“Y2K” is directed by Kyle Mooney and this is his directorial debut. The film stars Jaeden Martell (St. Vincent, It), Rachel Zegler (West Side Story, Shazam! Fury of the Gods), Julian Dennison (Deadpool 2, Godzilla vs. Kong), Lachlan Watson (Chilling Adventures of Sabrina, Chucky), Mason Gooding (Love, Victor, Scream), Fred Durst (The Education of Charlie Banks, The Fanatic), and Alicia Silverstone (Clueless, Batman & Robin). This film follows two teenagers who crash a New Years Eve party as the clock gets closer to 2000. When the clock hits midnight, the group of partiers must survive against an army of machines.
While it is not my top film I have been looking forward to all year, “Y2K” is a project that has been on my radar ever since the trailer dropped. The film looked like a crazy good time that answers a question that I have to imagine some people have asked over the past 24 years. What if Y2K actually happened?
This is not the first time Y2K has been played out through a form of entertainment. There is a great “Family Guy” episode that came out around the time said event was on the verge of potentially occurring. It is a funny watch, I highly recommend it. “Y2K,” interesting enough, sometimes plays out like a “Family Guy” episode. There is a lot of throwback humor. There are also a couple sights that might make certain audience members wince. The characters, while well thought out and decently portrayed, are somewhat stereotypical. You have Jaeden Martell playing Eli, a well meaning guy who does not really happen to be that popular. You have his quirky, hyperactive best friend, Danny, played by Julian Dennison. Rachel Zegler plays Laura, a character that fits somewhere within the “popular girl” stereotype. And because this is a movie and we need our hero to want something, we come to know that the unpopular kid, Eli, ends up with the desire to kiss the more popular Laura, particularly during the first moments of the year 2000. And adding a similarity to another Seth MacFarlane project, kind of like the 2012 movie “Ted,” there is a celebrity who appears in the film as themself and they play a bit of a bigger role in the film than a simple cameo.
There are three main elements of “Y2K” that make it worth the price admission for me. I ended up seeing this film at a free screening, so maybe that is not the best phrase to use. But if I were to pay to see this in a theater again, I have a few factors as to why. First off, going back to the actors, they all do a good job with the material given to them. Each character is full of energy to the point where they almost leap off the screen. I especially adored the connection between Jaeden Martell and Rachel Zegler. For the most part, they are believable. There is a bit of an out of the blue turn between them that almost comes off as forced, but I can forgive it somewhat because the two characters are likable and I was nevertheless engaged even in lesser moments between them. Of all the characters in the film, Jaeden Martell is the center of the story, so we get to see him crushing on Zegler for a good amount of the runtime. I thought the film did a great job at displaying that. It felt like something I would have experienced in say middle school or high school. Something so fantastical, yet it is real, but also seemingly hard to act upon. I have a feeling this connection would evoke a sense of nostalgia for some people watching this at a later age.
Speaking of which, this movie tends to handle its 90s nostalgia and timeframe fairly well. The movie delivers a decent soundtrack. There are a lot of good songs in the film that match their specific scenes. The movie starts off doing its best impression of “Searching,” where our point of view is presented through a screen on a computer. As that is going on, there is a moment where dial-up Internet can be heard in the background, and we are seeing a conversation play out in AOL. We also get some moments in a video store. The nostalgia in this film is definitely played up, but it appears to work within the context of the story.
The film is also a horror comedy, and while the film is not the scariest of all time, it contains some good kills, some of which are very funny. Seeing various pieces of technology in this film become completely unhinged is a definite highlight for me. “Y2K” is probably not going to be a movie for everyone, but if you are someone who likes creative attacks and kills, you might be entertained.
Despite containing a lot of positives, “Y2K” is not going to win any Oscars. The film works and is structurally sound, but there is not a ton in it that changes the game. I say this despite also feeling that “Y2K” has given me some of the biggest laughs I had at the cinema this year. I do recommend watching this movie with a crowd. I think it is a great one to see with friends. It would make for a fun night out. If anything, it is a solid first directorial outing from Kyle Mooney, a former “Saturday Night Live” cast member. This film shows he has potential as a filmmaker, and his best work has probably yet to come. But for a first time film, it seems to work. When you have first time directors in recent years firing on all cylinders like Ari Aster with “Hereditary” or Greta Gerwig with “Lady Bird,” it is easy to forget that not all first films have the potential to end up being that director’s best in the long run. When I see debuts like these two, I automatically get excited for the director’s next movie because I think their first film is not just good, but one of the best of the year in which it came out. Therefore, that introduces a problem of recency bias. They say when you do something so lackluster or outright terrible, the only way to go is up. Kyle Mooney’s “Y2K” is definitely far from terrible, but just like something terrible, Mooney has the potential to step things up in his sophomore effort, and I look forward to seeing if he can do that should he continue his directorial career.
In the end, “Y2K” is a mighty fine film. Some would even say it is the bomb. “Y2K” is a film that I would watch a second time if given the opportunity. It is really funny, violent, and contains a likable cast. I am glad to see Rachel Zegler continuing to get more roles. Her cinematic resume is small, but she is one of this generation’s youngest and brightest talents. I loved her in “West Side Story.” I am not really a “Hunger Games” guy so I do not know how she is in “The Ballad of Songbirds & Snakes,” but I still think she is a great performer. She can sing. She can act. She can do it all. Hopefully she has a strong career going forward. While Kyle Mooney’s debut as a director is not perfect, “Y2K” carries its own sense of style. I think Mooney could have a future directing more movies. As far as this first movie goes, I had a great time. I am going to give “Y2K” a 7/10.
“Y2K” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Juror #2,” “Wicked,” “Smile 2,” and “Nightbitch.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Y2K?” What did you think about it? Or, if you lived during the transition from 1999 to 2000? What was that time like for you? For me, I was not even two months old so I could not tell you. But for those who do remember that time more vividly, leave your comments down below! Or, if you were born in 2000 or later, what is something associated with the 1990s you enjoy? Let me know down below! Scene Before is your click to the flicks!
“A Real Pain” is written and directed by Jesse Eisenberg (Batman v. Superman: Dawn of Justice, The Social Network) who also stars in the film as David. Alongside him is Kieran Culkin (Scott Pilgrim vs. the World, Succession) as his cousin, Benji. Also in the film are stars including Will Sharpe (The Electrical Life of Louis Wain, The White Lotus), Jennifer Grey (Dirty Dancing, Ferris Bueller’s Day Off), Kurt Egyiawan (The Exorcist, Skyfall), Liza Sadovy (A Small Light, EastEnders), and Daniel Oreskes (Law & Order: Organized Crime, Only Murders in the Building). This film is about two cousins who take a trip to Poland to see various spots throughout the country, in addition to their late grandmother’s house.
I saw the teaser trailer for “A Real Pain” a few times in the theater, and it piqued my curiosity. I know there is a longer trailer out for the film, but for whatever reason I never got around to watching it before the film released. But the teaser had a brisk pace, gave promising chemistry between two leads, and some quickly delivered dialogue back and forth. It was by no means my most anticipated movie of the year, but it was one that if I got the chance to watch it, I would take it. Thankfully, a friend and I got to watch it over its opening weekend.
This movie has a 90 minute runtime, but it delivers a lot of material despite being a short watch. Again, I watched the teaser trailer, so I know it involved two people visiting land far from home, but I did not exactly know the movie’s true premise. Because I watched the teaser, which set the tone for the film, gave a glimpse of some of the scenes, some of the characters. But it left me with the impression that this was going to be a buddy travel flick between two people. Maybe even with a heist element considering the first shot of the teaser shows our main duo hopping train cars.
As for that last part, I was way off. “A Real Pain” is not a heist movie. I am not saying I am disappointed, it is just not what I expected. It is, however, as I correctly predicted, a buddy travel flick. And like some other movies involving long trips, it is between a couple people who have varying personalities, lifestyle situations, and habits.
You have the more accomplished David (Jesse Eisenberg) who has a wife, has a family, has a career, and lives in New York City. He is paired up with his cousin Benji (Kieran Culkin), who we come to realize has a way of easily charming strangers. But he also has a lot of quirks, some of which certain people would find annoying. I like the diversification of these two and both actors play off each other well.
I have no idea how most audiences are going to see Culkin’s character through their personal tastes. Whether they end up liking him, thinking he is too much, or if he is a nuisance. He can be a bit much. But there is no denying that he is raw. Yes, Benji may come off as a manchild who refuses to leave the nest, but there is more to his life than meets the eye. It is not my favorite performance of the year, but it could be one worthy of some awards contention. It is easily the standout performance of the film and that says something because Eisenberg holds his own as David.
The film features the two leads on vacation in Poland, but I would not call their adventure an escape. The two cousins, who are Jewish by the way, are there to see various Holocaust-related sites along with the home of their late grandmother. For the record, I am not Jewish, but even as someone who is not Jewish, I have to imagine seeing certain places that these people end up visiting can elicit a number of negative emotions. To think about what these places stood for, what people did in said places, it shows the dark side of humanity and leaves one to wonder how we got to where we are now. Around the midway point of the film, our characters end up visiting a concentration camp used during the Holocaust. They get a tour of the site, including the inside of a gas chamber. When we get to this point of the film, there is no music, minimal sound, nothing more than occasional dialogue. I sometimes talk about immersion on Scene Before, but that word is typically used in relation to something spectacular or hyperactive like a big battle sequence or a race between cars. This movie immersed me through its minimalistic tendencies. The movie was literally as empty as I felt watching it. I almost did not know what to say or think other than, “Why?”
There are a couple movies that come to mind if I were to compare “A Real Pain” to something else. Specifically, “Jojo Rabbit” and “Life is Beautiful.” Not only do the films deal with the events of World War II and the Holocaust in some capacity, but both films, perhaps by the miracle of a god, manage to find humor in the darkest of situations. All of the humor feels natural. You could even argue it is cathartic. It is an escape from the harsh reality people had to deal with. Sort of in the same way some see music or books. Heck, I sort of view movies in the same light. It is an escape from reality. This movie, like many others, let me leave my world for a little more than an hour. But it simultaneously does a great job at showcasing the wrongs of someone else’s.
Keeping the title of this movie in mind, “A Real Pain,” that is something this movie highlights in a variety of ways. Some people deal with pain by crying, others reflect, others pray. As far as Benji goes, he is a complicated individual who tends to hide whatever pain he is holding back for a period of time until he suddenly breaks. We see David kind of go down a similar path, but he seems to do a better job at keeping his emotions in check. We sometimes find out the effects the cousins come to discover as a result of their grandmother’s death. “A Real Pain” is a film that deals with the universal concept of grief. It also deals with the complication of life after a great suffering. There is a moment during the train ride where Benji questions whether it is right for him and others onboard to be sitting inside a high quality vehicle in first class. He questions whether something like this is justified after many people several decades ago dealt with one of the worst events in all of history. I cannot pretend “A Real Pain” is perfect. I think some people will end up finding Benji to be a little hard to handle at times, and there are a couple scenes that despite his character feeling real, I thought he was written to be a tad over the top. But “A Real Pain” delivers on a lot of things a great story can do. It makes you laugh. It makes you cry. It makes you sympathize with different characters. This is not my favorite film of the year, but I will not deny it nails a lot of things on the head.
In the end, “A Real Pain” is a real deal. With the help of a great cast and a singular vision from Jesse Eisenberg, the film manages to find light in darkness. I cannot recommend the film to everyone, but even if you are an easy person to make cry during movies, I think there will be a fair amount of joy and laughs to balance that out. I have no idea what Jesse Eisenberg has up his sleeve next behind the camera, but if it is as good as this, I will be happy. I am going to give “A Real Pain” an 8/10.
“A Real Pain” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Y2K,” “Juror #2,” “Wicked,” and “Smile 2.” If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “A Real Pain?” What did you think about it? Or, what is a film that you think perfectly balances light and darkness? Let me know down below! Scene Before is your click to the flicks!
“Red One” is directed by Jake Kasdan (Jumanji: Welcome to the Jungle, Sex Tape) and stars Dwayne Johnson (Central Intelligence, Moana), Chris Evans (Captain America: The First Avenger, Knives Out), Lucy Liu (Charlie’s Angels, Strange World), and J.K. Simmons. This film showcases what happens when Santa’s bodyguard (Johnson) and a hacker (Evans) team up to find and rescue Saint Nick himself after he has been kidnapped.
There are two words that define “Red One” for me. And no, they are not “red” or “one.” The two words that have consistently stayed in my head regarding “Red One” just so happen to be “it’s fine.” It is that middle of the road utterance you give to someone when you are trying not to hurt their feelings, but you also do not want to overblow your emotions and put on a performance. What did I think of the first “Red One” trailer? Eh, it’s fine. What did I think of the second trailer? I mean, it’s fine I guess. Looks fun enough. I was entertained by both of them. They both made me curious about the film. But I am not going to pretend it boosted my excitement in the same way that Marvel’s “Thunderbolts*” did, which took me from a concept I felt rather indifferent about, to immediately demanding at least five or so minutes of more footage.
I will be real, if you were to measure my excitement for “Red One,” it would be somewhere in the middle. I cannot pretend I have massive expectations for this film, but there are promising elements to behold. I liked the whole spy action vibe the film was promising, where the objective for our two recognizable leads is to rescue Santa Claus. “Violent Night” recently showed you can make a cool modern action flick with a Christmas backdrop, so maybe “Red One” would result in something similar.
Not to beat a dead horse… But “Red One” is, well, what other description can I possibly give?! It’s fine! If they come out with a DVD for this film, please note how I said if, not when, because this movie is an Amazon production. But if they come out with a DVD for “Red One,” you might as well take the two words I just said, “It’s fine,” and put that quote on the bottom of the cover. I bet that will make a great addition to the Walmart $5 bin. Do those bins even exist anymore? Asking for a friend.
I have heard this comparison before, but I think there is almost no better way to pitch this film to someone. “Red One” is practically a movie within a movie. It is a movie that you would make that purely exists within the universe of another film, or even say a TV show. This is the kind of movie that would exist in an episode of “The Big Bang Theory,” Penny would have to pitch the concept to her friends after she reads the script only to pause for audience laughter. The concept sounds goofy enough, but putting actors as notable as Dwayne Johnson and Chris Evans in the lead roles? It is a perfect recipe for a two minute gag in a coming of age comedy. But this movie is not two minutes. It is more than two hours. And it packs quite a bit into the runtime. Some of it lands, some of it does not. But it is hard for me to say that there was a lot in the movie that gave me a particularly strong reaction. Not much made me overly irate. Not much made me giddy with glee. That said, there are things that stood out to me about the film.
One positive I have about the film is how much lore they put into the mythology of Christmas, the North Pole, Santa Claus, or even other mysterious beings. The film undoubtedly puts a creative twist on handling what we tend to know as mythology.
That said, this film’s interpretation of the North Pole is both creative and underwhelming at the same time. For my “Star Wars” fans out there, it is basically the midichlorians of North Pole interpretations. When I think of the North Pole based on how I imagined it as a kid and what I have seen through media, I have always interpreted it as this whimsy, magical place. But a couple of the first things I notice when we get to the North Pole are a semi-depressing color scheme and drones flying. Sure, maybe drones can be magical… But when I look at the drones they have no poppy color to them, no pizzazz, and they honestly look like something you’d find in a store. The North Pole does not look as fun or magical as other interpretations. If anything it looks kind of bland. I get that the movie is a spy action thriller, and I like parts of what they are going for. But the North Pole is not one of them.
I also want to note something to families looking to see this film. I will not spoil anything considering the movie is new, but the movie opens with some material I think certain children should not be seeing. Also, this scene does set up the rest of the film, but I also think that scene would have been a better set up to a different story. For the record, the scene features a younger version of Chris Evans’ character, Jack O’Malley, and shows him doing something he probably should not be doing. We see this develop into something else in the long term, but I would love to see how this would have paid off in a shorter term. Perhaps hours, days, or even a year after Jack commits to his actions. Again, I will not go into detail. I think it would have spiraled into a movie that would have been much more fun than the one we got.
The holiday season is full of new films with great performances, many of which get nominated for Oscars, Critics Choice Awards, SAGs, and so on. “Red One” is not one of those movies. In fact it is not even close. Yes, there are competent performances on the supporting end. There is nothing totally anger-inducing, yet there is also not really much to write home about. With that in mind, if you were to ask me what I want for Christmas this year? It would for this movie to have two significantly better lead performances.
I am not going to pretend that Dwayne “The Rock” Johnson is the greatest actor of all time. Though I would not doubt his charisma gets him by from one movie to the next. That said, after several outings, he almost seems to do the same song and dance every other time. Yeah, maybe the “Jumanji” movies showcase his skills sometimes because he has to play other people simulating him. But when I look at movies like “Skyscraper,” “Rampage,” “Red Notice,” or this latest one, he seems to be playing some variation of himself. In some of these movies, even if he does not give an Oscar-worthy performance, he at least has a positive presence. The same can be said for “Red One” in certain scenes. I liked all the scenes between Johnson’s character, Callum Drift, and Santa Claus, played nicely by J.K. Simmons. But for various portions of the film, Johnson came off as if he was just playing the hits, but giving a tired version of them. The performance is not that inviting. It feels been there, done that. Does Johnson look like he wants to be on set? The way the movie is presented certainly makes him look that way. But I am willing to bet whenever he smiled on screen, that smile came with the knowledge that he would soon be getting a good chunk of the movie’s $250 million dollar budget.
Yeah… There is no way this movie cost $250 million. There are definitely a lot of special effects and things going on in each frame, but there is no way this is movie cost as much to make as “The Dark Knight Rises…”
Speaking of people who probably got paid a crapton of money for their presence in the film, let’s talk about Chris Evans! I love Chris Evans. Of course I have enjoyed watching him as Captain America, but even in movies I did not enjoy, I still think Evans ends up being a highlight. Personally, he was the best part of that forgettable Netflix movie, “The Gray Man.” But as far as Evans goes, his performance belongs on the naughty list. Though I would not entirely blame Chris Evans. While he may appear to be sleepwalking in the film from time to time, the script does him almost no favors. His character is about as one-dimensional as a ragdoll in “G-Mod.” Every other moment with Evans is just him acting bewildered or mind-blown. He is clearly playing the fish out of water role, but such a trait brings nothing interesting to the table as far as this project is concerned. Other than trying to get what he wants when he wants it, being a lame fish out of water might as well be Jack’s entire personality. Well, those aspects in addition to perving out on Wonder Woman.
As for the action in this film, I am surprised to say that there are some standout scenes. There are a couple minutes inside of Jack O’Malley’s apartment where he fends off tons of people at once. I thought the choreography in that scene was really good. There is a creative moment in the film involving Rock ‘Em Sock ‘Em Robots. While I thought the scene itself was average, I did like one confrontation between Jack O’Malley and a giant snowman that turns its head like a Terminator when placed on a burning grill. But I cannot pretend I was that riveted by any of the action scenes. If anything I was amused by them, but to say I was wowed would be a hyperbole.
This is not necessarily an action scene as much as it is a face off, but there is a fantastic scene where our heroes come face to face with Krampus. There is a perfectly paced few minutes where Krampus and one of the characters are going one on one in the creature’s own game. It is quite entertaining. Sadly, I cannot say most of the movie is just as thrilling. By the way, for a movie full of visuals that would make you think it is a forgotten project from the late 2000s, early 2010s, I have to say the look for Krampus is a great display of practical effects. He looks great!
Theoretically, “Red One” is a movie that seems to be made to entertain or satisfy just about every person who would see it. But that is also where the film has a drawback. It tries to be dozens of things at once to the point where it does not really seem to know who exactly it is for. Is it for action junkies? Is it for people who like Christmas movies? Is it for people who like “The Rock?” Is it for people looking for a bit of a family dynamic? Will teens like it? Does it have enough for the kiddos? The movie throws a bunch of things at the wall. Some may stick, but not like superglue. Sure, “Red One” has action, but it is not the most innovative or exciting of the year. Yes, this movie has a Christmas backdrop, but lacks a sense of spirit or magic. Of course, “The Rock” is in the movie, but I would say he has had better performances and scripts to work with. There is a family dynamic but it almost lingers in the background. Certain teens would probably get behind some of the spectacle-based scenes but to call this movie the most spectacular-looking of the year when “Dune: Part Two” and “Twisters” exist would be generous. Kids could also be entertained by the adventure, but there are some things in this film that I imagine their parents would not want them to see.
When you break it down, “Red One” tries to be for everybody, but embraces its elements so minimally or poorly to the point where the movie is arguably for nobody. If you want to watch a movie from this year that so brilliantly speaks to several demographics, one that comes to mind would probably be “The Fall Guy.” For those looking for holiday cheer, you might be disappointed. Maybe some younger viewers should stay away from the film too. But for those looking for ludicrous action, charismatic stars, great music, an engaging love story, and a fun adventure, it is one of the year’s best flicks. I cannot say “Red One” is the movie equivalent to a lump of coal, but watching the movie at times sort of feels similar to going into my stocking on Christmas morning and finding a toothbrush. It works, but it might not exactly be what I am looking for.
In the end, “Red One” is as the kids say, mid. It is not great, not terrible. Just okay. Do I feel like my time was wasted watching “Red One?” Probably not. Will I watch it again in the future? Also probably not. But “Red One” is not worthy of the same applause that certain Christmas classics continue to get today. Movies like “Home Alone” or “Elf” or if you want to talk about something from this decade, I would say “Red One” does not even hold a candle to “The Holdovers.” If you are having company over during the holidays and need background noise on the television, “Red One” is somewhat serviceable. But you could also do a lot better. I am going to give “Red One” a 5/10.
“Red One” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “A Real Pain,” “Y2K,” “Juror #2,” “Wicked,” and “Smile 2.” 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 “Red One?” What did you think about it? Or, are there any Christmas movies you watch once a year? Let me know down below! Scene Before is your click to the flicks!
“Gladiator II” is directed by Ridley Scott (Blade Runner, Alien) and stars Paul Mescal (Normal People, Aftersun), Pedro Pascal (The Mandalorian, The Unbearable Weight of Massive Talent), Joseph Quinn (A Quiet Place: Day One), Fred Hechinger (Thelma, Eighth Grade), Lior Raz (Hit & Run, Fauda and Segev), Derek Jacobi (Last Tango in Halifax, Vicious), Connie Nielsen (Wonder Woman, Nobody), and Denzel Washington (The Equalizer, The Siege). This film is the sequel to the 2000 film “Gladiator” and this time follows Lucius, a slave who seeks revenge against General Acacius after his army invades his home. Doing what he can to avoid death, Lucius must survive in the Colosseum while his mentor plans to overthrow twin emperors Geta and Caracalla.
To this day I have only seen the original “Gladiator” once. As for the one time I saw it, I found my experience to be quite positive. In fact, it is one of Ridley Scott’s better films. When “Gladiator II” was announced, a couple thoughts ran across my mind. My first thought was “Why?” Not just because it is the latest in an endless barrage of sequels, but of all the stories people could have done, “Gladiator” is not one that I would have imagined needed to be continued. In fact, if you remember how the first film ends, it made me question if the franchise would have to defy logic in order to keep going. But in the case of the “Gladiator” franchise, whereas I previously imagined the name pertaining to one person, particularly Maximus from the first film. This sequel proves that “Gladiator” is more than just Maximus. The “Gladiator” name is more of an idea than anything else. Because this time we are focused on Lucius, who also appeared in the original film in the form of an eight year old boy.
If anybody remembers “Star Wars: The Force Awakens,” chances are you or someone you know has said the movie is a copy paste of the 1977 franchise original. For the record, “The Force Awakens” is still my favorite film of 2015, partially because while it gets back to basics, it utilizes those basics really well. The film does a great job fleshing out its characters while also delivering action and flying sequences that are much more epic to look at than what we got in the 70s. “Gladiator II” is in a somewhat similar boat. For the record, I do not think the first “Gladiator” is as good as both of those “Star Wars” installments, but I do recognize the Academy Award Best Picture winner for its technical achievements, stellar action scenes, and killer lead performance from Russell Crowe.
Structurally, “Gladiator II” is much like the original, where the film is about a slave fighting for their own freedom. A lot of the steps and challenges our protagonist has to face is similar to the ones Maximus faces in the 2000 predecessor.
That said, while I was invested in Lucius’ journey in this second film, I think Maximus’ journey in the first installment is more compelling. Part of it is because the journey, despite some differences, is like watching the first movie all over again. I would not call it the Dollar Tree version of that journey. It has more pizzazz than that, maybe Five Below would be a halfway decent retail equivalent to use in this case. Part of why I was not as compelled by this sequel compared to the original may be because of Paul Mescal’s performance.
For the record, do not think I am dissing on Paul Mescal as an actor. Mescal does not just a good, but a great job in this film. His performance is commendable and he fits the role he is given. But the thing about Maximus from the first movie, I almost cannot see anyone other than Russell Crowe playing him. On the other hand, I can probably imagine a few other people filling Lucius’ shoes. In fact, not only can I imagine it, I have concrete evidence to prove it! We have already seen Lucius in the first “Gladiator” as a young boy! And that actor did not even come back for this sequel. The guy was not even asked if he wanted to return in the first place! I know Paul Mescal is like a decade younger than Spencer Treat Clark, but still, age comes after everyone in Hollywood these days.
While Mescal’s portrayal as the film’s lead is no Russell Crowe, if the Oscars were tomorrow, I think one performer in “Gladiator II” would have my vote for Best Supporting Actor, and that is Denzel Washington. One thing I noticed about some of the performances in “Gladiator II” is that they would sometimes be delivered with some hyperactivity. Sometimes it works, sometimes it does not. In the case of Denzel Washington, it not only works, kind of like Russell Crowe in the original “Gladiator,” I cannot see anyone else playing Washington’s character. And the more I watched him through the movie, the crazier he became. There are some things this character does in this movie that elevate his already commanding presence in certain scenes. I would like all of you reading this to find out what some of those things are yourselves. No spoilers. But Washington easily gives one of my favorite performances of the year.
Other than Washington, perhaps the biggest highlight of “Gladiator II” should come as no surprise, the action. The action takes a lot of what is good in the original and puts its own spin on it. It is brutal, smoothly shot, and sometimes tries to fit as much information onto the screen as possible. I knew the action in this film was going to be exciting as soon as it began. There is a sequence in the first few minutes that almost looked like a fun third person video game.
As for the fights in the Colosseum, those do not disappoint. That said, if you are looking for historical accuracy, that is where this movie may not be for you. I am not going to spoil the sequence in the arena that caught me off guard, but if you like your movies to be representative of practical events in history, you may not be a fan of this sequence. That said, I was a fan. A big one at that.
That is not the only historical liberty this movie takes. There is a moment where we see one of the characters reading a newspaper. Only problem, the printing press had not been invented until 1200 years after this film takes place. The more I think about “Gladiator II” and the glorious experience it gave me, I recognize that some of my positives regarding the film require me to bend logic and what I know about history. If I watch this film at home, chances are I could have a different opinion, a different mood perhaps. But from the second row in a crowded auditorium, I was onboard even during the more flawed moments. If anything, I will use the “Tenet” philosophy… “Don’t try to understand it, feel it.” And felt it I freaking did.
In the end, “Gladiator II” is a thrilling, captivating movie that takes you on an exciting ride through ancient Rome. It is not Ridley Scott’s best movie, but much like the original he directed more than two decades ago, the movie nails its atmosphere and delivers a completely riveting experience. The movie is chock full of different kinds of performances ranging from grounded to hyperactive to downright demented. I believed in all of them. Despite what I said about Paul Mescal, do not get me wrong, he truthfully kills it in the film. I cannot wait to see what he does next. As far as action goes, the movie has some cool kills and bloody finishes, but as far as this year for cinema goes, “Dune: Part Two” is still significantly superior in that department. But if you are looking for a fun time at the cinema, this is a solid option. I am going to give “Gladiator II” a 7/10.
“Gladiator II” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! Some of you reading this post might be asking if I took part in the Glicked, Wickedator, Wickedglad double feature whatchumacallit. To answer that, I can tell you I did watch both “Gladiator II” and “Wicked,” but not back to back, but I did see “Wicked.” That review is going to wait awhile. As for my next review, that is going to be for the brand new holiday-themed action flick “Red One,” starring Dwayne Johnson and Chris Evans. You can also expect reviews soon for “A Real Pain,” “Y2K,” “Juror #2,” and THEN you will see my review for “Wicked.” Hope that is not too terribly long of a wait. 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 “Gladiator II?” What did you think about it? Or, which of the “Gladiator” films do you prefer? Let me know down below! Scene Before is your click to the flicks!
“Here” is directed by Robert Zemeckis (Back to the Future, Forrest Gump) and stars Tom Hanks (Toy Story, A Beautiful Day in the Neighborhood), Robin Wright (Forrest Gump, The Princess Bride), Paul Bettany (WandaVision, A Knight’s Tale), and Kelly Reilly (Sherlock Holmes, Above Suspicion). This film chronicles various events over millions of years from the same location, capturing the moments and lives of those who live there.
First off, for those not aware or for those who happen to live outside the United States, this review is being posted just before Thanksgiving. Because you cannot have Thanksgiving… without “T Hanks.” In all seriousness though, Tom Hanks and Robert Zemeckis make for one of the most notable actor-director duos in Hollywood. The two have worked together to create films including “Cast Away,” “The Polar Express,” and in the past couple years, Disney+’s “Pinocchio.” Both people are reuniting for their latest collaboration, “Here.” Also appearing in the film, Robin Wright, therefore allowing for a “Forrest Gump” reunion. The fact that this film had talented, experienced people is only part of why I was looking forward to it. Having first seen the trailer to “Here” at my local multiplex a few months ago, I have been excited for it ever since. I was under the impression that this could end up being a unique film with a lot of potential.
From a camerawork and cinematography perspective, “Here” is by no means as immersively complex as “Birdman,” a movie that is set in multiple locations and uses blink you’ll miss it techniques to trick your mind into thinking it is done as one singular shot. But the selling point that kept me most interested in “Here” was getting to see the camera sit in a spot where it does not move. Having seen the film, I think the film gets creative with that concept, spanning different points in time. Everything from prehistory to the birth of the United States to modern times where we see the interior of a suburban house. The movie always maintains a quick pace from scene to scene, and even in moments that feel less relevant to the big picture, I was still hypnotized by everything that was going on.
That said, much like another Robert Zemeckis film featuring Tom Hanks, “The Polar Express,” this film could use some work when it comes to the characters. I have gone several holidays watching “The Polar Express” and even though the point a to b progression is clear for its protagonist, the Hero Boy, I cannot say I resonated with that film’s characters maybe to a degree I would have preferred. I always found the “experience” of watching “Polar Express” to be immersive, often inviting. But I wish I got to know the people in the film on a deeper level. Most of them are one-note or stereotypical. Similar to the ride to the North Pole in “The Polar Express,” I like the journey “Here” takes me on. This movie also has one notable improvement over “The Polar Express.” It does a better job fleshing out its main characters, a task that marvels me considering how many points in time and the list of people this film deals with. But even with that in mind, the characters themselves are still not the greatest when it comes to Zemeckis’s filmography. I am not going to remember anyone’s name from this film within the next couple months. If I watch this film a second time, which for the record, I would, I am probably going to be just as immersed as I was in the first. But whereas “The Polar Express” takes you on a fantastical voyage, “Here” is essentially like watching security camera footage but with twice the production value.
The one consistent story through a security camera is not always a person being captured, but rather the room or space someone just so happens to be in. Similarly, the story for “Here” is not consistent. It is bits and pieces. Perhaps it is an allegory on life itself. As we age, we remember certain times of our lives more than others, and maybe this movie is a reflection of our deepest memories. There are moments that speak to us, there are little things in the background, and even some times of our lives we would rather forget. It also shows how places can become a foundation of who we are. If you have a home for a long time, like the place or not, it becomes a part of you.
While I found the pace of the film to be a positive, I also found its fidgety structure to be a negative. The film is presented in a non-linear order, and in some ways, it works. Part of me wonders if Zemeckis wanted to do this film linearly at one point and was not loving it. I honestly do not know if the film would be any better had it been linear, in fact, one could argue it would be worse, I wonder if most audiences would like it. But still, the film is a bit clunky, though somewhat surprisingly, it also happens to be clear.
Once again, this is the latest project between Tom Hanks and Robert Zemeckis. But of course, another one of Zemeckis’s collaborators is here too, composer Alan Silvestri. Far and away, my favorite scores I have heard this year are definitely “Dune Part Two” and “IF.” And while Silvestri does not bring forth a score as memorable as those, he holds his own. Similar to “Inside Out 2,” this film opens with music that comes off as welcoming as can be. It is grand, it is prominent, it almost takes me into the screen. I could see myself listening to parts of the score in my free time.
For those who do not know their film history, “Forrest Gump” won Best Picture at the Academy Awards the year it came out. Having seen “Here,” it is hard to say that this film is going to be nominated for even one Oscar this year. Yes, Tom Hanks is given a lot to do. But I cannot name a moment of this film where he particularly stands out, and the same can be said for most of the ensemble. Though if I recall any actor in this film being a surprising standout, it would be Paul Bettany. “Here” is definitely not the worst film in Zemeckis’s library, but it is far from his best. It is no “Back to the Future,” though I will definitely remember this film more than “Allied” or that adaptation he did of Roald Dahl’s “The Witches” that ended up going to HBO Max. But I cannot lie, even though I would not say the film is perfect, it is a unique, fun, fascinating journey and I think it is remarkable how much material and substance some scenes are able to present about a specific time, specific people, and their lives with just so little material to work with.
In the end, “HERE” are my thoughts on the movie… I had a really good time with it! Is it messy? Sure, but much like the characters sometimes come to realize about the house we see for most of the film, it is sometimes a beautiful mess. I also dug the ending. The movie caps off on an emotional note. Kind of like Robert Zemeckis’s 2018 film “Welcome to Marwen,” I wonder if I am going to be alone when it comes to my positive opinion regarding this film. I loved “Welcome to Marwen” when I saw it. In fact, I loved it so much that I was shocked to find out how many other people did not like it. Having seen “Here” however, I can get why this movie would not work for certain people. At times it feels more like an experiment than a concrete story. But it does not mean the experiment is boring. I was invested from start to finish. I am going to give “Here” a 7/10.
“Here” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! If you want to see more reviews coming soon, stay tuned for my thoughts on “Gladiator II,” “Red One,” “A Real Pain,” “Y2K, “Juror #2,” and “Wicked.” 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 “Here?” What did you think about it? Or, what is your favorite collaboration between Tom Hanks and Robert Zemeckis? Let me know down below! Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! It is time for the final entry to the Election Days review series! Every year I make an effort to do a weekly series of older releases. This year has been tough to fit one in due to work, travel, life, and so on. But I figured what better time to do a series like this one than during an Election Year in the United States. If you have not read my other reviews in the series so far, be sure to check out my thoughts on “The Campaign,” “W.,” and “On the Basis of Sex.” This week’s review is going to be for the film “Elvis & Nixon.” I have definitely heard of the film before taking on this review series. It came out in 2016, back when Scene Before started. It is one of the earliest films from Amazon Studios, which has now become Amazon MGM Studios. But for whatever reason, I never bothered to check it out. That said, I watched the trailer, I thought looked good, so I thought I would give it a shot. Here are my thoughts on the movie.
“Elvis & Nixon” is directed by Liza Johnson (Dead to Me, Silicon Valley) and stars Michael Shannon (99 Homes, Revolutionary Road), Kevin Spacey (Horrible Bosses, House of Cards), Alex Pettyfer (Endless Love, Magic Mike), Johnny Knoxville (Bad Grandpa, Jackass), Colin Hanks (Orange County, King Kong), Evan Peters (X-Men: Days of Future Past, Invasion), Sky Ferreira (Putty Hill, The Green Inferno), Tracy Letts (Wiener-Dog, Homeland), Tate Donovan (Hercules, Damages), and Ashley Benson (Days of Our Lives, Pretty Little Liars). This film is based on true events and is about a meeting between famed musician Elvis Presley and U.S. President Richard Nixon in 1970, an event that spawned the most requested photograph in the history of the National Archives.
The past couple years have given us some exposure to Elvis Presley on the big screen. Whether it is through “Elvis” in 2022, which I did not enjoy. Or “Priscilla” in 2023, which I thought was one of the best movies of that year. These two films are deep dives into of each of the titular individuals’ lives, but “Elvis & Nixon,” which came out years before both of those films, is a little different. This film specifically focuses on one point in time during Presley’s life, not to mention Richard Nixon’s life. It never strays away from its key event. There are no concert scenes. There’s not much of Elvis’s discography playing in the background. It picks a place in time and refuses to stray away from it. This leads me to some compliments regarding the film. It flies by. Not only because it has a short runtime, but so much fun is packed into said runtime. This film is based on truth, but even with that in mind, it does not mean it is a serious story. Sure, Elvis Presley appears to be motivated to tackle issues he finds to be serious, but the story itself is kind of light. It is literally about two people meeting. Of course, there is other stuff in between, but that is basically the gist.
That said, this also highlights a problem in the film. The film packs a decent amount of material in its short runtime, but I cannot say I was invested in all of it. Some of the threads in the story come off as a bit of an afterthought. It is not that they are boring or do not make sense. But they clearly play second fiddle to the main story. Though to be fair, it would probably be worse if the main story felt like the afterthought. That said, I do wish I were a little more invested in everything else surrounding the nucleus of the plot.
All the actors play their parts well, and despite him being a controversial name now, I even include Kevin Spacey as Richard Nixon in this sentiment. I thought of all the characters in the movie, Spacey’s take on Nixon may have been the biggest standout. He has a commanding voice and admirable presence. He brings a distinctive aura to every scene he is in. His performance definitely fits under a term that I have used previously in the Election Days series, Hollywoodized. There are definitely some exaggerative qualities to it on screen. But it does not change the fact that those qualities fit his character well.
As for Elvis Presley, I thought he was competently played by Michael Shannon. I think he does a good job with his material. Academy Award-worthy? Perhaps not. But he does a good job. While Shannon definitely evokes Presley’s often advertised charisma, I thought he was tamer than I would have expected. Granted, it is fair to say the tale behind this film itself is calm. There is a little more conversation, a little less action, so to speak.
Perhaps my favorite element of “Elvis & Nixon” has to do with Presley’s perspective upon entering the White House. We see the process to get Presley into the building and meet the President is rather complicated, as I imagine it would be for just about anyone else, I have not been to the White House to do such a thing myself. I have never even been to Washington, D.C. period. Crazily enough, I cannot say I ever really imagined what it would be like to meet a sitting U.S. President. But as I watched this movie, it clicked with me. Doing such a thing has to be one of the grandest of privileges. That is the feeling that this movie tends to project while it is set in the White House.
And on that note, perspective is something I think is not just nailed from the view of Presley, but also his fans. This movie has a scene where Elvis enters a room full of women and just about every one of them, whether they choose to display it excessively or not, lose their mind. In fact, we see men doing it too. The only person who we find not to be on the same page with all these people is President Nixon.
This movie has a beginning, middle, and end, like a lot of others do. This movie has a point a to b progression, like a lot of others do. But not every movie can do what “Elvis & Nixon” does because to some degree, it turns nothing into something. If this movie were not based on actual events, that is a description that would immediately come to mind for a movie like this. Again, one of the top goals as far as Nixon’s administration is concerned is to get a picture of the two titular characters, and even something as simple as that becomes complicated.
As someone who did not live in the time of Elvis Presley and Richard Nixon’s peaks in relevancy, I nevertheless can say I was fascinated by what this movie was trying to deliver. That said, I think people who lived during this time will appreciate this movie most because it does a good job at highlighting the prominence of both figures and establishing how mind-blowing it is that these two incredibly famous men ended up crossing paths. But even I, who was born towards the end of the 20th century, recognize the moment this meeting has on our culture. That said, I did not know that the photo behind this film is the most requested in the history of the National Archives. I am not sure how many history classes cover Elvis and Nixon meeting. It is definitely a notable moment in pop culture, but there is a reason why I did not learn about it in school. But this movie, unlike some others based on true events, feels less like a history lesson and more like a fun escape. I laughed quite a few times in this film, there are quite a few gags that are finely executed. If you are looking for something to watch, this movie will do the trick. Is it a masterpiece? No. But it is definitely a solid hour and a half.
In the end, “Elvis & Nixon” definitely has fun putting two notable people of their time in the same room, and results in a movie worth watching at least once. The subplot elements are almost distracting and feel like they are just there to fill an already short runtime, but I would issue a thumbs up to what we got in those 86 minutes including credits. I had a great time watching the movie. Overall, it is light and fluffy, but it does not mean it is not entertaining. The film is not Shakespeare, but definitely a fine time waster. I am going to give “Elvis & Nixon” a 7/10.
“Elvis & Nixon” is now available on DVD, Blu-ray, and on Prime Video for all subscribers.
Thanks for reading this review! I hope you all enjoyed this Election Days series! I have no idea what my next weekly series is going to be, but I do have a few in mind. If I think it is time to do another one, I will share it with you all. Until then, look forward to my reviews for “Here,” “Gladiator II,” “Red One,” “A Real Pain,” “Y2K,” “Juror #2,” and “Wicked.” 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 “Elvis & Nixon?” What did you think about it? Or, what is your favorite movie associated with Elvis Presley? It can be one where someone plays him, maybe there is a good use of his discography, or one he has been in himself. Personally, I thought “Blade Runner 2049” had a couple memorable, albeit brief, moments featuring the musician through a hologram. Let me know your picks down below! Scene Before is your click to the flicks!
“Anora” is written and directed by Sean Baker (Red Rocket, The Florida Project) and stars Mikey Madison (Better Things, Once Upon a Time in Hollywood), Mark Eydelshteyn (The Land of Sasha, Pravednik), Yura Borisov (AK-47, Guest from the Future), Karren Karagulian (Red Rocket, The Florida Project), Vache Tovmasyan (Lost & Found in Armenia, Golden School), and Aleksei Serebryakov (Nobody, McMafia). This film follows the relationship between an exotic dancer and the son of an oligarch. Once the son’s parents find out the two have married, they do what they can to declare it invalid.
We are reaching the end of the year, which as far I am concerned, means it is crunch time. There are so many movies coming out that I would like to see, or in cases like “Wicked,” kind of have to see to stay in the conversation. I have so many movies on my radar to the point where I do not know if I have the ability to watch all of them. I have several reviews on the to-do list, including this one. Of the films that are on the lineup, “Anora” is an utmost priority. The biggest reason is because the film won the Palme d’Or at the Cannes Film Festival. Of the last five films that won the Palme d’Or, three were Best Picture nominees at the Oscars, and Bong Joon Ho’s “Parasite” ended up winning the Academy’s coveted title for the year it was nominated. Additionally, I also glimpsed at one of the trailers for the movie and it was one of my favorite trailers I have seen this year. It promised a compelling story with an individualistic flair about two characters who I ultimately looked forward to seeing on screen.
But I was not prepared for what kind of movie this was going to be. I had a suspicion that “Anora” was going to be good. I also had a suspicion that “Anora” was going to be unique. I had a suspicion that “Anora” was going to be an experiential event. But even as the movie unfolded, I was marveled by whatever the heck it was I was seeing. This movie has a pace to it that really should not work, but for whatever reason it does. There is a key scene in the second act that drags itself out so heavily and takes its time, but never once does a single moment of it feel wasted. Why? Because it contains characters that I care about, and even if some of them are not exactly role models, I am nevertheless in a trance as I find out what their next move is going to be.
The stars of this movie are Mikey Madison and Mark Eydelshteyn and whereas you might look at a lot of other movies and find couples to be matches made in Heaven, I’d argue these two are a match made in Hell. I do not mean that as a negative. If anything, these two have some of the best chemistry in an on-screen couple I have come across in recent memory. But as people, these two are not perfect, arguably on purpose. You have Ani (Madison), who works as a stripper in a club, and Vanya (Eydelshteyn), who stays at home playing video games all day. Granted, he and his family can afford it, so it could be worse. But he is a bit of a spoiled brat. But both actors play these imperfect people to a tee and watching them together is exciting. Every moment they are on screen together, I bought into their connection. Sometimes certain absurdities come up between them, but the movie maintains an atmosphere that makes you buy into said absurdities. Individually, I honestly think Mikey Madison is going to be up for several high caliber awards this season. There are still plenty of movies on the way, but if the Academy Awards were tomorrow, Madison might be my pick to win Best Actress.
Screenplay-wise, this film is one of the finest of the year. It contains great dialogue, even from the most minor of characters. I bought into every single character as they were presented on screen. This is a screenplay that at times is about the little things. You have the main dialogue, of course. But when that is not being brought to life, we see little quirks or trademarks come up for certain characters and I fell in love with some of them as they occurred. The script for this film has the style of a Coen Brothers movie like “The Big Lebowski” if it were directed by Quentin Tarantino. Honestly, there is a scene that in terms of pace and line delivery, I would have assumed was straight out of “Pulp Fiction.”
“Anora” is a near perfect film, but if I had to name any problems with it, that would be easy. This movie’s first two acts fire on all cylinders. I was engaged the entire time, and I was immersed into the story and its characters. But the third act, while still good, loses some steam for me. It is kind of like “Speed.” The film is fantastic and some of Keanu Reeves and Sandra Bullock’s best work, but the movie peaks at a certain point in act two. The rest of the movie is good, but not as hypnotic as it previously was. But never once did I feel bored or disengaged to the point where I wanted to leave.
I beg of you, watch “Anora” in a theater. Specifically, if you can, watch it in a crowded auditorium. If you are in New York or Los Angeles, part of me assumes this could be an easy task to accomplish depending on the time, but if you live somewhere else, take as many friends as you can. Ask friends of friends if they want to come. I am of the belief that every movie is better in the theater, and “Anora” is a testament to that. This is one of my favorite theatrical experiences I have had this year, partially because “Anora” just so happens to be one of the funniest movies I have watched this year. I am so happy to have been able to check it out in a nearly sold out screening. I was in an aisle seat and I was doing my best not to fall into said aisle sometimes.
In the end, “Anora” is fantastic! I know this is a rather vague review. But I am leaving it vague on purpose. Because other than seeing one trailer, I went into “Anora” blind. And I think that is the best way to experience this film. Because yes, I drew comparisons to films like “The Big Lebowski” and “Pulp Fiction,” but this is a unique movie with some of the most engaging storytelling I have come across in a long time. It is a great story that highlights class in addition to people doing what they can to get by. The movie almost drags towards the end. The third act is easily the weakest in my opinion. Maybe that’ll change with a rewatch. Who knows? But if you are looking for something original this awards season, “Anora” is worth checking out. It is also responsible for one of my favorite scenes of the year that in a lot of other movies would probably be half as long. But for whatever reason, it goes on for such a long time and I have no complaints about it. I am going to give “Anora” a 9/10.
“Anora” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My final Election Days review is coming up, and it is for “Elvis & Nixon.” The film is a lot of fun and I cannot wait to talk about it. As for new releases, stay tuned for my reviews for “Here,” “Gladiator II,” “Red One,” “A Real Pain,” “Y2K,” “Juror #2,” and “Wicked.” 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 “Anora?” What did you think about it? Or, what is a film that you really enjoyed but would also claim to be at its worst in the third act? Let me know down below! Scene Before is your click to the flicks!
“The Apprentice” is directed by Ali Abbasi (Holy Spider, The Last of Us) and stars Sebastian Stan (Captain America: The First Avenger, The 355), Jeremy Strong (The Big Short, The Gentlemen), Maria Bakalova (Borat Subsequent Moviefilm, Guardians of the Galaxy Vol. 3), and Martin Donovan (Insomnia, Tenet). This film follows a young Donald Trump in the 1970s and 80s and examines his career as a businessman.
I will be honest, I was extremely hesitant to watch and review this film. Part of it is because I do not typically want to dive into politics on Scene Before. Well, maybe except for this month with my Election Days reviews. By the way, go check out my thoughts on “The Campaign,” “W.“, and “On the Basis of Sex” if you want to see me talk about some slightly older films. I mean, they are not that old, they are from the 21st century. That said, I will remind everyone that it is November 2024, therefore it is the culmination of an election year in the United States. Marketing-wise, it would make sense to release a film of this nature around the latter half of the year. But as a viewer, I was also weary of checking it out because regardless of my political views, election season is already anxiety-inducing on its own. But of course, I thought this would be a good film to talk about given the time of year, really the time in society in general. For the record, I am going to do as best as I can to stray away from my personal views on Donald Trump as a politician.
That said, one thing I will note for people maybe looking to watch this movie, it is not about Trump’s political career. It instead contains itself to a time where he was more well known as a mogul, a New York personality. Also despite the title, this is not set in the 2000s or 2010s. I say this because, well, Trump hosted “The Apprentice” at the time. As slightly misleading as that title could come off, there is a reason why the movie has its namesake. For one thing, the film is about a younger Trump, and heavily explores the building blocks of his business, his love life, his family life. It sprinkles a lot into a two hour runtime but it is not a piece about Trump’s entire life. Since I was born in the late 1990s, I inevitably know Trump more as a politician as opposed to anything else. Having followed Trump through that realm in recent years, he has certain trademarks, words, and mannerisms that have become a part of his personality. Sometimes they are even used against him in a jokey manner. Sebastian Stan to my lack of surprise dives into some of these trademarks, and while the film is definitely somewhat grounded with its intimate camerawork, it also has a feel to it that is comparable to more comedic material in media.
To be real, Sebastian Stan is probably not going to win the Academy Award for his portrayal of Donald Trump, as much as some may be convinced “liberal Hollywood” will let him win out of spite of others. But I like his performance in “The Apprentice.” Like I said, some of Trump’s trademarks come up in the film, and I think Stan masters them without coming off as a cartoon. One thing I have noticed over the years about most of the Trump performances I have seen is that a lot of them come off as hyperbolic. But those performances traditionally tend to fall within a certain context. Maybe they’re on a variety show like “America’s Got Talent” or “Saturday Night Live.” They tend to work for what they are. But I was surprised to see Stan deliver on a much calmer interpretation of the well-known businessman. Regardless of how I feel about Trump as a person, seeing something like this is refreshing. Now having seen the performance in this movie, kind of like say Alec Baldwin’s portrayal in “Saturday Night Live,” I am sure that there is an audience that will look at this performance, perhaps even the screenplay behind it, and immediately find themselves turned off by it. To call this a pro-Trump film would be like calling “Deal or No Deal” a pro-banker game show. Am I surprised by this film’s leanings? Not really. But the fact is I found the film as a whole to be entertaining. It is well-paced, it is engaging, and I latched onto the characters.
What this film surprisingly reminds me of is the “Star Wars” movies. This could apply to a number of them, but perhaps the first that comes to mind is “Revenge of the Sith.” As I continued to watch the relationship between Trump and attorney Roy M. Cohn, their dynamic in this film showed similarities to that of Anakin Skywalker and Palpatine. In this case, Trump would be the Anakin and Cohn would be the Palpatine. After all, Cohn is a little older, a little wiser, and very much getting into Trump’s head throughout the film. The movie presents Cohn as a mentor figure to Trump, instilling him with all sorts of knowledge. Cohn even presents three rules to Trump: “always attack, never admit wrongdoing, and always claim victory.” This is a motto that the public has seen Trump live up to in recent years especially regarding his political career.
I also love the overall aesthetic of this film. It is practically a symbol of Trump as he builds himself. If this were set years down the road, maybe this movie would be presented as something that looks more professional, considering how he would have continued to establish and maintain his name. But this matches a story about a guy who is trying to live up to his family name while also assembling the building blocks behind a legacy of his own. Only he has not yet been able to make that happen. Trump may be one of the most prominent men in the world today, but like with anyone else, getting to that position takes time.
The film is sometimes shot and presented in such a claustrophobic manner. It puts in you the movie with its multitude of closeups, darker colors, grim lighting, and sometimes vlog-like style. The more I look at this movie, it reminds me of those home videos shot on older camcorders in say the 1990s or early 2000s if you gave the captured video a pinch of polish and a bigger budget.
In the end, “The Apprentice” fires on all cylinders. It is engaging, it is raw, surprisingly funny at times, and lets out the best from its solid cast. Sebastian Stan, to my surprise, was a decent pick for the lead role. “The Apprentice” is most definitely not for everyone. In fact, I not only say that thinking a certain group of people who like Trump will immediately be turned off by the film, but there is also some visual content that may be uncomfortable for some viewers regardless of your political leanings or thoughts on Trump himself. In hindsight, I can see why this movie did not make a ton of money. People often go to the movies to escape, and I do not know if “The Apprentice” would be one of those films that would allow people to do such a thing, especially at this time. But I also could see why certain people would find the film to be relevant. I cannot recommend this movie to everyone, and knowing the current landscape, it is hard to know how many minds in any direction will be changed once the film’s over. That said, I give the film a thumbs up. It has a compelling narrative, good direction, and fine acting. I am going to give “The Apprentice” a 7/10.
“The Apprentice” is now playing in select theaters and is available to rent or buy on VOD.
Thanks for reading this review, my next review on the lineup is going to be for a film that is getting a lot of conversation right now, and that is “Anora.” I cannot wait to talk about this flick. Look forward to that review coming soon. Also on the lineup, I have reviews on the way for “Here,” “Gladiator II,” “Red One,” “A Real Pain,” and “Y2K.” Also, my final Election Days review is hitting the blog next week, and it is for the movie “Elvis & Nixon.” I just watched the film earlier this week and I cannot wait to talk about it. If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Apprentice?” What did you think about it? Or, in the spirit of Donald Trump… Tell me your honest thoughts on “Home Alone 2: Lost in New York.” Personally, while it has its moments, it is a bit lazy in its structure, very much copying the recent success of its predecessor. Also, how you do get lost in New York? If you know numbers, you’re good as gold! Either way, if you have thoughts on “Home Alone 2: Lost in New York,” let me know those thoughts down below. Scene Before is your click to the flicks!
Hey everyone, Jack Drees here! It is time to continue Scene Before’s Election Days review series. Unusually, this review is being posted on a Monday! I intended this series to be updated weekly on Tuesdays, but to be frank, I have a commitment tomorrow. I am not sure if my schedule would allow me to finalize this post then, so I thought I would get it out today. Speaking of unusual, unlike the last two movies I reviewed, “The Campaign” and “W.“, this review regards a movie about someone whose seat is determined by elected officials, not necessarily by the people of the United States on Election Day. Today we are going to focus on the prominent Supreme Court Justice, Ruth Bader Ginsburg. Having joined the Court of Appeals in 1980 during the Jimmy Carter administration, not to mention appointed to the Supreme Court in 1993 during Bill Clinton’s time as the U.S. President, she has maintained a reputation as a trailblazer. This film focuses on a time in her life before all that happened. Is the movie worth watching? I will share my thoughts below and you can find out for yourself.
“On the Basis of Sex” is directed by Mimi Leder (Deep Impact, Pay it Forward) and stars Felicity Jones (Rogue One: A Star Wars Story, The Amazing Spider-Man 2), Armie Hammer (Cars 3, Nocturnal Animals), Justin Theroux (Mulholland Drive, The Girl on the Train), Sam Waterston (Law & Order, The Newsroom), and Kathy Bates (The Waterboy, Misery). This film is about Ruth Bader Ginsburg, who must overcome various obstacles to help herself, her family, all the while trying to establish a career in a competitive, everchanging climate.
Despite coming out more than half a decade ago, I missed “On the Basis of Sex” when it came to theaters. After all, there were so many films coming out at the time that I could only get to a certain number of them. I was mainly focused on what insiders were projecting to be the major awards contenders at the time and “On the Basis of Sex” did not seem to be one of them. I was intrigued by the premise, but I had a bit on my plate. My motivations even caused me to miss “Bumblebee,” a blockbuster I was curious about at the time. By the way, I do not have a review for it, but it is a good movie! I eventually ended up buying a used copy of “On The Basis of Sex” on Blu-ray for $3.99, so I thought it would be worth checking out some time. And worth checking out, it is.
I knew “On the Basis of Sex” would be good, but I did not expect it to stand out the way it does sometimes. I want to quickly address the pacing of this movie. I am not surprised when I watch say an action movie or a comedy movie and find myself immersed in those environments to the point where time moves at supersonic speed while watching those. There was a point where I checked how far the movie was into its runtime and to my surprise, we were almost halfway through and I thought to myself, “Wow! I guess I’m really enjoying this!” It reminds me of when I watched “The Post.” It is shocking and delightful to know how immersed you can get in a story from time to time that is almost non stop talking.
“On the Basis of Sex” starts off on a high note. Perhaps literally. Partially because the song choice in the beginning perfectly sets the tone for the movie. It is loud and grabs your attention, kind of like the fight for equal rights this film often tends to highlight. But not only does the movie start well from an audio perspective, but the opening sequence set at Harvard is finely edited and shot. The movie starts off with this gigantic sea of men, therefore illustrating how there is a lack of women in Ginsburg’s position. The men are also all wearing suits and jackets. Each jacket looks almost like the other. They’re grey, they’re black. It is a limited and somewhat uninviting color palette. Then you look at Ginsburg in her light blue outfit. I am sure if she were wearing similar colors to the men surrounding her we could identify Ginsburg just fine. But her outfit, most notably due to its vibrant color choice, easily grabs your attention. I thought the costuming is top notch here, as it is for the remainder of the film.
Felicity Jones plays Ruth Bader Ginsburg in this film. Jones does a decent job portraying a rather commanding figure. When I think of RBG, I think of someone who is motivated, someone who takes charge. This is not her most notable lead role in the last decade, but I must say between this and the much more popular “Rogue One: A Star Wars Story,” Jones does a decent job playing strong women while also gracefully showing the weaknesses of said characters. When I watched “Rogue One,” I thought Jones did a good job at highlighting Jyn Erso’s uncertainty on screen. I remember when she was leading people into battle and I could feel her timidness, even though she was not showing it. In the case of RBG, I could tell Jones was showing more confidence this time around. After all, the movie shows she is still learning new things, but she is mature and certain as to what she wants. As to how to get it, that is occasionally the obstacle. At times, the obstacle exists just because of how other people see her.
The film dives into the sexism that women deal with, even today. We see a man telling RBG to smile more, change her tone. There is a moment where we see Ginsburg and her daughter walking through the street and some construction workers are catcalling them. We see Ginsburg, reservedly tell her daughter Jane, played by Cailee Spaeney, to just keep walking. But the daughter is not having it, she yells at them, signaling their actions are not okay, and then hitches a cab. This leaves her mother surprised and impressed, showing the progression of how women are opening up as to how they prefer to be treated. It is a memorable scene and does a good job at highlighting how far women’s rights have come generation after generation, even if it is shown through something as small as this.
The film also shows Ginsburg, despite being a star student in law school, struggling to find work. And while the job market can prove to be competitive in a number of contexts, for Ginsburg, she struggled to find work because of her identity. Multiple law firms turned her down because they did not want to hire a woman. We find out Ginsburg ends up taking a position as a professor at Rutgers Law School, which initially tends to bewilder her husband, Martin Ginsburg. Through the tone of the dialogue and various visual cues as Ruth reveals such news to her husband, it is emphasized that maybe this is not the outcome both sides were expecting. Even so, the two recognize the small victory. It is a decent scene showing the bumpy road that it is life. Once several doors close, another one may open that you were least expecting.
Despite how much I enjoyed “On the Basis of Sex,” it is not without its flaws. “Hollywoodized” is a term I have used on Scene Before in the past, and it fits here too. At times, this movie’s dramatization is rather obvious and almost distracting. While the movie is based on true events, there are certain moments during the showcasing of said events that feel like they would only exist in the context of a dramatized film.
Although if there is one thing that pipes itself up throughout the movie that really kept me interested, it is Mychael Danna’s score. Having watched lots of films over the years, I have had my fair share of scores I liked, but there are a certain amount that I would revisit on my own time. “On the Basis of Sex,” to my surprise, seems as if it could end up being one of those scores. Maybe I will eventually play it while writing my reviews.
As far as biopics go, I am not going to pretend “On the Basis of Sex” reinvents the wheel. There are moments where we see Ginsburg’s life play out that were beyond fascinating to learn about but the structure of the film does have a been there done that feel at times. If you can handle some predictability, cliches, and overdramatization every once in a while, you might like this movie.
In the end, “On the Basis of Sex” surprised me. I mean, I was not surprised the movie played out the way it did in parts. There is definitely a noticeable formula that I thought was met. But Felicity Jones carries this film as the lead. Although that does not mean there are no other standouts in the cast. Some include Armie Hammer, Kathy Bates, and even Cailee Spaeney as Ginsburg’s daughter, Jane. What did surprise me was how fast time flew as the movie progressed. I cannot say I felt bored or uninterested, so I have to give credit to the movie for keeping me awake. I am going to give “On the Basis of Sex” a 7/10.
“On the Basis of Sex” is now available on DVD, Blu-ray, Digital, and VOD. As of this writing, the film is available on Netflix for all subscribers.
Thanks for reading this review! I have one more review coming up next week in the ongoing Election Days series and it is going to be for the Amazon Studios film, “Elvis & Nixon.” I have not seen this film before. I just watched the trailer. It seems to promise a lot of fun. I figured after a couple of heavier films, and yes, I include “W.” as an example even though it has comedic elements, I thought it would be fun to maybe end with something on the lighter side. Stay tuned for that review. As for newer releases, stay tuned for my thoughts on “The Apprentice,” “Anora,” “Here,” “Gladiator II,” “Red One,” and “A Real Pain.” 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 “On the Basis of Sex?” What did you think about it? Or, what is a movie you watched that you feel went by much faster than you were expecting it to? Let me know down below! Scene Before is your click to the flicks!
“Venom: The Last Dance” is directed by Kelly Marcel and this is her directorial debut. This film stars Tom Hardy (The Dark Knight Rises, Mad Max: Fury Road), Chiwetel Ejiofor (The Lion King, Doctor Strange), Juno Temple (Fargo, Ted Lasso), Rhys Ifans (The Amazing Spider-Man, The King’s Man), Stephen Graham (Gangs of New York, Snatch), Peggy Lu (Always be My Maybe, Kung Pow: Enter the Fist), Clark Backo (The Changeling, Letterkenny), Alanna Ubach (Meet the Fockers, Legally Blonde), and Andy Serkis (Star Wars: The Force Awakens, Black Panther). This film is the third installment in the “Venom” franchise and centers around the titular host and his human bud Eddie Brock as the they are on the run for the sake of survival and for the latter to clear his name.
If you are new to Scene Before, you would know I love comic book movies. I think the sub-genre has consistently entertained me for years, and in some cases, given me some of my favorite movies of all time like “The Suicide Squad” or “Avengers: Infinity War.” Those two movies are from different cinematic universes, specifically the Detective Comics Extended Universe and the Marvel Cinematic Universe. And while the “Venom” movies are also based on Marvel characters, they are not a part of the mainline MCU. Well, sort of. That is unless you count that one scene in “Spider-Man: No Way Home.” But as far as the “Venom” movies go, they are under Sony’s Spider-Man Universe, which interestingly, barely has Spider-Man in it. This cinematic universe has been responsible for turds in the wind like “Morbius” and “Madame Web.” If I were to make a worst films of the 2020s list right now, I guarantee you both of those will end up in the top 5. But for some reason, the one successful property in this universe is “Venom,” which I find kind of sad. Not just because it is massively outperforming its partner films, leaving them in the dust. But because if you want me to be honest with you, I do not find these films to be that great. Sure, I liked the second “Venom” movie. I will admit “Let There be Carnage” has its moments. That film delivers some okay action, has a lot of laughs, and the pacing is tightly knit. But the first “Venom?” I could never watch that movie again. I know it has its fans, but I am not one of them.
As far as “Venom: The Last Dance” goes, I do not find the film to be the worst of the trilogy. But that does not mean the movie is good. The film starts off okay. One highlight in particular involves Venom and Eddie fighting a bunch of dudes in a warehouse. That part was entertaining and I really enjoyed some of the gore delivered in that sequence. I thought another highlight was seeing Venom and Eddie hang on the side of a plane thousands of feet in the air. But there is not really anything else worth writing home about. For the most part, the movie is slow. Considering the tight pace of the previous installment, slow is probably the last word I would want to use when describing “Venom: The Last Dance,” but here we are. As for the villain in this film, I honestly almost did not care at all. So I guess you could say that the Sony Spider-Man Universe seems to be taking some inspiration from the much more successful Marvel Cinematic Universe, but maybe not in the way one would want them to.
Even though I think this whole trilogy has been a loss, I think the one win throughout all three films, if you can call it, is the bond between Eddie and Venom. We see Tom Hardy doing an okay job as both characters. And Venom in particular has always been funny. As much as I hated the first movie in this trilogy, I still laugh thinking about the one scene where Venom calls Eddie a “p****” for not jumping from a building and instead taking an elevator to leave. The two continue to have decent chemistry in this third installment. Unfortunately I do not think they are as funny as they were before. But I think when it comes to the duo’s aspirations in this film, that part was nice to see. We find out that Venom wants to go see the Statue of Liberty, and seeing that motivation play out was kind of wholesome. Granted, we find out at the beginning of the film that is not the only reason these two are going to New York, but it is nice to know that this alien character has these humanistic desires. You can tell that these two have grown to care about each other. I just wish the screenplay was more compelling. It lacks an oomph. It lacks a direction. It lacks a substance that makes the film exciting.
Remember Mrs. Chen from the previous movies? Well guess what? She is back! I will admit, when I saw the trailers for this film and I watched her character in context of what was given to me through said trailers, I was curious about what she would do in this film. Honestly though, she does not add much to the plot, the progression of the story, anything. She is literally just there for the sake of being there. Although this time instead of seeing her behind the counter of a convenience store, she makes a trip out to Las Vegas to party it up. She has a penthouse suite, she’s dressed like a queen, the whole nine yards. While I admittedly found Peggy Lu to give a somewhat memorable performance in the film, you could almost take her out and have the outcome of the film barely change at all. Her appearance in this film barely serves the story, and ultimately comes off as a distraction if anything. What happens in Vegas should certainly stay out of “Venom: The Last Dance.”
In my review for “Venom: Let There be Carnage,” I mentioned I had one notable moment that could be described as a guilty pleasure from that movie. Particularly the moment where Eddie and Venom are arguing and the whole thing results in this hilarious fiasco where Venom throws out Eddie’s TV. This leads to another scene some time later where we see a brand new Sony television that was clearly intended to be there for product placement purposes. After all, these movies are from Sony, so they have to show off their products somehow. This trend appears to continue in “Venom: The Last Dance,” but the product placement is likely not as obvious as the last time. For those who do not know, Sony owns “Wheel of Fortune.” When Eddie gets to a casino in Las Vegas, he walks to a Wheel of Fortune slot machine, a common staple at these places, and sits down. The scene at said slot machine is rather short, but sweet. In fact, it is one of my favorite parts of the movie. It is a somewhat accurate representation of the thrill, and agony of gambling. You see Eddie mashing the button like he’s learning how to play “Mortal Kombat,” Venom is getting a sudden sensation he has never experienced before, he goes on saying this is the greatest feeling he’s ever had. But it does not take long for them to hit a low, particularly running out of money. Venom prompts Eddie to smash the machine in rage. The scene delivers some laughs, and as someone who has enjoyed his time at the slot machine, and occasionally questioned myself for sitting down at one in the first place, this is a good representation of what it is like to gamble sometimes.
By the way, if the hooligans at Foxwoods Resort in Connecticut are reading this, give me my freaking money back that you guys snatched from me in September, NOW.
That said, one minor detail, they likely customized the “Wheel of Fortune” slot machine for this movie, because I cannot recall one time I have played those machines, or any others for that matter, and saw an enormous “YOU LOSE” graphic on those machines. I know gambling can be cruel, but they’re not exactly arcade games. The game is never over on slot machines, it just stops at a point until someone keeps it going.
Speaking of minor details, one of my biggest laughs in the movie is the likely the result of me spending way too much time looking into details on passenger airplanes. Yes, like some other people, I have had growing worries about flying certain Boeing aircrafts. But even before planes like the 737 MAX became a hot topic of concern, I knew about some models thanks to YouTube. There is a moment in “Venom: The Last Dance” where Eddie explains to Venom that the two latched off the exterior of a Boeing 757. It takes a bit for Venom to chime in about this, but at one point he shouts, “It was an Airbus A320!” I am by no means an air geek or planespotter, but I do have an appreciation for air travel. I think the whole process behind it and the way it is managed is sometimes a scam, but either way, that particular line made me lose it when Venom said it. Plus the fact that Venom shouted it with such certainty made the execution of the line come off as admirable as possible.
But the more I think about this “Venom” trilogy, the more I think these movies are the kinds that Martin Scorsese would look at and go, “Hard pass.” And you know what? Now that I have sat through all three of these monstrosities, I would be right there with him. To use Scorsese’s words, and I may sound like a hypocrite because this goes against what I said about the pacing earlier, “Venom: The Last Dance” undoubtedly has the pace of a theme park ride. You may be wondering if I am high right now. Just moments ago I said this movie was slow. What kind of theme park ride are we talking about? Well, if we were to talk about faster theme park rides like a roller coaster, such a pace is most evident when we are with Eddie and Venom. Whenever their presence is absent, “Venom: The Last Dance” becomes a complete and total snoozefest. The main duo’s connection kind of saves the movie in the same way it has done so in the franchise’s predecessors. Everything involving Area 51 was boring. Some of the characters in those scenes were not as compelling as maybe they could have been. They felt flat. They felt wooden. If anything, these movies somewhat remind me of the reality TV genre. This is not a comparison to every show within the genre, but if you watch certain reality shows you will notice how hyped up the main cast tends to get sometimes. When I think of this Venom trilogy, I think of the titular character’s voice. I think about how loud that voice can get in select scenes to the point where it drowns out all the other characters. Granted, sometimes it is appealing, but it does not change the fact that this movie feels like noise for the sake of noise.
Also, with this being the third installment of a trilogy, the film tries to go out on a note of finality. Or as Hollywood puts it, “The end… Until we make a billion dollars.” Unfortunately, the note of finality this movie tends to provide feels tacked on. Never once did I get any emotion between these two characters. Part of it is because this property is far from the gold standard of comic book movies, therefore I never had any attachment to these films to begin with. While I thought the second film is good, I think the first one is ridiculous garbage, and at the time, the worst “Spider-Man”-related film I had seen. Then came “Morbius,” then came “Madame Web…” Oh my god. This goddamn timeline. Sony, get your act together! Because I have had it! Either get people who care about these characters, or give the rights to somebody else! I could tell Tom Hardy is probably having a blast making these movies, but I cannot say I am having the best time watching them. They are barely good enough to be eye candy. And it is not even good eye candy. It is like eye candy that is a bit past its expiration date! It can still be edible, but is it really? It is honestly not that good. When I look at Venom in this movie and the many symbiotic creatures we end up seeing, it reminds me of the “Star Wars” prequels in a sense because if you remember those movies in comparison to the original trilogy, you would notice a significantly higher presence of lightsabers, and therefore lightsaber fights. When you look at the original trilogy, lightsabers felt special and were always used to serve the story. In the prequels, the lightsaber use sometimes comes off as an excuse to put said objects on the screen like they are jangling keys. Do not get me wrong, sometimes I was hypnotized by those jangling keys, but still.
My point is, when I look at all the symbiotic creatures, it makes the character of Venom feel less like a one of a kind, and perhaps as commonplace as a Dunkin’ location in New England. Venom does not feel special in this movie. Granted, in the previous films, he faced off against other symbiotic beings, but the count of symbiotic beings in those movies were minimal. There was still a novelty to the concept. You could almost argue that there are some story purposes to the number of creatures in this film, considering this film is set in Area 51. This “Venom” film is definitely going bigger than the previous two installments. Though in contrary to the common saying, bigger does not mean better. In this case, the movie is so big that it leaves me wondering how many of these creatures are in the movie for the sole purpose of selling toys. In fact, there are a couple times in this movie where I was looking at numerous characters or shifts the symbiote itself makes and in my head I’m going, “There’s a toy.” “There’s another toy.” “There’s a toy.” “There’s a Hot Toy.” “There’s an action figure.” “There’s a Funko Pop.” When the trailers showed off the Venomized horse, I was intrigued by how delightfully weird such a concept could be. And when that was shown in the movie, I thought it was fun to watch on screen. But for the most part, I kept looking at the symbiotic creatures and thought the whole idea was overdone by the climax of the film. Now I may sound like a hypocrite, because looking back at say the MCU’s “Iron Man 3,” I was thrilled when the climax went down and all the Iron Man suits showed up. But that was on top of an already engaging film containing characters I cared about and a story that moved along at a decent pace. The finale for “Iron Man 3” was the cherry on top of a sundae whereas the finale for “Venom: The Last Dance” felt like a bunch of creatures I did not care about facing off a threat I did not care about.
Could I watch “Venom: The Last Dance” if I were drunk? That is a question I personally find to be a bit tough to answer, mainly because I do not drink. Maybe this is why I hate these movies. Because I refuse the booze. But in all seriousness, as I look at “Venom: The Last Dance,” this is a movie that would probably be best watched in a setting that includes alcohol. Heck, part of the movie takes place in Vegas! Now you get to watch a movie about a guy and his alien pal going to a place where poor decisions are highly encouraged while also making some poor decisions right from your own couch. Although if you ask me, watching “Venom: The Last Dance” is already enough of poor decision.
In the end, “Venom: The Last Dance” is one of the worst films of the year. The film starts off average and just gets worse as it goes. This is just the latest comic book movie to come out in 2024 that I found to be a waste of time. If it were not for “Deadpool & Wolverine,” every comic book movie that came out this year would have been a dud. Now, it is hard to top the injustice that is “Madame Web,” and thankfully, “Venom: The Last Dance” is an improvement from that schlock. Is “Venom: The Last Dance” as bad as “Joker: Folie à Deux?” Surprisingly, no. These are words I did not think I would be saying months ago! For one thing, despite there being more cons than pros in “Venom: The Last Dance,” it does have some entertainment value. There are some funny lines here and there. There are one or two decent action sequences. But it is not enough to make a good movie. The palette of the film is somewhat depressing. The moments that try to trigger your emotions did not get to me. I did not care for a lot of the supporting characters. And to my surprise, the film sometimes moves at a snail’s pace.
I genuinely hope, against all odds, that come December, “Kraven the Hunter” is a good movie. Because I have no faith in it at this point. And why should I have any faith in it? Literally the only film in this Sony Spider-Man Universe that has worked for me so far is “Venom: Let There be Carnage.” The first “Venom” was terrible. “Morbius” sucked. “Madame Web” is one of the worst films I have ever seen. For those of you who have comic book movie fatigue, I cannot relate. We clearly live in different worlds. Again, unpopular opinion I guess, I liked every MCU film since “Endgame.” If the MCU did not exist, and Sony’s stinkers were all that were coming out, there is a chance I could be asking for more quality products, or maybe I would be fatigued. This is supposedly the end of Eddie and Venom’s journey together, but there are future plans for the ongoing Sony Spider-Man Universe. As much as I am peeved at Sony for the state of said universe, I do not envy their position right now. Their most successful property is concluding, and now they supposedly have the comic book movie equivalent of the Island of Misfit Toys to play with. Honestly, if “Kraven the Hunter” is a complete bust, I would not be shocked if Tom Holland never stops playing “Spider-Man.” You think Disney is going to make Hugh Jackman play Wolverine until he’s 90? Ha! Fat chance! Watch what Sony is going to make Tom Holland do with “Spider-Man” if their other projects continue to fail.
I mean… At least there is “Spider-Verse.” That seems to be kicking butt right now.
“Venom: The Last Dance” is the first film directed by Kelly Marcel, and should she continue to direct movies, I hope they are more successful than this. I wish her nothing but the best. But unfortunately, when it comes to comic book movies, “Venom: The Last Dance” is far from the best. I am going to give “Venom: The Last Dance” a 4/10.
“Venom: The Last Dance” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “The Apprentice,” “Anora,” “Here,” “Gladiator II,” “Red One,” and “A Real Pain.” Also coming soon, the next installment in my Election Days review series, I will be reviewing “On the Basis of Sex,” which is about Ruth Bader Ginsberg, the second woman to serve as an Associate Justice of the Supreme Court of the United States. 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 “Venom: The Last Dance?” What did you think about it? Or, what is your favorite “Venom” movie? For me, the answer is easily “Venom: Let There be Carnage.” But what about you? Let me know down below! Scene Before is your click to the flicks!
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