Movie

Freelance (2023): Worst Movie of 2023?

Posted on by Jack Drees

“Freelance” is directed by Pierre Morel (Peppermint, Taken) and stars John Cena (The Suicide Squad, Blockers), Alison Brie (BoJack Horseman, The LEGO Movie), Juan Pablo Raba (Peppermint, Narcos), and Christian Slater (Inside Job, Archer). This film is about an ex-special forces operative who takes a job to protect a journalist tasked with interviewing a dictator. When a coup happens during the assignment, the three must defend themselves all the while navigating the jungle for their own survival.

To say I was looking forward to “Freelance” would be like saying I am looking forward to going to the DMV. Sure, I like making sure I am able to drive. But all the dirty work within that is not that appealing. In the same way, I enjoy John Cena’s work… Well, enjoy is a strong word. I am not exactly thrilled with what he did on TBS’s “Wipeout,” but still. As I look at the poster for “Freelance,” it has the look of a straight to DVD action flick released exclusively at Walmart that is probably not going to be discussed two years from its official release. There is something about it, the more I look at it, that increasingly turns me off. Even the tagline sounds over the top. “Retirement doesn’t suit him.” Okay, then. I wish the advertising suited my tastes but this goes to show why we cannot have nice things. It almost has the look and feel of a lifeless parody movie. It’s too bright to be serious, but it tries way too hard to make me laugh, and fails miserably. Once again, John Cena is becoming a respectable star in both film and television. That said, the greatest thespian, he is not. He is basically like Dwayne Johnson, another wrestler turned actor. He has personality and oozes charisma in various roles, but he does not always escape into the role at hand. “Blockers” is a halfway decent example. John Cena is really funny in the movie. Honestly, he stands out in the movie. I really like his character. But he showcases a particular, consistent stiffness as the lead role. In “F9: The Fast Saga,” which I almost forgot he was in… Nice, right? He was one of the weaker talents on screen. He was not convincing as an antagonist, and he was equally, if not more unconvincing, as Dom’s brother. But to be fair on the latter, that’s probably more of a casting issue than a performance issue.

That said, he is not all bad. If you take a supporting role of his, like the one he had in “Bumblebee,” he can do okay with the small amount of material given to him. He may not be giving an Oscar-worthy performance, but he has the ability to stand out. He was quite funny and had perhaps the best executed line in the entire film. That said, with his recent rise as the character of Peacemaker in the DCEU I thought he was turning things around. Not only did he have plenty of material to work with, but he gave a standout performance where I saw less of John Cena the personality and more of John Cena the actor. James Gunn even said that when it comes to improv, he kept more of it from John Cena than any other actor in his previous projects.

And this is why I have to say after seeing John Cena’s amazing efforts in DC’s “The Suicide Squad” and “Peacemaker,” he unfortunately takes a downward spiral in “Freelance.”

John Cena plays Mason Pettits, who had dreams of being in the military, only to have them shattered by an injury, leading him to become a lawyer instead. Now, I know being a lawyer can be a desirable gig to a number of people, but I think the movie does an okay job on the surface of trying to make Mason likable in the first couple of minutes by having his absolute dream go by the wayside, bringing him to a lowest low. But then, they introduce the fact that he is a father, has a wife who doesn’t always seem to be on the best terms with him, and this whole dynamic did not work for me. He and Alice Eve have zero chemistry together. I must add, I know that not all dads are perfect, but there is a scene early on in the film where we see Mason with his kids that was definitely supposed to come off as funny, but came off as a notion that Mason is a terrible father. He doesn’t come off like he is trying his best to be a supportive, attentive parent. The idiocy that this guy shows around his children is unfunny. Additionally, it convinces me that he should have never even procreated in the first place. The personality of John Cena’s character, both as a father, and within the context of his job, reminded me of the characters of “Wild Hogs,” a bunch of insufferable morons who want more in life, but are not likable enough for me to respect them wanting more. He comes off more as a brainless jerk than anything else. And how can you be miserable when you are married to a character played by Alice Eve? Now I have seen everything.

If there is one positive in the movie, while the film itself delivers an unfathomable injustice of a first impression, I like how they shot the film’s early moments. Much of the beginning of the film was done from a first-person perspective, which I thought was kind of creative, and almost immersive. It kind of reminded me of a fun video game. As bad as everything else in the movie is, I will admire the film for at least having the ingredients, albeit very few, that could go into making the unfathomable injustice of a first impression better than it is. First impressions are the impressions in life that matter the most regardless of the situation. So while “Freelance” did not win me over, I admire the movie’s efforts in what it was trying to do. However, there are so many things that are wrong with the movie that I cannot help but cringe just at the thought of it. The movie starts off as a story where one man is getting a second shot at a dream. It is kind of borderline action-packed, adventurous. But it also is a comedy. Meshing genres together is nothing new, but usually there is a sense of consistency when the meshing is done right. The way “Freelance” uses multiple genres is the opposite. It almost does not know what kind of movie it wants to be. And the worst part, when it comes to meshing adventure, comedy, action, and whatever other sprinkle of a genre it chooses to emulate, it does all of them poorly. I don’t mind mixed genres as long as they’re done well. If they were done well, we would have a different story on our hands. Look at “Everything Everywhere All at Once.” “Freelance” does not go as deep as that. But as an adventure, there are no thrills. As a comedy, there are no laughs. As an action flick, it misses the mark.

And the fact that this film misses the mark as an action flick is really sad, because it is directed by Pierre Morel, who also directed “Taken.” I love “Taken.” It is one of Liam Neeson’s best films. It is not surprising to know that almost every other film he has done since often tends to be compared to “Taken.” The action is great. The premise is simple, but perfect. The father-daughter relationship won me over. And that is the irony. We go from a movie like “Taken,” which even with its showcasing of notable violence, is ultimately about a father who will do anything to save his daughter. He is practically the father of the year. Granted, when it comes to “Taken” it also helps having decent writers like Luc Besson and Robert Mark Kamen. Now several years later, we get “Freelance.” A movie starring John Cena as a father who appears to neglect important details about his kids. And if you are curious about the writer for “Freelance,” that would happen to be Jacob Lentz. He has plenty of experience in this industry. He wrote for “Jimmy Kimmel Live!” for a long time, he produced a series in 2017 called “Animal Nation with Anthony Anderson.” He did a number of things. But the last writing credit he has, at least according to IMDb, is in 2012 when he did the “2012 White House Correspondents’ Association Dinner.” If that is true, it kind of shows here. Granted, with all this time in between, it could mean he had time to brainstorm whatever he is going to do next. But if I were brainstorming, I would have brainstormed to delete the script and never hand it out to anybody. But what do I know?

That said, I do want to be careful with what I just said. Because I recognize how hard it is to make a movie. But with a repeated process, the journey does become a bit simpler. Recognizing Jacob Lentz’s past credits, I should note that in his case, this is, unsurprisingly, his first feature film script. I respect how Lentz is making a transition from one part of the industry to another. He is trying to diversify a bit. But I think it is clear that when it comes to feature films, his skills have not quite blossomed. I do not know what his reputation is on the TV side, but I am hoping that it is better than what this movie turned out to be.

The best way I can describe “Freelance” is to say that it is this year’s “Red Notice.” When it comes to star power, it is not quite as big, but it is evident. Look at John Cena! Look at Alison Brie! Both of them are respectable, notable names given their resumes! “Freelance,” much like “Red Notice” did with Dwayne Johnson, Ryan Reynolds, and Gal Gadot, ended up taking significant leads who ooze personality to the tenth degree and crush them like bugs. This movie took likable gems of people and sucked out their souls. They say I cannot see John Cena. In this case, all I see is crap.

And while I happen to know John Cena and Alison Brie more than Juan Pablo Raba, if I had to name my favorite performance in the movie, it would Raba’s performance as the dictator. He feels the genuine of the bunch, he has personality, and I thought Raba blended into the role nicely. At the end of the day, I do not love the character and I did not know what to think of him. But if I had to name a scene stealer, and this is a generous statement by the way, it would be the dictator. I honestly wanted more out of this movie. I wanted better action. I wanted better comedy. I wanted better acting. I wanted a better story. When it comes to the story, by the way, it feels like an afterthought. Sure, maybe there was a decent motivation on the protagonist’s part, but as the movie progresses, it feels like we continuously have excuses to spew lackluster action scenes, bad jokes, and uninteresting gags that may occasionally have a sexual nature. I wish I could say when it comes to “Freelance,” one watch would be enough for me. If there were a way I could watch the movie zero times, I would love to make that happen.

In the end, “Freelance” is a gig that I should have quit before I even took it on. Between “Fast X” and now this, John Cena is not having the best recent track record. While I have to think about which movie I’d rather watch more, I’m starting to think “Fast X” has more redeeming qualities. Because at least some of the action is fun to look at, and when it comes to John Cena in that movie, he is actually pretty funny. In “Freelance,” not only is he not funny. He is genuinely unlikable. There is no way I found myself latching on this character by the movie’s end. The plot is all over the place. The characters barely stand out. The events of the film are easily forgettable. There are a couple cringe-inducing moments. I cannot recommend this film to anyone. I was amazed by the Rotten Tomatoes scores for this film. Because the critic score is at a whopping 0%! Meanwhile, the audience score is sitting at 76%! The divide on this movie is not only amazing, it is jaw-dropping! Because if you must know, I side with the critics on this one. But I genuinely want to know why this movie did better with audiences. What redeeming qualities stood out to these people? Then again, like all other art, film is subjective. When it comes to my subjective thoughts, I could never subject myself to this torture ever again. I am going to give “Freelance” a 1/10.

By the way, I want to congratulate John Cena, because this is not his first time being in a movie with a 0% critic score on Rotten Tomatoes. This is due to Cena having a role in the television film “FRED: The Movie,” starring character popularized through online media by Lucas Cruikshank. Congratulations, John Cena! You did it! You hit the jackpot of utter lunacy! What are the chances of this? If there is anybody that I am convinced in their lifetime will be struck by lightning twice, it might be John Cena at this point. Who knows?!

I want to tell you a true story. I ended up going to two different AMC Theaters to watch “Freelance.” I was going to buy a ticket at the first one in person, buy some food, but I ended up forgetting my wallet. That would have been fine considering I have rewards points through my Stubs membership. I had plenty to waste, and if need be, I had quarters sitting in my car, that I could use if needed. But I am an AMC A-List member. Sometimes, not all the time, but sometimes, the ticket taker will ask for your ID if you use one of your A-List reservations. Considering I did not have it on my person, I made a trip home and forfeited the screening. So, I waste over an hour between going home, going back out, venturing to a different theater and using my AMC A-List reservation there to get a free ticket for “Freelance.” I wasted time, gas, and my sanity to get this review out for you guys. And you know why? Because I like you. That said, this movie was not worth the effort. “Freelance” is one of the biggest wastes of my time I had as a moviegoer. It is unfunny, unsatisfying, and unthrilling. It is one of the worst films of the year for sure.

Thanks for reading this review! My next review is going to be for “The Persian Version.” I had a chance to go see this movie a couple weeks ago. I saw the marketing sometime prior, and I have been looking forward to it. I will share my thoughts soon! Also coming soon, I will have reviews for “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and “The Marvels.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Freelance?” What did you think about it? Or, here is a fun question… Have you seen any movies that have earned a 0% critic score on Rotten Tomatoes? If so, tell me what you thought about them. That should be fun, right? List your thoughts down below, I would love to hear them. Scene Before is your click to the flicks!

Killers of the Flower Moon (2023): Three and a Half Hours of Kills, But Few Thrills

Posted on by Jack Drees

“Killers of the Flower Moon” is directed by Martin Scorsese (The Irishman, The Wolf of Wall Street) and stars Leonardo DiCaprio (Inception, Titanic), Robert De Niro (Meet the Parents, Joker), and Lily Gladstone (First Cow, Billions). When oil is discovered on Osage land, its people are murdered one by one. As this continues, the FBI steps in to unravel the mystery.

Martin Scorsese is undoubtedly one of the most notable names in Hollywood. He is one of the most influential directors of all time who still happens to have a respectable track record today. His older films continue to hold up and his newer titles do not seem to miss either. I have to say when it comes to his recent work, “The Wolf of Wall Street,” while I did not find it to be perfect, is one of the better movies I have seen to have come out in the past decade. In fact, to know that Scorsese is once again reuniting with Leonardo DiCaprio only serves as a boost of confidence. And of course, alongside them, is Robert De Niro, another acting legend who cannot do any wrong. Both Scorsese and De Niro were coming in hot with their recent work together, “The Irishman,” so to have a couple of Scorsese’s top players come back only helped build the prestige of what was to come. Now if I have to be frank, “The Irishman” to me was a movie of moments. There are a lot of decent parts of the film, but I feel like the parts I enjoyed more were less significant to the plot and more likely to be described as random sprinkles in the background. And to be honest, it was too long.

I can sit through a three plus hour movie. In fact, speaking of Leonardo DiCaprio, I very much enjoyed “Titanic.” The “Lord of the Rings” films are around the three hour mark and for the most part, they all serve their runtime beautifully. “Seven Samurai” is a wonderfully shot, exquisitely told revenge tale. “RRR,” which I reviewed months ago, is one of the most chaotically fantastic three hour escapes I’ve had in my entire life. If you want to go for something very recent, with a runtime that clocks at just around three hours, “Oppenheimer” is a compelling, haunting drama that I did not want to end. And if you are wondering why I had less of a problem with those movies than “The Irishman,” it’s not necessarily just that they were more entertaining. But everything in those movies felt essential, and they used those few hours in a way that had me engaged from scene one to the end credits. “The Irishman” honestly ends up feeling rather tiresome by the end, and maybe a little self-indulgent. I gave the movie a 7/10 when I reviewed it, but the more I think about the movie, I often think about how the runtime bogged my mind by the time it was concluding.

And that’s why I was worried when I found out that instead of “The Irishman’s” three hour and 29 minute runtime, “Killers of the Flower Moon” was only three minutes shorter at three hours and 26 minutes. If I have to be honest, this movie somehow feels longer than “The Irishman.” I cannot even believe I am saying that. For the record, I ended up seeing this movie in IMAX, and somehow I still felt overwhelmed with what was happening. When it comes to the look of the film, I will not deny that in many instances, it looks gorgeous. It honestly looks more pristine and captivating than a good number of films that came out this year. The cinematography is some of the best of the year. The locations are beautiful. The color palette, while definitely symbolic of the movie’s not so happy go lucky tone, is perfect for the story at hand. I will not deny it, “Killers of the Flower Moon” is a well made, well crafted, well acted, well directed piece of art. Or cinema, as some would prefer to call it. It’s just too long.

They size does not matter, it is what you do with it. And what they did with it, was kind of boring. By the second half of this movie, I kept asking myself when it was going to end, and that is never a good sign.

I must reiterate that “The Wolf of Wall Street” is a banger of a flick. From start to finish it is a wild trip with this one guy who by definition, should be beyond unlikable, and yet they utilize him in such a way that makes him one of the most charming protagonists in that year’s slate of films. Leonardo DiCaprio killed it in the lead role and while I did not always identify with the character, DiCaprio did such an excellent job at making a character like Jordan Belfort as palatable as possible. He is the kind of character that part of you wants to be, but then that sane part of your mind kicks in and rejects that thought. Jordan Belfort is a moron. No doubt about it. But he is a pretty likable one at that. DiCaprio manages to play, personality-wise, a similar character in this film. Specifically, Ernest Burkhart. He is clearly does not really have the best morals. I honestly find it hard to link alongside or root for this character sometimes. Overall, he is kind of self-centered. What kept me interested about Jordan Belfort is that in every scene, even in ones where he clearly came off as a posh prick, I found the character himself to be charming. My ability to admire Ernest on the other hand, was flying up and down like a see-saw.

Was I at least intrigued by this character’s arc and journey? Sure. In fact, one of the highlights of “Killers of Flower Moon” for me would have to be Ernest’s love connection with Lily Gladstone’s character. Everything involving this relationship, from early on all the way through the long runtime felt genuine. I really like these two together. In fact, it goes to show that Lily Gladstone not only gives a knockout performance as the character of Mollie Burkhart, but she may have been the bright spot in a film where everything around her feels comparatively brooding or a bit of a downer. She stands out as an angel in a dark alleyway.

The whole balance between Ernest’s connection to his uncle, in addition to the established motivation against the Osage people, in kahoots with his own relationship with Molly, serves as “Killers of the Flower Moon’s” biggest point of intrigue. It is, likely by design, supposed to induce discomfort. And if that is the case, the film certainly did its job. Because I am watching everything going down, and it is not really much of a mystery as to who is doing all the killing in the movie. There is the old saying that it is not about the destination, it is the journey. To be frank though, when it comes to this journey, I probably ventured off a few stops early.

When it comes to the movie’s cast, it is pretty stacked. Not only do we have Leonardo DiCaprio and Robert De Niro, the two big names carrying the film together. By the way, De Niro is quite good as William Hale, and delivers my favorite line of the film.

It may sound better with context, but those who must know, the line is “The front is the front, and the back is the back.”

But in addition to these names, the entire Osage ensemble happens to be really good in this film. I bought into all of them. We also have Jesse Plemons, who is given a meaty supporting role as an FBI agent with a lot to like. But I must admit, as much as I like Brendan Fraser and John Lithgow as actors, they almost feel out of place in this film. They feel distracting. Their appearances are not cameos, but they are almost executed in ways that feel cameo-like. They are not giving monumentally bad performances by any means, they do okay with the material given to them. But when you put them against say the recently mentioned Jesse Plemons, they feel more like stars than characters. That’s the best way I can sum it up.

Speaking of things that feel out of place, the ending of this film, when it finally happens, rubbed me the wrong way. I am sure it was well intentioned. If you asked me if Martin Scorsese and crew inserted everything into this film believing each increment would feel necessary, I would say yes. That said, the second to last scene in this film comes off as inconsistent and abrupt. When the movie finally ended, I was glad, because it was already long enough, but it does not change the fact that I waited over three hours for something that was lacking in satisfaction. When it comes to movies, I like weird. I like different. And I admire when filmmakers try stuff that are out of the ordinary. This is one of those times where it did not stick the landing.

If I had to name another positive, this film nails its atmosphere. Again, going back to its overall look, everything in the frame feels magnificently crafted. But there is also more to it than sight. Because the film is scored by Robbie Robertson (rest in peace) and he brings forth one of the most hypnotic and unique scores of the year. It is totally fitting for the movie at hand and almost comes off as a character of its own. While I may hesitate to watch “Killers of the Flower Moon” a second time, I could see myself going on YouTube and searching up the official soundtrack for the film to listen to in the background. It might be my favorite part of the entire film.

In the end, “Killers of the Flower Moon” is a magnificent effort that is not quite my cup of tea. There are things to like about it, but I do not know if I can say it was worth my time. I am honestly having trouble recommending this movie. If you asked me if I would watch it again in the next couple days, my answer would be no. Though I imagine a there are a surplus of people who would say yes. There is always that one movie every year that is likely going to not only get Oscar consideration, but also has a legit shot at a Best Picture nomination that I do not agree with. In 2020, it was “Mank.” In 2021, it was “Licorice Pizza.” In 2022, it was “Elvis.” In 2023, I think “Killers of the Flower Moon,” depending on how the rest of the year goes, will end up being that movie. Despite the marvelous camerawork, occasionally neat characterization, and atmospheric glory, it also reveals the painfully slow editing and pace that remains consistent throughout the movie. It is unfortunate because it is based on events that actually happened and it is an important story to tell. I just wish it were told in a way that made me more likely to run down the streets raving about it. It pains me to do this, but in a thumbs up, thumbs down world, this movie is a thumbs down. So, this score is going to reflect that. I am going to give “Killers of the Flower Moon” a 5/10.

“Killers of the Flower Moon” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next review is going to be for “Freelance,” the brand new movie starring John Cena as an ex-special forces operative. I will also have reviews coming soon for “The Persian Version,” “Priscilla,” “The Tunnel to Summer, the Exit of Goodbyes,” and the one movie on this list I am certain Martin Scorsese is most excited about, “The Marvels.” 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 “Killers of the Flower Moon?” What did you think about it? And if you saw the movie, do you think the runtime is justified? Let me know down below! Scene Before is your click to the flicks

Dicks: The Musical (2023): A24’s First Musical Delivers the Goods

Posted on by Jack Drees

“Dicks: The Musical” is directed by Larry Charles (Bruno, Curb Your Enthusiasm) and stars Megan Mullally (Will & Grace, Bob’s Burgers), Megan Thee Stallion (She-Hulk: Attorney at Law, Legendary), Bowen Yang (Saturday Night Live, Awkwafina is Nora from Queens), Nathan Lane (The Lion King, Stuart Little), Aaron Jackson (The Chris Gethard Show: Public Access, National Lampoon Radio Hour), and Josh Sharp (Jared & Ivanka, Search Party). This film is based on an off-Broadway musical titled “F*cking Identical Twins” and is about two business rivals who come to realization that they are long lost twin brothers. In an attempt to bring their divorced parents back together, they decide to swap places and disguise themselves as the other.

I have been curious about “Dicks: The Musical” ever since I first watched the trailer in August. I am not the biggest musical guy, but I have long been an A24 guy. They are not always consistent in quality, but that is a part of the young distributor’s charm. They always distribute content that has an identity of its own and would tend to carry certain notable qualities about it. Even when I end up hating a film of theirs like “Zola” or “The Whale,” there is still a specialty to those pictures. They always feel distinguished, individualistic, and polished no matter the budget.

In the case of “Dicks: The Musical,” the budget is $12 million. Not the most expensive movie, but it is one that uses its money wisely. Because every frame is packed with joyous splendor. From start to finish, I had a ball of a time with “Dicks: The Musical.” What sells the movie hardest is its marvelous cast who just so happen to play each role to the best of their ability, all to the point where I cannot imagine anybody else in their shoes. This is a film that refuses to take itself seriously. On it’s surface, this movie is like “The Parent Trap,” but different. In terms of recent movies, “Dicks: The Musical” kind of reminded me of “Bottoms,” because it is set in a universe that packs in various similarities to our own, but it is also one that feels like an enhancement of everyday life. Granted, it is a musical, which is not the most everyday feeling genre, so it only makes sense. And thankfully, as a musical, this movie works perfectly. All the songs are properly placed, well choreographed, well sung, and make sense within the context of the story. I am not going to pretend I am going to buy the soundtrack for this film, but the music accompanies everything else the film has to offer nicely.

That said, again, the film is budgeted at $12 million. When compared to recent musicals like “La La Land,” “Tick, Tick…BOOM!,” and Steven Spielberg’s “West Side Story” adaptation, it is significantly cheap. Despite my comments for the choreography and the songs, the budget does show at times when you consider everything put on screen. There may be occasional extravagance here and there, but that comes with infinite camp. Within all the pizzazz, there is a continued slight sense of humility.

The lead twins are played by Aaron Jackson and Josh Sharp. I have not known these names by any chance, but this movie could put them on the map. At least for me. Because it took me a bit to find out that not only is this movie based on something else… That something else just so happens to be a play in which they created and starred. Both of these men are stacked with talent and make for a perfect pair. I buy them as rivals, and I also buy them as brothers. I know this is probably a weird comparison to make, but they kind of remind me of the Smosh duo. Anthony Padilla and Ian Hecox. Their chemistry is always on point and they both consistently deliver high energy in addition to humor.

My favorite characters of the film have to be the twins’ parents. They have the best lines, the best quirks, the best backstories, and on top of that, their costumes and looks match the feel of the film. They look just as kooky as the vibe of this picture. They look like they fit the style and match the attire of a higher-up at Willy Wonka’s chocolate factory. The parents outfits pop just as much as their voices. Both talking and singing for that matter. I did not expect to be as invested in this film’s plot as I turned out to be. When a particular bombshell is revealed about Evelyn (Mullally) early on in the film, I was very curious as to where things would go from here. I was kind of expecting the big obstacle of the movie to be that these two people don’t really feel anything for each other the way they once did. While that idea is noticeable throughout the script, there is more to their disconnect than meets the eye. And some of it, particularly regarding Evelyn’s bombshell, is wonderfully ridiculous.

My biggest surprise of the film would have to be Megan Thee Stallion. I thought she was really good here. I don’t listen to her music, though I have heard her sing before on “Saturday Night Live,” I thought she stood out. And while “Dicks: The Musical” is not her first acting gig, she is not the first person I would think of casting in a film if I were to make one. I did see her guest appearance in “She-Hulk: Attorney at Law” as herself, but even with her limited role, I thought she was a tad stiff. To my pleasant surprise, she is a lot better here. I do not know what her future is as an actor, though I do see she has an upcoming film with Adam Sandler and the Safdie Brothers in the works. That said, I thought she was a fine choice to play the character of Gloria. She is dynamic, has tons of personality, and of course, because it is a musical, she has a chance to unleash a proper singing voice.

I do not know when would be the next time I would plan on sitting down and watching “Dicks: The Musical.” I have seen much better entries to this genre that have more replay value. Heck, going back to Steven Spielberg’s “West Side Story,” I ended up seeing it twice in theaters and I also rewatched it on 4K Blu-ray. If I had any other gripes with the film, it would be that the comedy, while funny, never reaches a level where I am rolling on the floor. It is worthy of chuckles, but maybe not death-inducing laughter. Even so, I found the movie to be funny. I found it to be joy-filled. I found it to have a ton of character. It has the vivid nature of a Wes Anderson movie with the ridiculousness of, apologies if this is too recent, but I think it is a fine example, “Bottoms.” It is energetic, fast, and delivers a happy go lucky, stupid good time.

In the end, “Dicks: The Musical” gets my recommendation if you are looking for something quick and fun to watch. And I do mean it, the movie is quick. Not only is it tightly paced, but the runtime is 86 minutes. If you want to watch something neat without having to kill a ton of time, “Dicks: The Musical” is a nice choice. I have seen better comedies. I have seen better musicals. But even so, “Dicks: The Musical” handles both genres respectably. This is A24’s first musical, and I doubt it is their last. And if it is not their last, I doubt this is their best. But if you make the choice to check it out, you are not doing yourself any disservice. It is a good movie, give it a watch sometime. I am going to give “Dicks: The Musical” a 7/10.

“Dicks: The Musical” is now playing in theaters. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, good news! There are plenty more where that came from! If you missed out on my Ridley Scottober event, you are in luck! Because if you click any of the following links, you can check out my reviews for “Body of Lies,” “Gladiator,” “All the Money in the World,” and “Blade Runner!” Check them out! My next review is going to be for Martin Scorsese’s latest piece of cinema, “Killers of the Flower Moon!” Also coming soon, I will be sharing my thoughts on “Freelance,” “The Persian Version,” “Priscilla,” and “The Tunnel to Summer, the Exit of Goodbyes!” 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 “Dicks: The Musical?” What did you think about it? Or, what is your favorite A24 film? At the risk of sounding too mainstream, I gotta go with “Everything Everywhere All at Once.” Let me know down your picks down below! Scene Before is your click to the flicks!

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

Posted on by Jack Drees

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

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

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

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

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

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

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

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

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

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

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

Blade Runner (1982): Gimmie a Hard Copy Right There

Posted on by Jack Drees

Hey everyone, Jack Drees here! And welcome one and all to the final entry to the Ridley Scottober review series! If you want to check out my reviews for the other films in the series, such as “Body of Lies,” “Gladiator,” and “All the Money in the World,” click the provided links and have a ball! Today we will be talking about one of my most rewatched movies in recent years, “Blade Runner.” Also, if you want to see a less professional, perhaps crappier example of my writing, I reviewed “Blade Runner 2049” back when it came out in 2017. I was less experienced, but still had a sense of a writing style of sorts. Check it out! Before we begin this review, I want to make something clear. On this blog, when I review a movie, it is typically of the initial version released in theaters or whatever platform it was designed for. With “Blade Runner,” this is no exception. For this review, I will be using the theatrical version of the film as a baseline. Maybe one day I will do my thoughts on “The Final Cut” as a separate post, which I have seen. But I am treating this movie the same way I treat just about every single other one I watch. That said, if you choose to stick around and read this review, enjoy your stay, make yourself at home, and let’s dive into one of Ridley Scott’s most talked about films.

“Blade Runner” is directed by Ridley Scott (Alien, The Duellists) and stars Harrison Ford (Star Wars, Raiders of the Lost Ark), Rutger Hauer (Nighthawks, Inside the Third Reich), Sean Young (Jane Austen in Manhattan, Stripes), and Edward James Olmos (Wolfen, Zoot Suit). This film is based on the Philip K. Dick novel “Do Androids Dream of Electric Sheep?” and centers around LAPD detective Rick Deckard as he is tasked with hunting down and retiring four Replicants who come to earth on a stolen ship in order to find their creator.

“Blade Runner” is one of those films that has had an impact on me since the first time I saw it back in 2017. In fact, this is not my first time talking about the film on this blog as I once did a post weeks after my initial viewing, talking about what the film got right about the future. Again, much like my “Blade Runner 2049” review, my quality of writing may have been a bit different at the time. Just a fair warning.

Little to my knowledge, “Blade Runner” would have a major influence on my academics. If you knew me in high school, there is a chance that you were with me in a film studies class. “Blade Runner” was the first and last feature film I ended up watching in the class given how much of the curriculum tended to use that film as a backbone of sorts. In college, I ended up choosing to study “Blade Runner” for a final project in my Television & Film Studies class. I have developed a passion for this movie, this property, and if the right people are involved, I would not mind seeing more of it. Judging by what I just said, you already know that this is going to be a positive review. If “Blade Runner” had a personality and made an effort to describe my relationship with it, it would probably channel Michael Corleone in “The Godfather Part III” and say “Just when I thought I was out, they pull me back in!”

Sorry, “Blade Runner,” my days of discussing you are not over just yet.

But I cannot help it, because “Blade Runner” is a master class effort. I think it is a particularly unique film. And it has done a lot to influence many stories that came after. The film is based on Philip K. Dick’s novel “Do Androids Dream of Electric Sheep?,” which a number of claim is the earliest example of cyberpunk. This sub-genre has remained popular over the years with titles across various mediums like “Akira,” “The Fifth Element,” “Ghost in the Shell,” “Altered Carbon,” and “Cyberpunk 2077” just to name a few. It is easy to get lost in a good movie with proper atmosphere, and when it comes to the cyberpunk nature of “Blade Runner,” getting lost in 2019 Los Angeles, or at least what this movie makes it out to be, is as easy as pie.

One of the basic rules of filmmaking is to show, not tell. And that is going to be an ongoing theme in this review. Because everything this movie shows is remarkable. There are tons of practical effects that are beautiful to the naked eye. The production design for this film is off the charts. There are very few films that are like this one aesthetically, and I say that knowing how much cyberpunk has evolved over the years. This film released in the 1980s, a time where cars looked quite different than they do today. And when I look at the vehicles in “Blade Runner,” they definitely have a look at the time that screams futuristic, but I admire how they seem to carry a vintage charm to them. I could totally buy the design of Deckard’s spinner in the film, even if it seems to look a bit like something from the time this movie came out.

Framing-wise, this is one of the coolest-looking films I have ever seen. Despite the film claiming it is set in Los Angeles, it feels like a different kind of environment. This film, at least at the time it came out, is science fiction. There is also a bit of a film noir undertone as well. This movie’s use of the color blue throughout is vivid in my memory. The color palette always packs in a blue tone. You can see hints of bluish lighting throughout the film. And one nice little touch in the background during various scenes are the many umbrellas going about the streets. Their handles have a bluish neon glow to them, almost like Luke Skywalker’s lightsaber in the early “Star Wars” installments. Speaking of “Star Wars,” one of my favorite Easter eggs about “Blade Runner,” if you pay close attention, is that there is a building in the film that resembles the look of the Millennium Falcon, Han Solo’s ship. And to top it off, Han Solo’s respective actor, literally plays the main character of this movie!

Sticking on the topic of things that look cool, one of the most intriguing designs in the whole film is the Tyrell Skyscraper. This building is utilized throughout multiple portions of the movie, and every time I look at it, I cannot help but stare in awe and wonder. The inside is enormous and carries a robust flair to it. From the outside with the help of lights shining through the windows, it looks screensaver-worthy. I also admire how the pyramid design allows for tons of incline elevators to be put in place throughout the premises. If you know me in real life, I am a bit of an elevator geek. If I were in the “Blade Runner” universe, one of the first things I would do is go into the Tyrell Skyscraper just to ride the elevator.

But just because this movie shows all sorts of cool things, does not mean it tells all sorts of cool things. Now to be fair, the dialogue in this film is minimalistic and it is perfect. There are plenty of scenes where the characters are completely quiet or there are inklings of silence. If you watched other versions of the movie, this will not matter, but if you watch the original version, there is a chance you may remember Harrison Ford’s character, Deckard, not only serving the film as a protagonist, but as a first-person narrator. While there are moments where the narration is not that much of a big deal, there are some that overexplain what is happening, and others that ruin the visual experience of this movie. One of the highlights of this film for me, from a visual perspective, is the scene where we see Deckard and Gaff inside the spinner, flying through a darkened Los Angeles. The aerial shots really help encapsulate the beauty of the city, even with a supposed sense of gloom in its people. The problem is, the scene, which has no dialogue from the characters, also features narration from Harrison Ford that sort of overembellishes the idea of cityspeak, a mix of pre-established languages. It is not really something I would need to know or care to know on my first viewing. It honestly reminds me of when I watch certain broadcasts of “New Year’s Rockin’ Eve” on ABC, and Ryan Seacrest is talking up a storm as I am trying to take in the first moments of the new year. I am basically trying to hear the crowd, listen to Frank Sinatra’s “New York, New York,” and feel like I am there with everyone. But much like Seacrest’s voice on those occasions, Harrison Ford’s voice is nothing more than added noise. At the end of the day, it does not do much to benefit the film. There are a couple voiceovers that do not colossally damage the experience, but there are plenty that are better left unused. This is especially true for one used towards the end of the film where a crucial character’s arc is fulfilled. We are seeing this moment play out, and I am enjoying every second. Then it is suddenly interrupted with voiceover lines from Harrison Ford that basically spitballs what is happening for the audience, instead of allowing them to take in the lesson from the narration themselves. It is kind of insulting the more I think about it.

That said, I watched a documentary on the making of this movie, “Dangerous Days: Making Blade Runner.” And if you have the Blu-ray edition of “The Final Cut,” you can watch it yourself. Harrison Ford revealed not only that he thought the narration, which was added due to poor test screenings, was awful, but he ended up doing it with reluctance. Ford was contractually obligated to complete the lines, so he did what he had to do. He tried his best with the material, but he did not think it was necessary.

Though speaking of Harrison Ford giving his best effort, his performance as Rick Deckard is perfect. The character easily blends into his increasingly depressing environment. He is the kind of guy who will not take any nonsense from anyone, but also kind of has a softer side on occasion. There is nothing overblown about this character, especially when you compare him to some of Harrison Ford’s earlier performances, like those he previously gave as Han Solo. In fact, much of what makes Ford’s character believable in his environment is his tendency to remain quiet during certain scenes, which is balanced perfectly by the mannerisms of this film’s antagonist, Roy Batty.

While Harrison Ford may be the most iconic face in the movie, I think the award for best performance in this film easily goes to Rutger Hauer as Roy Batty. I have no idea if Hampton Fancher and David Peoples, this film’s writers, wrote this character with any particular actor in mind, but Hauer is one of the best castings for an antagonist perhaps in the history of cinema. There is a ton of range in a character like this one. When we first see him, his execution of the film’s dialogue is quite direct and to the point. It is almost kind of robotic, which should play into the fact that he is a Replicant. But as we go through the film, there is a continued sense of humanity that develops within this character. You can hear it in his voice, and even his physicality. I said there is a balance between Batty and Deckard, and I mean that wholeheartedly. It is perfectly displayed in the film’s climax, which is not particularly the most epic of climaxes, but it is one that serves the movie to perfection. That said, while I am ultimately rooting for Deckard, I cannot help but admire Batty throughout the climax because every other line out of him sounds like a grounded cartoon. This may be weird to say, but having rewatched this film for review purposes, the dynamic between these characters in the climax almost reminds me of a father and son playing tag or chasing each other around the house. It almost feels carefree even though there are higher stakes involved. Well, that, and there are moments where Batty twists Deckard’s fingers to get revenge.

The movie also kind of ends on a weird note. Again, this is the original cut we are talking about. There is a final scene, which believe it or not, uses footage that was originally made for Stanley Kubrick’s “The Shining,” it is unbelievably rushed, and kind of uneven when consider how most of the film is paced. “Blade Runner” is kind of a slow burn, and by the time we get to this scene, it kind of kicks things up a gear or two. It is really weird. Overall, it is an abrupt scene. And while I definitely prefer the more open ending offered in future versions, I think if this movie were trying to go for a more upbeat ending, they probably could have gone for a longer scene. This scene is too quick, too in your face, and appears to be the result of a last minute decision that likely was not even on Ridley Scott’s mind while making his way through much of the film’s production.

Doing this review in 2023, I realize that some of the problems I have with the movie are those that tend to bog down the original cut and eventually get changed in later versions. That said, there is one problem I have with this movie that has lingered with me for years. While I think Sean Young and Harrison Ford have fabulous chemistry together as Rachel and Deckard, and every scene delivers the best out of each actor, I am not a fan of how their love blossoms. If you can call it that. This movie is written by two men, and I am sure that if a woman were credited with the screenplay, the scene where Rachel and Deckard first embrace their love for each other would have been handled differently. Basically, Rachel is trying to leave Deckard’s residence, but before she can get out, she is barricaded by Deckard, preventing her from making an exit, and pushed to a window. The two do end up embracing each other and confirming their love for each other, but the way it happens feels for starters, unrealistic, but also, kind of unsettling. It reminds me of another movie I have rewatched several times over the years, “Revenge of the Nerds,.” In that movie, sure, Betty and Lewis end up confirming their love, or perhaps more accurately at the time, lust, for each other. But the way that initiates is from Lewis basically assaulting her if you break it down. And much like “Revenge of the Nerds,” I will not deny that “Blade Runner” has reminded me of my love for movies in one way or another. But if I had to name a standout flaw with both films, and it is a monumental one, it would be a central love connection that may seem believable in the end due to proper chemistry, but is initiated in a way that can described as off-putting and erroneous.

As mentioned, “Blade Runner” is an example of cyberpunk, which likely takes inspiration from large cityscapes, but in a way, puts them on steroids. That said, even with a somewhat over the top nature provided throughout this movie’s interpretation of Los Angeles, everything around the city in terms of the environments and characters felt completely grounded. There is rarely a moment of this movie that I could not buy. This movie also manages to insert, for the most part, believable product placement. After all, it is set in a major city, so tons of advertising is to be expected. But from the very beginning, the frame is often bombarded with neon, noise, or product acknowledgments from companies like Budweiser or Coca-Cola. Ridley Scott manages to deliver an atmosphere with “Blade Runner” that not only emits realism, but for the entire runtime, makes me feel like I am there.

Though if I had to finish this review with one thing, it is that few movies, in fact few franchises for that matter, tend to answer the question, “What is human?”, like this one. I think Roy Batty, despite being an android, is perhaps one of the greatest encapsulations of that question in the history of film. We see him from the very start of his journey wanting more life. It is established that Replicants tend to have a four-year lifespan. Obviously, most humans live a lot longer, and that is something that he is trying to achieve. But if anything, this movie shows that life is not something you should take for granted. I am 23 years old. In fact, as I am writing this review, I am going to be 24 in just over a week. This movie reminds me to enjoy the moment, even in the darkest of times. Even in a city where the rain never stops, there may be one or two moments of sunshine. This movie may be set in a depressing future, but it is one where beings tend to find inklings of joy to keep themselves busy, whether that inkling can be defined as enjoying some noodles, playing chess, or fiddling with a piano. The beauty of “Blade Runner,” despite coming off as a slow burn and a thinker film, is its simplicity. At its core, “Blade Runner” is about a cop trying to stop a group of targets before it is too late. Everything else is just a bonus, and a mighty bonus it is. Because as far as I am concerned, there is a reason why I have rewatched this film so many times over the years, because it is that good.

Oh, and to answer the often debated question amongst fans, Deckard is a Replicant.

In the end, “Blade Runner” is one of Ridley Scott’s best films, even with its flaws. Again, a lot of the flaws I have in this review did get resolved, but I imagine if I did watch “Blade Runner” back in 1982, I would be having a ball with it. Unfortunately, the film did not do too well when it came out. It polarized critics, made an underwhelming amount at the box office, and possibly suffered from studio notes. Having to compete with another excellent and successful film, “E.T. the Extra-Terrestrial,” probably did not make things any easier. Even with that in mind, the film has a lot to offer. Exciting action, likable characters, incredible story arcs, life lessons, captivating writing, stellar direction, brilliant lighting, and stunning effects that make a number of modern movies that rely on CGI pale in comparison aesthetically. I must add, Vangelis’s score is also an absolute banger. “Blade Runner” is one of the best-looking movies I have ever seen, and it is hard to believe it looks this good over forty years later. But these looks are supplemented by a narrative that did nothing more than grabbed my attention and kept it for a couple of glorious hours. I am going to give “Blade Runner” a very high 8/10.

Again, if I were reviewing “The Final Cut,” I might honestly give a higher score. But I am treating this review the same way I am treating the other ones I typically do. And if you want me to be honest with you, as much as I love the original “Blade Runner,” it feels odd to say because I have not watched it in a while, but I honestly think “Blade Runner 2049” is the superior installment. It has all the positives of the original movie, but does some things to improve on it as well. Much like the original, that is another film that I have watched incessantly. In fact it finished as my runner-up for best movie of the 2010s. And if I could go back and do my review of it again, I would give it a 10/10 if I had the chance. Few films made me escape my reality and bring me to another world like that one did. I highly recommend if it is a rainy day, do a “Blade Runner” double feature. Both movies are absolutely worth your time and are two of the finest examples of what sci-fi can be.

“Blade Runner” is now available on VHS, Laserdisc, DVD, HD DVD, Blu-ray, and 4K Blu-ray. The film is also available through various streaming services.

Thanks for reading this review! And I hope you enjoyed my entries to the Ridley Scottober review series! I had a lot of fun doing these. I got to check out some films I have never seen before, in addition to watching one for the umpteenth time. I had a blast doing these and I hope you had fun reading them. If you want to see more reviews, good news! I have more coming soon! I will soon share my thoughts on “It Lives Inside,” “Dicks: The Musical,” and “Killers of the Flower Moon.” If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Blade Runner?” What did you think about it? Or, what is your favorite science fiction movie? Let me know down below! Scene Before is your click to the flicks!

All the Money in the World (2017): Ridley Scott’s Mildly Thrilling Work Featuring Captivating (Non Kevin-Spacey) Performances

Posted on by Jack Drees

Hey everyone, Jack Drees here! Welcome to the third installment of the Ridley Scottober review series! It is a series where I will be talking about four Ridley Scott-directed films throughout the month of October. If you are interested in my first two reviews of the series, feel free to check out my thoughts on “Body of Lies” and “Gladiator.” The movie I am talking about today shares something in common with the last two I talked about. The fact that I have never seen it until now. That film in particular is “All the Money in the World,” whose name I have ton when it came out for a number of reasons. Now that I have finally gotten a chance to see what everyone is talking about, it is time to share my review.

“All the Money in the World” is directed by Ridley Scott (Alien, The Martian) and stars Michelle Williams (My Week with Marilyn, Manchester by the Sea), Christopher Plummer (Up, Beginners), Mark Wahlberg (Transformers: Age of Extinction, Patriots Day), and Romain Duris (L’Auberge Espagnole, The Beat That My Heart Skipped). This film is based on the events surrounding the kidnapping of John Paul Getty III, whose grandfather is the world’s richest private citizen, J. Paul Getty Sr.. When the kidnappee’s mother is unable to hand over $17 million for her son’s freedom, she does what she can to convince Getty Sr. to provide the money.

When it comes to Ridley Scott, he is usually a name that would get me in the theater. If he were sitting in the director’s chair, there is a good chance I am there. Granted that is not always true as I did not have a ton of interest in “House of Gucci” when it came out, but nevertheless. One of the reasons why I am very much looking forward to his next film, “Napoleon,” is because he is helming it. But when it comes to “All the Money in the World,” there is a particular name that was on my mind, even years after this film came out. But maybe not for the reasons the people behind this movie would desire. That name, is Kevin Spacey.

Ah… Kevin Spacey. How the mighty have fallen. A couple wrong moves in life and here you are. Your relevance is about as tiny as bacteria. Now this review is being done as part of a Ridley Scott series, and I will not deny that I was partially intrigued by this film because Scott’s name was attached to it. But if I were in the general audience months before this film’s release, there is a solid chance that Kevin Spacey would have gotten me in the door. I thought he was good actor with a decent resume. In fact, he just did “Baby Driver” earlier in the year, an incredible action flick with pristinely executed sequences and a killer soundtrack. Before this movie came out, all of his footage was shot, and he was going to play J. Paul Getty Sr.. Sounds interesting, right?

Well, fast forward to October 2017. News comes out reporting Kevin Spacey’s sexual misconduct allegations, and therefore “All the Money in the World” is in a world of hurt. Kevin Spacey was supposed to be a centerpiece of the film’s campaign, especially considering the arrival of awards season. AFI Fest was around the corner, and the movie was supposed to premiere there. That premiere was canceled, and everyone went back to work on the film. Kevin Spacey was recast with Christopher Plummer, and they shot his scenes over the course of nine days. I think this whole behind the scenes aspect is the highlight of the film. I am a production junkie. I work in production so I may be biased. But I know a thing or two about how hard it is to do something last minute, but if done right, the results can present themselves as fantastic.

Now if you pay close attention to the movie, and I did not know this upon my watch, there is one shot in the film that features Kevin Spacey getting off a train. The reason for that is because it would have been too expensive to redo. All the rest are of Christopher Plummer. I was amazed at this movie’s quick turnaround, even if the people behind it admit they could not achieve perfection.

I do not know what Kevin Spacey’s performance was like in this film, and frankly I do not care. What we got from everyone onboard was great. The recently mentioned Christopher Plummer, Michelle Williams, Mark Wahlberg, and Charlie Plummer (no relation to Christopher) all knocked their portrayals out of the park. All of them bring something exciting to the table with their characters and I cannot see anyone else, including Kevin Spacey, playing them. One of the reasons why Ridley Scott himself is a solid director is because he always manages to bring the best out of his talent. My favorite performance of 2015, and I sincerely apologize to the great Academy Award-winning Leonardo DiCaprio of “The Revenant” when I say this, is Matt Damon as Mark Watney in “The Martian.” Damon not only highlighted a constant survival instinct within his character from scene one, but did so with a sense of humor that I could only describe as irreplaceable. “All the Money in the World” clearly delivers different vibes, it is more dramatic, more serious, and LITERALLY more down to earth. “All the Money in the World” does a superb job at putting me into a world where we have all these people who would be hard to relate to 100% of the time, and yet I could sit in a room with them as a fly on the wall, intrigued by their actions.

But just because I am jumping up and down about the acting in “All the Money in the World,” does not mean it captivated me from beginning to end. There are moments of the movie that are more thrilling than others. There are moments where I had to struggle to pay attention. And there are also moments where I almost tuned out entirely. The movie is not bad, but much like “Body of Lies,” there is a certain spice that I wanted out this film that I could not quite achieve. It feels like I am going back to my watch of another thriller of his, “Body of Lies.” I think “All the Money in the World” is a better film with a more compelling story, fewer cliches up the wazoo, and more interesting characters. But if there is one thing both films have in common, there are select scenes in the film that had that had a greater span of my attention than others.

If there is another thing to note about “All the Money in the World,” it looks beautiful. The production designer for “All the Money in the World” is Arthur Max, who has worked a ton with Scott in the past on films like “Gladiator,” “Black Hawk Down,” and even as recent as “The Martian.” The two go hand in hand. Speaking of Scott’s usual suspects, the cinematography is done by Dariusz Wolski. He previously worked on “Exodus: Gods and Kings,” “The Martian,” and even “Alien: Covenant” which released months before this movie hit theaters. The lighting and framing make for a consistently perfect pair throughout “All the Money in the World.” There is a wide shot in Rome from the first few minutes that I wanted as a desktop photo. It is that good.

As a story, despite the film’s pacing issues, some characters standing out more than others, and select scenes not having as much of a pop as I would prefer, I am glad we got to see it. I think the movie presents a fascinating moral about wealth, and how even when you are rich, you feel that there is no breaking point. There are probably more people out there than we think that will put their riches before their family. I will not deny that having money is nice. And I am not going to pretend that I have as much as Christopher Plummer’s character. I found it fascinating, and kind of depressing, how his character seemed to think saving someone in his family was not worth even just a small portion of his wealth. J. Paul Getty Sr. stands out way more than he should as a character given all the controversy surrounding this film, but I guarantee that regardless of who is playing him, he is probably the character that would stand out most in the story, for good reason. But of course, at the risk of beating a dead horse, Christopher Plummer does an excellent job in the role.

In the end, “All the Money in the World” is not my favorite of Scott’s works. But much like “Body of Lies,” it stands as a film that I think a lot of people would kill to make. But if I have to be real with you, I think the history of this movie is more interesting than the movie itself. If it were not for all the controversy, this would just be a lesser film in Ridley Scott’s library. But with the way things are, it is a lesser film in Ridley Scott’s library with notable complications that came up around its release. It is not something I plan on watching a second time, but it is a film that I do not regret putting on. The performances are all standouts, the camerawork is some of the finest of its year, and when it comes down to it, it is an intriguing study of how wealth can affect people. Yes, at times it is a chore to watch, I will not deny that. But I think you would not be doing yourself any harm if you decide to check it out. I am going to give “All the Money in the World” a very high and generous 6/10.

“All the Money in the World” is now available on DVD, Blu-ray, and on various streaming services.

Thanks for reading this review! My final Ridley Scottober review arrives next week, and unlike the ones I have done so far, it is for a film I have seen.

Many times, actually.

For the final Ridley Scottober review, I am going to be talking about “Blade Runner,” the 1982 science fiction classic! It is a film that I have mentioned and talked about many times on Scene Before, but after many years of blogging here, I finally get to do a proper review of it. Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “All the Money in the World?” What did you think about it? Or, if you could replace any actor or actress in any movie in the history of time with Christopher Plummer, which one would it be and why? Let me know down below! Scene Before is your click to the flicks!

The Creator (2023): A Timely Sci-fi Story Featuring Heavy Inspiration from Numerous Predecessors

Posted on by Jack Drees

“The Creator” is directed by Gareth Edwards (Rogue One: A Star Wars Story, Godzilla) and stars John David Washington (Tenet, Amsterdam), Gemma Chan (Eternals, Crazy Rich Asians), Ken Watanabe (Inception, The Last Samurai), Sturgill Simpson (Queen & Slim, The Hunt), and Allison Janey (Mom, I, Tonya). This film is set during a time where humanity and artificial intelligence are at war. The story shares what happens when one human soldier finds the robots’ secret weapon. A young child.

As a science fiction junkie, I feel like we have been spoiled over the past decade in regards to IP between “Guardians of the Galaxy,” “Star Wars,” and depending on how the second film ends up doing months from now, “Dune.” Science fiction is easily my favorite genre in film. It can range all over the place in tone, atmosphere, and can sometimes be really thought-provoking. Going back to the “Star Wars” example, Gareth Edwards has honestly made my second favorite thing that has been done during the Disney “Star Wars” era, specifically “Rogue One.” I love how that movie manages to enhance a certain plot hole from the original, introduces a great story and concept, and unleashes an utterly likable antagonist in Director Krennic. Now, when it comes to the final product, it is hard to determine how much Edwards had to do with everything in it, but he handled that movie perfectly. It is easily a highlight of the “Star Wars” franchise. His “Godzilla” movie… Well, I guess it is fine. Not perfect, but I thought the climax was worth watching.

But if you look at Gareth Edwards’s resume in recent years, you would notice that he, like some other directors, has descended deep into popular properties. “The Creator” is a bit of a departure from his recent work as it is an original idea. I was really looking forward to this film because it was an original piece in addition to one that has Edwards’s touch. If you have both of these things, it may summon a winning combo. And thankfully, it does. For the most part, that is.

I have heard other people praising this movie as if it is amongst the top sci-fi classics. I disagree. That said, I think that this is a solid outing for Gareth Edwards. John David Washington is good in the lead role. It is a marvelous debut for Madeleine Yuna Voyles acting-wise. One of the more controversial topics in film is the idea of hiring prominent child actors. After all, they’re young, they do not have the experience that more adult actors do, and there is also the issue of labor laws. But I have to say, Madeleine Yuna Voyles handles the material given to her with utter ease. She is incredible throughout the picture and I would love to see more from her. I honestly could not believe this was her first role.

Much like many other sci-fi classics through the ages, “The Creator” did a fine job at making me think. If there is one thing to note about this film, I think they released this at the perfect time. “The Creator” has come out at a time where artificial intelligence is already here, we are using it, and we honestly do not know where that is going to take us as a society. If there is any reason why you should see this movie, there is a good chance that it may remind you of something that is happening in your life. More and more people are handling technology and A-I to the point where it makes me wonder where we will take the technology, or where said technology will take us. This movie establishes that certain sectors of mankind should have no problem destroying A-I because it does not have emotions, it is just programming. It cannot “feel” death. But this movie makes me wonder what we will interpret as the greater good should A-I be taken to a point one could consider to be too far. The movie, on a surface level, shows what happens when A-I becomes a part of our everyday lives and we eventually resist it, but there are also many other people out there who refuse to give it up. To some people, it is so essential that they cannot see themselves living without it. To them, it is a part of evolution. It is like a generation gap except with a segment of the world.

That said, when I say that, the film also seems to treat A-I the same way another enjoyable sci-fi film, “District 9,” treats aliens. The film does suggest that A-I can be considered a threat for the most part, but it also shows that A-I kind of blended with humans over the years to the point where the two groups work together sometimes. Speaking of comparisons, “The Creator” very much reminds me of another one of my favorite science fiction films, “Terminator 2: Judgment Day.” Only in this case, the roles are reversed where the kid is the robot and the adult is the human. I am not saying that this movie is as good as those, but if you want a proper set of comparisons, these are the two that instantly come to mind. But there are plenty of others I could make too.

This film reminds me of “Rogue One” from its aesthetic which seems to have been carried over by Gareth Edwards. In fact sometimes various environment have a more down to earth “Star Wars” vibe. Obviously with the technology aspect, “2001” comes to mind. And speaking of Gareth Edwards films, you could even say “Godzilla” is an easy comparison to make given how a major catalyst for events to come throughout the movie happens to be a nuclear explosion. Maybe I am overthinking this, but I wanted just a little more out of “The Creator.”

“The Creator,” despite its original name, spends a lot of time taking things that have worked in prior science fiction stories and putting them all in one package. This is nothing new. I compare films all the time, whether they are good, bad, or in between. But with “The Creator,” the comparisons are abundant, perhaps not in the best way. I understand that as stories continue to be told, it becomes harder to come up with something new. But when this movie came out, I felt like that was what was being delivered to us. Instead we got “District 9” meets “Terminator 2: Judgment Day,” with some other ideas in the mix. Both of those are really good movies. I saw “District 9” not long before seeing “The Creator” and had a good time with it. “Terminator 2: Judgment Day” is a hallmark of the science fiction genre and does a really neat job at addressing its A-I infused message. When it comes to “The Creator,” I am going to look back at it and call it the film that tried to be the next “Terminator,” only to remind me of why I would rather watch “Terminator 2.” Or even the first “Terminator” for that matter. I think “The Creator” is a fine watch, and if you do go and support it in theaters, I think you are doing yourself a favor because it is a nice choice amongst the catalog of movies out right now. You cannot go wrong with it. But I honestly think the movie is slightly lacking in substance and despite it trying to present itself as a new idea, it feels somewhat familiar.

If I had to name the biggest positive of the movie, it is not the fact that it is an original movie being made today. If you look hard enough, you will find them in almost every corner. What matters is going to support them. And of course it would also help if the movie itself is good, which this one is. But this movie cost $80 million to make. There have been cheaper films, and there have also been more expensive films. But they use the budget nicely. Because effects-wise, the film honestly looks superior to some of the bigger blockbusters we are getting nowadays. If you look at a couple movies from last year like “Moonfall,” which cost $150 million, or even “Thor: Love and Thunder,” which cost $250 million, I would honestly say that “The Creator” packs in more polish and pizzaz than both of those examples. $80 million is a lot of money, but when you consider how much certain films are being made for in these times, I think the money was utilized to its full potential. When it comes to the world of “The Creator,” I was in awe. But once the movie concluded, I left wanting more. And I do not mean a sequel. I mean more in terms of what we got in the span of a couple hours. What we got was decent, and the movie does admittedly fly by pacing-wise. But if you ask me, it could have been better.

In the end, I had high expectations for “The Creator,” and walking out, maybe I should have considered whether they were too high. That said, it was a fine one time watch. “The Creator” has a marvelous idea behind it with a decent message and interesting characters. Performance-wise, Allison Janey is a standout as Howell. The movie does an excellent job at building a world that I could sometimes get lost in, even if it at times feels like a world from somewhere else. The characters are likable, the performances are good, and this includes the gem of a debut from Madeleine Yuna Voyles. She is going places. “The Creator” is not gonna be on my top 10 of the year, but I will say it is a fine movie. I am going to give “The Creator” a 7/10.

“The Creator” is now playing in theaters everywhere. Tickets are available now!

Thanks for reading this review! If you enjoyed this review for “The Creator,” you might want to know that I have reviews coming up for “Dumb Money” and “It Lives Inside.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Creator?” What did you think about it? Or, what is your favorite of Gareth Edwards’s films he has done thus far? Let me know down below! Scene Before is your click to the flicks!

Gladiator (2000): A Colossal Epic of Roman Glory

Posted on by Jack Drees

Hey everyone, Jack Drees here! Happy to have you all tune into this latest film review as we continue Ridley Scottober! A month-long event where I talk about four Ridley Scott-directed films, all for your reading pleasure. This is the second entry to the series, and it is an exciting one. “Gladiator.” I assure you, I was looking forward to watching this movie, and now I equally look forward to talking about it. And if you want to check out the first entry of Ridley Scottober, feel free to read my review for “Body of Lies.” But if you plan to stick around, please enjoy my thoughts on Ridley Scott’s 2000 Academy Award Best Picture winner.

“Gladiator” is directed by Ridley Scott (Blade Runner, Alien) and stars Russell Crowe (The Insider, L.A. Confidential), Joaquin Phoenix (Clay Pigeons, 8MM), Connie Nielsen (The Devil’s Advocate, Rushmore), Oliver Reed (The Three Musketeers, Oliver!), Derek Jacobi (Hamlet, Dead Again), Djimon Hounsou (Deep Rising, Amistad), and Richard Harris (Unforgiven, Patriot Games). This film is set during the glory of Rome, and centers around General Maximumus Decimus Meridius, a general who becomes a slave who intends to seek revenge against those who brought him there in addition to killing his family.

I have a soft spot for Russell Crowe, but part of me does not know if I can legally say that, as I have not watched “Gladiator” until this review. Why? It is for the same reason I mentioned for “Body of Lies” in that review. I bought the Blu-ray years ago. In fact, I bought “Gladiator” almost a year before “Body of Lies,” but I just never got around to it until now. I had no vendetta against either of these movies, but one of the complications of being a movie collector is being able to sit down and watch the new films I buy because I have so many and sometimes want to revisit some favorite titles. One of the silver linings of this series and other review marathons I have done in the past like the “Mortal Kombat” films and some of the “Pirates of the Caribbean” movies like “At World’s End,” is that it helps me get around to titles that I have never seen before. In fact, “Gladiator” is one of those movies, much more so than “Body of Lies,” that when you bring up the fact of never seeing it, there is a chance someone will ask if you are a real movie fan.

I am a real movie fan. In fact those of you reading this questioning my moves for years should be jealous, because I am getting experience this film for the first time. Some may call it being late to the party, I call it a long-awaited ounce of excitement.

About 23 years after its release, “Gladiator” is still in many conversations as a master class film. It is #36 on the IMDb top 250. The film won five Oscars, including Best Picture. Over in Britain, it snatched four BAFTAs, including Best Film. There is plenty of proof to show how much the film has stood as a testament to the industry and the sword-and-sandal genre. But these are just the opinions of other people. There is only one opinion that matters here, and that is the one of the Movie Reviewing Moron. So, what did I think of “Gladiator?”

Sorry in advance… I am “glad” I saw it.

“Gladiator” goes to show the power of first impressions, because from the beginning, the film completely immersed me. The film has a story that showcases the glory of Rome, and the film itself carries a similar glory unto its own. There is so much going on inside the screen that it is insane. Between the humungous cast, with who knows how many extras, the beautiful showcasing of wides, and the magnificent on location sets, “Gladiator” is pleasing to the naked eye. I understand that at the time, “Star Wars Episode I: The Phantom Menace” was kind of a big achievement in visual effects in terms of how deep they go with certain concepts, how real certain things looked for the time, but if I had to look back on both of these films now, I think “Gladiator” is the clear winner in terms of which is more attractive to the eye. I look back at “The Phantom Menace” and it sometimes looks like a video game. There have been worse looking effects, but still.

In fact, speaking of effects, there was one fight in particular that involves the use of tigers. It is easy to say because I am not the one making the film, but I kind of appreciated the film’s tendency to use real tigers. Now, I did question if the tigers were CGIed, which they partly were. They used bluescreen to make the tiger appear closer to the characters. That said, I admire how making “Gladiator” was probably about as dangerous as being a gladiator. I would have completely understood if this movie went down the full CGI route for the tigers, but the fact that they decided not to is a risk that paid off.

What also carries “Gladiator” are the performance. This is most notable with Russell Crowe as Maximus Decimus Meridius, an admirable protagonist. On the other hand, we have Joaquin Phoenix as Commodus, an equally admirable antagonist. These two deliver two completely different vibes and mannerisms into their individual performances, but it does not change the fact that their work in this film are goldmines. Both of their deliveries are incredibly convincing. Even just their physicality, just having them stand around had me staring in awe.

But this film is much more than big fights and larger than life sets because I found myself immersed in the drama between the characters. Obviously there is the main story of Maximus trying to get his revenge, but in addition to that, I also found the family drama on Commodus’s side to quite compelling. Between how he gets his power, his relationship with his nephew, I found all of it intriguing. The film does a really good job at balancing various family, political, and personal dramas.

I will admit, having watched the film, there are parts of it that drag a little. It is not a huge dealbreaker, but in the scenes where people are talking, it is not necessarily that engaging. For the record, I can handle talking, I have no problem. But the scenes where people talk in this film are not as compelling as others, but there are select moments that positively stand out.

In fact, “Gladiator” as a film sort of reminds me, story-wise, of “Braveheart,” as it follows a someone trying to obtain their freedom, not to mention the freedom of others, within a backdrop of large sets and incredible violence. But much like “Braveheart,” as I watched the film, specifically the first 40, 45 minutes, I found myself getting bored and needing to pause the film to take a breather. For the record, I would contend that every minute of “Braveheart” is essential to the film. Much like how every minute of “Gladiator” is essential to it. But I would not deny that both films have pacing issues. Only difference, once I get past the first 45 minutes of “Braveheart,” the movie throttles heavily and gets good fast. “Gladiator” is very off and on with the pacing, but even in the slower moments, I still found myself the tiniest bit engaged. That said, having finished this film, this is one of those movies that if it were playing in a theater near me or if it got the IMAX treatment, I would go check it out. It looks like a magnificent theatrical experience. The cinematography is beautiful. The sets, again, are stunning. The sound editing and mixing are beyond powerful. Maybe if I watch this film in a theater, where I am less likely to be distracted, I would feel different than I do here. That said, the film is worth watching regardless and you absolutely should check it out if given the chance.

In the end, I get the hype for “Gladiator.” I had a good time with it. It is not my favorite of Ridley Scott’s films, and it is not even my favorite film of the early 2000s with huge sets and epic on location action. Peter Jackson’s “The Lord of the Rings” trilogy started a year later. That said, it is one that if you asked me if I would watch it again, the answer would be an instant “yes.” I would probably put it on again at home, or again, if there were a chance to watch it in theaters, I would give it a chance. The cast is fantastic, the story is fascinating, and I must add that Hans Zimmer and Lisa Gerrard’s score is mighty fine. I am going to give “Gladiator” an 8/10.

“Gladiator” is now available on VHS, DVD, Blu-ray, and 4K Blu-ray. The film is also available on streaming and is free on Netflix for all subscribers as of this writing.

Thanks for reading this review! If you enjoyed my thoughts on “Gladiator” and want more Ridley Scott in your life, I have two more reviews coming in the Ridley Scottober series! One next week, followed by another the week after. Stay tuned. Also, be sure to check out my review for “The Last Duel,” Scott’s epic drama from 2021. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Gladiator?” What did you think about it? Or, what is your favorite sword and sandal movie? Let me know down below! Scene Before is your click to the flicks!

Body of Lies (2008): A Pinch of Intrigue Mixed with a Hint of Blandness

Posted on by Jack Drees

Hey everyone, Jack Drees here! Happy October! Or should I say, Ridley Scottober! What is Ridley Scottober? Well, throughout the month of October, I will be reviewing four movies directed by Ridley Scott! I wanted to do this because in addition to getting one themed review done this year, I might as well prepare myself for Ridley Scott’s upcoming feature, “Napoleon,” which so far has won me over with the marketing. I cannot wait to see it. Let’s kick things off with the first review in the series, “Body of Lies,” Scott’s 2008 spy thriller.

“Body of Lies” is directed by Ridley Scott (Black Hawk Down, Gladiator) and stars Leonardo DiCaprio (Titanic, The Aviator), Russell Crowe (Gladiator, A Beautiful Mind), Mark Strong (Stardust, Babylon A.D.), Golshifteh Farahani (M for Mother, Half Moon), Oscar Isaac (The Nativity Story, Law & Order: Criminal Intent), and Simon McBurney (The Golden Compass, Friends with Money). This film centers around a CIA agent named Roger Ferris, who attempts to track down a terrorist leader in Jordan.

I owned the Blu-ray for this film for almost six full years, and yet I have not watched this film for the first time until only last month. On the cover, there is a lot to like. Between Ridley Scott’s name behind the scenes, in addition to DiCaprio and Crowe’s names standing out for the talent on camera. All of these people, not just today, but even back in 2008 have proven their worth. In fact, “Body of Lies” is not the first rodeo between Scott and Crowe, as the two have worked together multiple times before, therefore it shows they have a solid business relationship. The same cannot be said for Leonardo DiCaprio, but I am sure both individuals brought plenty of promise to each other at the time of production. When you have these three names together, it equally brings a lot of promise to the audience.

Unfortunately though, while the promises of this film do not appear to be empty, they do not feel like they were entirely met. Now, these three individuals do an okay job in the film. But I cannot say that this film comes off as the pinnacle of any of their resumes. Whether we are talking about a collective or individual effort. All three have done better things before, all three have done better things after. In fact, of the Ridley Scott pictures I have seen, this is one of the more pedestrian ones he has made.

The movie is shot well, like many other Ridley Scott pictures. In fact, this was shot by Alexander Witt. This is the first proper cinematography credit in a feature film. Much of his work prior, not to mention after, was as a part of a second unit, but this time around he is on the front lines. The way the camera is used in “Body of Lies” for the most part provides for a bit of an uneasy vibe. After all, that is what the film should be beyond its surface, it is a soldier vs. terrorist sort of rivalry. “Body of Lies” is a film that at times puts you in the middle of the action, but it does not have enough oomph to make me run out on the streets and recommend this film to others. Although if there is one additional positive to point out, the color palette of this film perfectly establishes its overall atmosphere. It has this moody feel to it, but it supplies itself in such a way where everything around it still manages to pack in a tad of thrills and excitement. It was easy on the eyes.

Speaking of beginnings, I am pleased to report that this film is one of the early roles from Oscar Isaac, who I think is one of the better performers who has tended to lend himself to content within the spectrum of popular culture over the years. This is not his first role. Isaac was previously in films like “All About the Benjamins” and “The Nativity Story.” But I think this film shows how solid of an actor he was early in his career. Despite his first name, he is not on an Oscar level here, but he is one of the standouts in this film for me, which says something considering who the two leads happen to be.

This film stars Russell Crowe in addition to Leonardo DiCaprio, and when it comes to the former, it is clearly established that he is a dad. Particularly, one who is heavily involved in the lives of his young children. This allows for an ongoing gag where his character is doing things for his children all the while trying to balance work. We see him on the phone with Leonardo DiCaprio completing important calls all the while either doing something such as taking his kids somewhere or tending to them. While this is a great way to establish a character’s background, the amount of time spent exposing this feels like overkill. I do not know if they were trying to be funny with this tendency, after all this is a thriller, not a comedy. Sure, maybe if I were a parent myself, which I am not, maybe I could relate to this gag. And the more I think about it, seeing this sort of reminds me of seeing my mom taking calls over the years while I am in her presence given her line of work. But when it comes to this gag, it feels like too much delivered in my face. The phone gag feels like the one moment that the movie is going for humor. But because everything else, for the most part, comes off as serious, the only reaction I have as this is going on is silence. I am not saying this should not be in the movie, it serves a purpose as to establishing the characters, but I think it overembellishes itself at times.

The narrative, in terms of progression, character development, and concept, all get the job done. There is nothing remotely broken that I can point out about the film in terms of how everything in it is laid out story-wise. All the characters work. The chemistry works. The concept works. And that is the best way that I can sum up “Body of Lies.” It is not a film that is overly offensive. But it is also not a film that I walked out of thinking that it is a game changer. It is a film that I think some people would kill their first born child in order to have it be as good as it is. But when it comes to the reputation of Ridley Scott, who continues to be one of the more respected filmmakers working today, this feels kind of bland. There is a reason why nobody is talking about “Body of Lies” all these years later and instead bringing up other films like “Blade Runner” and “Thelma & Louise.” It’s because those films made a mark on its viewers culturally and managed to deliver something special. And yes, “Body of Lies” is exciting at times and there are moments where the intrigue is there, but it is not enough for me to say I would watch it again in the next few months. Maybe it would make for good background noise if I find it randomly on cable, but that is probably the extent of it.

If there are any other highlights I can point out, I did like the relationship between Leonardo DiCaprio’s character, Roger Ferris, and his love interest he meets along the way. Said love interest, Aisha, is played by Golshifteh Farahani. I thought the two had solid chemistry and every moment they were on screen together, they clicked. They probably had the best connection in the entire movie. Their bond was fun to watch.

In the end, “Body of Lies” is… Fine, I guess. When I bought the Blu-ray six years ago, I was quite intrigued to know that Ridley Scott was behind it. I was intrigued by the big names on the cover. There was a lot of potential. The potential here is not wasted, but it does not mean the film doesn’t underwhelm. There is nothing about this movie that makes me angry, but there is nothing about this movie that makes me think I should go back to it anytime soon. Ridley Scott is a respected filmmaker. And while this may be an okay movie for some people, this may not be the finest Ridley Scott movie. I am going to give “Body of Lies” a 6/10.

“Body of Lies” is now available on DVD, Blu-ray, and streaming. As of this writing, it is available on Max to all subscribers.

Thanks for reading this review! If you enjoyed this first installment to the Ridley Scottober series, guess what? I’ve got three more coming! I don’t think the next review is gonna be on Saturday like this one. To be frank, I wanted to get this review out a little earlier, but I have had a pretty busy week. And I honestly have a busy week next week too, because I’m gonna be on vacation in New York, but I should have some time to whip something up. I’m gonna be on a train for three to four hours, so I can definitely do something. Maybe I will drop the review Thursday. I am kind of playing this series by ear at this point. But if you want to see another one of my reviews for a Ridley Scott movie I did a couple years back, check out my thoughts on “The Last Duel!” That should hold you all over for some time. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Body of Lies?” What did you think about it? Or, what is a movie from a respected filmmaker that you think may be one of their inferior works? Let me know down below! Scene Before is your click to the flicks!

Bottoms (2023): A Rambunctious, Raunchy Comedy That is Too Cool for School

Posted on by Jack Drees

“Bottoms” is written and directed by Emma Seligman (Shiva Baby, Void) and stars her co-writer, Rachel Sennott (Bodies Bodies Bodies, Call Your Mother). Joining her in this cast are actors including Ayo Edebiri (Big Mouth, Up Next), Ruby Cruz (Mare of Easttown, Willow), Havana Rose Liu (No Exit, Mayday), Kaia Gerber (American Horror Stories, Babylon), Nicholas Galitzine (Cinderella, Chambers), Miles Fowler (Women of the Movement, The Resident), Dagmara Domińczyk (Succession, We Own This City), and Marshawn Lynch (80 for Brady, Westworld). This film is about two queer girls who start a fight club in their high school that they say is meant to empower women. Only thing, the duo started the club to potentially get lucky with cheerleaders.

The concept of this movie won me over as soon as I heard it. From the very beginning, “Bottoms” sounded like a bombastic, ridiculous good time. Little did I know what I was in for, because I went in expecting this film to be a fine mix of violent and naughty scenes, but this movie overdelivered on its premise because it does not feel like something that fits in our world. It feels like someplace much goofier, perhaps a little more fun than our world. If anything, “Bottoms” plays like a live-action episode of “Family Guy.” That is if “Family Guy” centered around two teenage girls. It is horny, fast, and over the top. Not once was I bored, and I was overwhelmed with the sense of immersion this movie gave me from scene one. I often think about some of my favorite movies like “Blade Runner” and “2001: A Space Odyssey” and when it comes to those films in particular, they emit a certain atmosphere from start to finish. I am not saying “Bottoms” is on the same level those two films, but the atmosphere of this film does a really good job at taking me from my world to the one inside the screen. “Bottoms” is not my favorite movie of the year. In fact, when it comes to this year in comedy, I still give a slight edge to “Joy Ride,” which deserved to do much better at the box office.

Having seen “Bottoms” in live-action, the movie works perfectly the way it is. But I think an argument can be made to justify setting this universe in an animated form. There are a lot of moments that feel cartoony, but yet they never take me out of the movie. Because the vibe is clearly established from the beginning. It goes for such a quick, almost blink you’ll miss it pace from scene one, and it never stops. The best live-action comparison that comes to mind is “Scott Pilgrim vs. the World.” Because the film’s dynamic stylization feels like a graphic novel come to life. Once the film kicks into gear, it is full of incredibly kinetic energy. “Bottoms” does not have the colorful stylization “Scott Pilgrim” has, but when it comes to dialogue, displayed mannerisms, and personality, this film reaches for the end zone. Plus there are moments of the movie that do not feel they would happen in our lives, but work super well for that world. One of the storylines of “Bottoms” involves the two leads getting into hot water over ruining an egotistical high school football player’s chances of being able to play. How so? By tapping his kneecaps with a car while his girlfriend sits in the backseat. The reaction on said football player’s part is equal to if I were ever so slightly gored by a bull. It completely jumps the shark, but I cannot help but embrace it. And while there are hints of realism in this scenario, the school takes this issue to a level that feels more important than, I do not know, making sure students barely pay attention in advanced algebra.

Say what you want about “high school drama.” This film does a good job at taking situations that may seem silly and miniscule, and making them come off as if they have significantly higher stakes. And as everything is going down, I am rooting for the two leads. Both of them are likable and are well played by their respective performers. Rachel Sennott and Ayo Edebiri are a perfect combo. Speaking of perfect combos, Havana Rose Liu and Kaia Gerber do a fantastic job as the cheerleaders who just so happen to be heavily desired by the two leads. I am as straight as they come, that said I can see why these two leads were attracted to these particular cheerleaders.

But when it comes to the high school in “Bottoms,” this place is in contention to be the single greatest on-screen school in cinematic history. Not because of their ability to educate. Actually kind of the opposite. It goes to show how little the movie takes itself seriously. Because not only are the students and staff, primarily those who we see on screen most of the time, charming as heck. But one of the reasons why “Bottoms” works so well as a comedy is because when it comes to establishing its high school, it is often riddled with things would often get a traditional high school either investigated or shut down. One of the best gags of the movie are the moments when the loudspeaker is being used, and it brings out moments where the principal asks the two leads to come see him, all the while referring to them as “gay and untalented.”

I mentioned this movie is horny. And I am not just talking about the teens. Of course they are horny. They are teenagers. What do you expect? But this movie has a teacher, MARVELOUSLY portrayed by Marshawn Lynch, a freaking football player, having a casual conversation with the leads all the while exposing a dirty magazine. The school football team all look like Ken dolls come to life. Speaking of horny, the school football team happens to be marketing themselves throughout the movie, encouraging supporters to “get horny” for them.

When I watch certain movies, I will sometimes say that there are things that do not add up or make sense within everything the film is trying to showcase on screen. In the case of “Bottoms,” the high level of absurdity of the film is played in its favor. The vibe of the film is clearly established from the beginning. It is almost like a drug. The film knows what it is. It refuses to take itself seriously, and it is all the better for it.

But just because “Bottoms” manages to be constantly naughty, does not mean it stays away from feeling sweet. I am not going to go into much detail as to what the sweet moments are, but there are one or two moments in the movie that allow me to breathe in a story that is presented at such a breakneck pace, and they provided a fine mix of innocence and grace. They were very well executed.

Comedy, like many other aspects of art, happens to be a completely subjective matter. When it comes to the comedy of “Bottoms,” I was laughing consistently. Between this film, “No Hard Feelings,” and “Joy Ride,” I am really glad we are starting to witness a comeback of great raunchy comedy in cinema. If we can get more films like these that are just as good, I will continue to check them out.

In the end, “Bottoms” is one of my top movies of the summer. Again, when it comes to pure laughter and humor, I think “Joy Ride” is slightly better. But “Bottoms” is a close second regarding comedy this year. I do not think we had a year in cinema this decent for comedy since 2018. Ever since COVID-19 started, I feel like pure, straight-up comedies have been missing from the movie market, which is kind of sad because after the start of a pandemic where everything is depressing and seemingly world-ending, you would want a good laugh every once in a while. These movies have all done that with excellence, with “Bottoms” being the latest example. The writing is on point, the casting is perfect, including Marshawn Lynch to my delightful surprise, and it is a rare film where I accept its unserious, goofy tendencies. Not once do they feel distracting. This is a movie that I would not mind watching again if given the chance, and I imagine it aging better with each viewing. I am going to give “Bottoms” an 8/10.

“Bottoms” is now playing in theaters. It is also available to buy on VOD.

Thanks for reading this review! My next reviews are going to be for “A Haunting in Venice,” “The Creator,” and “Dumb Money.” Stay tuned! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Bottoms?” As silly of a question as that sounds, I am being serious. Did you watch the movie “Bottoms?” What did you think about it? Or, what is a movie you admire that refuses to take itself seriously? Let me know down below! Scene Before is your click to the flicks!