#Movie

The Odyssey (2026): The Ultimate Sword and Sandal Experience

Posted on by Jack Drees

“The Odyssey” is directed by Christopher Nolan (The Dark Knight, Oppenheimer) and stars Matt Damon (Saving Private Ryan, The Martian), Tom Holland (Spider-Man: Homecoming, Cherry), Zendaya (Spider-Man: Homecoming, Challengers), Anne Hathaway (Interstellar, The Intern), Robert Pattinson (The Batman, Tenet), Lupita Nyong’o (Star Wars: The Force Awakens, The Wild Robot), Samantha Morton (The Walking Dead, Elizabeth: The Golden Age) and Charlize Theron (A Million Ways to Die in the West, Atomic Blonde). This film is based on Homer’s epic poem of the same name and follows Odysseus as he makes a dangerous journey back home to Ithaca to reunite with his wife, Penelope (Hathaway).

Well… It is finally here. The movie that may as well be my most anticipated of the year, perhaps even of the decade. 

“The Odyssey” is more than a movie. It is a story that follows an epic that has been around for several thousand years. Despite being an old story, there is a sense of innovation being brought to the table with this film. During my time in high school, “The Odyssey,” or at least adaptations of it, happened to be assigned to me as required reading in English class. I enjoyed getting to know about the story of Odysseus. It was a grand adventure tale that sparked the imagination. While I cannot say that it prompted a fascination with Greek myth in the way it may have with other readers, I found the material to make for a good read.

I even thought “The Odyssey” could make for a decent flick. Granted, the story is old, so there are, unsurprisingly, screen adaptations of it already. But I thought perhaps, unfairly, this would be a decent film from the likes of Peter Jackson, who is a master of sword and sandal cinema. Little did I know that my all time favorite director would one day be stepping in to handle this highly celebrated story.

Christopher Nolan is responsible for some of my favorite films ever, including 2014’s “Interstellar,” which came up in a conversation recently with family. My uncle asked me if I thought this new movie could surpass “Interstellar” in terms of quality. My response at the time, “It’s possible…” Having now seen “The Odyssey,” this did not surpass the quality “Interstellar,” but it finds a way to nearly match that cinematic masterpiece’s high bar. “The Odyssey” is gargantuan in every way. In fact, that is one of the reasons why I found “Interstellar” to have such tremendous replay value. It is a movie that feels larger than life. “The Odyssey” goes by the same philosophy. It is a story that emits endless verisimilitude.

Every frame of this movie, despite being part of a mythical epic, felt real. I believed in the film’s world. Its environment. Its characters. Its sets. If you are looking for peak immersion, this is the movie for you, regardless of what format in which you see it. I kid you not when I say every shot looks beautiful. Just about everything on screen was done for real, in camera. Nolan is a master of practicality. I genuinely could not believe what I was looking at during certain moments. Everything from the various interiors that fill your vision to a Cyclops that made my jaw drop to a crucial night scene in the water that showcases the wrath of a storm.

Given how much I love this movie, and believe me, I love this movie, I think it is arguably fair that I get into my flaws early on in the review. The biggest flaw I have in this film is the lighting. I have seen this movie three times, and the lighting is by no means atrocious overall, but there is a scene or two where I think it could have been pinched up a little. During my first viewing, I do not know if it is more of a fault of the projector than anything else, but it was somewhat hard to pick up all the details in several frames during the Cyclops scene. It is a dark cave, and as immersed as I was in the movie, one could debate that I was too immersed. I think the frames could have been brighter to better highlight essential information. Some of the dialogue is borderline cheesy and out of place, but we are talking bits and pieces. For the most part, I do not have a problem with the writing, but the problems I do have may as well be addressed.

And yes, I made sure as a die-hard IMAX fanatic, that my first viewing of this movie would be in 15/70mm film. I bought my ticket a year ago, as soon as they went on sale, dedicating myself so heavily to this film and its technical glory by buying a ticket in a completely different part of the country from where I live. For the record, I live in Massachusetts. New England forever! I bought a ticket to see this film in Fort Lauderdale, Florida. I am the last person who wants to spend time in Florida in July. I remember walking around Disney World in June when I was 18 years old… I am shocked I did not melt in the middle of Tomorrowland. My trip to see this movie, or my odyssey rather, was worth it despite my apprehensions, and eventually finding out that a theater in Providence, Rhode Island would also be getting the movie in the premium format. Not only is this a great movie, but it is one that I urge everyone reading this to watch in a theater at least once.

When I look back at Nolan’s last movie, “Oppenheimer,” I was amazed by the use of IMAX film in that project. It was most certainly worth the extra money for the IMAX experience. But I will not deny that of all the projects in which Nolan used IMAX to shoot it, “Oppenheimer” might have been the one of the bunch that was not as essential to view on an IMAX screen. This is not a diss. If “Oppenheimer” is playing in an IMAX near you, go check it out. You’d be doing yourself a favor. The trinity test and the black and white scenes are cool to see on a giant screen. That said, I think if you were to view “Oppenheimer” on a traditional cinema screen, you will not miss a whole ton, even if the aspect ratio suggests otherwise. On the other hand, “The Odyssey,” while excellent on any screen, becomes an event when bringing the IMAX experience into play. I have been to many IMAX experiences. This has to easily be a top 5 IMAX experience of all time. “The Odyssey” in IMAX is better than sex. “The Odyssey” in IMAX is better than winning the lottery. Once that IMAX logo flashes on the screen, get ready for 172 minutes of some of the most amazing cinema of your life. Not just because every frame fills the screen, showcasing some of the best imagery of any movie I have seen this decade courtesy of Hoyte van Hoytema’s brilliant camerawork, but because the movie is just that good.

Also, this review is being published after three viewings of the film, the last of which included a four-minute preview of “Dune: Part Three,” which is exclusive to IMAX 70mm screenings. My friends, YOU ARE NOT READY. Anyway, I digress. I just figured I should add that in as a bonus incentive.

The story may be simple and not every character has significant depth, but the movie does a great job at handling Odysseus (Matt Damon) as the center of the story. Damon’s struggle here is that he just wants to get home. He finished fighting in the Trojan War, he is surrounded by his men, and together, they work to overcome the various obstacles that stand in their path. Everything from a Cyclops to Laestrygonians to Sirens. The movie does a great job in its less action-packed moments, of which there are plenty, of showcasing Odysseus’ personal connections to his beliefs, his love, and his family.

Speaking of which, Anne Hathaway plays Penelope in what is her third Christopher Nolan movie. This is her best performance of the three. Hathaway constantly has to deal with the struggle that her husband is gone, and the dilemma as to whether he is gone gone. Meanwhile, tons of suitors are vying for her hand in marriage, thus making them king of Ithaca.

As this is going on, we see Tom Holland as Telemachus watching all of this from the sidelines, believing that “his dad is coming home.” Yes, weird line. There is one of those questionable dialogue choices. But even with some odd dialogue here and there, Tom Holland handles every line given to him with brilliance. This is one of the best performances of his career so far. Holland’s essential presence towards the end of the film is a highlight. That said, if I have one thing to say, of all the actors in the cast, Holland is perhaps the least disguisable. There are a lot of recognizable stars in this ensemble, and if I had to pick a weak link of the performances, Holland may be it. That is not to say he is doing a bad job with his role. But his transformation is not as noticeable as others in the cast. Even with what I just said in mind, if the Academy were to nominate him for his efforts, I would understand it. He is tremendous.

I am not kidding when I say this movie is full of recognizable stars. This feels like the “Super Smash Bros. Ultimate” of movie casts. Everyone is here. Zendaya. Charize Theron. Jon Bernthal. Robert Pattinson. John Leguizamo. Elliot Page. Lupita Nyong’o. Even Travis Scott. Much like one of Nolan’s previous projects, “Tenet,” Scott made an original song for this film.

Sadly, there is no Michael Caine. I cannot blame him though. He says he is getting old, and I respect his choice to stay out of this project.

Although if I had to name a favorite secondary character in this film, it is not Telemachus. It is not Athena. It is not Menelaus. It is the score.

It is so great to acknowledge the extraordinary talents of Ludwig Göransson, especially after watching “The Mandalorian and Grogu,” which I not only found to be his worst work yet, but the first time I recall watching a “Star Wars” project and being turned off by the music. This is Göransson’s third project with Christopher Nolan, and like a certain song suggests, three is indeed the magic number. I thought Göransson’s earliest collaboration with Nolan through “Tenet” was already a contender for the best score of the decade. This might beat that. The score almost serves as a hint of irony, especially when considering how this movie was entirely shot on a format as huge as IMAX. Compared to some of Nolan’s other works, the music is not that complicated. There is no huge, sweeping orchestra. Though much like “Tenet,” there is a lot of percussion. There are several scenes in which the tunes stand out, including one that dives into some background about the Trojan Horse. There is a particular beat that repeats, but every other second that beat increases speed. It is almost like a track you would put in a trailer for a horror movie. Another piece I love is a particular tune that sounds off every time Odysseus readies his bow. It is almost like his superhero theme. When you hear a specific set of four notes towards the final 10 minutes of the movie, they mean business.

I do not approve of filming in movie theaters while the film is playing. No, seriously. Stop it. This has gotten out of control. But I did see a video online where the four note leitmotif plays in the final 10 minutes and the audience just starts losing their minds like they are at a concert. Having seen this exact moment, I get why.

While there is still debate as to whether “The Odyssey” is the year’s best film so far, I am more than certain I witnessed my favorite climax so far this year. Having been exposed to “The Odyssey” in high school, I was familiar with some of what was about to go down, but even with beforehand knowledge, the final 20, 30 minutes of the film were unbelievably satisfying and come after an entire movie whose buildup is immaculate. There is a scene towards the end where Odysseus narrates about something that happened during the war, and just when I thought his words were powerful enough, the visuals were just as emotionally charged. The final ten minutes deliver a well put together action scene that had me glued to the screen. “The Odyssey” is a several thousand-year-old text, so I have no idea if how much I would be spoiling here, but holy heck… Parts of this ending may leave you with all kinds of chills.

And of course, those chills are best experienced in IMAX… For more reasons than one.

IMAX screenings for this movie, whether they are in 70mm, dual-laser, XT laser, or even 2K digital, are selling like there’s no tomorrow. I have an IMAX 10 minutes from home. And it is not part of a multiplex. It is a proper, 8 story IMAX. Trying to get a ticket there is harder than solving a Rubik’s Cube! But if you can see this film in IMAX at least once, consider yourself blessed. For one thing, this is the first Hollywood feature shot entirely on IMAX film. There have been movies shot entirely on IMAX cameras, like “Avengers: Infinity War” and “Avengers: Endgame,” but those were shot digitally, and in lower resolutions. As for IMAX film in Hollywood cinema, Christopher Nolan has always been at the forefront when it comes to utilizing the technology ever since his first go with it in “The Dark Knight.” The results are always a feast for the eyes and allow the movie to reach full immersion. But never did I think we would see an IMAX movie entirely shot with the company’s film cameras. Leave it to Sir Nolan to prove me wrong, and put a gigantic grin on my face. This is something I have been dying to see for a good chunk of my life, if I could not make it happen myself. I have been obsessed with the IMAX film format since my early teens. I am happy to know Nolan has done everything in his power to keep it going.

One surprise I discovered in this film is that I was just about able to make out each line of dialogue given by the characters. As much as I enjoyed “Tenet,” I thought the sound mixing in that film was sometimes a failure. There is one scene in that movie that takes place on the water where subtitles are essentially required to understand everything that is being said. Not here. Nolan seems to understand this problem. On top of making new IMAX cameras, one thing that was made specifically for this production was a blimp that would cover the IMAX camera while it was in use. This was to solve issues related to background noise, including how much noise the camera itself makes. Yet the same time, having such a big blimp creates its own problems. On top of making the cameras themselves heavier to lug around during certain scenes, it can make it harder for the actors to see each other. So, a mirror system was built that way the actors could maintain eye contact. Despite the source material being old, “The Odyssey” feels like a generational product that is not only fun to watch, but brings new tricks to the table when it comes to filmmaking.

It is hard to tell if “The Odyssey” is going to be a one time thing, or if we are going to see more movies shot on IMAX film from start to finish. In fact, where does Nolan go from here? Nolan is at the center of implementing IMAX into Hollywood cinema, but in a way, this feels like the ultimate goal. It is his equivalent to climbing Mount Everest. He has not shot anything on IMAX 3D cameras. I do not think he is a fan of 3D, but that has to be the next step, right?

Do not get me wrong, any theatre is worth the price of admission for “The Odyssey.” IMAX… LIEMAX… NO-MAX… But I stand here saying that I do not think there is a single film in history that has been worth the price of admission for IMAX more than “The Odyssey.” This film is big, loud, clear, and most importantly, an excellent time regardless of the technical aspects.

In the end, “The Odyssey” is my favorite Christopher Nolan movie since “Interstellar.” There are movies, there are epics, and then there is Christopher Nolan’s latest masterpiece. Going back to “Interstellar,” which I have seen 5 times in theaters ranging from 2014 to 2025, “The Odyssey” is likely going to get at least three viewings from yours truly during its initial theatrical run. For awhile I was thinking that “Project Hail Mary” had a straight shot at being my favorite film of the year. I am not saying I like “The Odyssey” more, but if there was a runner-up right now for my top movies list of 2026, this is it. “The Odyssey” is the cinematic form at its absolute peak. This movie has already made more than a billion dollars at the box office, it is a hit with critics and audiences, and I can see why. The entire cast is on their A-game. The score is stupendous. The techniques that went into the making of this film look incredible in the finished product, and those are just the ones that you can see for yourself. I do have some slight nitpicks with the lighting, but they do not take much away from what is an excellent time at the movies. I am ecstatic to know that premium and IMAX screens are selling out for this film, even about a month after its release. If there is one movie you should see on the big screen this year, it is “The Odyssey.” I was talking to cousins recently and they said they might wait for streaming to watch “The Odyssey” as it is not their type of movie. I get that completely, but I think if you wait for streaming to watch “The Odyssey,” you are going to be doing yourself a massive disservice. If everything I just said has not yet convinced you to buy a ticket for “The Odyssey,” then maybe my score will, because I am going to give the film a 9/10.

As far as I am concerned, this film’s legacy is not going to fizzle anytime soon. I studied “The Odyssey” in high school, and if that continues to be a part of students’ required material, I am going to be so jealous. Nolan’s film is rated R, so we shall see if students, particularly those in certain years of high school or below, will be able to watch it in class, but if they are given permission, they are going to be introduced to one of the finest masterpieces of cinema ever created with a crowd of their peers. Frankly, if I were in an English class, and I got to watch “The Odyssey” as a required assignment, I would probably kiss my teacher on the mouth. Please go see this movie. You will thank me later.

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

Thanks for reading this review! If you have not done so already, check out my latest episode of Movie Requests featuring Elijah Wood, Frodo from “Lord of the Rings” himself! In the video, he requested I should watch “Festen,” or “The Celebration” as it is known in English. To find out what I thought of the movie, click the video above! If you enjoy the video, please leave a like and subscribe to my YouTube channel!

Also, I will let everyone know that my next guest in the series is going to be Amy Sedaris! You may know Sedaris from films like “Elf,” “Is This Thing On,” “Jennifer’s Body,” and “Puss in Boots.” You can also find her on television shows like “Strangers with Candy,” “The Mandalorian,” “At Home with Amy Sedaris,” and “Unbreakable Kimmy Schmidt.” She has quite the prolific resume! Work has already started on her episode, I will have more details soon, but look forward to it. It is gonna be a good one.

My next review is going to be for “Her Private Hell!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Haunted Heist,” “Spider-Man: Brand New Day,” “I Want Your Sex,” “The Invite,” and “Cookie Queens.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “The Odyssey?” What did you think about it? Or, what is the greatest movie theater experience you ever had? And I am not just talking about the quality of the movie… What is a cinema experience that checked every box for you? The film looked great, sounded fantastic, and truly felt like a once in a lifetime event? Let me know down below! Scene Before is your click to the flicks!

Maddie’s Secret (2025): John Early Cooks Up Something Good

Posted on by Jack Drees

“Maddie’s Secret” is the feature length directorial debut of comedian John Early (Search Party, DC League of Super Pets), who also wrote the film himself, and stars as its title character. The cast also includes Kate Berlant (The Moment, A League of Their Own), Eric Rahill (The Paper, Let’s Start a Cult), Kristen Johnston (3rd Rock from the Sun, The Exes), Claudia O’Doherty (Love, Killing It), Conner O’Malley (I Saw the TV Glow, Rap World), Vanessa Bayer (Saturday Night Live, I Love That for You), and Chris Bauer (The Deuce, The Wire). This film is about a woman who is struggling with bulimia while also trying deal with her friendships, her past, and online fame due to her presence on a cooking program.

© 2026 – Magnolia Pictures

It is only appropriate that “Maddie’s Secret” goes by its particular title, because the film itself feels like a secret. Upon its release more than a month ago, “Maddie’s Secret” happened to only play in select locations, including the Boston area. As the movie happened to be playing near me, I thought I would check it out. After all, I have heard decent things about it, and I had no interest in seeing the new “Minions” movie.

“Maddie’s Secret” is no longer just a secret, it is a hidden gem. This movie rocks. If someone were to describe “Maddie’s Secret” to me on the spot and I had no idea what it was, part of me would assume that this film is not for me. Heck, even the name sounds like a straight to DVD title found in the middle of Walmart or a trashy Lifetime original. Do not judge this book by its cover.

© 2026 – Magnolia Pictures

This film stars John Early. When I was watching the opening credits, I was a tad confused, as I thought this film was about a woman, and yet a man is playing the lead. Turns out both of those things are true. Having watched enough “Saturday Night Live,” I cannot say that this is the first time I have seen someone playing a character of an identity that is different than their own. I am surprised to say Early shines as the lead. He does a fantastic job tapping into the character’s emotions, struggles, and occasional excitement. It is not to say the performance is going to win an Oscar, but I was shocked with how much I bought into it. Given the film’s particular lead and tone, I was especially delighted to notice how seriously it takes bulimia. Maybe such a sentiment is not as valid as can be, because, again, I do not have bulimia, nor do I know anyone in my life who does. Not that it is any of my business if I did know someone who secretly had it. But I would love to know what people who have bulimia would think of this film. From a dramatic point of view, this film excellently handles Maddie as she struggles with her eating disorder in more ways than one. This is true when talking about the effects of the disorder itself, her interacting with important characters along the way, and seeing her closest relationships develop, I would love to know how many people would relate to this character or see themselves in this character.

Tone-wise, part of me can imagine an alternate reality where this particular movie would fall apart like a house of cards. I did not see any trailers prior to watching “Maddie’s Secret,” so I was not entirely sure what to expect from this film, but it finds a fine line between comedy and drama. It is never laugh out loud funny, but it is often capable of delivering a chuckle. At other points, it is deeply moving and powerful. “Maddie’s Secret” finds a unique balance in its material, sort of like “Everything Everywhere All at Once” did several years back.

On the surface, this movie seems like it is about someone who finds a passion in cooking and uses it to better her life. To a certain degree, that is true. But as Maddie’s success is on the rise, she is also dealing with a home life that is maybe not all it is cracked to be. She has familial problems lingering in the background. Not to mention, she has bulimia, which is probably one of the most interesting sells one can have when pitching a movie like this. For the record, I have, to my surprise, not heard of the term bulimia nervosa prior to watching this movie. If anything, I am glad I watched “Maddie’s Secret” simply because it put a spotlight on the concept.

Speaking of characters I admire, another one in this film is Julie, played diligently by Vanessa Bayer. From scene one, she has a massive pinch of enthusiasm and often maintains a youthful spirit. She comes into the film at an integral point in Maddie’s journey, where things are not particularly going as great as they could be. Despite the movie getting serious at this point, Julie’s presence calmed the vibe down in a sense. Julie is a character that I could see certain viewers finding annoying, but that is not the case for yours truly.

This movie is a bit down to earth on its more dramatic moments, but tends to sometimes jump the shark in its more comedic scenes. The biggest example that comes to mind is when Maddie initially finds success on social media. Not that I have any problem with how the movie presented her success, but shortly after, she has a meeting with her boss, who tells Maddie that she breached her contract with the company. So, instead of being fired, Maddie becomes an on-camera personality within said company. Debatably, the movie jumps the shark just enough in this scene, if the company sees money, then why not follow it?

To my surprise, this film is also one of the more gorgeous-looking ones I have seen recently. For starters, some of the lighting really pops. There is one intimate scene in particular that is neatly colored. Also, this may be a tad unexpected to say because this project deals with an eating disorder, but with the story centering itself around food, it is not always easy to keep your mouth from watering, except for the occasional over the top, gross scene. This movie does not quite get as gross as say “The Substance,” but there are select visuals that are slightly off-putting. Even with a moment or two that made me want to look away, I could not keep my eyes off of “Maddie’s Secret.”

© 2026 – Magnolia Pictures

In the end, “Maddie’s Secret” is an engaging movie that delivers a one of a kind vision from John Early. While none of performances in “Maddie’s Secret” are going to win any major awards, each one fits perfectly within the context of the project. The dialogue is also often perfectly timed and realized. There is a perfect pace to many of the film’s lines. I have no idea if this is a film that is going to have any replay value down the line, but I do think it is worth watching at least once. “Maddie’s Secret” is, if nothing else, a totally unique dramedy, and I am going to give it a 7/10.

“Maddie’s Secret” is now available to rent or buy on VOD.

Thanks for reading this review! Also, be sure to check out my latest episode of Movie Requests! It is an original video series where I ask your favorite stars what movies they think I should talk about! In this episode, I review Elijah Wood’s request, “Festen,” aka “The Celebration!” If you want to watch the episode, click the video above! Also, be sure to like the video on YouTube and subscribe to my channel if you want to see new episodes of Movie Requests as soon as they drop!

My next review is going to be for “Gail Daughtry and the Celebrity Sex Pass.” Stay tuned! Also, coming soon, I will be sharing my thoughts on “The Odyssey,” “Her Private Hell,” “Haunted Heist,” “Spider-Man: Brand New Day,” “I Want Your Sex,” and “The Invite.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Maddie’s Secret?” What did you think about it? Or, what is your favorite movie revolving around food? One recommendation that comes to mind is “Chef.” It is a fantastic story with clever writing, good performances, and it makes you hungry. It is excellent. Check it out! Scene Before is your click to the flicks!

Toy Story 5 (2026): An Incredibly Relevant Fifth Entry to Pixar’s Flagship Franchise

Posted on by Jack Drees

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

“Toy Story 5” is directed by Andrew Stanton (Finding Nemo, WALL-E) and stars Tom Hanks (Cast Away, The Polar Express), Tim Allen (Last Man Standing, Home Improvement), Joan Cusack (Saturday Night Live, Toys), Conan O’Brien (Late Night with Conan O’Brien, Conan), Scarlett Spears (Wicked: For Good, General Hospital), Greta Lee (Russian Doll, The Morning Show), Shelby Rabara (Steven Universe, Goliath), Mykal-Michelle Harris (Mixed-ish, Raven’s Home), and Craig Robinson (The Office, Brooklyn Nine-Nine). This film follows an eight-year old Bonnie as her toys watch her become obsessed with a tablet right before their eyes. The sudden shift prompts the toys to wonder about their future, as well as Bonnie’s.

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

I do not know about you, but to me, “Toy Story 5” felt inevitable. This was especially true when “Toy Story 4” came out in 2019, started its box office run with a bang, and ultimately become one of Disney’s several billion-dollar grossers that year. That said, there is something about this franchise that works just about every time. Each story, in some way, tends to justify its existence. Some more than others, but still.

The original “Andy trilogy” remains one of cinema’s most remarkable achievements through its technological feats, great storytelling, likable characters, and balanced presentation that is perfect for all ages. While I found “Toy Story 4” to be much weaker than the original three, I still found the film to be incredibly entertaining. It is also one of the best-looking animated films I have ever seen. There are one or two shots involving a cat that linger in my mind to this day.

When I heard Pixar was doing a “Toy Story 5,” I was onboard. Then I heard what it was about and I knew I was going to get my tickets ASAP. For those who need to know, “Toy Story 5” showcases what happens when modern technology plays an important role in Bonnie’s life, thus prompting her to abandon her toys. I do not have much of a connection to today’s youth, but I come across tons of younger people who, based on an initial impression, seem to be seriously attached to their electronics. Quite often, when I go out to a restaurant, I will find a family nearby whose children are staring at a tablet. I am not going to pretend I was not in the same boat as a child. I would occasionally bring my Game Boy Advance SP or Nintendo DS to a restaurant to kill time before food arrives. Heck, as an adult, I bring my laptop to a restaurant to write material for this blog.

Electronic addiction knows no age.

Overall, I thought “Toy Story 5,” much like “Toy Story 4,” is not quite in the same boat as the original Andy trilogy. But this is by all means a step up from the last movie.

This fifth installment starts off with a bang. There are a couple key moments that introduce major threads. Including one involving an army of Buzz Lightyears designed with a modern twist, and another where we see a ton of abandoned toys warning Bonnie’s toys about the dangers of tech. It was at this point that I was convinced that I was watching a horror flick. Then when we introduce Bonnie… We see this truly heart-shattering moment where she asks her parents why she does not have any friends. She asks such a question after the movie reveals she is still playing with traditional toys, but those around her are relying on LilyPads to entertain themselves. 

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

I do think it is slightly interesting though that only now in the “Toy Story” universe we are seeing technology come to life. We have been through four movies and a ton of other electronics have been featured throughout. These include TVs, game systems, and phones. Now that a tablet has entered the chat, we have our first instance of a pure electronic device as we define it come alive. It is a bit odd as Andy had a gaming console in his room, something specifically designed for play, and we never saw that do the same. Then again, perhaps I am being a bit harsh. After all, it relies on various wired connections, whereas the LilyPad is a wireless tablet that does need charging, but its setup is friendlier for multi-purpose handheld use. So… Does that mean if Andy had a Game Boy growing up, that would come to life too? Would a Nintendo Switch come to life in this universe? That is a portable device to some degree. So many questions.

Though as I say that, the LilyPad, while it definitely behaves a lot like an iPad, has a design that appears to be more of a reference to LeapFrog devices, which are geared towards younger audiences. After all… LilyPad… LeapFrog… The two names are quite similar. Granted, LilyPads come in more colors than green, but still. Maybe the device is supposed to take elements from both LeapFrogs and more traditional, everyday tablets like iPads, as devices like iPads are more likely to be used for social purposes. Also, given Pixar’s connections to Apple, I am surprised they did not implement select Apple sound effects or Easter Eggs like they did at certain points in “WALL-E.”

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

Another thing I should note is that this is Jessie’s story. Not Woody’s. I have no problem with that. After all, when breaking down the “Toy Story” movies, it is not exactly about the toys themselves, but more so their relationship with whoever possesses them. With this being a “Toy Story” installment, it should not be a shock that there is some thread in the story having to do with “x toy” feeling apprehensive that “y person” will not play with them anymore. All of Bonnie’s toys, but Jessie most especially, is nervous that LilyPad is going to replace them for good. I like this obstacle. It taps into the fear that children could grow up without an imagination because they are staring at screens all day. In fact, there is a great scene where we see Bonnie, whose face is still as can be, staring at her tablet nonstop. One of my favorite moments involving Bonnie’s attachment to the device is seeing her dad come into her room. When Bonnie is communicating with her dad, she is not looking at him. She is looking at the device and talking at the same time. Bonnie is genuinely hooked.

If you ask me, I think there is a place for tech in younger people’s lives. We live in a world where not everyone has to be in the same room to socialize anymore. Of course, nothing can replace the in-person experience of hanging out, but it is cool to know that people can come together to play games online, chat online, and all other sorts of things. If anything, this film feels more like an anti-peer pressure movie as opposed to an anti-tech movie. The way the story plays out taps into Bonnie’s social life, and how the LilyPad has enhanced it significantly. She has always had the toys, but not anyone who wanted to play with her. It kind of reminded me of when I was a child and I was still playing Nintendo games whereas other people I knew were diving into first-person shooters.

Going back to Woody, while it definitely made for a good marketing push to have Woody and Buzz reunite, I think this movie did not necessarily need Woody in it for it to flow. Sure, Woody plays a bit of an essential role when he comes on screen and he is trying to save abandoned toys. But this is a story that probably could have been done almost as effectively without him. Of course, Tom Hanks does a good job with the role. No surprise there. That said, he has way less to do this time around than the other movies.

That said, I am glad Buzz has stuck around for this movie. This film dives further into an ongoing element of his story that has been touched in previous movies, and I thought they did a great job with it. By the end of the film, I was satisfied with where they took it.

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

Although this movie is not all tech… There is some play, and this film may have some of the coolest play scenes yet. It shows what is going on in the kid’s imagination while playing with the toys. It brings in some cool frames and backgrounds. This also unleashes a clever Easter Egg involving Conan O’Brien’s character, Smarty Pants (middle). As a human character plays with him, we see in their imagination that the character has a hat of reddish-orange hair, much like the actual Conan O’Brien.

Speaking of Smarty Pants, I do not think there is anyone else on earth more qualified to voice this character than Conan O’Brien. I say that not just because I am a fan of him as an entertainer, but during his late night hosting days, I have noticed that O’Brien has a unique ability to take the most terrible or odd bit and spin it in a way where it can be as entertaining as possible. In actuality, that is just a nice way of saying that I have mixed feelings about the character.

As a 26 year-old, toilet humor has not aged well with yours truly. Not to say it cannot work. In fact, it sometimes does in this movie. But it does feel a bit odd that Pixar decided to use toilet humor. They usually aim a little higher when it comes to attempts at humor. I was surprised to say I never gagged or cringed at any of the jokes from this character, but there are times that I wish I laughed just a little harder. Some of the jokes tend to repeat themselves or come off as some variation of a joke that has been told previously. Maybe it is to reflect the simplistic nature of the character compared to the LilyPad, which is the fancy dancy piece of modern technology, but some of the jokes got old fast.

Even with its flaws, “Toy Story 5” is worth watching. It is beautifully animated, as should be no surprise given how Pixar’s films are usually stunning. The voice cast all play off each other perfectly. The film is kind of sad to think about, because it reveals that technology is so integrated into people’s lives to the point where we cannot live without it. In some cases, we might not even have friends because of it. “Toy Story 5” is not necessarily a movie that begs its viewers to put down the tablet or step away from the computer, but more so reminds people to have a decent balance between technology and real life.

Photo by Pixar/Pixar – © 2026 Disney/Pixar. All Rights Reserved.

In the end, “Toy Story 5” is a fantastic movie. It is a perfect watch for the entire family. Is it the best “Toy Story” installment? No. But it does not mean that you should brush it aside. If anything, the most prominent critiques I have for this film are that some of the jokes are better than others, and as much fun as it is to see Woody and Buzz, much like old times, you could almost take Woody out of the movie and have it feel no different. Keep Buzz though. His presence is essential to the story. This movie showcases the ups and downs of technology in daily life. It serves as a cautionary tale as to what can happen with constant use of technology, but the movie does not suggest that tech should be destroyed in its entirety. Pixar is responsible for the two best animated films this year so far. This movie and “Hoppers.” The studio has been on fire lately. I am going to give “Toy Story 5” an 8/10.

“Toy Story 5” is now playing in theaters. Tickets are available now.

Thanks for reading this review! As a reminder, in honor of Scene Before’s 10th anniversary, I am currently working on an original web series called Movie Requests. It is a video series that sees me reviewing movies suggested by some of your favorite stars. Be sure to check out my latest episode featuring Sandi Harding, the owner of the last Blockbuster Video on the planet, located in Bend, Oregon. In this episode, Harding suggests I should talk about “The Goonies.” To hear my thoughts on the movie, click the video above! If you like the video and want to see more episodes of Movie Requests, hit the like button and subscribe to my YouTube channel! I also share the videos on this blog, but the fastest way to be alerted about them is to subscribe on YouTube!

My next review is going to be for “Supergirl.” Stay tuned! Also coming soon, I will be sharing my thoughts on “Jackass: Best and Last,” “Obsession,” “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” “The Odyssey,” and “Her Private Hell.” If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Toy Story 5?” What did you think about it? Or, what is your favorite “Toy Story” movie? Let me know down below! Scene Before is your click to the flicks!

Disclosure Day (2026): Spielberg’s Latest and Most Complex UFO Story

Posted on by Jack Drees

“Disclosure Day” is directed by Steven Spielberg (Close Encounters of the Third King, The Fabelmans) and stars Emily Blunt (Edge of Tomorrow, The Fall Guy), Josh O’Connor (Challengers, Emma.), Colin Firth (Love, Actually, Kingsman: The Secret Service), Eve Hewson (Bad Sisters, The Knick), and Colman Domingo (Sing Sing, Wicked: For Good). This film is about a meterologist and a cybersecurity expert who find themselves in the center of a movement to unveil government secrets about alien life.

© Universal Studios. All Rights Reserved.

Sort of in the way that there are no two words in sports that seem to match the excitement of “Game 7,” there are no two words in cinema that seem to match the excitement of Steven Spielberg. Or… At least that seems to have been the case until recently. Prior to “Disclosure Day,” Spielberg’s two directorial outings post-COVID were “West Side Story” and “The Fabelmans.” Both films are astounding in their own way, but neither was a financial success. Sure, both came out at a time where moviegoers were staying home more and perhaps more selective with what they chose to see. But if the sales for Christopher Nolan’s “The Odyssey” say anything, we still live in a world where a director’s name can be a huge selling point for a film. Spielberg is one of the best in the industry, so of course I bought a ticket for “Disclosure Day” as soon as I could.

When I see a ton of actors I recognize in one movie, it often gets me excited to see how they play off each other. I always get the impression that these people know what they are doing and do it well. At the same time, it is a little distracting, because having seen this cast’s faces, I already have an idea of what to expect from them. Thankfully, everyone in this film is brilliant. From Josh O’Conner, who does a great job allowing the audience to feel the wonder of the story. To Colman Domingo, whose character’s direct mannerisms do a fantastic job balancing the film’s overall tone. To Emily Blunt, who… What can I say? Emily Blunt has never been better. And there is a chance she will never be better than she is in this film.

© Universal Studios. All Rights Reserved.

We are only halfway through 2026, but I hereby declare that the race for Best Actress is already over. If we get a performance that somehow surpasses the incredible talents and range on display from Emily Blunt, then this is likely going to be one of the greatest years for cinema ever. Blunt is tasked with so much throughout the film, some of which I downright refuse to spoil. I remember watching the trailer, and seeing that moment where she was speaking gibberish during a weather forecast. It is super engaging in the full context of the film. I was also shocked at how well the gibberish came across. When I heard it in the marketing, part of me thought, “Well, that’s probably gonna end up sounding like nails on a chalkboard.” I was delighted to be colossally wrong.

Speaking of surprises, John Williams has still got it. I really shouldn’t be surprised. It’s John Williams. He’s done some of the best film scores. But there was a magic to this one in particular. The dude is 94, which in my mind meant a couple things. Between his previous experience and his old age, he’s already done so much great work to the point where it makes me wonder if he’s possible to deliver something as memorable as he did back in the day. I was wondering if he was just going to phone it in. But at the same time, with age comes knowledge. And knowledge is power. Trust me when I say this score is mighty powerful.

© Universal Studios. All Rights Reserved.

Prior to seeing “Disclosure Day,” I heard from some people who had already seen it comparing it to Christopher Nolan’s “Tenet.” For the record, I have liked every film Christopher Nolan has helmed. “Tenet” included. It is not his easiest film to understand, even after several viewings, but it is an experience unto its own. There are few movies that gave me something akin to it. I can see why the two films share some similarities. Both feature clever sci-fi concepts, contain brilliant musical scores, and run at a rather quick pace. In fact, one thing I thought both movies did very well is that they set the tone and got straight to the action from the first minute. The movies may be long, but they do not waste time. Much like “Tenet,” I would also like to watch “Disclosure Day” a second, perhaps a third time. And unlike “Tenet,” one of those reasons is not because the sound mixing was sometimes terrible. The sound in this movie is actually quite great. In fact, technically, this film is one of the best overall cinematic experiences of the year. The color palette had this old school pop to it. The editing was impeccable. There is not one shot in the movie that I thought looked questionable.

Although like “Tenet,” “Disclosure Day” can sometimes feel clunky. “Tenet” is clunky in its complicated, confusing approach to its story and progression. “Disclosure Day” on the other hand feels a little more straightforward and easier to digest. Yet as the film enters its climax, it does sometimes feel riddled with conveniences. The climax is exciting and it did have me, at times, on the edge of my seat, but nevertheless. Am I rooting for the protagonists? Sure. Yet at the same time, there seems to be a lot of dumb luck that throws things off for me. Much like Edgar Wright’s “The Running Man,” the climax of “Disclosure Day” is most definitely the weak point. This film’s climax is much better. Despite its flaws and recently mentioned conveniences, it is undoubtedly entertaining and fits the flow and spirit of the story.

If I had to rank the Steven Spielberg-directed UFO films, I think I would put “Close Encounters” on the bottom. It is a good movie, but I like certain parts of it more than others. At the top, is “E.T.,” which has solid characters and an emotionally powerful ending. “Disclosure Day” is somewhere in between. It is good, but not fantastic. That said, I am curious to know if the ranking could change after multiple viewings. That said, figuring out my next viewing for this film is going to be tough. I have so many movies to watch, and so little time.

© Universal Studios. All Rights Reserved.

In the end, “Disclosure Day” is a thrilling, albeit confusing ride. Even with its flaws, I do think this movie is worth watching at least once. And depending on how that initial viewing goes, maybe it is worth watching again. Not necessarily because it could end up being your favorite movie on the first go. I say this because this comes off as a movie that I imagine getting better as I digest it and unpack it. Maybe the same could be true for you. Although if there is any reason to watch this movie at all, it is Emily Blunt, who gives a career-defining performance as Margaret Fairchild. Trust me, look forward to seeing some of the best acting of your life. I am going to give “Disclosure Day” a 7/10.

“Disclosure Day” is now playing in theaters. Tickets are available now!

Thanks for reading this review! In case you missed it, be sure to check out my latest episode of Movie Requests, featuring Sandi Harding, the owner of the last Blockbuster Video that is still open! She requested I should watch “The Goonies!” What did I think of it? Watch the video and find out! Be sure to like the video and subscribe to my YouTube channel if you want to see new episodes of Movie Requests as soon as possible!

My next review is going to be for “Toy Story 5!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Supergirl,” “Jackass: Best and Last,” “Obsession,” “Maddie’s Secret,” “Gail Daughtry and the Celebrity Sex Pass,” and “The Odyssey!” 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 “Disclosure Day?” What did you think about? Or, what is your favorite Steven Spielberg UFO film? Or even, your favorite film of his in general? Let me know down below! Scene Before is your click to the flicks!

The Breadwinner (2026): An Unfunny Comedy That Really Wants You to Buy a Toyota and Watch Shark Tank

Posted on by Jack Drees

“The Breadwinner” is directed by Eric Appel (Die Hart, Weird: The Al Yankovic Story) and stars Nate Bargatze (Your Friend, Nate Bargatze, Nate Bargatze: Hello World), Mandy Moore (Tangled, This Is Us), Colin Jost (Saturday Night Live, Tom & Jerry), Zach Cherry (Fallout, Severance), Martin Herlihy (Saturday Night Live, The Running Man), Kumail Nanjiani (The Big Sick, Eternals). and Will Forte (Scoob!, The Last Man on Earth). This film is about a dad living in the suburbs who must adapt to a stay-at-home parent lifestyle when his wife gets the opportunity of a lifetime to take her invention to the next level.

I love comedy. I think the world is a better place for having it. Sadly, comedy films are at a bit of a low point. This is not to say that they are dead, there have been wins here and there, but the comedy genre does not feel the same as it did pre-COVID. Part of this may be because a lot of mainstream comedies are finding their way onto streaming services. While some viewers may not care, it kind of turns me off, and makes me think that the people who made the movie do not have much faith in it.

So, when I found out that “The Breadwinner” was going to be a theatrical release, I was pleased. Well, sort of. Because the trailers, while not the worst I have ever seen, did not look fantastic. I cannot say I outright laughed at anything the trailers had to offer.

But you know what? Maybe this is a blessing in disguise. Perhaps “The Breadwinner” listened to me every time I watch a comedy trailer, see all the funny jokes, and complain that there is nothing else that happens to be funny when the film comes out. The good news is, there are moments of the film that I did not see in the marketing that made me laugh. Kumail Nanjiani plays a supporting character and he is easily the best part. He has the funniest lines and visual gags. If there is any reason to see this movie, it is him.

Beyond that, I cannot come up with another reason to check this project out. That is unless you want to watch an hour and a half commercial that technically qualifies as cinema.

I have seen Nate Bargatze do standup both through prerecorded specials and live events. He puts on a good show. While not my favorite comedian working today, I think he has a knack for family-friendly humor. The kind that you would expect to fly on an episode of “America’s Got Talent.” Given his success with the standup scene, I was wondering if Nate Bargatze would be able to bring something fresh to the comedy film genre. While the film does feel rather on brand for Bargatze’s standup persona, I think said persona is perhaps handled better on a stage rather than a screen.

“The Breadwinner” feels like an extended episode of “Everybody Loves Raymond,” and not a very good one. Nate Bargatze plays Nate Wilcox, the “average guy” character with a steady job. Mandy Moore plays Katie, a stay at home mom. They have three children and all live in the suburbs together. When Katie gets an opportunity to make something of herself outside the home, it throws Nate off and forces him into the stay-at-home dad role. For Nate, this goes about as well as you, and probably he, would expect. Speaking of things that did not go well, the jokes are more often misses than hits. At no point did the battleship sink. You can only have Nate Bargatze fall down so many times and expect it to be hilarious. The attempts at humor are not only unfunny, but a lot of them feel been there, done that, and in certain cases, done better.

This is a PG movie, and I did see some children at my screening. I would be curious to know how well this comedy is going to age for the younger viewers who check it out. But as a 26-year-old who has quite a few flicks under his belt, the jokes come off as too familiar and predictable for them to work.

This film sort of takes me back to when Happy Madison comedies dominated theatres. And by that I mean, the film reminded me of what I sometimes hated about those movies. This is a glorified, shameless, endless commercial.

Product placement and in-film advertising is nothing new. Also, this is a Sony movie, so this is most certainly nothing new for them. This film reminds me a lot of “The Emoji Movie,” which so incessantly flashes brands on the screen and even makes them interwoven so heavily into the plot to the point where part of the climax would not be possible if it were not for the Twitter bird mascot saving the heroes. With this being a Sony movie, of course, they decided to put in some tie-ins to their properties. There are a couple noticeable nods to “Jeopardy!” for example, that are frankly inoffensive.

But would anyone like to guess how the story moves forward when Katie decides to take her invention to the next level? She goes on “Shark Tank,” of course! Do not get me wrong. A lot of people would, realistically, kill to bring their product on that show for the chance of getting a deal. But I would be willing to bet five bucks that if this were not a Sony movie, “Shark Tank” would make no appearance in this flick whatsoever, as that is also a Sony show. Also, the scene is about as dumb as can be.

Are you seriously telling me that in regards to Katie’s invention, that Kevin O’Leary says he’s out because Nate walks onto the set while eating a donut and presenting himself as the antithesis of a fashion model? Would the real Kevin O’Leary do this? I don’t think so. Some of you might be saying, “Come on, it is a character, let him be.” Yeah, but judging by Nate Bargatze’s performance that lacks any and all transformation, I am not quite sure how much acting is really going on in this film. Not to digress, but the movie tries to present this whole gag where Nate becomes known as “the donut guy.” I understand the Internet can be odd and rude, but this has got to be one of the dumbest viral trends I have ever seen. Then again, I remember a time when portions of the Internet thought the Harlem Shake was cool, so there is that.

“Shark Tank” is not even the biggest culprit of this film’s neverending stream of commercialism. Because this movie really wants you to buy a Toyota. And frankly, it fails miserably. Not just because “The Breadwinner” is a terrible movie by itself, but also because if this were a genuine Toyota ad, I would question its messaging. My mom and I saw the film together, she liked it by the way. Upon discussing our difference in opinion, one of the first things I said to her as we left the cinema is that the film paints Toyota as an anti-family company. If anything, Toyota is the villain. Somebody give Nate Bargatze a Ford so he can go to town on a Toyota dealership!

Oh, and don’t forget to remind Nate Bargatze to take that Toyota to Walmart for some errands! And also don’t forget to tell the talent to take every other brand name cereal off the shelf to make sure everyone knows that is exactly what the family is buying! This movie cost $25 million to make, and I am sure most, if not entire the budget was paid for with this endless charade of brand bootlicking.

There is not much legitimate acting going in this movie, but based on the direction everyone is given, they fulfill the basic requirements of their roles. The women who play the Wilcox sisters, Stella Grace Fitzgerald, Birdie Borria, and Charlotte Ann Tucker, are sometimes adorable and play off the other characters well, even if some of their jokes feel like they are written for a Disney Channel original movie.

Going back to what I said about this film feeling like an extended “Everybody Loves Raymond” episode, the more I think about this film’s director’s background, I can see why. While Eric Appel has a lot of experience behind the scenes making material within the comedy genre, most of his material is TV-based. Even his more recent feature films did not get theatrically released. He directed “Weird: The Al Yankovic Story,” which is a Roku Original. Beyond that, some of his more recent projects include the “Die Hart” films on Prime Video, where Kevin Hart plays a version of himself. …Doesn’t he do that in every other movie he’s in too?

Plus, the writers of this film do not have much experience on the big screen either. In addition to starring in the film, Nate Bargatze also has a screenwriting credit. Upon looking at his IMDb, this is also Bargatze’s first acting credit in a feature film. The other writer, Dan Lagana, mostly has a TV background. The two also produce the film as well alongside Jeremy Latcham, a former Senior Vice President of Production and Development of Marvel Studios. So, you have all these minds coming together who for the most part, are not exactly known for feature filmmaking. I am not against these people giving filmmaking the old college try. But as for this try, it was a fail. These people got their start, but it was not the finest of beginnings. If anything, I am glad to see a studio put their money where their mouth is, which judging by this film’s content, their mouth was probably on a Toyota’s trunk fairly recently, and put a comedy in theaters. That is nice to see in this day and age. That said, this does feel like a comedy that was probably intended to go to streaming, but somehow wound up on the big screen.

In the end, “The Breadwinner” made me lose some brain cells. Nate Bargatze is a talented comedian, but I frankly think standup is where he is best. I am not sure how much of a future he is going to have as a movie star. I do not know if he is aiming to pursue more film roles, but if he does, I hope they are superior to what he has given here. The worst thing about this film is simply the fact that I did not find it funny. Yes, I emitted a chuckle here and there, and Kumail Nanjiani saves the film whenever he pops up on screen. But I was expecting more from someone who is killing it in the standup scene. Instead, “The Breadwinner” is essentially this year’s version of “Easter Sunday,” starring Jo Koy. It is a film that wastes the talent of a successful comedian, as well as my time. I am going to give “The Breadwinner” a 2/10.

“The Breadwinner” is now playing in theaters. Tickets are available now.

Thanks for reading this review! This Tuesday, July 14th, get ready to make it a “Blockbuster Night!” Or… Day, I do not care. Your choice. Either way, I say such a thing because the next episode of Movie Requests is going to feature Blockbuster Video owner Sandi Handing! She owns the Blockbuster Video in Bend, Oregon. That is the last one still open! I had the privilege of meeting Harding in November, when she requested I should watch a certain movie whose title will be revealed when the next episode of Movie Requests officially drops! You can catch the video on Tuesday July 14th on Flicknerd.com and YouTube! Make sure you subscribe to my channel! It may not give you superpowers, but it will make you super aware of when exactly this episode drops! And isn’t the power of knowledge the greatest thing of all?

My next review is going to be for “Disclosure Day!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Toy Story 5,” “Supergirl,” “Jackass: Best and Last,” “Obsession,” “Maddie’s Secret,” and “Gail Daughtry and the Celebrity Sex Pass.” 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 Breadwinner?” What did you think about? Or, have you seen any of Nate Bargatze’s standup material? Look, I may have been harsh on this movie. Although Bargatze is not a comedic hack. He can put on a good show. I will look forward to his next standup special or upcoming gig in the New England area, but “The Breadwinner” was not for me. Ah well, can’t win ’em all. Scene Before is your click to the flicks!

Lorne (2026): Morgan Neville Puts Up Another W with This Insightful Look at the Creator of SNL

Posted on by Jack Drees

“Lorne” is directed by Morgan Neville (Won’t You Be My Neighbor?, Piece by Piece) and is about Lorne Michaels, the creator of “Saturday Night Live” and founder of Broadway Video. This documentary taps into Michaels’ life as a creator, as well as what he likes to do when he is outside of the constant chaos of creating comedy.

Few of my reviews over the years have been for documentaries. Though I have nothing against them. In fact, one of my earliest documentary reviews was for “Won’t You Be My Neighbor?”, which ended up being one of my favorite films of 2018. While the name is not the first that pops in my mind when it comes to listing my favorite filmmakers, Morgan Neville has somewhat been on my radar given his track record. A year and a half ago, I saw the incredibly creative “Piece by Piece,” which is not as good as “Won’t You Be My Neighbor?”, but is nevertheless a one of a kind documentary that I could not have imagined coming to life.

For those who have seen “Won’t You Be My Neighbor?”, you would know that the documentary centers around Fred Rogers, who I thought was a great subject matter with an interesting background, especially as someone who is into film and television. While Rogers was a notable presence on camera for “Mister Rogers’ Neighborhood,” “Lorne” focuses on just as crucial of a presence behind the camera for other productions, most especially “Saturday Night Live.”

If you have watched just about any episode of “Saturday Night Live” during its 50-plus year run, you would know that Lorne Michaels has had an impact on them in some way. He created the show back in 1975 and has long served as its producer.

The group that ends up sitting down for interviews is incredibly stacked between former “SNL” employees to some of the most famous comedy personalities working today, some of whom got an early boost in their career thanks to “Saturday Night Live” like John Mulaney or Conan O’Brien. Those interviews stood out to me for reasons beyond simply admiring both of those people. Not only did the movie end up using a decent amount of footage of these two comedians in particular, but it is weird to think about how these are just a couple of people whose careers had a monumental impact because Michaels let them do their thing. If you look at the cast for “Saturday Night Live,” not every season is like the other.

“Saturday Night Live” is a home to many voices, each and every one with a story to tell. As Lorne Michaels is the subject of the documentary, the camera spends a significant amount of time telling his story too. Everything from his beginnings in Canada, to his time in the United States, and what he likes to do when he is not producing television. Though the thing that stands out about Lorne Michaels is that the way his programming is formatted, it has allowed so many different visions and stories to be brought to life. That is partially why Michaels’ philosophy of everyone’s story needing to be heard stood out to me, even if the story is bad.

To me, “Lorne” sort of plays like an “SNL” episode, which the more I think about it, may not be the most effective comparison. There have not only been so many “SNL” episodes, but when it comes to the show in general, there are nights where the sketches hit, miss, or fall somewhere in between. If I were to be most accurate, if this were an “SNL” episode, this would be one where I like the guest host and the stars, but there are some times where I find the material to be better than others.

The movie kept my interest, but it did drag a little towards the end. It almost overstayed its welcome. But I found the movie’s approach to be rather creative. The narration is effective and intriguing. There are some animated scenes that play well. And as I would hope, it presents the story of Lorne Michaels, who is most definitely an interesting man, in a way that is equally as interesting. Keep in mind that I said “interesting,” because as a producer, he has a say on who hosts “Saturday Night Live,” and he seems to stand by his more controversial choices like Donald Trump or Elon Musk. The choices definitely generate conversation, but not everyone in the audience jumps out of their seat for them.

While the film does not outright accuse Lorne Michaels of, say, his controversial host choices, it is actually nice to see the documentary to at least address that aspect of his career. The film does not suggest that Michaels is right for making those choices, but it does acknowledge that Michael stands by them. The movie goes into Michaels’ other failures, including some he has encountered before “Saturday Night Live” was ever a thing. I enjoyed getting to know more about his work on Canadian television.

When it comes to humanizing Michaels, the movie does a decent job. There is a part of the film that takes place in Maine, where Michaels goes to for some peace and quiet. If anything, I sort of felt the way he wants to feel during his trips there, because as he explains in the film, New York City is quite obnoxious. I know, I have been there. It is practically a second home to me. But the quietest, most calming parts of the movie are, fittingly, in Maine, where Michaels often finds himself in the middle of nowhere.

That said, this movie follows in another project’s footsteps. 2024’s “Saturday Night,” a feature narrative directed by Jason Reitman. I frankly think it might be my favorite film of his. Sorry, “Juno.” While the two movies differ significantly, I think the more interesting and compelling Lorne Michaels story, even if it is fabricated, is in “Saturday Night.” It is more entertaining, fun, and chaotic. But I will not accuse anyone should they decide to watch “Lorne” with me on a Friday night. Heck, even a Saturday night.

In the end, “Lorne” is not Morgan Neville’s best documentary, but it is still a good movie. Lorne Michaels is a fascinating figure, so it is not surprising that he has gotten feature and documentary treatments in the past couple years. Sure, I prefer the feature presentation we got showcasing his perspective on making the first “SNL” episode through “Saturday Night.” Yet “Lorne” is full of fantastic interviews, touches on a variety of interesting topics, and offers clever transitions from one scene to the next that frankly feel like they belong on an “SNL” episode. I am going to give “Lorne” a 7/10.

“Lorne” is now playing in select theaters and is available to rent or buy on VOD.

Thanks for reading this review! If you have not checked it out already, take a gander at my latest episode of Movie Requests, which I posted on May the 4th, AKA “Star Wars Day.” To fit the occasion, I took a request from “The Mandalorian’s” own Katee Sackhoff! She requested I should talk about the western “High Noon.” Click the video above to see what I thought about the movie! I will have another episode coming soon, I have not determined a date just yet. But if you would like to see that episode as soon as it drops, be sure to subscribe to my YouTube channel to get the notification ASAP!

My next review is going to be for “Michael!” Stay tuned! Also coming soon, I will be sharing my thoughts on “Deep Water,” “Animal Farm,” “Mortal Kombat II,” and “The Sheep Detectives.” 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 “Lorne?” What did you think about it? Or, since it is on topic, has anyone seen the 2024 movie “Saturday Night?” Tell me your thoughts on that! Let me know down below! Scene Before is your click to the flicks!

You’re Dating a Narcissist! (2025): Marisa Tomei Gives a Performance That’s Way Out of This Comedy’s League

Posted on by Jack Drees

“You’re Dating a Narcissist!” is directed by Ann Marie Allison (Don’t Neg Meg, Lift) and stars Marisa Tomei (Spider-Man: Homecoming, The King of Staten Island), Sherry Cola (Joy Ride, Good Fortune), Ciara Bravo (Cherry, Wayne), Marco Pigossi (Invisible City, High Tide), José María Yazpik (Madame Web, Narcos), and Jonah Platt (The List, Trolls: The Beat Goes On!). This film follows a psychologist who is trying to stop her daughter from getting married from someone who she claims is a narcissist.

If there is anything that got me into “You’re Dating a Narcissist,” it would be the stars. Not just because they are who they are, but some of them have the bonus of being in a film I previously reviewed. A couple years ago I had the privilege of attending South by Southwest in Austin, Texas. I was not there the entire time, but I did end up going to a couple screenings during my visit, one of which includes “High Tide.” I do not remember the entirety of that movie, but I do remember enjoying it and finding it to have likable characters. Two of the films’ stars included Marisa Tomei and Marco Pigossi. Little did I know these two would reunite within a year or two for another movie, that being this one. Not to mention, this film stars Sherry Cola, who has grown on me as a performer. She has proven she a has knack for comedic roles through “Joy Ride,” one of the finest comedies of 2023.Not to mention “Good Fortune,” which made me laugh consistently.

Although just because this movie has stars on screen, does not automatically guarantee it is going to be a five star experience. Is this film worth watching? Eh…

This is not the worst film I have ever seen. But saying that comes off as if I am trying my darndest to be nice.

I truly want to like this movie, because it is based on the experience of the director, Ann Marie Allison, being in a relationship with someone she realized was a narcissist. Yet there are times where I found Judy (Tomei) to be annoying as a lead. I understand the movie dolls her up as a psychologist who happens to have written a book on the movie’s titular subject matter. However, she often comes off as judgy in her line delivery and mannerisms. Sure, in her mind, she is trying to do what she sees as the right thing, protecting her daughter from marrying someone she believes would not be the right person. But watching her overanalytical tendencies and hearing her critical dialogue is sometimes cringe-inducing. Overall, the relationship between Judy and her daughter, Eva (Bravo) is somewhat uncomfortable to watch at times. Perhaps one could argue that is the point, but even so, as a viewer, I would watch these two on screen together and find certain moments between them to come off as mind-numbing.

It took me awhile to think about why exactly Marisa Tomei was the lead of this movie, rather than Ciara Bravo, who is the one who happens to be dating the… Well, “narcissist.” On the surface, Tomei is the most recognizable star in the cast and has top-billing. But there is more than name recognition alone. There is a connective tissue tying the story together, specifically clips featuring Tomei letting out an endless stream of thoughts. These clips match several scenes of the movie and the characters’ actions within them. The way these scenes are put together are neatly edited and well-timed. In fact, as much as I at times was not exactly fond of Tomei’s character, her acting is nevertheless top-notch in these scenes. She kills every moment despite sitting down in front of a camera the entire time. At the same time though, having Tomei’s character as the lead is what occasionally makes the movie irritating. The movie spends so much time with this character, who deep down, means well, but gives off such an overcritical vibe.

Going back to the idea that this film is based on Ann Marie Allison’s personal experience, part of me thinks Judy is almost designed to be the character that most resembles her, having gone through the troubles of her relationship. If anything, Allison resembles two characters. The recently mentioned Judy, as well as the more obvious candidate, her daughter Eva. Each time Eva does something in this movie, Judy often sounds like the voice that is trying to tap into her head telling her, “I’ve seen this, girl! Get out of there!” In that way, the film tends to work. But I had no idea prior to this review that this film was based on reality, so it took me time to further appreciate the film. Why? Because this is designed to be a comedy. It is kind of an unusual subject matter to try to make funny, but having watched enough “Family Guy,” people can take heavy topics and whip upan effective joke or two out of them. That said, this movie is not that funny. I did not laugh much, and anything that I found funny at the time of watching this movie, I have likely forgotten. I could not quote a single line at this point that had me chuckling. Not the best of signs.

Parts of the movie are mildly entertaining as we see the characters sometimes getting into some wild, goofy antics. Some of the secondary characters stand out, such as Daniel (Yazpik), a charismatic hotel employee. Although the film is somewhat predictable the further the story goes. I can see this movie working as PSA on narcissism. Whether it means reminding people that they might know someone who is a narcissist, or heck, maybe it could warn that a viewer that they themselves could be a narcissist. You never know. When it comes to being a comedy, that is where this movie fails at times. When it comes to being a romance, or something along that line, that is where this movie fails at times. There are ingredients for a decent movie somewhere and while I appreciate the message, I thought the delivery could have been better.

© Cool Girl Productions

In the end, “You’re Dating a Narcissist!” is not the greatest movie I have ever seen. Is it an abomination against humanity? Absolutely not. Is it a masterpiece? Not quite. The movie falls somewhere in the middle of those two extremes. I am sure Ann Marie Allison has some good ideas ahead for future projects. I am glad she got to tell a personal story, but I wish that story were presented differently. I am rooting for her in whatever she does next, but I have to be honest. I am going to give “You’re Dating a Narcissist!” a 5/10.

“You’re Dating a Narcissist” is now playing in theaters. Tickets are available now!

Thanks for reading this review! Tomorrow, look forward to my third episode of Movie Requests featuring “Dodgeball” actor Joel David Moore! Movie Requests is a series featuring yours truly asking celebrities what movies they think I should watch. You can check out the promo teasing the episode. What film do you think Joel suggested? Find out tomorrow, Sunday, April 19th! And if you want to see the episode as soon as possible, be sure to subscribe to my YouTube channel!

I also have plenty more reviews coming! Look forward to my thoughts on “The Super Mario Galaxy Movie,” “The Drama,” “Exit 8,” “Normal,” and “Lorne!” 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 “You’re Dating a Narcissist?” What did you think about it? Or, what is a film that you think has a good message on dating and relationships? For me, I would highly recommend everyone should watch “Don Jon” at least once in their life. Specifically, men. The film has a lot to say about male behavior. Scene Before is your click to the flicks!

They Will Kill You (2026): Cult Craziness Ensues in This Stylish Action Flick

Posted on by Jack Drees

“They Will Kill You” is directed by Kirill Sokolov (Why Don’t You Just Die!, No Looking Back) and stars Zazie Beatz (Deadpool 2, Joker), Myha’la (Swiped, Leave the World Behind), Paterson Joseph (Wonka, Timeless), Tom Felton (Harry Potter and the Sorcerer’s Stone, Fackham Hall), Heather Graham (The Hangover, Boogie Nights), and Patricia Arquette (Boyhood, Severance). This film follows a woman named Asia, a recent hire at a high-rise in New York City, as she uncovers its ties to a Satanic cult and does what she can to survive against those who make up the place.

Part of me wonders what the heck Warner Brothers was thinking with the release of “They Will Kill You.” Not the fact that they put it out at all, but rather that they put it out when they did. As someone who loves the first “Ready or Not” movie to death, I figured it would be inevitable that “They Will Kill You” would end up reminding me of that absolute piece of cinema. But seriously, what prompted Warner Brothers to release this movie the week after “Ready or Not 2: Here I Come?” While these movies are not exactly the same, they have similar plots and vibes… Both films feature a woman who is forced to take on a mob of people who are trying to kill her. Oh, and that mob is connected to a cult.

Questionable release date aside, I was interested in “They Will KIll You.” Of course, with a title like that, how could I not be? The concept intrigued me, and the movie looked like an overall gory fun time. To me, that is exactly what this movie was. Is this film going to win any awards? Probably not. Though I would not start a debate if you thought this film should be recognized for its production design.

What makes this film great is more than just its style. And I say that realizing its style is quite pleasing. What makes everything work is the connection between Asia (Beatz) and Maria Reaves (Myha’la). The film starts with the younger versions of the two as they try to run from their abusive father. Asia shoots him and gets arrested, while Maria remains in his custody. The film then flashes forward a decade to where Asia becomes a housekeeper at a New York City high-rise. As she takes on the job, she learns more about the building’s history, as well as what could happen to her if she is not careful.

The progression of the story unveils the sisters’ backgrounds and capabilities. Asia is more than able to defend herself, and as the film’s action sequences reveal, she can look cool while doing it. Turns out Maria also made it into the high-rise. When Asia runs into her, we learn not only how she got there in the first place, but how she managed to stay for as long as she did. The backstory as to how Maria ended up surviving for so long makes for some meaty material. It added depth to her character, the high-rise itself, as well as the others inside it.

This is not the first time I have watched Zazie Beatz on screen. I enjoyed watching her supporting roles in “Deadpool 2” as well as “Joker.” That said, this is the first time I have seen her as a leading lady, and she carries this movie. After seeing her take on the leading role of “They Will Kill You,” I would not mind seeing another movie where Beatz plays the main character. She has proven herself to be a fine action star and carries a commanding presence.

When I talk about the things I enjoy in a movie, I will often go for the big guns and talk about performances, direction, writing, and so on. But at other times, there are films where “the little things” tend to stand out, and “They Will Kill You” is no exception. I will save the context for your viewing experience, but there is an important point of the story involving an eye. I thought what exactly they did with it was clever. The film also showcases what people in the high-rise like to do. We find out that there is an entire floor where groups of people could be in the same place having sex at the same time. For the record, the people living in this building are immortal, so they have to find things, or perhaps more accurately, people, to do, otherwise they might become bored.

This film cost $20 million to make, but each frame almost looks like a trillion bucks between the color palette, the action, and the sets. This film is directed by Kirill Sokolov. I had not seen any of his work prior to this movie. Having seen “They Will Kill You,” I was convinced that its style is what would happen if a Matthew Vaughn movie and a Guillermo del Toro movie had a baby. The movie is a perfect mix between fast-paced, boisterous action with a pinch of color to balance things out.

Not to digress from this movie, but having looked at Sokolov’s IMDb page, it mentions that one of his previous works, “Why Don’t You Just Die!,” is inspired by one of his favorite filmmakers, Quentin Tarantino. Filmmaking has been around for some time, so it is not surprising to know that newer filmmakers are copying older filmmakers that inspired them. This film reminds me of “Reservoir Dogs” or “Pulp Fiction” to a degree. These all have sick action scenes and are not afraid to show some blood and gore. It has been nearly seven years since a Quentin Tarantino-directed movie has hit theaters. If you are looking for a filmmaker that has a pinch of Tarantino’s DNA, then Sokolov seems to get the job done. Time will tell if Sokolov will have the career or name recognition of Tarantino, but if he keeps making good films like this one, that could end up being the case. Sokolov has a twisted mind, and his screenwriting efforts alongside Alex Litvak, who also has a story credit for the “Masters of the Universe” movie releasing later this year, prove to make for a solid hour and a half.

The film’s cast may be small, but its action sequences prove to feel giant. I am not in an immediate rush to watch “They Will Kill You” again. In fact, of the two big movies coming out within the span of a week that involve women surviving against cults, I would prefer to go back and watch “Ready or Not 2: Here I Come” a second time. Maybe it is because I have an attachment to the 2019 original, so there could be some bias. Nevertheless, I recommend “They Will Kill You.” Give it a watch sometime.

In the end, “They Will Kill You” is killer fun. The film is fast-paced, never boring, and is packed with brilliant setpieces. When I watched the trailer for this movie, I was intrigued by how the action sequences presented themselves. Having seen the movie, they lived up to the trailer. I was not surprised. However, what did surprise me was the film’s ability to get me engaged towards the two sisters’ connection. The movie has a good hook featuring the duo and successfully builds upon that. Go check this flick out. I am going to give “They Will Kill You” a 7/10.

“They Will Kill You” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you want to see another review, I am dropping a new episode of Scene Before’s brand new series “Movie Requests” Sunday, April 19th. It is going to feature “Avatar” actor Joel David Moore. I look forward to talking about his suggestion. If you want to see this review as soon as it drops, consider subscribing to my YouTube channel!

© Cool Girl Productions

My next review is going to be for “You’re Dating a Narcissist!” Stay tuned! Also coming soon, I will be sharing my thoughts on “The Super Mario Galaxy Movie,” “The Drama,” and “Exit 8.” 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 “They Will Kill You?” What did you think about it? Or, in the spirit of Tarantino, what is your favorite Quentin Tarantino movie? Let me know down below! Scene Before is your click to the flicks!

Send Help (2026): See This Thrilling Survival Flick One Way or Another

Posted on by Jack Drees

“Send Help” is directed by Sam Raimi (Spider-Man, Doctor Strange in the Multiverse of Madness) and stars Rachel McAdams (Mean Girls, Game Night), Dylan O’Brien (The Maze Runner, Teen Wolf), Edyll Ismail (La Brea, Ghosts), Xavier Samuel (Blonde, Tell Me Your Secrets), Chris Pang (As We See It, Blade of the 47 Ronin), and Dennis Haysbert (24, Now and Again). This film follows office employee Linda Liddle and her boss Bradley Preston as the two individuals, whose personalities and backgrounds could not be more different, do what they can to survive while stranded on an island.

Photo by 20th Century Studios/20TH CENTURY STUDIOS – © 2025 20th Century Studios. All Rights Reserved.

Sam Raimi is a director who defined my love for movies and the art of filmmaking. Raimi directed Tobey Maguire in three “Spider-Man” movies, a trilogy that defined my childhood. Since then, I have gone on to enjoy some of his other works including “Evil Dead,” “Army of Darkness,” “Oz the Great and Powerful,” and “Doctor Strange in the Multiverse of Madness.” Raimi is a master storyteller whether he is doing something original or working with popular IPs. If there was any reason for me to be excited for “Send Help,” he was it. Not to say that the film lacked talent in front of the camera, as the film starred Rachel McAdams, who recently worked with Raimi in “Multiverse of Madness.” Alongside her is Dylan O’Brien, who I have grown to appreciate with each role he’s taken through the years.

Having talented people on your project is a great start. Though that does not guarantee the movie will be good. For example, I love me some Wes Anderson. But his last couple movies have been a bit too off the rails for me. Hopefully, that would not be the case with Sam Raimi’s latest flick. Thankfully, “Send Help” brings out the best in its cast and crew in just about every regard.

Given his past work, some would say Sam Raimi is a master of horror. “Send Help,” while not Raimi’s scariest film, undoubtedly taps into his horrific tendencies when it comes to showing the brutality of a plane crash or the adrenaline rush of hunting in the woods. One of my favorite scenes of the film is a one on one between Linda Liddle and a boar. Despite her clear obsession with the outdoors and nature, the scene does a good job at showing she is still afraid of the near inevitability of doom while in an unfamiliar environment.

As a master of horror, Sam Raimi also manages to implement perhaps one of the scariest concepts of all time… Office culture. The concept is probably a pinch scarier knowing that a woman is the protagonist. While the film is set inside the office, we come to realize that employees are sometimes punished for having lunch at their desk, even if time does not allow them to have it elsewhere. For people like Linda, it is difficult to achieve career growth. Part of this is because the higher-ups tend to maintain a bro culture, one of whom happens to be Bradley Preston, the son of Linda’s former boss.

The script for “Send Help” starts off fantastic and only becomes more compelling by the second. It is full of twists and turns, each of which made sense despite some colossal shock value. Everything feels very contained. There are not many characters in the film, which works in its favor as it allows each individual to stand out. The movie perfects the chemistry between Linda and Bradley. They are finely tuned frenemies. Throughout the movie, we learn about these characters’ pasts and personalities. Both are well written, and when it comes to Linda Liddle in particular, it is the little things that stand out like her passion for “Survivor,” the fact that she has cats, or her karaoke song of choice being Blondie’s “One Way or Another.” Is this a “Mean Girls” easter egg? Perhaps. Regardless of the reason the song is in the movie, it works perfectly.

For the record, Sam Raimi did not write this movie. Screenwriting duo Mark Swift and Damian Shannon handled those duties. Their previous work does not boast high confidence as their resume includes “Freddy vs. Jason” and 2009’s “Friday the 13th,” neither of which got the best reviews. They also did the 2017 adaptation of “Baywatch” starring Dwayne Johnson, which is one of the movies ever. I am proud to say though, “Send Help” is probably going to put both of these gentlemen on the map for me. Though it is worth noting, their screenplay was likely enhanced by the directing talents of Sam Raimi, who has an eye for great shots, brilliant timing, and chilling scares. That said, there is that saying that one is only as good as their last project. Swift and Shannon are now on my radar because this is a twisty movie that had me hooked from the very beginning. Although the beginning is not all to rave about in this film. This film’s ending is not only mind-blowing, but it is something I will be thinking about for a very long time. I could not think of a cooler ending to a movie like this if I tried.

Once again, Rachel McAdams plays Linda Liddle, a dorky cat lady who spends her time off work watching “Survivor.” In fact, she was even passionate enough to audition for the show. Seeing her journey play out, most particularly when the movie passes its inciting incident is riveting as can be. If you are looking for incredible character development, then put this movie on the top of your must-see list. McAdams proves she has talent as this film’s lead.

“Send Help” does a great job at showcasing Dylan O’Brien’s chops. While he may not be the first actor that I would call a thespian, the film proves he has skills. Also, despite his tendency to come off as a jerk, O’Brien, and perhaps by extension, filmmaker Sam Raimi, does a spectacular job at making Bradley look like a jerk, but also likable enough from the audience’s point of view.

On the technical side, “Send Help” sings. Sam Raimi has had an extended career and it is not surprising to see him surround himself with a crew he’s trusted over the years. You have composer Danny Elfman who assembles a marvelous score. There is Bill Pope, who continues to prove he is one of the best cinematographers working today. Editor Bob Murawski puts together some clean, perfectly timed scenes, and his choices enhance the movie’s occasional attempts at humor that rely on visuals or sound. There is one scene involving a boar’s head that had me dying. No spoilers, and you might know this moment when you see it, this film contains one of my favorite cuts in recent memory, and it involves a golf ball. That is all I will say.

Photo by 20th Century Studios/20TH CENTURY STUDIOS – © 2025 20th Century Studios. All Rights Reserved.

In the end, “Send Help” is another excellent film given by the directing god known as Sam Raimi. I can see this movie having quite a bit of replay value down the line. I read that Sam Raimi fought Sony, who did not end up distributing the final project, to keep this film from going straight to streaming. I am so glad he did that, because this is a film I think is best experienced with a crowd. It is scary, it is fun, it is why people go to the movies. The film contains a plethora of exciting scenes helmed by a master of his craft. It showcases the talents of two well cast leads doing their best to deliver a satisfying experience. This film is “Cast Away” with just the smallest pinch of “Office Space.” The story sucked me as it started, and refused to let me leave as it ended. Check this movie out if you can. I am going to give “Send Help” an 8/10.

“Send Help” is now playing in theaters. Tickets are available now.

Thanks for reading this review! My next review is going to be for “The Bride!”. Stay tuned! Also, stay tuned for my thoughts on “Hoppers,” “Project Hail Mary,” and “Ready or Not 2: Here I Come.”

I am also pleased to announce some information about the ongoing film review series Movie Requests, which features special guests selecting films for me to review. The second episode, which will feature “Clerks” actor Jason Mewes, will be released Saturday, March 28th! If you want to see the episode as soon as it drops, subscribe to my YouTube channel! Also, if you have not done so already, be sure to check out the first episode of Movie Requests, featuring actress Bryce Dallas Howard.

If you want to see all 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 “Send Help?” What did you think about it? Or, what is your favorite Sam Raimi movie? Let me know down below! Scene Before is your click to the flicks!

All You Need Is Kill (2025): Groundhog Day – Anime Style!

Posted on by Jack Drees

“All You Need is Kill” is directed by Ken’ichirô Akimoto and co-directed by Yukinori Nakamura, making this their first official directing credits. This film stars Natsuki Nanae (Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train, Goodbye, Don Glees!), Ai Makami (Kokuho, Chastity High), Mô Chûgakusei, and Kana Hanazawa (Suzume, The Night is Short, Walk on Girl). This film is based on a light novel of the same name, which also inspired the 2014 live-action film “Edge of Tomorrow.” The film follows a young woman who has relive the same day over and over while dealing with an alien invasion. She crosses paths with a young man, and together, they fight to break the cycle.

I saw the trailer for “All You Need Is Kill” last month and was genuinely shocked I had not heard this movie was going to be coming out. Granted, I should not be too shocked, given how I have not read the light novel or the manga series. That said, I did recall the name “All You Need Is Kill” as soon as it popped up, and that is because I am a fan of “Edge of Tomorrow.” For those who do not know, “Edge of Tomorrow” is a film starring Tom Cruise as an American public relations officer who is forced into battle against aliens by his superiors. He quickly comes to realize that each time he dies, he reverts back to a specific point in his life that he has to relive over and over.

When I first saw “Edge of Tomorrow,” I thought of it as “Groundhog Day” with a sci-fi twist. While that is technically accurate, the film was actually inspired by “All You Need Is Kill,” which was written by a Japanese author and made with a Japanese mindset, so “Edge of Tomorrow” is in a sense, the Americanized version of “All You Need is Kill.”

…Although, now that I think about it… “Groundhog Day” did release before all of these… So, there is that.

As a fan of “Edge of Tomorrow,” I was looking forward to seeing what could be done with a movie that would likely end up feeling closer to the source material that inspired it. Now that I have seen “All You Need is Kill,” I have to say the film is quite solid. It is definitely worth watching if you are looking for a dazzling spectacle in addition to an admirable character piece.

While the characters in “All You Need Is Kill” are identical to those in the light novel, one difference that should be noted is that the roles in the story’s center are reversed. Instead of centering around Keiji, who this time around serves as a supporting character, the film’s protagonist is Rita. I have no problems with this change, mainly because I found both characters to be well written and each one seems to the serve the other in a way that benefits the story overall.

Both of these main characters have excellent chemistry and are not only fun to watch as a team, but it is nice to see how each character allows the other to realize what they are missing. One thing I noticed throughout the movie is Rita’s tendency to become overly emotional and cry on certain occasions. I have no idea how such a thing would play out for certain viewers, but I thought it was a great way to balance Rita out from Keiji, who tends to be a bit more reserved with his presence. By the end of the movie, this allows for some really good dialogue between the two.

I also really like seeing Rita learn how exactly her time loop works. Throughout the movie, we see Rita wake up in the same time and place, and do almost the exact same things each time, but she learns something during each go. She remembers what other characters say, whether they are directed specifically towards her or simply uttered in the background. Each time she dies, she tries a different move to avoid perishing, only to realize that she sometimes ends up doing so moments later in another way.

While the film is not a comedy, the constant cycle of death does allow for a funny moment or two. Every time Rita dies, she is reverted back to her bedroom where she is woken up by the sound of her alarm clock. When this happens, another character in the background yells from the other room, telling Rita her alarm is sounding off. At one point, Rita becomes so familiar with the same old song and dance that she tells the other character to shut up before they could finish reminding her about the alarm. Moments like that, and a couple others, did get a chuckle out of me.

The other standout to me in this film is the animation, which is almost ironic the more I think about it. Because this is a film where characters die on repeat, and yet, it is absolutely gorgeous and picturesque. The alien creatures in this film are presented in a vibrant color palette. They are incredibly easy on the eyes, almost to the point where it works in their favor. If I were in battle against them, I would be so distracted by their glitz to the point where I would die instantly. If you ever watch certain movies, you would notice that the villains would present themselves in a darker costume or a more “negative” color. Look at the “Star Wars” villains over the years like Darth Vader or Kylo Ren. This is not the case with “All You Need Is Kill.” While the aliens may look pretty, there is more to them than meets the eye.

This film is not even an hour and a half. Yet by no means is it rushed. I think the runtime is almost perfect given the story that has been told. I have no complaints about the pacing at all. In fact, it might be one of the best things about this film. It is, no pun intended, all killer, no filler. We come to realize the main character dies hundreds of times. The film does not show each death, but it makes time for ones that are arguably more important to the story and allow the final product to have a more compelling impact. The film gets to the point with each and every scene. Not every scene is presented in a TikTok-pace, but there are no moments that overly draw themselves out. This movie hits the Goldilocks zone in terms of engagement.

In the end, “All You Need Is Kill” is a fun movie. Rita and Keiji are an admirable duo and their journey throughout the film makes for quite the story. The animation is well done and emits a weird sense of peace in what is ultimately a dark world. The musical score in this film is also really good. I have no idea if I will listen to it down the line, but I dug it while watching the movie. Also, the soundwork is amazing. Every time the aliens make noise, it is not only easy on the ears, but also rather ominous. Technically, the film is a beast. I am going to give “All You Need Is Kill” a 7/10.

Again, I did not read the light novel, nor have I read the manga. The best comparison I have to this film is “Edge of Tomorrow.” In preparation for “All You Need Is Kill,” I rewatched “Edge of Tomorrow,” and I think both stories are equally engaging. The styles, while different, each serve their movie’s vibe perfectly. I think “Edge of Tomorrow” is an immersive ride that puts you in the middle of a futuristic war. Its darker color palette tends to serve its tone well. I also like William Cage as a character. That said, I also think “All You Need Is Kill” stands out for its more unique technical presentation and I find it to be the superior character piece. I am not saying one film trumps the other. If anything, both are great for their own reasons. I think certain things stand out in one film more than the other, but if it were a Friday night and I were to pick between either movie to watch, it would be like going to Ben & Jerry’s for ice cream and having to choose between Ameri’Cone Dream or chocolate chip cookie dough. Both choices, in the end, are winners, for their own reasons.

“All You Need Is Kill” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! My next reviews are going to be for “Song Sung Blue,” “Mercy,” and “Send Help.” Stay tuned!

Also, if you missed it, be sure to check out the teaser trailer for Celebrity Movie Requests, the all new series where I review movies requested by your favorite stars, coming to Scene Before, and my YouTube channel! And while you are here, please watch the trailer, give it a like, and subscribe to my YouTube channel, hit the notification bell, that way you are up to date on the latest info Celebrity Movie Requests has to offer! If you want to see all of this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “All You Need Is Kill?” What did you think about it? Have you read any of the prior source material? Is it good? And lastly, if you have seen “Edge of Tomorrow,” tell me your thoughts on that movie! Let me know down below! Scene Before is your click to the flicks!