“Mickey 17” is directed by Bong Joon Ho (Parasite, Okja) and stars Robert Pattinson (The Batman, Tenet), Naomi Ackie (Star Wars: The Rise of Skywalker, Master of None), Steven Yeun (The Walking Dead, Minari), Toni Collette (Knives Out, Hereditary), and Mark Ruffalo (The Avengers, Dark Waters). This film is set during a group’s mission to colonize a planet and mainly follows the journey of a disposable employee who we see living his 17th life.
I have waited desperately for the day I could watch “Mickey 17.” As a science fiction fanatic, this film looked like my jam. It had a clever concept, intriguing cast, and it was helmed by Bong Joon Ho, whose previous film became the Academy’s first Best Picture recipient not made specifically in the United States. I have a feeling that if this film were in the hands of, say a first time director, it might still sell me, but Bong Joon Ho’s involvement basically put me over the edge.
Is “Mickey 17” likely going to follow in the footsteps of “Parasite” and win Best Picture next year? It is still too early to say, but I would assume that to be a “no.” Although if the Academy Awards were tomorrow, I could see the film at least being nominated. That said, it is not for everyone. The film has heavy commentary, but also happens to cross a line to where it can be silly. If Bong Joon Ho did not direct this movie, I would have been convinced that this was a Taika Waititi film in the style of “Jojo Rabbit,” which seamlessly blends comedy and drama despite the movie sometimes falling into an extreme on one side or the other.
The movie has Robert Pattinson playing a character who we get to see repeatedly die, sometimes in brutal ways. That is something to put on the more comedic side of the spectrum. Yet on the dramatic side, the movie uses this disposable character as a foundation for highlighting the human condition.
Going back to comedy, this movie also has Mark Ruffalo and Toni Collette playing a couple who tend to be more concerned with blood spilling on their carpet as opposed to having someone die on said carpet. At the same time, on the dramatic end, the narrative also shows how people with prominence or power can affect the way people think.
There are multiple adjectives I could use to describe “Mickey 17.” Fun, brisk, grand, ambitious… I was not expecting “horny” to be one of those adjectives. At times, the vibe of this film reminded me of the 2021 flick “Voyagers,” which like this film, is mainly set in a spaceship with a decent amount of characters. The films have their differences, one of them being that “Mickey 17” is much more watchable. Although one similarity the two movies have is that they feature characters or storylines that have something to do with sexuality and urges. The movie features a sizzling connection between Robert Pattinson’s Mickey variants and a security agent named Nasha (Ackie) for example. This movie is about a group’s journey to colonize a new planet, and the individual at the forefront of this mission is politician Kenneth Marshall (Ruffalo) who early on, gives this dramatic speech to an audience encouraging them to “spread their seed” upon their arrival.
This is Bong Joon Ho’s first feature film following the Oscar Best Picture winner “Parasite.” While the film itself is not on the same level as “Parasite,” there are some scenes from “Mickey 17” that made me shake in the same way I did watching the former. “Mickey 17” has a halfway decent amount of unpredictability, but nothing as out of left field as “Parasite.” The structure of the film feels familiar, but it is done in a way where certain moments feel fresh or one of a kind. Much like “Parasite,” “Mickey 17” does a good job at handling commentary. Sometimes it is a little on the nose, but it is still decently delivered. For example, there is a scene early on where we notice a massive sea of supporters for Kenneth Marshall, a politician this movie clearly paints as the antagonist, and a fair amount of those supporters are wearing red hats. Sound familiar? If not, then maybe this movie will have to try harder and make commentary great again.
I can get by the not so subtle commentary because despite it being played up, it does feel reminiscent of current times. In fact, it only feels more on the nose by coincidence considering who was elected President in the U.S. before this film came out. The true test however is to see how the film ages with the world’s political landscapes. That said, society is not perfect. So odds are this film could age decently.
Tonally, “Mickey 17” is an enigma. It is certainly unconventional, but I kind of love it. That said, I could see some people comparing this film to a Saturday morning cartoon at certain points. Aside from that, there is not a ton else that bothers me in the film aside from the fact that some of the effects look fake. The exterior of the spaceship looks like something out of a TV series. That bothered me in the marketing for this movie. When I saw that spaceship for the first time, I thought I was watching an animation. That gripe remains in the final product. Many of the effects in this film look okay, but that spaceship stood out to me. I will not doubt that a lot of work was put into the CGI, but the film’s budget is at least $118 million. It could definitely be more expensive, but for that much money, I sometimes expected something a little more polished.
I am curious to know how this film will do with general audiences. For science fiction nerds like myself, this film is a complete and total blast. I think some casual moviegoers will be riveted by the film’s spectacle, and they will also enjoy seeing Robert Pattinson give it his all in two roles. Bong Joon Ho has had a prominent boost in the past number of years, and “Mickey 17” will likely garner certain people’s attention in my country, the U.S., since the film is in English, unlike his previous outing. But I am not sure if this film is going to have the spark to bring everyone together. Plus, again, I will mention that Mark Ruffalo is essentially playing a Donald Trump wannabe. Should word of that spread around just enough, I can imagine more people wanting to give their hard earned money to something else that will feel more like an escape. Although if I am being honest with you, this film is kind of an escape. The film took me to space, and I found it to be a fine journey. I give the movie a recommendation.
In the end, “Mickey 17” is an experience that is going to stick with me for a long time. This movie is grounded yet wonderfully odd. It is full of tiny, admirable quirks. The performances are to die for. Everyone is great in this film. Mark Ruffalo, Robert Pattinson of course. But if I had to name a favorite, I would have to say Toni Collette takes the cake. By the end of the film, I loved her simply because of how fiendish this film makes her out to be. She is very well directed. “Mickey 17” is another win for Bong Joon Ho and I am going to give it a 7/10.
“Mickey 17” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! I keep beating a dead horse, but I apologize if I am behind on my reviews. The truth is, I am most definitely behind. I have been busy. I am still catching up on posting about the movies I watched while making the 7th Annual Jack Awards. A ceremony which by the way, you should totally check out. Here are some of the reviews you can expect going forward, and I have seen all these movies by the way. Coming soon, you can read my thoughts on “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” “The Ballad of Wallis Island,” “Secret Mall Apartment,” and “A Minecraft Movie.”
I cannot wait for you to see my reviews on all these movies. No, seriously. I have been putting these off for quite some time so I cannot wait any longer. And you can be notified about these reviews as soon as they drop. Please follow Scene Before either with an email or WordPress account, and be sure to check out the official Facebook page! I want to know, did you see “Mickey 17?” What did you think about it? Or, what is your favorite Bong Joon Ho film? Let me know down below! Scene Before is your click to the flicks!
“Nickel Boys” is directed by RaMell Moss (Hale Country This Morning, This Evening, Easter Snap) and stars Ethan Herisse (When They See Us, The American Society of Magical Negroes), Brandon Wilson (Murmur, The Way Back), Hamish Linklater (The Big Short, Battleship), Fred Hechinger (The White Lotus, Thelma), Daveed Diggs (Wonder, The Little Mermaid), Jimmie Fails (Pieces of a Woman, The Last Black Man in San Francisco), and Aunjanue Ellis-Taylor (King Richard, Ray). This film is set mostly during the Jim Crow era and is about the friendship between two African-American men who meet an abusive reform school.
I love when filmmakers experiment and try to insert unique concepts or tricks in their films. In the case of “Nickel Boys,” the film mainly uses a first person perspective to tell its story. If you watch a lot of movies, you will notice that while they do have main characters, the camera, more often than not, acts as a third person. I think a first person point of view is a clever idea for telling a story like this. It could put you in the mindset of someone who lived unfathomable events. I wish I could tell you I was riveted by this concept, but I cannot. The honest truth is, I found “Nickel Boys” to be gimmicky.
Going back to what I said about that first person perspective… Notice how I said it “mainly” uses that perspective. Because the film tends to switch perspectives from time to time, and these transitions tend to come off as distracting. There is a decent story that engages conversation in “Nickel Boys” somewhere. In fact, this story takes inspiration from a book based on unfortunate but true events. But the impact of that story is diminished by unusual tricks that do not stick the landing.
I should note this is not the first time I have seen a film done primarily in a first person view. One of my first reviews on Scene Before, where my writing abilities were definitely not as up to par, was for the action film “Hardcore Henry,” which I thought was okay but ended on a weird, abrupt note. While the movie is not perfect, I thought for the most part, the first person perspective added to the experience of that film. It reminded me of a first-person shooter like “Call of Duty.” I did not feel as immersed or closer to the scene when watching “Nickel Boys.” If anything it sometimes gave the illusion that I was watching life. Granted, this film does have a slice of life feel to it. You might think, “If something is so lifelike, does that not make it immersive?” Technically two and two can go together, but what I am getting at is that there was nothing about this film’s first person perspective that made me escape my reality and enter someone else’s, no matter how hard the filmmakers tried.
There are shining moments of “Nickel Boys” despite its flaws. The acting in this film is excellent. While I meant it as a diss earlier, this film is like watching life. In the sense of everyone’s acting abilities on screen, that is technically a compliment because all the performances are lifelike. While I wish I were more riveted by the relationship between Elwood and Turner, I will not deny that both of their respective performers, Ethan Herisse (above) and Brandon Wilson, knock their performances out of the park. These two seem like genuine friends and part of me wishes I could have been a fly on the wall if they were ever given a chemistry test.
The film does a really good job at establishing the connection between the main character, Elwood (Herisse), and his grandmother, Hattie (Ellis-Taylor). This is best established by what happens when they are separated. There is a scene where we see Hattie talking with Turner, and she reveals her displeasure for how the school would not allow her and Elwood to see each other. The scene even ends on a comforting note. Despite my previous complaints for the way the movie was produced, I thought that moment enhanced the first-person perspective. It is a moment that I thought could have worked in a more conventional manner, but it was made a smidge better since it was done in a first person view.
If I am going to be honest with you, I am going to remember this film mostly for its experimental vision that I imagine could sit well with some viewers, but not so much for yours truly. I think this film’s narrative is only going to become increasingly forgettable over time. I know this is a deep narrative, I just wish I were more compelled by it. The film will undoubtedly have an audience, some of whom will likely revisit it over the years. I just do not know if I will be a part of the crowd that ends up watching the movie more than once. As I watched the film I found myself a bit underwhelmed. I knew in advance about all the accolades and praise this film received from others. There is always at least one film nominated for Best Picture every year at the Oscars that begs me to question or disagree with the majority of viewers in regards to liking it. Last year, it was “Killers of the Flower Moon.” The year before that, it was “Elvis.” This season, it is “Nickel Boys.”
I hate to say this, because I was genuinely was looking forward to this film. By the halfway mark, I was bored. As of writing this, the film is streaming on MGM+, a streaming service whose slogan must be “The streaming service to buy when you finished buying all the other ones.” I watched “Nickel Boys” in a theater, but if I were streaming, I would probably turn it off and watch something else around the halfway point. My time is much too valuable and this would not have been the best use of it. I wish I were more compelled by the story, the characters, and unfortunately I was not. I think others will be. I am likely in the minority. Maybe a second viewing would help. But I do not think that is going to happen anytime soon.
In the end, “Nickel Boys” one of the biggest disappointments of the past year. It is not a broken movie, it is just one that I wish I could have appreciated more. I have seen all of the Academy Award Best Picture nominees from 2024, minus “Emilia Perez.” I would have to say “Nickel Boys” is my least favorite of them all. This was not an easy movie for me to sit through. Other than a couple decent scenes, “Nickel Boys” does not have a lot for me to write home about. The narrative dives into poignant moments that should keep me riveted. Maybe they are better represented in the book that this film is based on. “Nickel Boys” was a one time watch for me. I would watch it a second time to see if it is better, but if I were alone on a Friday night and were looking for something to watch, I would want it to have a better pace than what this movie delivered. I am going to give “Nickel Boys” a 4/10.
“Nickel Boys” is now available to stream on MGM+ for all subscribers.
Thanks for reading this review! Once again, apologies if my posts have been slow lately. I am still catching up on reviews after finishing the 7th Annual Jack Awards. And I have plenty in the pipeline. Soon I will be reviewing “Mickey 17,” “Locked,” “Hans Zimmer & Friends: Diamond in the Desert,” “The Luckiest Man in America,” “The Penguin Lessons,” “Novocaine,” and “The Ballad of Wallis Island.” 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 “Nickel Boys?” What did you think about it? Or, what is your favorite of the 2024 Academy Award Best Picture nominees? It is an easy pick for me, and I am very glad this movie won. I would have to say “Anora.” That was an experience if there ever was one. Let me know your pick down below! Scene Before is your click to the flicks!
“Riff Raff” is directed by Dito Montiel (Empire State, The Son of No One) and stars Jennifer Coolidge (American Pie, The White Lotus), Ed Harris (The Truman Show, Apollo 13), Gabrielle Union (America’s Got Talent, Bring it On), Lewis Pullman (Top Gun: Maverick, Bad Times at the El Royale), Miles J. Harvey (Supercool, The Babysitter), Emanuela Postacchini (The Seven Faces of Jane, Who is America?), Michael Angelo Covino (Keep in Touch, The Climb), Pete Davidson (Saturday Night Live, The King of Staten Island), and Bill Murray (Ghostbusters, Stripes). This film is set during a family reunion when a criminal’s life is suddenly turned upside down.
February is typically a dumping ground for movies. Although in recent years, the month has had a few attractive titles at the box office that would bring in a vast audience. In fact, this year we had “Captain America: Brave New World” as the month’s hot ticket. I am not going to pretend that “Riff Raff” had anywhere close to the box office potential of Marvel’s latest film, but if you look at the film’s cast, it would, in theory, bring some unlikely viewers in the door.
With the film’s cast being the biggest selling point, I am not surprised to say that they collectively end up being the highlight. Each individual brings their A-game and they all have decent material to work with. Is the material award-winning? No. Will the material go down in the history books? Probably not. But if you are looking for an hour and a half to kill, this might do. Perhaps just barely.
If you like the vibes of Rian Johnson’s “Knives Out” combined with a bunch of Quentin Tarantino’s filmography, then “Riff Raff” is for you. This film features a peculiar family who all come together at the same place. Even families whose members vowed to never speak to each other after that one time they discussed politics at Thanksgiving can tell you that this is clearly not a typical family gettogether. On top of that, the film is violent, bloody, and visceral. It is not the most grotesque picture of all time, but it is rather dark.
You may have noticed in the last couple paragraphs that I refused to take select thoughts I had on the film to an extreme. This is a consistency I have noticed regarding the film as I write this review. “Riff Raff” is a film that lacks standouts, both positive and negative. Sometimes I wonder if that is worse than a straight up bad movie. Because at least you can remember a bad movie. It is an experience you want to forget, but it often stays with you for a reason. This movie, while it has its moments, feels kind of disposable in the long run.
That said, there are some standouts in this film, one of which is Jennifer Coolidge as Ruth. She is funny, charming, and brings a respectable energy to her role to the point where I can only see Coolidge playing this particular character. There are certain portions of the film where you can clearly see the nerves coming out of Ruth to the point where she even tries to defend said nerves by suggesting they turn her on.
When you put Jennifer Coolidge in the same room as Bill Murray, Pete Davidson, and Ed Harris for example, such a concept sounds promising. In fact, all of these actors do a great job with their roles and have solid chemistry with one another. If I had to be honest, if you have a cast this promising, I wish the script were pinched up a little more to make the experience of watching all of these people at the same time just a bit better. Going back to “Knives Out,” the great thing about the movie, and even its 2022 follow-up, is that the gangbusters ensemble casts of both projects had great screenplays to back up their performances. I am not going to pretend that the screenplay for “Riff Raff” is broken. It works, it functions. Again, just barely. When I look back at this movie however, if I were to recommend it to somebody, I would recommend it on the idea of watching all of these big name actors come together as opposed to selling them on what kind of ride they are in for. The actors seem to offer more to the film, and as a result, the experience, than the writer does.
For the record, this film is solely written by John Pollono, who co-wrote one of my favorite films of the past decade that I did not review, “Stronger,” which is about a guy who was injured in the 2013 Boston Marathon Bombing. If I were to put these films side by side, I would easily choose to watch “Stronger” every single time. Although this is not to say “Riff Raff” is a heaping pile of malarkey. Pollono does a good job with “Riff Raff” by balancing humor with occasional drama. He also brings halfway decent stakes to the table.
I watched the film alongside my grandma as well as my mom. These two are not usually the target audience when it comes to bloody, violent films. Unsurprisingly, these two did not seem to walk out of the film thinking it was their favorite. But I would say in a way, the film seemed to do its job because it definitely generated a reaction out of them. The film has its hints of shock value, and there are some tense scenes where serious injury or bloody death seems imminent.
The film has some hilarious moments. There is one sequence past the halfway point featuring Pete Davidson and Bill Murray’s characters that had me in stitches. The sequence presents them with a neverending obstacle, and it was executed fantastically. “Riff Raff” is not the easiest film to identify within a certain genre. It is a little bit of an action flick. It is a little bit of a drama. It is a little bit of a crime story. It is a little bit of a comedy. When it comes to the comedy, it does not always hit, but when it does hit, it is sometimes a bullseye.
In fact, going back to those genres, one problem with this film is that it leans into being multiple genres at a time to the point where it never finds its footing and excels at one thing. It is like a more mature “Red One.” Although in this case, some of those genres perhaps barely surpass the “it’s fine” mark.
In the end, “Riff Raff” is neither great or horrible. It is the Little Caesars Pizza of crime movies. It delivers some enjoyment in the moment, but by no means is it going to sit in the hall of fame. Is “Riff Riff” going to end up being the year’s most memorable movie? No. In fact, it will likely be far from it. But there are also way worse options out there for your viewing displeasure. This is kind of in the middle of the road. It has been some time since I sat down and watched the movie so I am bound to forget some things, but truth be told, the more that time passes, the more I realize how forgettable “Riff Raff” becomes. The film has some decent moments that could squeeze it into a territory where I would say it is worth at least one watch, but I am nevertheless going to give “Riff Raff” a 5/10.
“Riff Raff” is now available to rent or buy on VOD.
Thanks for reading this review! I am sorry I have not posted a review for awhile. I have been busy with life, hobbies, as well as crafting the 7th Annual Jack Awards, which you totally should check out! It is available now for your enjoyment! That said, I do have more reviews coming including ones for “Nickel Boys,” “Mickey 17,” “Locked,” “The Luckiest Man in America,” “The Penguin Lessons,” and there is one film I saw recently that I have been debating as to whether I am going to review it or not, I just saw “Hans Zimmer & Friends: Diamond in the Desert.” It is a concert film, and I do not have a ton of experience with reviewing, or even watching those kinds of movies. That said, it was a great moviegoing experience and I would love to talk about it at some point. 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 “Riff Raff?” What did you think about it? Or, what is a movie with a solid cast that you think could have been better? Let me know down below! Scene Before is your click to the flicks!
WARNING: This post is over 11,000 words long. So, let’s keep this warning short. Period. End of sentence. Exclamation mark. Bippety boppity boo. Enjoy the show!
Hello and welcome to the 7th Annual Jack Awards! The show where we celebrate the movies of 2024! I am your host and entitled moron Jack Drees. I am back by unpopular demand. Much like the past years of the Jack Awards, there are no celebrity guests. Adrien Brody was invited to participate in this year’s show, but last I checked, he still has not finished his acceptance speech at the Oscars.
We have a great show ahead where we recognize the films that came out this year, make some of the people behind those films feel superior to others for brief moments, and announce the Best Picture of the year! For those who have never seen the Jacks before, this is a legit awards show… Probably. Two weeks ago, I announced the nominations and categories that will be represented during today’s show. These categories include just about every aspect of moviemaking you can think of like Best Visual Effects, Best Supporting Actor, and Best Film Editing just to name a few. And while all these categories represent the best of something, we are truly saving the best for last. That my friends, is the category of Best Picture. Each category will contain five nominees, with Best Picture being the one exception. That category contains 10.
Couple things to know… The movies being recognized today are all theatrically released. No straight to streaming. No straight to cable. No straight to DVD. That is basically television. Also, I have seen every movie represented during today’s show. But unfortunately, I have not had time to watch certain films that came out during the year. If there is a movie missing from the show, chances are I skipped it. For each category, all of the winners are based on my own opinion, except for one, Best Picture. While the nominees are based on my top 10 BEST movies of 2024, I decided to let the people choose which movie they think should win. The votes have been tallied, and the winner will be revealed as the show comes to a close.
One more thing before we begin. Many of the films we are celebrating tonight are from California. Whether they originate from what some might call Hollywood, Universal City, Burbank, or anywhere within the realm of Los Angeles… I want to acknowledge a large group of people during today’s show. I would like to shout out the people of Los Angeles and its surrounding communities… In addition to the first responders who helped fight the California Wildfires this winter. The film industry would not be what it is if it were not for Los Angeles, and I want to send my deepest thanks to every firefighter. Every kind citizen. Every medical worker. Everyone on the scene engaging in acts of kindness or saving lives. You are the real heroes and I want to thank you all for your efforts.
We love LA!
With that said, it is time for a little monologue. It is time for Jack Drees Tells Jokes to Nobody in Order to Please Himself!
Since there is no live audience listening to this monologue, there shall be no laughs. That said, if you are entertaining yourself in front of your screen, feel free to chuckle as much as you like. Your imaginary host would certainly appreciate it. So now, it is time to focus on the movies… Or as Netflix calls them, a really expensive project you watch on your phone.
Today we are celebrating movies like “Joker: Folie a Deux” as well the many cinematic achievements released over the past year loved by critics and fans.
There was no shortage of sequels this year. In fact, 2024 brought a box office milestone that has not been seen in at least 50 years. At one point in November, the top 10 movies at the box office for the year were all sequels. Yeah, if you look at the rundown, it lists ten films, and before you get to 11 it says “To be continued!”
In fact, one of those sequels is being celebrated tonight! “Dune: Part Two” is nominated for 10 awards, including Best Picture. In honor of splitting things into multiple parts, we’ll find out if the movie wins in the 8th Jack Awards.
Like the past number of years, Hollywood is not short on legacy sequels. “Beetlejuice Beetlejuice” was a huge success. Between Michael Keaton’s appearance in this movie and his outing as Batman in “The Flash” in 2023, he’s becoming the next Harrison Ford. He’s at that phase of his career where he’s revisiting a lot of his past roles. What’s next? Anybody remember Chick Hicks? Is Michael Keaton gonna do a “Cars” sequel where Chick Hicks does his daily laps around a retirement home? Is he gonna do a “Birdman” sequel where Riggan discovers what comic book movie fatigue is?
2024 also saw the releases of two R-rated comic book movies. On the Marvel side, you have “Deadpool and Wolverine.” And on the DC side, you have “Joker Folie à Deux.” Regardless of whether you prefer Marvel or DC, I am sure many of you will agree that these movies have helped us establish two kinds of parents. You have the cool parents who took their underage children to see these movies, and then you have the ruiners of all things fun.
We’ve also had a fair share of clever original movies as well. But I will not lie. There is some franchise potential with certain original titles released this year. For instance, “Juror #2” could be the sequel to “Juror #1.” “Saturday Night” could be a follow-up to “Friday Evening.” And “IF” might as well lead into a sequel called “THEN.”
“Saturday Night” is nominated for 3 awards including Best Picture. The film is a comedy dedicated to the events leading up to the first episode of “Saturday Night Live.” You know, that Chevy Chase kid in the movie – he looks like he’s got a bright future ahead of him. I wonder where he is now.
…If I had to guess, probably on vacation.
Nicole Kidman is nominated for Best Actress for her role in “Babygirl!” The tagline of the movie is, “Got milk?”
Sebastian Stan is nominated for his performance as Donald Trump in “The Apprentice!” And to prepare for his role, Sebastian Stan fired his agent.
If this were any other awards show, the host would be making a joke about Donald Trump as a politician. But I made a vow to leave political issues out of the Jack Awards. Even so, in a way, the Jack Awards is like the U.S. government. The Best Picture is decided by a popular vote. This monologue can sometimes feel as long as the President’s speeches. And much like a number of politicians, the host is a fraud, a liar, a cheater, an utterly entitled fu– WHOA WHOA WHOA WHOA! Who wrote this?! I’m not finishing that sentence! Next!
One film not only nominated for Best Picture, but also Best Animated Feature, is “The Wild Robot.” It is the third time a DreamWorks Animation made the Best Picture lineup. “The Wild Robot” is also the spinoff to DreamWorks’ hit movie, “The Bot Baby.”
Another candidate for Best Animated Feature is “Flow,” which is the first Latvian film nominated for a Jack Award. The movie had so many great lines, like “Meow!”
…
“Woof!”
…
“Caw caw!”
Remember “The LEGO Movie” installments with Chris Pratt? Those aren’t getting made anymore, but LEGO is still alive and well at the cinema. This year, the Pharrell Williams biographical documentary comedy “Piece by Piece” was the first LEGO-style animated film released since Universal was given the rights to make movies using the LEGO brand. Nominated for Best Animated Feature, the film truly opens the floodgates as to the kind of movies that could be done with LEGO. Maybe we’ll get more arthouse films with LEGO. They’re the perfect stories for all kinds of pretentious bricks.
Also, not to encourage piracy, but here is a fun fact about “Piece by Piece,” no matter which site you plan to use to watch the movie, chances are it is blocked in your country.
While the film was not nominated for Best Animated Feature this year, as well as any other award tonight, I do want to recognize the achievement that is “Inside Out 2.” The film is Pixar’s most successful yet, not to mention the highest-grossing animated picture of all time. Meanwhile Anger is chiming in and saying, “ONLY ANIMATED?! What gives?!”
This was the year of companies joining forces to create streaming bundles. Disney+, Hulu, and Max introduced a bundle plan in August that costs $29.99 a month with no ads, and $16.99 a month with ads. The bundle gives you access to so many movies. “Star Wars,” “The Lion King” “Lord of the Rings,” “Batgirl–” wait, no, never mind! Forget that one!
Meanwhile Comcast introduced its own streaming bundle which released in May that comes with Netflix, Apple TV+, and Peacock. The bundle is called “Streamsaver,” which is a word you totally want to use in the same sentence as PEACOCK. Thanks, Comcast!
Remember “Barbenheimer” from 2023? Well, 2024 also has a number of double features for audiences to enjoy. There was “Glicked,” which combines “Gladiator II” and “Wicked.” There was “Mufonic,” which combines “Mufasa: The Lion King” and “Sonic the Hedgehog 3.” And if you are a perverted and sick human being, there was also “Babyratu,” which combines “Nosferatu” and “Babygirl.” Yes, “Babyratu” is a real thing. And feel free to ditch the traditional popcorn and soda, because that last double feature goes perfect with milk and a hearty serving of blood!
Does everyone have their eyes wide shut? Time to open them, here’s a light question…
Did anybody see “Wicked” this year?
Yeah, of course you did. Even schlubs like me who had never seen a Broadway show went to see “Wicked.”
Like the movie or not, you have to admit. “Wicked” fever was EVERYWHERE. Even in the commercials! On top of the movie’s trailers, companies like Starbucks, Google, Xfinity, and Target pushed this film hard this year through advertising. There was so much green commercialism around the time “Wicked” came out that McDonald’s was offering the Shamrock Shake in November!
Jeff Goldblum starred in “Wicked” as the Wizard… Turns out he has a knack for spells that can change your apartment! I hear it changes the world!
Before “Wicked” came out, AMC Theatres made a new “Silence is Golden” campaign themed around the movie. It was even voiced by Jeff Goldblum! In addition to the traditional “no talking,” “no texting” rules, They had a reminder to the audience that there was to be “no singing.” Wait! You mean to tell me, that the audience DOESN’T? SING? AT BROADWAY SHOWS? What is this mayhem?!
…So that’s why they kicked me out of “Hamilton!”
For those of you who have been to an AMC Theatres location to see a movie this year, there is a chance that you got to see a “Silence is Golden” PSA themed around a film coming to or already in theaters. “Wicked” is one example. Another movie, “Dune: Part Two,” released around the time the “Silence is Golden” slogan was revived, but the movie never got a themed video. I thought it would be fun to share a conceptual “Silence is Golden” PSA featuring footage from “Dune: Part Two.” Here now is a look at that video.
And now to our feature presentation! It is time to hand out some awards, starting with Best Animated Feature!
Best Animated Feature honors some of the most imaginative films of the year. Films that have taken audiences to places they have only dreamed of. LEGO music videos… Cybertron… Japan… That last one is a real place, but believe me, I do dream of going to Japan. And one of these films took me there. Now it is time to take one of these films through the golden gates of victory. Here are the nominees for Best Animated Feature.
Flow (Gints Zilbalodis, Matīss Kaža, Ron Dyens, Gregory Zalcman)
Transformers: One (Josh Cooley, Aaron Dem, Lorenzo di Bonaventura, Mark Vahradian)
The Wild Robot (Chris Sanders, Jeff Hermann)
And the Jack goes to…
Kiyotaka Oshiyama and Kazuto Matsumura for “Look Back!”
This is going to be an interesting Jack Awards indeed… First off, history has been made! “Look Back” has become the first animated movie produced specifically outside the United States, to win Best Animated Feature! It is also the shortest film in Jacks history to win an award, clocking in at 58 minutes. The film is also one of the two animated flicks nominated for this category and Best Picture. The other one is “The Wild Robot.” Both have a chance to win the top prize at the end of the show. My vote does not lock “Look Back,” it is merely an endorsement. I endorse this movie as an artist, as a creative, as someone who was inspired to continue creating my own work. On top of that, the film is a showcase of two unlikely people getting together, becoming friends, and bettering each other’s lives. The film shows the positives of their friendship, as well as the negatives. Around the halfway mark, this film makes a tonal shift you have to see to believe. You will smile, you will cry, you will be taken aback by the beauty of this film’s animation styles as well as the narrative. Some may look at this film’s short runtime and think that this film could be a breeze. But it packs so much emotion in such a short span of minutes. If you are looking for this year’s Best Animated Feature, look ahead to “Look Back.”
Moving onto Best Visual Effects, this category is dedicated to the people who made us believe that the world could contain talking hedgehogs, sandworms, giant monsters, portals, and imaginary friends. This category is dedicated to the wizards responsible for bringing sights that dazzle the eyes. Here are the nominees for Best Visual Effects.
BEST VISUAL EFFECTS
Deadpool & Wolverine
Dune: Part Two
Godzilla X Kong: The New Empire
IF
Sonic the Hedgehog 3
And the award goes to…
“Dune: Part Two!”
This is the first win of potentially many “Dune: Part Two” could rack up tonight. The film is nominated for 10 Jack Awards, including Best Picture, making it the frontrunner. And it is making quite a sandworm-like entrance. The ground is shaking, the spices are flowing, and it looks like the trophies may be coming! So far, the “Dune” franchise is two for two in the visual effects categories. The original won the visual effects honor in the 4th Jack Awards, and the effects have only gotten better. This time around, not only do you get to see a sandworm, you have the bonus of seeing multiple sandworms at once, as well as shots of people riding them, where you get to inspect their ever so mighty crevices. What makes “Dune: Part Two” so visually appetizing is that every shot makes you feel as if you are part of the world. Every shot feels real. And I say that realizing that much of what is on screen is not. My brain says they are real, but in actuality, my mind is playing tricks on me. “Dune: Part Two” has more than 2,000 VFX shots. Just saying that is jaw-dropping. This film took me to Arrakis, and I was very sad to leave. But I am also happy to say that “Dune: Part Two” is deserving of its win and maybe it will be the start of an epic night for the movie.
It is now time to introduce one of the Best Picture nominees. Throughout the show, we will be naming each Best Picture nominee at various times. We will say what the film is about, how many nominations it has, and provide a trailer for the film below. With that said, here is one of the ten nominees… Just a warning for this first one, the trailer contains content that may be inappropriate for some younger viewers.
Our first Best Picture is a crossover years in the making. It is the culmination of two popular characters’ journeys all the while serving as their debut in the long-running juggernaut that is the Marvel Cinematic Universe. With mile a minute humor, gratuitous violence, and strong language that far exceeds any other MCU movie, there is no shortage of entertainment value through every frame this film has to offer. As an installment in one of these characters’ respective trilogies, it is undoubtedly their biggest adventure yet. As an MCU movie, it is a nice tonal shift into a more adult, yet wonderfully juvenile cinematic experience. Director Shawn Levy reunites with two actors with whom he has previously collaborated, Ryan Reynolds and Hugh Jackman. Together, they create an emotionally thrilling story with plenty of visually stunning action sequences. Nominated for 4 Jack Awards, this is “Deadpool & Wolverine.”
It is now time for the sound categories. We are starting, as usual, with Best Sound Editing, and then concluding with Best Sound Mixing. E comes before M, not only in the alphabet, but in the filmmaking process. These are the movies with sound that shook auditoriums, chilled ears, and dropped jaws. Here are the nominees for Best Sound Editing.
BEST SOUND EDITING
Civil War
Deadpool & Wolverine
Dune: Part Two
Godzilla X Kong: The New Empire
A Quiet Place: Day One
And the Jack goes to…
“Dune: Part Two!”
And “Dune: Part Two” is two for two! I had a feeling this movie was going to win this category just from the moment I saw the scene where Paul rides a sandworm for the first time. I got to see it as part of a five minute preview of the film before it came out and the entire place was shaking nonstop. Many of the great sounds of the first film make a return in this one between the the whirring of the ornithopters, the clinging and clanging of blades, and plenty of satisfying explosions. “Dune: Part Two” is an experience made for the big screen and brings some chilling sound effects along with it. Congratulations!
And now, here are the nominees for Best Sound Mixing.
BEST SOUND MIXING
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
A Quiet Place: Day One
Twisters
And the award goes to…
“Dune: Part Two!”
We are only four awards in, and so far, “Dune” is having a field day. Three awards so far! Not only does “Dune: Part Two” have cool concepts for sound, but when put together, the mix makes for something special. It is riveting to realize that as these characters are running through battle, riding sandworms, and navigating through the air, you ever so often get the sense that sand could potentially fly in your face. The only way that the sound in “Dune: Part Two” could be more immersive is if sand flew out of the speaker holes. The characters of “Dune” may be in an everlasting state of conflict, but the experience of watching them, and in this case, hearing them, in said conflict is unlike any other. “Dune: Part Two” takes both sound categories. That is the way things are “DUNE.”
Our second Best Picture is a lighthearted story set in a dark environment. The film sees a group of people preparing for their next play. The kicker, they are all doing the preparations while in prison. The film has an incredible cast, many of whom end up playing themselves. The film is about a large group dealing with their individual problems and the one thing that brings them all together to make them forget troubles for just a little while. The movie has its heart-wrenching moments, but these gut punches are balanced out by a story that recognizes the importance of creativity. Nominated for 6 Jack Awards, this is “Sing Sing.”
Next up we are tackling some design categories, beginning with Best Costume Design. This category honors five individuals with a passion for fashion. Showcasing their excellence in designing apocalyptic gear, pinstripe suits, and ballerina dresses for example, these designers wear their enthusiasm for craft on the sleeve, while also giving something for the talent to wear as well. Here are the nominees for Best Costume Design.
Something has changed within the Jack Awards! Paul Tazewell picks up the first win for “Wicked” tonight. This is Tazewell’s first win, as well as his second Jack nomination. His first was during the 4th Jack Awards for “West Side Story.” Not only do the costumes in “Wicked” tend to look similar to what fans of Oz lore have come to know over the years, as well as the Broadway play this story is named after, but they match the film’s attempt at realism. Each costume not only looks like it belongs on each character, but they feel like a part of Oz itself. It puts a sense of verisimilitude in what is ultimately a fantasy flick. One of the film’s core characters, Glinda, rocks multiple outfits throughout the picture, ranging in various degrees of complexity. When Elphaba finally puts on the hat, “Wicked” sometimes turns into a literal escape. Some other standouts in the film include Shiz University’s uniforms, Madame Morrible’s various choices of apparel, and the Wizard’s green suit. Congratulations to “Wicked” on its first win!
This next category is dedicated to production designers and set decorators. Whether they are recreating something that already exists like 19th century Germany, or something much more imaginative and fantastical like the lands of Oz and Arrakis, these designers created places that may be behind the screen, but nevertheless maintain a sense of tangibility. Here are the nominees for Best Production Design!
BEST PRODUCTION DESIGN
Beetlejuice Beetlejuice (Lori Mazuer, David Morison, Mark Scruton)
Dune: Part Two (Shane Vieau, Patrice Vermette)
Joker: Folie à Deux (Mark Friedberg, Karen O’Hara)
“Wicked” may not be nominated for Best Picture, but the film is likely going to have an epic night. If Dorothy could see what Nathan Crowley and Lee Sandales came up with for Jon M. Chu’s fantasy film, she would say that this is not a dream, it is a place. Turns out, in regards to 2024 cinema, Oz was the place to be. Not only is it grand… Not only is it dream-like… Not only does it come with a pinch of awe… It is the place where at one moment, you are at one of the most magical schools imaginable, and in another, you are at a ball beyond your wildest visions. Then all of a sudden, you are in a lair as chilling as can be, face to face with a giant man’s… Well, face. Let’s face the facts. The grandeur of “Wicked’s” production is essentially unmatched. “Wicked” takes the Production Design award, and its second win of the night.
Our third Best Picture is an animated movie from DreamWorks. Based on a book series, the film follows a robot who is tasked with raising a young gosling. Featuring a talented voice cast led by Lupita Nyong’o, this film showcases the work and rewarding feeling that can come with being a parent. It is a film that shows that parenting is a skill that is not easily taught. It is not something that can be done by the book. There are several elements that make such a task as unpredictable as can be. Packed with unique animation, humor, and moments that can make a grown man shed a tear, it is easy to see what all the hype is about. Musically, the film wows. Both in terms of its booming score and moving soundtrack. Nominated for 4 Jack Awards, this is “The Wild Robot.”
Now if you are familiar with the business practices of fast food chains, you would know that they will offer smaller, less caloric food options often catered towards children. One of the most popular cases of this is the McDonald’s Happy Meal, which not only provides a serving of food, but also comes with a toy. Typically, these toys are for kid-friendly properties. But I am about to show you an ad that I found for the McDonald’s Happy Meal, showing off what might be their weirdest cross-promotion yet. I do not think the parents are going to be “happy” with this one. Take a look.
Ladies and gentlemen, it is time for the first acting award of the night! We are starting with ladies first, so the category this time around is going to be Best Supporting Actress. This year’s set of supporting actresses come from various backgrounds and ages, all the while performing to the best of their abilities in films whose genres range from horror to drama to fantasy. Here are the nominees for Best Supporting Actress.
“Wicked” is arguably pulling off an upset! The film has won three awards, despite my initial 5/10 score for the film. That score still stands by the way. But it does not change the fact that I could not stop thinking about Grande’s magical outing ever since seeing this movie. She is far and away the highlight. Grande is tasked with so much in one role. Between maintaining a hyperactive personality, uttering dialogue that sounds like they come out of like a Willy Wonka-centered story from the mind of J.R.R. Tolkien, not to mention singing and dancing, there is no debate here. Grande is Glinda. Like “Wicked” or not, it is easy to admit that one can be sucked into the world of Oz, and Grande plays a huge part in that. Despite being a supporting performance, she has a commanding presence in the film from the first scene. She literally invites you into the story and ends up stealing every scene of said story. Ariana Grande has stated she has wanted to play Glinda ever since she was a child, and it is easy to see why. Every year during the Jack Awards, the winner has the privilege of having one of their clips played during the ceremony. Unfortunately there are not a whole ton of shorter clips available, but here is one from the film’s opening number, featuring Ariana Grande’s character of Glinda. Take a look.
Onto Best Supporting Actor… Of these five gentlemen, all of whom broke a leg in their respective films, four of them transformed into riveting characters, and another one became their truest, most genuine self. Whether they are playing someone else entirely or staying true to their personality, they all successfully entertained and compelled the many viewers who had the privilege of checking out their work in the past year. Here are the nominees for Best Supporting Actor.
BEST SUPPORTING ACTOR
Michael Keaton (Beetlejuice Beetlejuice)
Chris Hemsworth (Furiosa: A Mad Max Saga)
Denzel Washington (Gladiator II)
Kiernan Culkin (A Real Pain)
Clarence Maclin (Sing Sing)
And the award goes to…
Kieran Culkin for “A Real Pain!”
Kieran Culkin’s outing puts the word “real” in “A Real Pain.” One can watch this performance and easily attach this to their own lives. Whether it is through someone they know, someone they have seen, or maybe some part of themselves. Culkin dives heavily into the complexities of his character, Benji. In one moment, the character gives the impression that he barely leaves his house and does not have much of a life. Then in the next moment, he breaks out of his shell. Then in the next, he just breaks period. It makes for one of the most energetic and unique performances of the year, and when Culkin is put next to film’s star, Jesse Eisenberg, it makes for an odd couple unlike any other. “A Real Pain” is a film that is packed with tons of emotion, and perfectly balances comedy and drama. Culkin’s performance matches the movie’s tone to the max. Here is a clip of Culkin’s exceptional performance.
Just a warning, there is some language in the video that may be inappropriate for younger viewers.
Our fourth Best Picture showcases the impact of art and friendship. It follows two girls who despite their many differences, have one thing in common. They both love to make manga. The two join forces to let their visions come to life, all the while learning lessons about each other and themselves. The film is dynamic, creatively animated, and features incredible music. The film starts off as a relatable journey but quickly develops into something much bigger and bolder. The story may leave you in tears, but it is equally likely to leave you wanting to go after your dreams. The film may be under an hour, but it delivers so much in so little time. Nominated for 5 Jack Awards, this is “Look Back.”
Every year on the Jack Awards, we give away two Lifetime Achievement Awards. There is the Roger Deakins Award, which is given to a significant individual in the film industry who is still alive. And we will also give away the Stan Lee Award to someone in the industry who is just as significant, but no longer with us. Without further ado, it is time for this year’s issuing of the Roger Deakins Award.
The Roger Deakins Award is given to people who have built an extraordinary presence in cinema. Past winners include cinematographer Roger Deakins, actor Bill Murray, director Steven Spielberg, composer John Williams, actor John Goodman, and director Hayao Miyazaki. The recipient is also one of this year’s nominees. He is a composer known for his work on films from a variety of acclaimed directors including Tony Scott, Ridley Scott, Ron Howard, Christopher Nolan, and Denis Villeneuve just to name a few. Born in 1957 in Frankfurt, Germany, this man has always had a knack for creating iconic film scores, many of which combine electronic and orchestral instruments. He has been active in the industry since 1977. Throughout his decades of work, he won two Academy awards, a BAFTA, and five Grammys. His first Oscar win was for Disney’s “The Lion King,” released in 1994. The score, like the movie itself, was met with endless praise to the point where it is no surprise that its maestro came back to do the score for the 2019 remake. His Disney legacy does not stop there as he also helped craft the music for the “Pirates of the Caribbean” franchise. His second Oscar was won for 2021’s “Dune,” Denis Villenuve’s adaptation of the famous sci-fi novel. He is the head of the film music division at DreamWorks Pictures and DreamWorks Animation studios. He contributed to the animation giant’s many properties including “The Prince of Egypt,” “Spirit,” “Shark Tale,” “Madagascar,” “Kung Fu Panda,” “Megamind,” and “The Boss Baby.” While he may not have superpowers, his music heard in several comic book movies have only enhanced the quests of our heroes. Characters like Batman, Superman, Wonder Woman, Spider-Man, and the X-Men. He has collaborated with composers like John Powell, James Newton Howard, Junkie XL, and Benjamin Wallfisch. Hockey fans may be familiar with his theme music for the NHL team, the Seattle Kraken. Today he has his own film score company, Remote Control Productions, formerly Media Ventures. He has taken his material and presented it on tour multiple times for audiences around the world. And if you must ask, I had the privilege of attending the Boston show during his tour last year, and it is extraordinary. It is my extreme honor to bestow this year’s Roger Deakins Award to Hans Zimmer.
Hans Zimmer has become a household name in film composition. He has many extravagant pieces, booming scores, and excellent films under his belt. Each score of his is about as exciting and inviting as the one that came before. His contributions to film music will forever be cherished and listened to by many for years to come. Congratulations to Hans Zimmer for being this year’s recipient of the Roger Deakins Award.
You may remember during the 5th Jack Awards, I did a vlog of the grand opening for what was then a new location of one of my favorite stores, Bull Moose. I fell in love with the store ever since I first visited its Salem, New Hampshire spot. But unfortunately, that location is now closed, and has relocated to a nearby town. That said, it is time to relive a memory from the now closed store, all the way back in January 2024, not long after they started buying back t-shirts. I thought I would bring in some of my own shirts and see what would happen, take a look.
A word of warning about this next film, the trailer contains some language that may be inappropriate for younger viewers.
Our fifth Best Picture is the story of some “not ready for primetime players” getting to work. Inspired by the true events leading up to the first episode of “Saturday Night Live,” this movie centers around the show’s creator, Lorne Michaels, played by Gabriel LaBelle. The man tries to make the best show he can, all the while confronting his most daunting threat – a rerun of a talk show. Featuring a star-studded cast including Rachel Sennott, Cory Michael Smith, Kaia Gerber, Willem Dafoe, J.K. Simmons, and Finn Wolfhard, the film shows what happens when a bunch of nobodies try to make a TV show that would defy the expectations of a studio, its executives, and local affiliates. It may sound boring, but with one problem after another, the film moves at a breakneck pace that can easily trigger a sense of anxiety. Nominated for 3 Jack Awards, this is “Saturday Night.”
Our next category is Best Makeup & Hairstyling. If you look at some of this year’s nominees for this category, you would notice many of the movies link to the horror genre in some way. But despite being horrifying, these films, along with their lighter, more action-based competitors, have some of the most attractive wigs, prosthetics, face paint, and beards on screen this year. Here are the nominees for Best Makeup & Hairstyling.
The Substance (Pierre Olivier Persin, Stéphanie Guillon, Marilyne Scarselli)
Wicked (Frances Hannon, Laura Blount, Sarah Nuth)
And the award goes to…
Pierre Olivier Persin, Stéphanie Guillon, and Marilyne Scarselli for “The Substance!”
If you watched “The Substance” this year, you would come to notice the excessive amount of closeups, sometimes of people simply eating food. Also, please, for your own mental state, DO! NOT! EAT! WHILE! WATCHING! THIS! MOVIE! You will thank me later. But sometimes, these closeups allow you to take in every crevice of detail of each character’s looks. Whether it is Margaret Qualley’s variety of hairstyles, her lipstick, the work done to her eyes. And when the camera is a bit further back, we are also privileged with a multitude of shots of select characters donning the film’s heavily detailed and sometimes disturbing prosthetics. If you are not busy gazing into the film’s depiction of ageless beauty with Margaret Qualley, quite literally pumping things up, you may be busy staring at the unhinged designs given to Demi Moore. The talent has a lot of looks to work with on screen, and they ace every one of them with their excellent acting abilities. “The Substance” is one of the most disturbing films of the year, and it is certainly true that a film this off-putting can also look so fantastic. It is a ridiculously beautiful enigma. Perhaps one that is difficult to fully describe. Congratulations to the hair and makeup artists of “The Substance!”
Now it is time to face the music. We are moving onto Best Original Score. This category is dedicated the maestros who brought us atmospheric, moving, or at times, monumentally epic compositions. Each one of these composers brought us ever so closer to Arrakis, to the Catholic Church, to our very own imaginations. Here are the nominees for Best Original Score.
BEST ORIGINAL SCORE
Conclave (Volker Bertelmann)
Dune: Part Two (Hans Zimmer)
IF (Michael Giacchino)
Look Back (Haruka Nakamura)
Saturday Night (Jon Batiste)
And the Jack goes to…
Hans Zimmer for “Dune: Part Two!”
And “Dune: Part Two” breaks its tie with “Wicked!” It is leading tonight’s nominees with four wins so far! As for Hans Zimmer, this is not his first rodeo at the Jack Awards. Of course, he won the Roger Deakins Award tonight. But also, this is second time winning Best Original Score. His first was during the 4th Jack Awards for his work on “Dune.” Now he comes back with plenty of the material that made the first film so easy on the ears, but also sprinkles in some new banger themes as well. As many sequels do, “Dune: Part Two” goes bigger in scale than its predecessor, but I had no idea how Hans Zimmer could do such a thing with the music. Turns out, his score here, is just as, if not more stuck in my head than what we got in the first film. One of the film’s characters, Chani, says Arrakis is so beautiful when the sun is low. That may be true, but I would argue that Hans Zimmer is just as breathtaking whether in brightest day or darkest night. Click the link below to listen to one of the tracks from Hans Zimmer’s award-winning efforts.
Word of warning, this next trailer contains content and language that may be inappropriate for younger viewers.
Our sixth Best Picture is a movie about a bunch of people confronting a young girl who may be cute, but not cuddly. This is the second project nominated for Best Picture from Tyler Gillett and Matt Bettinelli-Olpin, the same filmmakers behind “Ready or Not.” Much like that film, this picture is mostly set in one location and features a group all dealing with the same task. They must brace themselves for any and all twists and turns as they keep a young girl from prompting any and all havoc. They come to realize this young girl is a vampire. Oh, and she is also very good at ballet. So that is fun. The titular character is played by Alisha Weir. Her resume may be small, but this movie proves her talent to be enormous. The film features a recognizable cast including Melissa Berrera, Kathryn Newton, Giancarlo Esposito, Dan Stevens, and one actor taken way too soon… Angus Cloud in his final role. Together, they deliver one of the most scary fun films of the year. Nominated for 3 Jack Awards, this is “Abigail.”
Our next two categories are dedicated to screenplays. Best Adapated Screenplay, and Best Original Screenplay.
Art comes from everywhere you look. As for these next five nominees, their art came from novels, well-known franchises, children’s books, manga, and written pieces based on true stories. No matter where these stories came from, they all became something much bigger than anyone can imagine. Here are the nominees for Best Adapted Screenplay.
BEST ADAPTED SCREENPLAY
Conclave (Peter Straughn)
Look Back (Kiyotaka Oshiyama)
A Quiet Place: Day One (Michael Sarnoski, John Krasinski)
Sing Sing (Clint Bentley, Greg Kwedar)
The Wild Robot (Chris Sanders)
And the Jack goes to…
Chris Sanders for “The Wild Robot!”
THIS. WAS. TOUGH. I could make an argument for every nominee listed. But I had to pick one, and I did so by the slightest of margins. My goodness. I picked “The Wild Robot” because it does a great job at showcasing not just an entertaining narrative about its title character, but also its deeper dives into the struggles of parenting. Every parent’s journey is different, but “The Wild Robot” works so well because it highlights the many common obstacles that parents face. From making sure that their child learns certain things at a particular time in their life, to wondering if they would be successful on their own, dealing with another parent who may come from a different background, or different teachings. But one of the great lines of “The Wild Robot” comes from Roz herself, saying “Sometimes to survive, we must become more than we are programmed to be.” That line not only sums up her journey, but the journey of anyone who has a child. It is something that cannot be explained or shown verbatim. There is no one right way to raise a child. It is just something that comes naturally, and sometimes it takes everything you have for that journey to be successful. Am I a parent? No. But as someone who is not a parent, this movie makes me appreciate everything parents do for their children. On that note, thank you to Chris Sanders for making an excellent film, and thank you to the world’s parents, including my own, for everything you have done to allow your children to grow, mature, and become the people they were meant to be. The work you do is unbelievable. Cheers!
Moving onto Best Original Screenplay. As I just said moments earlier, art comes from everywhere you look. Chances are, if you looked inside the minds of these five screenwriters, you could find these ideas floating in there somewhere. These are the ideas that became scripts. These are the scripts that became moving images. These are the moving images that became success stories. These are the success stories that became the nominees for Best Original Screenplay.
BEST ORIGINAL SCREENPLAY
Anora (Sean Baker)
Daddio (Christy Hall)
Juror #2 (Jonathan A. Abrams)
My Old Ass (Megan Park)
A Real Pain (Jesse Eisenberg)
And the Jack goes to…
Jesse Eisenberg for “A Real Pain!”
This is the second win for “A Real Pain” tonight, following in the footsteps of Kieran Culkin’s victory in the Best Supporting Actor category. Jesse Eisenberg tells one of the most personal stories of the year. The film is about an odd pair of Jewish cousins who visit Poland to see Holocaust-related sites as well as the home of their late grandmother. The movie is an entertaining ride far from both of its leads’ homes, but also a depressing narrative that highlights the worst of humanity. On the surface, it is a film that should be sad, but also knows when to be funny. It knows when to be charming. It has fun with the spontaneity and unexpected nature of its characters. It features people who are more than meets the eye. The screenplay taps into the moments of bliss in a life that may seem unlived, while also unveiling the personal wants of someone who may seem to have it all. The film packs a lot of substance into a short runtime, and every minute results in something as thought-provoking as it is entertaining. Congratulations to Jesse Eisenberg! If I may add, Eisenberg also stars in the film. He is not nominated for Best Actor today, but if we could add one or two nominees to the list, I think he could be a could be a contender. He did such a fantastic job in the lead role.
This next film has all the hallmarks of a Best Picture nominee. The seventh film on the rundown features strippers, spoiled brats, oligarchs, and several people trying to stop a marriage. Racking up credits as a director, writer, and editor, Sean Baker puts his heart and soul into a project unlike any other. The film interjects a perfect balance between comedy and drama, but never once do the tones clash. Delivered at a breakneck pace, this film is chock-full of memorable scenes and laugh-inducing moments that rival many pure comedies. The titular character is played by Mikey Madison, and she kills her commanding role throughout this unpredictable ride. Nominated for 5 Jack Awards, this is “Anora.”
This category features five films that totally make the cut. Or in this case, the cuts. The nominees for these films had a hand in cutting wild pursuits through the New York metro area, exciting action sequences in different timelines, well-choreographed fights on imaginary planets, one chaotic hour and half shared by a TV crew, and a horrific journey of two bodies tasked with respecting the balance. Here are the nominees for Best Film Editing.
BEST FILM EDITING
Anora (Sean Baker)
Deadpool & Wolverine (Dean Zimmerman, Shane Reid)
Dune: Part Two (Joe Walker)
Saturday Night (Nathan Orloff, Shane Reid)
The Substance (Coralie Fargeat, Jérôme Eltabet, Valentin Feron)
And the Jack goes to…
Coralie Fargeat, Jérôme Eltabet, Valentin Feron for “The Substance!”
“The Substance” takes its second win of the night, on top of its previous win for Best Makeup & Hairstyling. All of these five films are deserving of the nomination. But what solidifies “The Substance” as the winner is the film’s individualistic approach to detail. Like the rest of these films, “The Substance” implements a variety of close-ups. But the way the film interjects extreme close-ups at various points of the runtime make for a film that truly stands on its own. “The Substance” is creepy and definitely not for everyone. But that is also why it is tonight’s winner. It is the film’s most horrifying combinations of shots that bring it ever so slightly to glory. When the film suddenly cuts to extreme close-ups of Dennis Quaid eating shrimp, it elicits an unpleasant feeling, but it is also something that gives “The Substance” an identity. In fact, when you implement Raffertie’s excellent score into scenes of people simply walking, it makes for something simple present itself as something larger than life. Congratulations to the editors of “The Substance!”
One common saying associated with filmmaking is “lights, camera, action.” Our next five nominees used lights and cameras to spoil audiences with some action-packed cinema throughout the year. Using techniques to present movies in IMAX, VistaVision, and digital, these masterminds unleashed spectacles that took us to deserts, churches, Gotham, and 20th century America. Here are the nominees for Best Cinematography.
BEST CINEMATOGRAPHY
The Brutalist (Lol Crawley)
Conclave (Stéphane Fontaine)
Dune: Part Two (Greig Fraser)
Furiosa: A Mad Max Saga (Simon Duggan)
Joker: Folie à Deux (Lawrence Sher)
And the Jack goes to…
Greig Fraser for “Dune: Part Two!”
This is an accolade I have been looking forward to giving all year long. “Dune: Part Two” is an experience. Such a sentiment cannot be stated enough, even after the movie has taken its fifth win tonight. I have talked about the sandworm scene time and time again, particularly the one where Paul learns to ride one. That scene is superbly shot and magnificently put together, placing you in the middle of the action. Yet that is argubaly not even the most immersive moment in this film featuring a sandworm. Because later on, we see an epic action sequence where all of a sudden, three sandworms pop out and say hello to some teeny tiny little friends. Just when the scene could not get any more exciting, we cut to a first-person view of the sandworm leaping through the air. For just a brief moment, you quite literally become the sandworm. That alone, should solidify the price of admission for “Dune: Part Two,” especially in IMAX. When it comes to the IMAX experience, just about every scene is expanded for the IMAX screen, including some in the true 1.43:1 aspect ratio used in the films that won this category during the previous two Jack Awards. Jordan Peele’s “Nope” and Christopher Nolan’s “Oppenheimer,” both of which were shot by Hoyte van Hoytema. Now, using all digital cameras instead of film, Greig Fraser steps up to the plate with his first Jack win and second nomination. The first nomination, by the way, was the previous “Dune” installment. These breathtaking shots are part of a jaw-dropper of a science fiction flick that by the end, leads you to paradise. Congratulations to Greig Fraser, and the crew of “Dune: Part Two” on five wins so far. It only needs two more to tie “Everything Everywhere All at Once” and “Oppenheimer” as the winningest film in Jacks history. It is a feat that can be done. The film is nominated in two more categories, Best Director and Best Picture. We will see what happens when we get to that point.
Our eighth Best Picture is a prequel to two mainstream horror titles from the mind of John Krasinski. This time around, directing duties are given to Michael Sarnoski. He delivers an epic kickstarter that has more to say than ever in a franchise known for minimal dialogue. Starring Lupita Nyong’o as Samira, the film’s cast of characters learn that to survive against alien creatures roaming around the loudest city, they must adapt to total silence… All the while fulfilling a hunger for pizza. The story is as simple as can be, but executed beautifully between its solid characters and exciting survival sequences. Nominated for 4 Jack Awards, this is “A Quiet Place: Day One.”
They say no film is perfect. And to that I say, whoever “they” happens to be, “they” are on the money. For instance, the “Fast & Furious” movies do not spend a lot of time on the characters’ anger issues. Despite being called “Jurassic Park,” never once do the dinosaurs fight over parking spaces. Oh yeah, and there are also some movies that fail to feature the line “He was in the Amazon with my mom while she was researching spiders right before she died.”
Look… We are here to celebrate movies. But I already bashed the “Joker” sequel so I gotta play it fair to both sides. Marvel’s “Madame Web” is getting a beating too.
Nevertheless, no film is perfect. But why not make them better? That is exactly what I tried to do in this year’s edition of “Film Improvements.”
Like a good movie, a good song can really set the mood for a great time. The people who made the following songs managed to set the mood with their songs while combining their talents with those of filmmakers tasked of making the best movie possible. These five songs managed to elicit emotions, get stuck in people’s heads, and remind people of the power of music in film. Here are the nominees for Best Original Song.
BEST ORIGINAL SONG
Light song – Urara, Haruka Nakamura (Look Back)
Piece by Piece – Pharrell Williams (Piece by Piece)
Like a Bird – Abraham Alexander, Adrian Quesada (Sing Sing)
Out of Oklahoma – Lainey Wilson, Shane McAnally, Luke Dick (Twisters)
Kiss the Sky – Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi (The Wild Robot)
And the Jack goes to…
Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack, and Ali Tampsoi for “Kiss the Sky” featured in “The Wild Robot!”
This is the second win for “The Wild Robot!” The film could also take a third, as it is nominated for Best Picture. What makes “Kiss the Sky” so fantastic is that it is an excellent tune on its own, commanded by moving lyrics and Maren Morris’ exceptional singing voice. But when you place it in the movie, alongside a training montage, it is a perfectly balanced relationship. The song enhances the scene, and in return, the scene enhances the song. Despite what the title could make one think, “The Wild Robot” dives into what it means to have a soul. The song channels that spirit, quite literally to the sky. The lyrics tap into the joys and challenges of parenthood, as well as those faced by the children on the receiving end. If you need a song to motivate you and fill you with life, then “Kiss the Sky” is a perfect option. For your listening pleasure, here now is Maren Morris’ song, “Kiss the Sky.”
We are down to the final four… Best Director, Best Actor, Best Actress, and to top things off, Best Picture. The real March Madness is upon us.
Four men… One woman… Five excellent films. Our next five nominees have paved the pathways to creating their own masterpieces. Whether it is a cinderella story, a thought-provoking drama, a spectacular sequel, a tale shining light in the darkest of places, or an ageless narrative diving into the constant struggle of time, these five visionaries reinvented the cinematic wheel with their own series of shots, scenes, and imaginations. Here are the nominees for Best Director.
BEST DIRECTOR
Sean Baker (Anora)
Edward Berger (Conclave)
Denis Villeneuve (Dune: Part Two)
Greg Kwedar (Sing Sing)
Coralie Fargeat (The Substance)
And the Jack goes to…
Sean Baker for “Anora!”
“Anora” is nominated in five categories, and it has just received its first win! The film is also nominated in two upcoming categories, Best Actress and Best Picture. Indie darling Sean Baker earns his flowers for letting a one of kind story like this one come to life. “Anora” is a gigantic, in your face ball of energy that is catalyzed from the opening scene. The film has many aspects of a well-directed effort between well-timed dialogue, realistic chemistry, and well cast actors who give really good performances. That said, the little choices sprinkled through the film are what make this win possible. Little things like Vayna’s slide when giving Ani a drink… The vertical chucking of a baseball bat on the boardwalk… The many choices made behind the scenes to humanize Ani despite the knowledge that she is a stripper. The film is a chaotic, unexpectedly hilarious tale of forbidden love, that also dives into classism. Sean Baker is a mastermind and this is a film you should check out at least once. Congratulations to Sean Baker!
Our ninth Best Picture comes from John Krasinski. Known for his comedic talents as well as his mastery of suspense, his latest directorial effort is a family friendly feature about a concept many of us attach ourselves to as children. The film shows that as we age, we might need that concept more than ever. Packed with stars including Ryan Reynolds, Steve Carrell, Phoebe Waller-Bridge, and Emily Blunt, the film is as imaginative as can be and offers emotional pinches of nostalgia. Add in Michael Giacchino’s grand, booming score, then you have a recipe for an incredible family film. Nominated for 3 Jack awards, this is “IF.”
The following five nominees embrace their craft so much to the point where they appear to break their legs for hours upon hours. Or in the case of Adrien Brody, to the point where they go onto break their legs, let the crowd watching leave the room for ten to fifteen minutes, and watch him break his arms. All of these men have something in common. They are actors. Another thing they have in common is their ability to astoundingly transform themselves before the audience’s eyes. These are five of the most stunning transformations of the year. Here are the nominees for Best Actor.
BEST ACTOR
Sebastian Stan (The Apprentice)
Adrien Brody (The Brutalist)
Timothée Chalamet (A Complete Unknown)
Ralph Fiennes (Conclave)
Colman Domingo (Sing Sing)
And the Jack goes to…
Timothée Chalamet for “A Complete Unknown!”
Earlier this awards season, during his win at the SAG Awards, Timothée Chalamet said he wanted to be “one of the greats.” Well, maybe this Jack win will give him a head start. Chalamet is one of the finest young talents working today. I should also honorably mention his monumental efforts brought to the screen in another great film from this year, “Dune: Part Two.” But as for “A Complete Unknown,” Timothée Chalamet is the complete package. Not only does he handle the dialogue to a tee, but he sings Bob Dylan’s discography with his own voice. He also learned how to play guitar for this movie. This role proves Chalamet to be quite the multitalented individual. Chalamet follows in the footsteps of actors like Rami Malek and Austin Butler in previous years on the Jacks for acing the role of a well-known musician and winning the award for playing them as a result. Given Chalamet’s abilities, it is easy to see why. Here is a look at Chalamet’s range in “A Complete Unknown.”
We have come to a crucial moment during the show. We are now at the last category featuring five nominees, Best Actress. And this category features some powerhouse performances. The actresses nominated were so terrific, that part of me wishes I could honor six people instead of five. Unfortunately, rules are rules. Coincidentally, all five of these performances definitely rule. One of the individuals may be from the movie “Challengers,” but my goodness, all five of these women have risen to the challenge and became highlights of their own projects. Here are the nominees for Best Actress.
BEST ACTRESS
Mikey Madison (Anora)
Nicole Kidman (Babygirl)
Zendaya (Challengers)
Naomi Scott (Smile 2)
Cynthia Erivo (Wicked)
And the award goes to…
Mikey Madison for “Anora!”
And it is a fairytale ending for Mikey Madison! This is the actress’s first ever Jack nomination and win. It is also “Anora’s” second win of the show. “Anora” is a movie that one can easily remember for its occasional outlandish script choices and absurdities, but Mikey Madison is a heart and soul in this crazy ride that brings things down to earth. Yes, like the movie itself, she is energetic and full of personality. But in a movie showcasing tons of people featuring some connection to oligarchy, Madison’s Ani stands out for her human portrayal of a sex worker and her representation of the working class. We see Ani chase love, money, and fight even harder when she comes to realize both of those things could be whisked away from her in just a hint of time. Madison goes as heavy on the Brooklyn accent as her character does to a life of happiness. Here is a clip of Madison’s kinetic performance.
It is now time for the second Lifetime Achievement Award of the night, the Stan Lee award.
The Stan Lee Award is given to individuals who are no longer with us, but will maintain a legacy for years to come. Past winners include comic book creator and cameo regular Stan Lee, neo-futurist concept artist Syd Mead, composer Ennio Morricone, actress Betty White, visual effects maestro Douglas Trumbull, and actor Alan Arkin. This year’s winner is yet again, an actor, and one who stayed relevant through several decades through multiple iconic films and franchises. Born in 1931 in Arkabutla, Mississippi., This man came a long way from the Jim Crow era, living with a childhood stutter, to become known for his work on Broadway, film, television, and several “Shakespeare in the Park” productions. Before his legacy was built, he was a US Army officer in the Korean War, and earned his way to a degree at the University of Michigan. Receiving a series of high honors through his life, he is one of a few people to ever achieve the EGOT. That is someone who has won an Emmy, a Golden Globe, an Oscar, as well as a Tony. Some of his many film projects include “The Lion King,” “The Sandlot,” “Coming to America,” “Conan the Barbarian,” “Field of Dreams,” and “The Hunt for Red October.” His most well known work is, without debate, providing the voice for Darth Vader in the “Star Wars” franchise. While the character was physically portrayed by other people, this man was always the one who got inside the character’s head. His iconic deep voice is as recognizable as anything and as compelling as can be. He helped create one of the most legendary villains of all time in 1977’s “Star Wars” and continued to thrill audiences, even if they were rooting against him, all the way to 2022 when he played the character for the last time in the Disney+ series “Obi-Wan Kenobi.” Vader is not the only character he played multiple times, as he came back to play Mufasa in the 2019 remake of Disney’s “The Lion King.” He also played Mr. Mertle for a second time in “The Sandlot 2,” a televised sequel to the classic baseball movie. In 2021, he came back for a second outing as King Jaffe Joffer in “Coming 2 America,” the followup to the similarly named 1988 comedy. He also lent his voice to the news channel, CNN, with their often used tagline, “This is CNN.” And while that network was busy focusing on the world’s top stories, people continued to embrace this man’s list of tales as far as the eye can see. I am proud to present this year’s Stan Lee Award to one of the most powerful voices in movies… James Earl Jones.
James Earl Jones has racked up an enormous, prominent resume of roles over the years. Sometimes he would revisit those roles with a similar sense of commitment that he delivered in a previous outing. Many of his roles have been delivered with a presence as commanding as can be. Jones’s voice is one for the ages, and so is his career. Congratulations!
Our tenth and final Best Picture is the latest film from Denis Villeneuve. It is his second film based on Frank Herbert’s “Dune” book series. Picking things up right where they left off, the film is a spectacle-fueled masterpiece that sees the return of previous stars including Timothée Chalamet and Zendaya while also bringing on new, talented cast members such as Christoph Waltz, Florence Pugh, and Austin Butler. The film expands lore and includes epic sequences ranging from sandworm rides to large battles to one on one duels with exquisitely crafted choreography. On the technical side, composer Hans Zimmer and cinematographer Greig Fraser are back for seconds to unleash a bombastic score and a jaw-dropping set of shots. Science fiction does not get bigger or better than this. Nominated for 10 Jack awards, this is “Dune: Part Two.”
Ladies and gentlemen, we are reaching the end of the show. By the way, if you started reading this at the same time a screening began at AMC, they are just a quarter of the way through the trailers. It is time to crown this year’s Best Picture. The same rules apply as always. The nominees, like those in all the other categories, were chosen in advance of today’s show. The difference – the public has the power. The public gets to choose this year’s Best Picture winner. There are 10 Best Picture nominees, but only one will exit good as gold. Couple things to keep in mind… If “Deadpool & Wolverine” wins, that is the second MCU movie to win Best Picture. If “Dune: Part Two” wins, that is the second “Dune” film to win Best Picture, as well as the second Denis Villeneuve film to win Best Picture. And if I open a card that says “La La Land” in it, then this year’s show is gonna be on the news for the next month. With that in mind, let’s introduce the nominees one more time!
BEST PICUTRE
Abigail (William Sherak and Chad Villella)
Anora (Alex Coco, Samantha Quan and Sean Baker)
Deadpool & Wolverine (Kevin Feige, Shawn Levy and Ryan Reynolds)
Dune: Part Two (Mary Parent, Cale Boyter, Tanya Lapointe and Denis Villeneuve)
IF (Allyson Seeger, John Krasinski, Andrew Form and Ryan Reynolds)
Look Back (Kazuto Matsumura)
A Quiet Place: Day One (Michael Bay, Andrew Form, Brad Fuller and John Krasinski)
Saturday Night (Jason Blumenfeld, Peter Rice, Jason Reitman and Gil Kenan)
Sing Sing (Clint Bentley, Greg Kwedar and Monique Walton)
The Wild Robot (Jeff Hermann)
And the Jack goes to…
“The Wild Robot!”
This is the third win for “The Wild Robot.” The film also won for Best Adapted Screenplay and Best Original Song. The film was also nominated for Best Animated Feature. This is the first fully animated movie to win Best Picture and the second consecutive win in this category for a Universal Pictures release.
One film has become more than it was programmed to be! “The Wild Robot” makes history at the Jack Awards! The film did not win Best Animated Feature through my personal pick. Though if am being honest, it came very close. This is however a monumental achievement, because “The Wild Robot” is the first animated movie to win the Best Picture category!
And what a picture it is! It provides a unique look at the common journey of parenting, as well as the complexities and obstacles that come with it. The film may be made for families, but it is brutally honest about the hardships that come with a raising a child. This is a film that children can enjoy, but parents will appreciate because it interjects humor about situations in which they may find themselves on a regular basis. Chris Sanders makes the most of his animation background developed through multiple directorial and screenplay credits through movies like “Lilo & Stitch,” “How to Train Your Dragon,” and “The Croods.” Sanders brings us a film that is as joyful as it is funny, and as easy on the ears as it is on the eyes. The moment the robot turns on for the first time, it sucks you in as she makes her way through the picturesque dangers of the woods.
That robot by the way, is voiced with such power by Lupita Nyong’o, who gives an incredibly human portrayal of someone who can only emote herself so much. Joining her is an all star cast of actors who deliver on comedy as well as the feels. From big name stars like Pedro Pascal to rising talents Kit Connor. On top of the film’s parent-centered journey, the film offers commentary on the environment, climate change, and working together despite your differences. The film does a great job at encapsulating what may as well be years of a parent’s journey with their child in less than a couple hours, yet delivers a similar level of emotion that a parent could experience in real time. By the end of this film, a grown man could shed a tear. It is that powerful. Adding on top of it is the film’s music choices. Everything from the magnificent score from Kris Bowers to originals sung by Maren Morris like “Even When I’m Not” and “Kiss the Sky.”
“The Wild Robot” has become a critical and box office success, maintaining a Certified Fresh status on Rotten Tomatoes and earning $333 million on a $78 million budget. Last year, Chris Sanders confirmed a sequel is in development at DreamWorks Animation. As for the book series that inspired this film, a new entry is due to come out this June. There is truly no stopping “The Wild Robot.” I want to personally congratulate everyone involved with the film from the cast and crew to DreamWorks to Universal to producer Jeff Harmann, executive producer Dean DeBlois, and co-producer Heather Lanza. A round of applause is deserved for Chris Sanders, the writer and director of this masterpiece. “The Wild Robot!” …Making history at the Jack Awards as the first animated Best Picture winner!
And that is all for this year’s Jack Awards! Special congratulations to all of tonight’s winners! To everyone who voted for Best Picture, thank you for your assistance. Thank you for making your voices heard. Congratulations to “The Wild Robot” for winning Best Picture, as well as two other awards! Congratulations to “Dune: Part Two” for taking home five trophies! And congrats to all the other winners today as well! I want to thank all my viewers for tuning in for another great show celebrating an equally great group of movies! This show has become an annual tradition, and the way things are looking, we will be doing it again next year. As I said at the top of the show, I want to shout out to the people of Los Angeles, as well as the many first responders who fought the California Wildfires. We see you, and we love you!
For those sticking around, I have plenty of reviews on the way including “Riff Raff,” “Nickel Boys,” “Mickey 17,” and “Locked!” Be sure to follow Scene Before to stay tuned for these reviews and more exciting posts along the way! Also, check out the official Facebook page! Scene Before is your click to the flicks!
“The Brutalist” is directed by Brady Corbet (The Childhood of a Leader, Vox Lux) and stars Adrien Brody (King Kong, The Pianist), Felicity Jones (Rogue One: A Star Wars Story, On the Basis of Sex), Guy Pearce (Memento, Iron Man 3), Joe Alwyn (The Favourite, Billy Lynn’s Long Halftime Walk), Raffey Cassidy (Tomorrowland, Vox Lux), Stacy Martin (Vox Lux, All the Money in the World), Emma Laird (Mayor of Kingstown, A Haunting in Venice), Isaach de Bankolé (24, Black Panther), and Alessandro Nivola (Jurassic Park III, Amsterdam). This film is about a Hungarian-Jewish Holocaust survivor’s struggle to achieve the American dream.
“The Brutalist” was a movie that I have been trying to get to for nearly a couple months at this point. Unfortunately, I just never had the time to sit down for three and a half hours and commit to it. Thankfully, an opportunity opened up recently, and I went out of my way to a theater further away from home, because I wanted to get this movie under my belt before the Academy Awards. After all, despite the body’s questionable practices and relevancy, the film did win Best Picture – Drama at another awards show, the Golden Globes. Well that, and quite frankly, I was in much more of a rush to watch “The Brutalist,” instead of “Emilia Perez,” which won Best Picture – Musical or Comedy in the same show. That movie seems to have gotten a lot of praise during the 2024-2025 awards season. However, I have not seen as many people outside the core voting bodies share the kindest words about the film.
When you make a commitment to any movie, it has to be worth your money and time. That last part is extremely emphasized with a more sizable runtime. Thankfully, “The Brutalist” is worth both of those things.
Most of the movies I have reviewed on Scene Before are from the 2010s or 2020s, therefore I have not had the opportunity to talk about many titles that include intermissions. “The Brutalist,” released at the end of 2024, is one exception. An intermission itself is not a core part of a movie experience if you break it down, but in this case I thought it added to a nice, throwback feel.
That said, having an intermission introduces a problem that stood out to me, which is that if I had to pick one half of the movie to watch over the other, I would pick the second half almost every time. Granted, I understand why the first half exists. Without it, the movie would not work the way it does. But I found the second half to be better-paced. I found the characters to be at their most compelling. I thought the acting and atmosphere was upped a notch. I felt more passive watching the first half and more active in the second.
The movie was shot on 35mm, which for the record, is still a format used in modern movies. Last year’s “Twisters” is one such example. The film also used VistaVision, which I arguably did not experience to the fullest given how I watched the movie on digital projection. But the film itself, kind of like another Adrien Brody project, “The Artist,” has all these little touches of older cinema. The movie had all sorts of imperfections from frame to frame.
This movie also makes great use of color, or lack thereof in some cases. The film is not necessarily the most vivid, but despite the film’s grainy, dusty look, there are certain colorful objects in the film that stood out to me. There is a shot where two characters are hugging in front of a green bus that pops. This film also has really effective use of beige. There are some shots inside of a home where that color stands out. It is the little things that catch my attention in this picture. Speaking of shots, the opening of this film is one of the trippiest I remember seeing in recent memory, where we see an upside down shot of Lady Liberty. That part of the movie is ingrained in my memory not only for its unconventional yet immersive shot choice, but it is just the start of what “The Brutalist” stands for as a work of art.
When you break down “The Brutalist,” it is a representation of one’s journey and struggle to achieve the American dream. The movie starts off with a staple of that dream with the main character, László Tóth, a holocaust survivor and an architect, coming into Ellis Island, set for a better life. His journey comes with obstacles, such as leaving people he knows behind or sometimes taking jobs one can consider painstaking or filth-inducing.
I also find it interesting how the film is set in the 1940s to the 1980s. I did not see this at a festival or a special screening, but if I had a chance to talk to the film’s writers, Brady Corbet and Mona Fastvold, I would want to know if they think the idea of “the American dream” is still alive. This film does represent the continued aspirations of the American dream in regard to seeking a better life, but it begs the question as to whether the American dream is a thing of the past, or if it is still obtainable in the 2020s.
Pacing-wise, this film sometimes reminded me of “Blade Runner.” The film is very much a slow-burn. Combine that with a three and a half hour runtime, you have a recipe for a movie that I imagine will turn off a fair amount of the general audience upon their first impression. I say this because there are a lot of pauses between the characters’ utterances of dialogue. Very rarely do the characters actively respond to another individual right away. I thought this direction choice sometimes worked and tied into the film’s atmosphere, but at other times, was a bit distracting.
I liked Felicity Jones before watching “The Brutalist,” but she is a different kind of great in this film. She is not in the entire movie. But she ends up taking the spotlight in every scene towards the end. As the film culminates, she unleashes the most unhinged supporting performance I have seen in a 2024 film. I have not seen “Emilia Perez” so I cannot comment on Zoe Saldana’s performance. I am aware Saldana won the Best Supporting Actress category at the Oscars, but if I had to cast a vote, it would be for Felicity Jones because of not only how she represents her own pain, but also her urgency to relieve the pain of those around her. By the end of this film, I left thinking that I would do anything to avoid a screaming match with this individual. I did not know Jones had that kind of power in her.
In the end, “The Brutalist” is not my favorite movie of 2024, but it is one of the more well-crafted films of that year. Part of it has to do with the production design, but also the solid direction from Brady Corbet that has also led to excellent performances from actors like Adrien Brody and Felicity Jones. Breaking this film down, I found the film to pick up a bit in the second half compared to the first, but I still found the film as a whole to be worth watching. I know an Adrien Brody-led three and a half hour movie with an intermission set decades prior to its release shot on VistaVision sounds like the most pretentious movie that has ever pretentiated in the history of pretentiousness. Trust me, if you give it your time, you might enjoy it. The acting is great. The directing is even better. The story is one I think many people, especially those living in the United States, can relate to. I am going to give “The Brutalist” a 7/10.
“The Brutalist” is now playing in theaters and is available to rent or buy on VOD.
Thanks for reading this review! Coming soon, I will be sharing my thoughts on “I’m Still Here,” “Riff Raff,” “Nickel Boys,” and “Mickey 17.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Brutalist?” What did you think about it? Or, should more movies coming out today have intermissions? Let me know down below! Scene Before is your click to the flicks!
“Love Hurts” is directed by Jonathan Eusebio (300, The Fall Guy) and this is his directorial debut. The film stars Ke Huy Quan (Everything Everywhere All at Once, Indiana Jones and the Temple of Doom), Ariana DeBose (West Side Story, Wish), Daniel Wu (American Born Chinese, Into the Badlands), Mustafa Shakir (The Deuce, Luke Cage), Lio Tipton (Warm Bodies, Two Night Stand), Cam Gigandet (Reckless, The O.C.), Marshawn Lynch (Bottoms, Westworld), and Sean Astin (The Lord of the Rings: The Fellowship of the Ring, Teenage Mutant Ninja Turtles). This film is about a realtor whose past comes back to haunt him when he receives a message from his former partner-in-crime.
Everyone loves a comeback story, although in the case of Ke Huy Quan, I am going to channel LL Cool JJ and say that he has been here for years. The reality is, whether we knew it or not, Ke Huy Quan has remained the slightest bit active behind the scenes leading up to his big return in front of the camera, “Everything Everywhere All at Once.” If it were not for the deserved success of that movie, chances are we would never get a film like “Love Hurts,” which I was looking forward to. It kind of had a mainstream, 2010s, 2020s-esque action flick feel that you would get out of a film like “John Wick” or “Nobody” with some twists and turns, but like those movies, the choreography and scenes looked stellar in the marketing.
As off and on as I am about “star power” in a movie, Ke Huy Quan is the reason why I watched “Love Hurts.” But how could he not be? The actor played a significant role in my favorite film of 2022, won an Oscar, and when he is not busy taking names, he is taking selfies with every star he can find. This is part of why I am disappointed to say that “Love Hurts” is not that great.
“Love Hurts” is not horrible, but if I have any real highlights for the film, they certainly would not be for the characters. Some could argue that since this is an action movie one does not always come for the characters, but the way I see things, the less engaged I am with the characters, the less engaged I am with the action. I will defend the action scenes from a technical perspective. I do not think there was a single bad sequence. In fact, there are a couple that I am still thinking about and find to be incredibly creative. But this film seems to be more concerned in showing off what its talent can do, as opposed to what its characters can do.
If you are seeing this movie solely for Ke Huy Quan, then he is probably not going to disappoint you. Other parts of the movie might, but I do not think Quan is going to be one of them. Not only does Quan solidify himself as a buttkicking action star with his role of Marvin Gable, but he is charismatic. He brings a unique energy to this genre of filmmaking. A lot of our modern action stars like Jason Statham, Keanu Reeves, and Liam Neeson tend to have this obviously masculine aura to them both in terms of the way they look and act on screen. Ke Huy Quan very much screams cute, but not cuddly. I think the movie was smart to make him a dedicated real estate agent. Even if his character was not hiding something underneath, I think Quan is a good fit to play someone working in that industry.
This is a movie that I cannot see myself revisiting in its entirety, but instead rewatching certain clips on YouTube. Because there are a couple cool scenes where we see Marvin Gable either trying to defend his award, or dodge some baddies while trying to keep a house together for example. The movie goes at a brisk pace, and with an 84 minute runtime, that should not be a shocker. For the most part, the film is simple and effective in terms of progressing the narrative. It is not a unique narrative. But does have a soft flair one does not typically find in these types of action movies. As the film continues, however, things get more convoluted, and therefore, unmemorable.
Also, Ariana DeBose is in this film, a great actress in her own right, but I am convinced she needs a new agent. Yes, she was fantastic in “West Side Story.” But just about everything afterwards was critically panned or unmemorable. Between “Argylle,” “Kraven the Hunter,” and now this… She is not on the hottest of streaks. Yes, I liked “Wish.” I stand by that opinion. Yes, I liked “I.S.S.,” but not a lot of people thought it was worth seeing considering it failed to make its budget back. As I am writing this paragraph, I forgot the name of her character. That is not the best of signs. Granted, I have also forgotten the names of characters for movies I enjoy, but I bring this up because you might as well just name this character “the love interest” or “the girl.” The movie could have fleshed out this character more and individualized her to a better degree. It does however do okay when it comes to establishing Ke Huy Quan’s infatuation with her, but sometimes the film tells such a concept when it really should just show it.
Interesting enough, for those who do want to know the name of DeBose’s character, that, my friends, is Rose. For the record, I know people named Rose, and I am aware it is not the most uncommon name. But that has to be on purpose. It reminds me of a theory my dad has about Cliff Booth in “Once Upon a Time in Hollywood.” He thinks the character, who is accused of killing his spouse, has the last name Booth, just so the script can allow for someone else to refer to him as “John Wilkes Booth” in a scene.
The film is centered around Valentine’s Day, and this presents a potential problem for rewatchability in the same way I look at Christmas movies. I have nothing against watching “Fred Claus.” But I would not watch it outside of November or December. Unfortunately, “Love Hurts” is barely good enough for February. If you want a good Valentine’s Day-centric action movie, there is one already, and it is called “Deadpool.” Heck, it could even be a good watch around Christmas. Or literally any day of the year, it is perfect.
“Love Hurts” is the directorial debut from Jonathan Eusebio. I do not think he should automatically give up directing based on this one lackluster product. Although if he were to continue, I hope his sophomore outing is better than this. On the bright side, Eusebio at least has some credibility in the industry. He has shown his talents helping coordinate stunts and choreography in films like “The Fall Guy,” “Pirates of the Caribbean: At World’s End,” and the first three “John Wick” installments. Some of this film’s strongest elements are the action scenes, and it comes as no surprise knowing who helped direct said scenes.
In the end, “Love Hurts” neither left me infatuated or brokenhearted. If anything, the movie is just okay. If you put the film on silent, I would still pay attention to the visuals. But as I said before, this movie packs a lot in it by the time it is over that I did not really care about the film’s substance. I would love to see Ke Huy Quan in more projects. I am glad he is voicing a character in the upcoming “Zootopia” sequel, but I would also be open to more live-action roles as well. I think he is talented and would not be a surprise if he puts another Oscar on his shelf in the future. However, I do not think anyone will be winning any Academy Awards for this film. I am going to give “Love Hurts” a 5/10.
“Love Hurts” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “The Brutalist” and “I’m Still Here.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Love Hurts?” What did you think about it? Or, who is an actor that has not done any work in a while that you think has a pretty good chance of making a comeback? Is there anyone you would like to see who has not been on screen in a while? Let me know down below! Scene Before is your click to the flicks!
“Paddington in Peru” is directed by Dougal Wilson and this is his feature film debut. The film stars Hugh Bonneville (The Monuments Men, Downton Abbey), Emily Mortimer (The Pink Panther, The Newsroom), Julie Waters (Mamma Mia!, Harry Potter and the Sorcerer’s Stone), Jim Broadbent (Bridget Jones’s Diary, Harry Potter and the Half-Blood Prince), Carla Tous (30 Coins, El hombre del saco), Olivia Colman (The Favourite, The Mitchells vs. the Machines), Antonio Banderas (Shrek 2, The Hitman’s Wife’s Bodyguard), and Ben Whislaw (Skyfall, Fargo). This film is the third installment to the “Paddington” film franchise, where Ben Whislaw once again voices the title character. The film dives into Paddington’s adventurous journey to reunite with his Aunt Lucy, who now lives at the home for retired bears in Peru.
Two similar phrases I notice myself use sometimes as a film fan are “better than it should be” or “better than it has any right being.” Those two phrases very much apply to the current “Paddington” movies. Sure, these movies might appeal to kids, but just like I often say about Pixar titles, they are presented in such a way where they also have a lot for adults to enjoy. I watched both “Paddington” titles leading up to this one earlier this year. I have heard nothing but good things about both, and boy do they live up to the hype. Ben Whislaw adorably voices the lead role. The rest of the cast has perfect chemistry and all play their parts well. The atmosphere of these films do a great job at adding an enhanced otherworldliness to real life locations. The films somehow get you to buy that an animated bear lives with a large human family.
That said, I did maintain a notable nerve with “Paddington in Peru.” The director of the past couple movies, Paul King, is not in the chair this time around. Dougal Wilson is helming this project instead. As someone who is sometimes resistant to change, it was something lingering in my mind upon this film’s release. Thankfully, my nerves were rid of by the time the film got into gear because this film maintains the tone, atmosphere, and therapeutic nature of the previous “Paddington” installments. I did not know this was Wilson’s first film. But having seen it, I would love to see more from work from him. Heck, if he wanted to do a sequel to this movie, I would not be against it.
Is “Paddington in Peru” as good as the Paul King installments? No. It is a step down. But it is a step down in the same way that I see “Inside Out 2” as a step down from its predecessor. “Inside Out” is so masterfully made that whatever came after it had big shoes to fill. While “Inside Out 2” was good, it was nowhere near the level of the original. In fact, one similarity I will note between these sequels is that these latest films do not pack as much emotional weight as their predecessors. I will forever cherish the ending to “Paddington 2.” It has become a new favorite of mine because not only is it earned, but it almost broke me. There is nothing in this film as emotionally charging as that scene. This does not mean the film itself lacks emotion, it just does not have as much.
In addition to emotion, the film has laughs and adventure. This is a great watch for the entire family, but also maintains a balance between being overly mature and overly childish. Pardon the incoming bear pun, but when it comes to finding a balance for all audiences. The film is “just right.”
“Paddington in Peru” is a solid trilogy capper that understands its characters, its vibes, and successfully progresses the universe into a direction that is bigger than what came before. Bigger does not necessarily mean better in this case, but this film in terms of scope, sometimes feels more epic than the last two. At times, the film has an “Indiana Jones” feel. Not only because of the adventurous structure, but also likely because the film mainly takes place in the jungle. As a bonus, there is a scene involving a giant boulder.
One of the most crucial aspects many movies must balance is a sense of realism combined with suspension of disbelief. The “Paddington” movies do a great job at this, and this one is no exception. One example of this involves Olivia Colman’s character, the Reverend Mother, a happy go lucky, singing, guitar-playing nun who lives in the middle of the Peruvian Jungle. Unsurprisingly, Colman kills it here. She is so dynamic and hyperactive to the point where every scene of hers is a highlight. She makes you believe that someone as over the top like her can exist in a world much like ours.
Going back to what I said about change, turns out the director was not the only change behind the scenes. While Mary Brown (right) from the previous movies does return here, Sally Hawkins has been replaced with another actor, Emily Mortimer. While watching the film, I did not know Hawkins was replaced, but when I look at the two actors side by side I could barely see a difference. Mortimer maintains the welcoming, calm feel Hawkins previously brought to the role and gives a solid performance in her own right. I would love to watch all three of these movies back to back one day and see how these two performances compare as a whole. Although upon my first impression, I have no complaints regarding Emily Mortimer’s portrayal of Mary Brown.
That said, Hugh Bonneville does come back as Henry Brown (right center), and while I think his presence here is probably the weakest of the three movies, I still think Bonneville himself plays the role nicely. I am glad to see him come back. The film tends to dive into Henry’s risk aversion. I thought that was handled well and brought a decent load of conflict into the character’s path.
I see this franchise in the same way that I see some of my favorite sitcoms like “Seinfeld” or “The Big Bang Theory.” Story is arguably the most important aspect of any movie. But even if the story comes off as an afterthought, which for the record, it does not here, I would keep coming back to the “Paddington” movies just to hang out with the characters. Paddington himself is a bundle of joy. The supporting human characters are all likable. The antagonistic roles in this film are some of the best parts of the movie. I would watch a fourth “Paddington” film just to see where these characters go next. If you are under a lot of stress or you want to forget about the troubles of the world, the “Paddington” movies, including this one, are a solid option to pass the time.
The film also looks beautiful. This should not come as a major surprise considering a lot of it takes place in the Peruvian jungle, but the color palette, much like the last two films, has this slight homey gloss to it. Many of the river shots, the tree shots, and anything else related to the jungle environment are pleasing to the eyes. Erik Wilson, who shot the last two “Paddington” movies, comes back to shoot this one, and he follows up those two with another gorgeously framed spectacle.
Also, when the credits roll, do not get out of your chair. There is an extra scene. If you are familiar with these movies, it is a nice little addition that would be worth your time.
In the end, “Paddington in Peru” is the worst of the “Paddington” movies. But like the “Toy Story” franchise, even the weakest film, in my case the fourth one, is worth a watch. The film is a fine-looking, exquisitely presented, well-oiled machine of happiness. Feeling down? Watch this movie. I am not a doctor, but I watch a lot of movies. This is simply my professional advice. The film has the vibe of a glorified Saturday morning cartoon that also feels down to earth. I am looking forward to seeing what Dougal Wilson does next as a director. If “Paddington” continues, I will go to the cinema to support it. The franchise is 3 for 3 so far. I am going to give “Paddington in Peru” a 7/10.
“Paddington in Peru” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Love Hurts,” “The Brutalist,” and “I’m Still Here.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Paddington in Peru?” What did you think about it? Or, which is your favorite of the “Paddington” movies? Let me know down below! Scene Before is your click to the flicks!
“Captain America: Brave New World” is directed by Julius Onah (The Cloverfield Paradox, Luce) and stars Anthony Mackie (Synchronic, Twisted Metal), Danny Ramirez (Top Gun: Maverick, The Gifted), Shira Haas (Bodies, Unorthodox), Carl Lumbly (Cagney & Lacey, M.A.N.T.I.S.), Xosha Roquemore (Precious, The Mindy Project), Giancarlo Esposito (The Mandalorian, Abigail), Liv Tyler (The Lord of the Rings: The Fellowship of the Ring, Armageddon), Tim Blake Nelson (Watchmen, Scooby-Doo 2: Monsters Unleashed), and Harrison Ford (Star Wars, Blade Runner). This is the 35th movie in the Marvel Cinematic Universe and it is about Sam Wilson, the new Captain America, as he investigates a conspiracy regarding President Thaddeus Ross.
It is that time again. Another Marvel movie is here. Many people will tell you that their interest in the Marvel Cinematic Universe has been on a decline since “Endgame.” Some are experiencing said decline faster than others… But I am here to tell you that Marvel has yet to let me down since that 2019 blockbuster came out. That is unless you count the TV side, which has had its hits like “WandaVision,” but if I were to be honest with you, “The Falcon and the Winter Soldier” could have been better. I did not hate the show. In fact, for television, it seems as if no expense was spared in terms of the production. I just find it to be rather forgettable.
That said, “The Falcon and the Winter Soldier” did have its moments. It was also a solid introduction to Anthony Mackie’s Sam as the new Captain America. I thought the way they went about handling that arc was engaging. It set up the character effectively for further stories to commence, including “Captain America: Brave New World.”
Regardless of how I felt watching “The Falcon and the Winter Soldier,” I was excited for “Captain America: Brave New World.” I thought the trailers did a good job at not giving a ton of information away, while also teasing highlights to look forward to. Plus, even if some people are fatigued by Marvel, there is no denying that it is in a zone right now between “Deadpool & Wolverine” on the film side and “Agatha All Along” on the TV side. Does “Captain America: Brave New World” continue this hot streak?
I hate to say it, but I think the movie side of the MCU has experienced its weakest installment in years. I am of the unpopular opinion that phase 4 had no bad movies in it. Not every film was a banger in the way that “Spider-Man: No Way Home” was, but I did not hate any of the phase 4 films from Marvel. I also think all the phase 5 movies are good. Yes, even “Ant-Man and the Wasp: Quantumania.” Yes, even “The Marvels.” Both movies were big, explosive bursts of fun. “Captain America: Brave New World” on the other hand was missing the MCU magic.
I have referenced Martin Scorsese before when talking about comic book movies, but I think when it comes to his philosophy on the subgenre, “Captain America: Brave New World” honestly matches parts of it. While the film definitely has human characters expressing human emotions, the screenplay sometimes feels like it was written by artificial intelligence. I say this not only because the dialogue sounds stale and robotic, but also due to how this film essentially takes what has worked in previous films and shoved it into this one.
The film is definitely a “cinematic experience,” but it is cinematic in the sense that it has the scope of a theme park ride that offers very few genuine thrills. If this were Universal Orlando, this would be the equivalent to “Race Through New York Starring Jimmy Fallon.” It is a timewaster full of connections that some people will probably understand right away but will just as likely fly over lots of people’s heads.
“Captain America: Brave New World” is marketed as a… well, “Captain America” movie. But kind of like how “Civil War” was also a mini “Avengers” film, this is also secretly a film that if you break it down, is a blink you’ll miss it sequel to another part of the MCU. One of the problems with the MCU I have addressed is that as the universe gets bigger, it makes it that much harder to keep up with all the material. And for those who did keep up, chances are some of those people will not retain every detail. There is a chance I would have enjoyed this movie more had I vividly remembered certain details from earlier in the MCU.
What makes this film the weakest the MCU given in years is perhaps the idea that it builds off of so much that has already been established to the point where it comes off more as a continuation than an original idea. You do not necessarily have to see “The Falcon and the Winter Soldier” to understand this movie, but I think one can argue that viewers may appreciate this movie more if they watch that show. However, this movie is essentially a continuation of an MCU property that I am surprised is being brought back to the spotlight all these years later. Is this a good continuation? Not really. If anything, it adds to the overall convolution of this movie to the point where it almost lacks an identity. The MCU often receives complaints for how villains are handled in their projects, but at least in a lot of their projects, I can pinpoint who the big baddie usually is. That is not the case this time around.
Sometimes, “Brave New World” is a watered-down version of “The Winter Soldier.” The main characters may be different people this time around to some degree, but the main trio is structured similarly to that 2014 banger. The film emphasizes the presence of a new Falcon sidekick. We already met this sidekick on “The Falcon and the Winter Soldier,” but he has a much bigger presence this time around. That said, I am honestly not loving Danny Ramirez’s portrayal of Joaquin Torres. I have nothing against Ramirez, the actor. If anything, I am not a fan of the material he is given through the direction and the script. Going back to my distaste for the dialogue, this is especially noticeable with Joaquin. The character kind of reminds me of Tom Holland’s Spider-Man if you decided to remove his knack for humor. He is awkward, and sounds like he is giving off multiple variations of the same line over and over again, even if the next line is completely different from the last. The movie is likely going for a Batman & Robin vibe with its relationship. But if anything, Falcon sounds like a Robin parody.
“Captain America: Brave New World,” despite all the otherworldly shenanigans and science fiction elements, appears to be more grounded than some of the other recent MCU films. If there is one character that cartoonifies this film, it would probably be Joaquin. There are more installments in the cinematic universe to come, so hopefully, Joaquin gets some better material than this.
This film is led by Anthony Mackie, who has done an excellent job playing Sam Wilson through the MCU’s previous installments. I am glad to see him get his own movie after all this time. While I wish the film itself were better, the long wait pays off in spades in another regard, because Mackie dominates the screen. People talk about actors like Ryan Reynolds and Tom Cruise oozing movie star level charisma. While Anthony Mackie may not be a movie star to the degree those two actors are, I think he could have been in another life because he kills it as the lead.
One common complaint I hear about the MCU, not to mention comic book movies in general, is that they all tend to end the same way where you have this big battle where the effects are dialed up to an 11. Sometimes to the point where said effects lack any realism at all. I do not always mind these sorts of climaxes because you have to end the movie on a big note. That said, the big note in this case had something missing. This film’s climax in no way feels grand or exciting. In fact, when the climax draws to a close, I thought we were on the verge of something else happening. I thought there would be another big bad to worry about or a last minute twist. That is not what happens. The climax of this film, while it has one or two decent elements, was underwhelming. Part of it might as well be blamed on the marketing. There was a character in the marketing that had me convinced they would be a middling threat of some kind, but they turned out to be a bit bigger. That said, when the movie goes down, said character felt as middling of a threat as they were in the trailer.
I also hate to say this, but the special effects did not save this movie. This is something I have noticed quite a bit in some recent Marvel projects. While I cannot name a single MCU movie or show where every effect is bad, there are quite a few projects where some effects that are noticeably sub-par. “Thor: Love and Thunder” is a good example. Per usual, Thor’s lightning effects look great. There are some good fire effects. But if you take certain shots from the movie, like one of Heimdall’s son’s floating head, that is not up to the quality I would expect from a cinematic universe that has garnered praise for delivering one spectacle after another. This leads me to say that “Captain America: Brave New World” may have the weakest special effects I have seen in an MCU film. Not only is the CGI obvious at times, but distractingly so. It took me out of the movie. This complaint mostly pertains to the way the movie handles Sam Wilson’s Captain America suit, which is established at the start of the film to be made of highly advanced vibranium in perhaps the most expository way possible. Every time the movie highlights some piece of vibranium technology, it looks holographic. It looks so unrealistic. I hate to say that because vibranium is not a new concept to the MCU. Just go watch the “Black Panther” movies. I do not have humungous problems with the vibranium effects in those films. Though when it is applied to Sam’s suit, it is rather goofy-looking.
I understand that “Captain America” as a brand is heavily associated with the big screen. As a concept, it is one of the most prominent in the MCU. There is a reason why something like this movie, titled “Captain America” ended up in theaters, whereas “The Falcon and the Winter Soldier,” which is about previous supporting characters and sidekicks, went to Disney+. Although just because the name “Captain America” is cinema-friendly, does not mean the same is true for the product behind the name. When you break this movie down on selling points, it feels like something that should be put in theaters. The Captain America name, the star power of Harrison Ford, Red Hulk, select scenes being shot with digital IMAX cameras… But tonally, this movie comes off as a lame Disney+ series that got condensed into a two hour movie. Certain scenes and storylines feel rushed, underdeveloped, and poorly written. When I was talking to my friend as we were leaving this film, one of the first things I said to her in regards to my initial thoughts was that the movie “flies by.” One can see that as a compliment. But I think the movie took notes from “Spaceballs” and dialed itself into “ludacrous speed.” I love a good fast-paced movie. I can also say I was never completely bored by this film. But the film seems to end at a point that leaves me unsatisfied.
To no one’s surprise, there is extra material during the end credits of this film. Unfortunately though, or perhaps fortunately if you are in a rush to get home after the mediocrity of this film, there is not really anything exciting in the post-credits scene. I have seen some MCU products do a good job at teasing something new. This does not really do that. Instead of a tease, it is more of a reminder of something that I already thought would be coming. I guess if you are not familiar with the MCU this could be an okay credits scene. But this is one of the weaker ones I have seen in this cinematic universe.
In the end, “Captain America: Brave New World” is not up to the quality I expect from the Marvel Cinematic Universe. I do not expect every MCU film to be perfect, but I think it is safe to say that the timeline has spoiled me with one decent project after another. I was looking forward “Brave New World.” The trailers looked great. It had the ingredients for an intriguing watch. But the culmination of such a recipe left a bad taste in my mouth. I will not deny there are good things about the movie. The action, for the most part, is fun to watch. I particularly enjoyed seeing the shield move chaotically through the screen in multiple scenes. Anthony Mackie is an excellent lead. I would watch a fifth “Captain America” movie if he were the star. But between the bad special effects, unmemorable characters and story, bland at best dialogue, and underwhelming climax. The negatives stood out for me more than the positives. That is a sentiment I hate to use regarding any movie, but as a fan of the MCU, it particularly hurts saying that in this case. I am going to give “Captain America: Brave New World” a 5/10.
“Captain America: Brave New World” is now playing in theaters everywhere. Tickets are available now.
Thanks for reading this review! My next reviews are going to be for “Paddington in Peru” and “Love Hurts.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Captain America: Brave New World?” What did you think about it? Or, in the spirit of negativity, what is your LEAST favorite Marvel movie since “Avengers: Endgame?” Let me know down below! Scene Before is your click to the flicks!
“One of Them Days” is directed by Lawrence Lamont and this is his first feature film. The movie stars Keke Palmer (Nope, Lightyear), SZA, and Katt Williams (Scary Movie 5, Cats & Dogs: The Revenge of Kitty Galore). This film is about two roommates who must do anything and everything they can so they can pay their rent and continue living in their apartment.
As a moviegoer, I wholeheartedly welcome “One of Them Days” as a concept alone. With the growth of streaming and the effects of the COVID-19 pandemic, the moviegoing space is in a dire need for more straight-up comedies. While not every comedy lands with me, it is a preferred genre of mine. These kinds of movies are fairly digestible and fun, even if they sometimes feel repetitive or try too hard to be over the top and raunchy just for the sake of being raunchy. That said, I was a little skeptical watching the marketing for “One of Them Days” each time it came on. At best, I found what was in front of me to be mildly funny. Thankfully, the movie itself has more than a few laughs. This film released in January, and as far as January movies go, this is quite good. It is hard to know if I will remember this film by the end of the year, but this is a movie that if I had my way, I could experience it in a sold out setting because I think it has enough decent humor to get an entire room cracking up.
If I had to choose my favorite things about “One of Them Days,” a few immediately come to mind. For starters, the pace of this film never slows down. The film is kind of like “Saturday Night” in a sense. It constantly reminds the audience of how much time our characters have left before certain doom. I would say this is probably less anxiety-inducing than “Saturday Night” though as our characters start their journey off with more time to waste. But the movie still has a looming countdown to something that could potentially change the course of our characters’ lives.
Another standout element that comes to mind? The actors. Everyone on screen genuinely looks like they are having a good time making something that could be considered mindless. While the film may look and sound mindless on its surface, it nevertheless does a good job at getting me to care about the characters as they deal with their problems. Keke Palmer and SZA play Dreux and Alyssa. The two are fairly grounded characters who also bridge a gap to where they match the film’s hyperactive, almost animated vibe. This is the latest film in which I have seen Keke Palmer, who is quickly becoming one of my favorite on-screen personalities. On top of her movies, I think she is a solid game show host as well on NBC’s “Password.” This film continues to prove why I want to see more work from her. As for SZA, I do not know enough about her, but this film definitely makes me want to know more.
I saw this movie with my mom, and we both agreed upon walking out that it is silly and ridiculous. In a way, one can say my expectations were met. But if you go on the Wikipedia page for “One of Them Days,” it says the film is in the “tragicomedy buddy” genre. In reality, I would say most, if not all comedy, comes from tragedy, hence the phrase “comedy equals tragedy plus time.” But sticking with the idea of tragedy, I also think this movie does a great job at interjecting drama, and none of it feels forced or tacked on. The main plot involving the rent money is one thing, but there is also a subplot where we see Dreux trying to get a job she has been working towards, and I felt the stakes as this subplot was unfolding. There is a great interview sequence where I cannot help but root for the character. There is so much more to this scene than one could expect. In fact, “more” is a word that could heavily apply to my experience watching this movie. This movie keeps putting more, and more, and more high stakes material into its narrative to the point where you continue to worry that the main duo will fail at accomplishing their goals.
While “One of Them Days” is not my favorite screenplay of all time, I will not deny that it is structured quite nicely. This movie keeps building one problematic scenario for our main duo after another, with each one as engaging as the last. At one moment, they are dealing with their rent money. At another, one of them is dealing with their career. At another, they are dealing with their literal lives. I do not think “One of Them Days” is perfect considering how I do not remember all the character’s names. Also, execution-wise, some of the dialogue was delivered in such a way where I could not digest all of it. While the film’s replay value is not as high for me as others, I think “One of Them Days” is not only worth watching again just for fun, but I think the film would absolutely benefit from a rewatch in case there are any jokes or lines I missed the first time around.
“One of Them Days” also delivers a surprisingly thrilling climax. For what I previously referred to as a straight-up comedy, this film is at times, rather deep. And it shows here. Because the film resolves itself in a way where everything makes sense, everything binds together, but it leaves our characters in positions that I may not have seen coming from the movie’s earliest moments. And on top of that, I would imagine the characters themselves happen to feel the same way.
I am not going to pretend that I am watching “One of Them Days” for the visual effects, but if I had one nitpick about the film, I will say that there is a scene where one character gets electrocuted and throughout the process, we see the most fake-looking, obviously CGI-ed electricity that could have possibly been brought to screen. Despite that, this movie is often grounded to the point where you buy the scenarios, even if they are a bit over the top. There are also moments that almost cross a line to where if they happened in real life, it would leave one responding to the moment saying, “You can’t make this stuff up!”. This film feels real because not only does it have relatable characters, but it does a good job at putting you in the mindsets of these characters to the point where you too are bewildered by the actions of other people.
In the end, “One of Them Days” definitely lives up to its title. It is crazy, briskly paced, and refuses to let its characters, and therefore the audience, breathe. Sometimes it is so bonkers to the point of potential convolution, but the movie also has enough laughs in it to make up for that. Keke Palmer and SZA are a fine leading duo. I thought their roles were well cast. Also, I have to shout out Rizi Timane, who is also a highlight as Uche the landlord. Same goes with Maude Apatow as Bethany, I thought she was adorably charismatic. I have seen better movies, not to mention better comedies, but “One of Them Days” is a good time at the movies and I am going to give it a 7/10.
“One of Them Days” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next review is going to be for the brand new MCU installment, “Captain America: Brave New World.” Stay tuned! If you want to see this review 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 “One of Them Days?” What did you think about it? Or, what is your favorite comedy of the decade so far? Let me know down below! Scene Before is your click to the flicks!
“Love Me” is a feature-length directorial debut from Sam and Andy Zuchero and stars Kristen Stewart (Twilight, Spencer) and Steven Yeun (Minari, The Walking Dead) in a film where a buoy and a satellite form a relationship following the end of humanity.
“Love Me” is the last new release I saw in January, and if you have been keeping track, I have been lamenting this month as it was unfolding. Thankfully, the month so far has been a tad better than I expected. And by that I mean, still bad for movies, but not outright horrible. That said, the annual monthly dumpster fire for film is not over yet, we still have to determine whether “Love Me” will join the rejects of January, or the one shining light known as “The Colors Within.” That film honestly made me forget about the problems of the world for a little bit.
Thankfully, “Love Me” is worth seeing, and it is quite a thinker. This is a film that I liked while watching it, and continue to appreciate more after the car ride home.
Like many other films, “Love Me” is its comparisons. While “Love Me” is not entirely animated, I cannot help but compare this film at times to “Wall-E” and “The Wild Robot.” This film, like those, is set in the future, and primarily centers around artificially intelligent characters. It also highlights humanity’s resistance to maintaining the earth. Although unlike those films, our focus on human characters is never seen in the present, it is always in the past.
The film centers around two robots, a buoy sitting in the middle of earth’s waters, and a satellite up in space looking down on the planet. The two meet, with the buoy seeming to continuously maintain a sense of curiosity. The robot is asking questions about anything that comes to mind. She learns about life, humanity, the Internet, and it results in a very creative relationship, if you can call it that, between the two core characters.
The film stars Kristen Stewart and Steven Yeun. That said, if you are looking forward to seeing them physically, you may not see as much of their actual selves as you would expect.
That said, their physical selves do have a good amount of screentime, but they are not there from the beginning. They show up later on and serve the robots’ stories. Both of them do a good job in the film as this lovey dovey couple who have a vlog. The couple also serves as a foundation for the buoy’s desires to be human. The buoy gets an impression on what it is like to live as a human just by watching these two engage in certain activities. We see the buoy in a sense trying to simulate those activities through digital animation. The animation clearly does not look high-tech. It is not up to the level of Pixar if you want a cinematic example. If anything, it looks like it is out of a “Sims” game. That seems to be the artistic intention, but still.
Despite the seemingly intentional schlocky animation, I will not deny that the film is pleasing to the eye. The color palette is often dazzling, especially during the scenes where we see the buoy floating in the water. The film is often bright, well lit, and there are also several shots involving the sun that look particularly great.
The film very much highlights the joys of being human, while also recognizing that maybe we are not perfect. Sticking with the human characters, who we come to know as Deja and Liam, I notice that never once do they leave their home, nor do their simulated counterparts. It seems to highlight the shift humanity is experiencing right now with shopping, watching media, and the shrinkage of social lives. We seem to be getting more sheltered and less adventurous. We find out the couple’s “date night” vlog is literally just them staying home, cooking, and watching television. It is not to say that staying home cannot be considered a date night. But I am under the impression the film is suggesting that in the future, we will see a significant increase in date nights at home.
Going back to “Wall-E,” one thing that the film tries to convince its audience is that two robots can fall in love. In a way, “Love Me” seems to be the anti-”Wall-E.” Because it is very much about a flawed relationship. It shows the struggles two robots have with such a concept. Likely because they are not programmed to love in the way that it would come naturally to a human. They are programmed to do other things. If that’s the case, you almost have to suspend your disbelief when watching this film. That said, this story also falls in line with the idea of artificial intelligence’s continued evolution to the point where it could one day become more human than human. We see the film’s protagonist, who we come to know as Me, establish itself as a “lifeform,” even though we know the character was manufactured.
If I had to list any negatives during the movie, I would say that the story does take a bit of time to get into gear. I think if I had to name a weakest part of the film, it would be the first ten minutes or so. The film also kind of reminds me a bit of “Ron’s Gone Wrong” because the robot voices happen to be very repetitive. This is especially noticeable with the satellite. When the satellite, who we come to know as Iam, literally pronounced “I am,” says a certain word or phrase, it often sounds exactly the same as it does previously. Much like the movie’s digital animations that turned me off, this appears to be an artistic intention. It perhaps highlights how computerized the bot’s voice sounds, but it still got on my nerves a little bit.
Despite these negatives, I still recommend the movie. There is not a lot that has come out in January that I think you should rush out in see, but “Love Me” is definitely worth your time.
In the end, “Love Me” is a movie with a small cast, but a big impact. Not only is this a movie that I can see myself watching again, but there is a possibility that I will appreciate it to a greater degree the more times I watch it. It is a film that highlights what it means to be human, while also recognizing the issues we as a species are dealing with, and potentially creating. I have not heard a ton of word of mouth on this movie, so hopefully I can spread some for those checking this post out. I highly recommend “Love Me” and I am going to give it a 7/10.
“Love Me” is now playing in theaters. Tickets are available now.
Thanks for reading this review! My next review is going to be for “One of Them Days!” Stay tuned! But before we get to that, Scene Before is on the cusp of 800 posts, and I intend to celebrate with yet another look at my Blu-ray collection. I have been waiting to do this post for a long time. I am glad I am finally getting around to it once again. If you want to see these posts 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 “Love Me?” What did you think about it? Or, given the theme of romance and with Valentine’s Day coming up, is there a movie that you plan to watch on Valentine’s Day this year? For me, every other year, I’ve been watching “Deadpool.” On top of coming out around the holiday, it is a solid love story with superb action scenes. Leave your comments down below! Scene Before is your click to the flicks!
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