record, I walked out because I was at a dine-in theater and they never gave me my cheeseburger and fries that I ordered prior to sitting down, which by the way, I already paid for. So, more than halfway through the film, I had to go deal with that. It is quite possible that my lackluster mood during the screening due to this incident may have played a factor in my verdict. Granted, it is a positive verdict, but on the low end. Part of me is surprised I am not rating this higher. I do not think I missed anything super important, but for all I know, I could have kept myself away from the best part of the movie. Who knows?

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

Thanks for reading this review! As a reminder, the latest episode of Scene Before’s original web series Movie Requests is now online! I just posted it Saturday. If you missed the sixth episode of the series, it features comedian and television host Chris Hardwick, who suggested I should watch “Real Genius.” Be sure to check out the video, and if you enjoy it, leave a like and subscribe to my YouTube channel, that way you do not miss new episodes down the line.

Speaking of which, in the coming days, I am going to be revealing five more guests who are going to be featured in Movie Requests. I had a chance to hear their suggestions earlier this year, and I am excited to share them all with you. Right now, the guests are being referred to as “An Asgardian,” “A Ring-Bearer,” ” A Rose,” “A Ruiner,” and “A Tenderloin.” Who do you think they are? Take your guesses, and leave them in the comments section!

My next review is going to be for “Masters of the Universe!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Another World,” “The Breadwinner,” “Disclosure Day,” and “Toy Story 5!” 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 “Backrooms?” What did you think about it? Or, are you familiar at all with the Backrooms lore? Let me know down below! Scene Before is your click to the flicks!