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The Fall Guy (2024): David Leitch’s Love Letter to Stuntwork

Posted on by Jack Drees

“The Fall Guy” is directed by David Leitch (Bullet Train, Deadpool 2) and stars Ryan Gosling (Barbie, La La Land), Emily Blunt (Oppenheimer, Edge of Tomorrow), Aaron Taylor-Johnson (Godzilla, Bullet Train), Hannah Waddingham (Ted Lasso, Sex Education), Teresa Palmer (The Choice, Point Break), Stephanie Hsu (Everything Everywhere All at Once, Joy Ride), and Winston Duke (Us, Black Panther). This film is inspired by a 1980s TV series of the same name and centers around a Hollywood stuntman named Colt Seavers who is tasked with finding the missing star of a film directed by his ex.

July 21st, 2023 to me will forever be known as one of the biggest days in the history of moviegoing. You have two high profile films opening on the same day, “Barbie” and “Oppenheimer,” both of which have high anticipation and dedicated audiences. Both films ended up making tons of money overtime with “Barbie” becoming the biggest film of the year and “Oppenheimer” earning more at the box office than any other biographical film in history. Now, less than a year later, a couple of the stars from those competing movies join forces for “The Fall Guy,” a project I was curious about for some time. You have “Barbie’s” Ryan Gosling, who I’d argue gave the best supporting performance of the past year. And you have “Oppenheimer’s” Emily Blunt, who also stood out in her role.

This leads to my first positive of the film. Gosling and Blunt’s characters, Colt and Jody, are a match made in Heaven. And I am not necessarily talking about their attachment to each other, or much they like each other, or how good they look together.

Although to be real, they do look pretty freaking good together…

In fact, the movie makes it clear that these two are not always on the best terms. But what I mean is that these two, even in moments where they clearly are not supposed to align with each other, have undeniable chemistry. Honestly, it is some of the best chemistry I have seen in a big budget movie in a while. I am not going to pretend that either one of these actors are giving performances equal to their “Barbenheimer” outings, but when it comes to “The Fall Guy,” these two deliver stellar portrayals of their respective characters, and when they are on screen together, it is simply put, magical.

There are a lot of stories out there in the realm of movies where the people behind the projects are expressing their passion for the craft. Steven Spielberg’s “The Fabelmans” does a good job at tributing filmmakers trying to get into the industry. Damien Chazelle’s “La La Land” is a salute to the dreams of stars, including hopeful actors. I even thought Kevin Smith’s “Clerks III” was a great encapsulation of what it is like to make a passion project. What it is like to be an auteur. What it is like to take on such a monumental effort of a film without realizing what it is you’re getting into. Similarly, “The Fall Guy” is clearly a love letter to stuntwork. The movie itself is about a stuntman, has tons of stunts in it, and it is directed by someone who has a history of overseeing stunts in film. David Leitch has helmed some of the biggest action movies in recent years like “Deadpool 2” and “Fast & Furious Presents: Hobbs & Shaw.” Before that, he was responsible for stunts in “The Matrix Reloaded,” “Underworld: Evolution,” “300,” “Tron: Legacy,” and “Jupiter Ascending.” On paper, if anybody was qualified to direct “The Fall Guy,” it would be David Leitch. In execution, the results are fantastic.

“The Fall Guy” is packed with one thrilling action sequence after another. Whether it is a simple moment where you have characters on foot, a high speed chase through the city, or a so-called fight in an apartment, everything in this movie had me glued to the screen. Even the moments where we just watch Colt Seavers doing his job is engaging as heck. One of the best scenes of the movie is where we see his character repeatedly set on fire. Not only does it showcase the dangers of his job, but again, this movie is a love letter to stunts, and it also showcases what the people making our movies go through for our entertainment. This movie showcases that in a way that is informative while also doubling as a standout scene.

One thing I always noticed in David Leitch’s movies is that at some point, there will be at least one big A-List celebrity cameo. In “Hobbs & Shaw,” the movie seamlessly finds a way to have Kevin Hart and Ryan Reynolds pop up for a scene. During my initial watch of “Bullet Train,” I found myself delightfully shocked to see the latter of those two actors appear in that film for a hot second. Without giving much away, the last moments of “The Fall Guy” has a cameo from a celebrity that I am sure many of you reading this would probably know. As far as cameos go, it is probably one of my favorites in recent years. I burst into pure laughter when this person showed up. Regarding who that person is, I will just let you find out for yourself.

“The Fall Guy” is one of those movies that is clearly going after a wide audience. If it sticks the landing, that is of course, a big fat win. And thankfully, it does. Perhaps the biggest compliment I can give “The Fall Guy” is that the movie presented itself in such a way to the point where my mom ended up going to the theater to check it out. Turns out, she had a great time. She is not an action movie person. But I must say that if you do not like action movies and are hesitating on checking this film out, I would hold those hesitations at the door and give the movie a shot anyway. Because this film is more than just action. It also does well in the humor department. I found myself laughing quite a bit. I also would say the film works well as a romance story. It does not feel overly cheesy, and as mentioned, I like the two leads enough to the point where I would not mind seeing them together in a relationship. With “The Fall Guy” going after a multitude of demographics, perhaps even the “Swiftie” crowd at one point, it is arguable that there is some noticeable potential for disappointment because of how many things the movie tries to shove in a single package. But somehow, everything flows naturally.

“The Fall Guy” is probably not going to win any Oscars. Not only because there is no such thing as a Best Stunts category. By the way, I was not surprised that the movie found a way to note this fact in the script. But on top of that, I would imagine “The Fall Guy” is not the kind of movie the Academy would hail as one of the year’s best. It could pick up a technical nomination or two. But I doubt it is going to get much more than that. But this is the kind of movie that I think is best watched with a group of people. The film is now available to stream at home, so you could gather some friends and watch it at your place. But if you want my recommendation, if “The Fall Guy” is playing in a theater near you, go see it there. The action is worth seeing on the big screen. The sound is incredible. And it is undoubtedly an immersive experience. Nothing beats watching Ryan Gosling speed through the city in a car with a dog who only understands commands in French. And it is even better on the big screen.

In the end, “The Fall Guy” is a rare flick that has something for everyone, and also one where those somethings exceed the bare minimum. “The Fall Guy” is a movie that I would honestly recommend to just about anyone looking for something to watch because if you are not an action junkie, I think this is nevertheless a fairly accessible title. It’s got comedy. It’s got romance. It’s got drama. It’s got all you can want in a movie. As far as mainstream titles go, this should have done a lot better at the box office than it did. Ryan Gosling and Emily Blunt are excellent in the film. As for other standouts in the cast, I really enjoyed Hannah Waddingham as Gail, a producer on Jody’s film. If you do watch “The Fall Guy,” please stick around for the credits. There are some cool behind the scenes moments you might not want to miss. I am going to give “The Fall Guy” an 8/10.

“The Fall Guy” is now playing in theaters and is available to rent or buy on VOD.

Thanks for reading this review! Coming soon, I will have reviews for “Tarot,” “IF,” “The Garfield Movie,” “I Saw the TV Glow,” “Back to Black,” and “Summer Camp.” 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 Fall Guy?” What did you think about it? Or, if you could take one star from “Barbie” and one star from “Oppenheimer” and put them in a movie together? Which ones would you want and what would the movie be about? For me, I’d love to see Simu Liu and Florence Pugh do a movie together where they play love interests. I think they’d have good chemistry. Let me know your selections down below! Scene Before is your click to the flicks!

Abigail (2024): Another Epic Win for the Directing Team Behind Ready or Not

Posted on by Jack Drees

“Abigail” is directed by Matt Bettinelli-Olpin and Tyler Gillet, the same directing team behind the last two “Scream” films and “Ready or Not.” The film stars Melissa Barrera (Scream, Vida), Dan Stevens (Night at the Museum: Secret of the Tomb, Godzilla x Kong: The New Empire), Kathryn Newton (Blockers, Lisa Frankenstein), Will Catlett (Love Is, Black Lightning), Kevin Durand (The Strain, Dark Angel), Angus Cloud (Euphoria, Your Lucky Day), Alisha Weir (Matilda the Musical, Fia’s Fairies), and Giancarlo Esposito (Maze Runner: The Scorch Trials, Breaking Bad). This film is mostly set in a house where a group of criminals who kidnapped the ballerina daughter of a powerful underworld figure come to the realization that there is more to this girl than meets the eye.

Before we begin this review, I want to remind everyone that if I had to name a favorite horror movie of the past five years, chances are my answer would be “Ready or Not,” helmed by this film’s directing duo, Matt Bettinelli-Olpin and Tyler Gillet. What made the film work for me is that in addition to all of the blood, gore, and occasional violence, there was a sense of unease in every scene. And part of it is because of how the script tends to handle Samara Weaving’s character, Grace. Because her situation makes her the outlier amongst a sea of rich, snobby monsters. Specifically, the one where she must win a game of hide and seek to avoid getting killed by recently mentioned rich, snobby monsters.

This time around, Bettinelli-Olpin and Gillet are helming a story that comes off as an antithesis of sorts to the “Ready or Not” structure. But it does not mean there are not similarities between the two titles. For one thing, both movies slap. Truthfully, “Abigail” might end up being one of my favorite movies this year. I can say this is some of the most fun I have had at the movies in months. If you are looking for something that will make you laugh, grab your attention, and question everything that is going on, “Abigail” might be a great watch for you.

What makes “Abigail” different from “Ready or Not?” For one thing, whereas “Ready or Not” is a tale of one against many, “Abigail” is a tale of many against one. Also, in “Abigail,” we tend to know more about our protagonists’ history of rebelling and breaking the law. “Ready or Not’s” Grace, as far as the movie can suggest, does not really have much of a criminal history. It is never highlighted, therefore I would have to assume if she did have one, it is not that heavy or important. In other words, Grace seems like a good egg. Much of the movie dives into these characters’ backstories and I would have to say the way they go about it had me engaged. Sometimes, the movie lingers too long on the backstories, in fact, it almost lingers long enough that at times, it had me wondering when exactly the movie is going to get into gear, but it does not change my overall attachment to the characters themselves.

By the way, the cast for this film is quite good. The film is marvelously led by Melissa Barrera, who kills it as the character of Joey. Alongside her, you of course have Kathryn Newton, who is becoming a bit of scream queen now with this movie on her resume in addition to “Lisa Frankenstein” and “Freaky,” both of which I enjoyed. There’s Giancarlo Esposito, who I’ve particularly enjoyed in “The Mandalorian.” I am glad to see him here. This movie is also likely going to introduce a fresh young talent to the world, Alisha Weir.

While she does not have a ton of credits just yet, I have a strong feeling that her performance in “Abigail” as the title character is going to change that. Weir plays a centuries old vampire who takes the form of a 12 year old girl. Oh, and she’s also a ballerina, because why not?… I love this movie. This role gives Weir plenty to bring to the table in terms of her delivery and her physicality. There is always this sense of unpredictability when watching this character. You just never know what she is going to say, what she is going to do, who exactly she is going to kill. Abigail is a beautifully unhinged mastermind of a 12 year old girl. While M3gan is probably going to end up being the more popular “dancing horror villain” by the end of this decade, I think I have a greater fondness for the Abigail character for how much the movie successfully handles its cute but not cuddly approach with her.

Of course, this movie is bloody and gory to the tenth degree. That should not come as much of a surprise. But even with that in mind, part of me could not believe just how much blood and gore this movie delivered at times. But again, I should have seen this coming from the team who did “Ready or Not.” A movie featuring some of the bloodiest explosions of all time. The movie just gets more beautifully disgusting as it goes, then when it hits the climax, oh boy, is it glorious! And much like this duo’s 2019 masterpiece, this film successfully blends horror and comedy to a perfect degree. This movie is scary. Not quite as scary as “Ready or Not,” I would say the terror itself is a bit on the lighter side in certain moments. But the movie is also very clever on the jokes. There are times where I found myself laughing hard. You could almost put this horror movie in a camp category. But the reality is that as I watched this film, every moment felt like it belonged in a story of its kind. There are campy, abnormal moments. But even those felt like moments that I could buy into. This movie made me convinced that in its world, a ballerina vampire like Abigail could exist. The movie clearly plays her up, gives her some over the top lines and exchanges with her fellow castmates, but for some reason, all of it clicks.

If you saw the trailer for “Abigail” and thought that maybe they should have saved the big hook regarding the title character for the movie itself, I kind of get where you are coming from, but as far as I am concerned, that is sort of what sold me from the start. As far as WHAT THEY DO with that hook, I can tell you it makes the movie worth your time and money. I had a great time with this movie, and if you like blood and gore, I am certain you will too.

In the end, “Abigail” is a ton of fun. It kind of takes me back to 2022, because in that year, I just so happened to stumble upon one great horror film after another. From “The Black Phone” to “Smile” to “Pearl.” “Abigail” is on that level for me. After seeing two bloody fantastic original horror titles from Bettinelli-Olpin and Gillet, it only makes more excited for what other tricks they have up their sleeve. Between a newlywed playing hide and seek against her in-laws who are part of a so-called gaming dominion and now a bunch of criminals trying to keep a ballerina vampire at bay, these two are onto something with taking crazy concepts and unleashing their best possible outcome. After seeing “Ready or Not” and now “Abigail,” maybe I will go back and give their “Scream” movies a shot. Who knows? I am going to give “Abigail” an 8/10.

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

Thanks for reading this review! My next review is going to be for “Civil War,” which so far, is one of the year’s most talked about films. Why not have one more voice in the conversation? Also, stay tuned for my reviews for “Boy Kills World,” “Challengers,” “The Fall Guy,” “Tarot,” and “IF.” 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 “Abigail?” What did you think about it? Or, did you see “Ready or Not?” If not, what are you doing with your life? Let me know your thoughts on the movie if you have seen it down below! Scene Before is your click to the flicks!

Monkey Man (2024): Not Quite Bananas Enough for This Guy

Posted on by Jack Drees

“Monkey Man” is directed by Dev Patel (Slumdog Millionaire, The Best Exotic Marigold Hotel) who also stars in the film as Kid. The film’s cast also features Sharlto Copley (Hardcore Henry, Maleficent), Pitobash (I Am Kalam, Shor in the City), Vipin Sharma (Taare Zameen Par, Paatal Lok), Sikander Kher (Woodstock Villa, Players), Adithi Kalkunte (Mumbai Diaries, Hotel Mumbai), Sobhita Dhulipala (Made in Heaven, The Night Manger), Ashwini Kalsekar (Jodha Akbar, Kasamh Se), Makarand Deshpande (Dandupalya, Hanan), Jatin Malik, and Zakir Hussain (Heat and Dust, Saaz). This film is about a man who tries to achieve revenge against corrupt leaders who killed his mother and continue to victimize people beneath them.

I first heard about “Monkey Man” just a couple months before its release. What made me really excited for this film is the people behind it. I cannot pretend I know every single name attached to this film, including the incredibly stacked cast I just mentioned in the beginning. But I have a soft spot for Dev Patel as a performer. One of my favorite films of the late 2000s is “Slumdog Millionaire,” where he plays the gripping lead role of Jamal. I believed every second of his performance. I think he is a remarkable talent. Behind the scenes, I did not know what to expect, but I know Patel has plenty of experience in the industry in general, so maybe that could translate to a solid directorial effort with this movie. Prior to releasing this film, he directed two shorts, neither of which I have seen, making “Monkey Man” his feature-length debut. We all have to start somewhere, so maybe I could trust Patel.

That said, I know one guy who probably does trust Patel, and that is none other than “Get Out” director Jordan Peele. The film was originally slated to release on Netflix. But with Peele’s motivation to promote the film and put it under his Monkeypaw Productions label, the film ended up going to theaters. Was the switch worth it? Judging by this movie’s wild action scenes, admirable setpieces, and compelling drama, I would say to some degree you could say it was. But I also feel like there is something missing.

I am not going to lie, this movie bored me in the first half. It took me forever to become totally engaged with what I was watching, which sucks because I like Dev Patel as the lead role and he is clearly pouring his heart and soul into this project. Said heart and soul is most certainly shown in the film’s latter half, which I found more exciting. This movie does have some hypnotizing fight scenes. There is one action sequence in a kitchen that is just as riveting as the trailer promised. And it is held together beautifully by Patel’s sensation of a lead performance. I have not seen all of his work, but this makes me want to go back and watch more of it. His portrayal of Kid very much delivers an attractive roughness to it that feels akin to listening to a hard rock or heavy metal song.

I am not going to pretend every action scene was a standout, but in terms of immersion, the movie sometimes does a good job at putting you in the middle of everything. And I say that despite this movie’s use of shaky cam, which I can find to be a bit of a gimmick. When it comes to my action movies, I will usually prefer them to have more still shots like in “John Wick,” but this movie’s use of shaky was honestly not the worst I have seen. Again, going back to the scene in the kitchen, I honestly felt like I was watching something out of “Tenet,” but with a different kind of intensity. I was waiting for Dev Patel to say “I ordered my hot sauce an hour ago.”

“Monkey Man” is one of the harder movies I had to judge. Partially because I am not of the majority when it comes to my opinion. Both the critic and audience scores are sitting in the 80s on Rotten Tomatoes as of writing this. I am not saying the movie is outright horrible, but the best phrase that I can use to describe this movie is that it is “beautifully forgettable.” The camerawork is not perfect, but a lot of the scenery pops. The shot of Dev Patel inside the open elevator is going to continue to be ingrained in my memory for some time. The color grading is splendidly rugged. The action definitely has its moments. Every actor comes off as if they are giving a hundred and ten percent. Dev Patel is clearly firing on all cylinders in front of and behind the camera. Having seen his efforts here, I hope he continues directing. I also hope he continues writing. Is this the best start for Patel? I would not say that. But his style and approach to filmmaking is one I would like to continue to explore should he decide to helm another project in the future.

In a world of sequels, reboots, and remakes, it is nice to see movies like this where people have a singular vision. Granted, I am not denying there are lots of original movies being made. But even with that in mind, it is cool to see something like this on the big screen. Even if there are familiar elements or beats that I recognize from other movies, the way some of those elements are handled here feel unique to some degree.

While this movie has its differences from “John Wick,” most notably the way action scenes are shot, there are some similarities to point out as well. Both films are quite violent. This movie takes it up to an 11 sometimes. But one of the problems I have with “John Wick” is that sometimes the plot takes a bit of a backseat. I feel the same can be said for “Monkey Man,” which has a good idea for a story, and there are parts of it I liked. At the same time, if that first half were just slightly more interesting, maybe this movie would earn a better score. I did not find myself clicking with every character or situation in the way I wanted to. When I look at “Monkey Man,” I seem to carry a deeper fascination with the lore as opposed to the story itself if that makes any sense. But for me, I am probably looking for a little bit more to satisfy my appetite than what I got here.

In the end, “Monkey Man” is not a movie I would watch a second time. It is not even one I particularly would give a thumbs up to. But weirdly enough, I am glad I saw it simply because I think Dev Patel has potential as a feature film director. There are parts of this movie that work. If you are looking for good action scenes and that is all you want, then maybe this would be a movie for you. But for whatever reason, it was not for me. My one hope is that if Dev Patel has a writing credit next time around, which in this case he shares with a couple other people, it is for a script that is more engaging than what we got here. That said, having seen this movie, I can say that if I read some of these ideas on paper, I would be sold in an instant. But I think when it comes to bringing those ideas to the screen, that is a different story. Maybe I would watch it again as background noise. Maybe I’ll look up one of the action scenes on YouTube. But I cannot say I am going to actively seek this movie to watch on a Friday night when I have nothing else to do. I am going to give “Monkey Man” a 5/10.

“Monkey Man” is now playing in theaters. It is also available to rent or buy on VOD.

Thanks for reading this review! My next review is going to be for the brand new horror movie “Abigail.” I have been DYING to talk about this flick for a long time. I saw it last month, and could not stop thinking about it since. Look forward to my thoughts coming soon. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Monkey Man?” What did you think about it? Or, what is your favorite Dev Patel performance? Let me know down below! Scene Before is your click to the flicks!

Kung Fu Panda 4 (2024): Jack Black Does His Best in a Bland Fourth Installment to One of DreamWorks Animation’s Finest Franchises

Posted on by Jack Drees

“Kung Fu Panda 4” is directed by Mike Mitchell (Trolls, The LEGO Movie 2: The Second Part) and Stephanie Stine (Raya and the Last Dragon, How to Train Your Dragon: The Hidden World) and stars Jack Black (The Super Mario Bros. Movie, School of Rock), Awkwafina (Renfield, Migration), Bryan Cranston (Godzilla, Malcom in the Middle), James Hong (Everything Everywhere All at Once, Mulan), Ian McShane (John Wick, Pirates of the Caribbean: On Stranger Tides), Ke Huy Quan (Everything Everywhere All at Once, Indiana Jones and the Temple of Doom), Dustin Hoffman (Kramer vs. Kramer, Rain Man), and Viola Davis (Suicide Squad, Fences). This fourth installment to the “Kung Fu Panda” franchise centers around Po, who must become the Spiritual Leader and seek the next Dragon Warrior. As he deals with this new curveball in his life and finds himself in kahoots with a grey fox, Po must also keep the evil Chameleon from bringing back his past foes from the spirit realm.

One of the reasons why I am such a movie nut is because ever since kindergarten, I had a television in my bedroom. Therefore, almost every night, I would put a movie on the television. Around third and fourth grade, one of the movies I would loop on my DVD player is “Kung Fu Panda.” And I mean it when I say loop. One of the things I noticed early on about that DVD is that unlike many others I owned, it automatically starts the movie after a short period of inactivity. So when I would fall asleep to it, I would eventually wake up and find myself watching another scene from the film. It was like playing movie roulette. Safe to say, I watched “Kung Fu Panda” a buttload of times as a kid. And I must also note that the second film, which I watched a few years later, is on the same level as the original for me. To be frank, based on a recent rewatch of all three films, I think the second one might be my favorite. The third one’s not bad, but it has its fair share of weaknesses. It leans more heavily towards a comedic route whereas the other two tend to keep comedy and drama slightly more balanced. Although that is kind of funny to say because if I had to choose a movie I think is the funniest of the three, my mind directs itself to “Kung Fu Panda 2.” Guess it goes to show how much I liked it.

When they announced a “Kung Fu Panda 4,” I did not think it was as odd of an idea as say, a “Toy Story 4” when they announced that. That said, when they announced a “Toy Story 4,” I was not prepared for how much I would end up enjoying it. Even though “Kung Fu Panda 3” is the weakest of the previous installments, I thought it did an okay job tying things up in a bow and sending off our characters with grace. But now, apparently, there is more material to unravel. If “Toy Story 4” could work, there is always a chance that “Kung Fu Panda 4” could work as well.

What did I think of this new “Kung Fu Panda” installment? Much like the “Toy Story” movies, I can claim “Kung Fu Panda” is 4 for 4. All the movies released in this franchise are good. Unfortunately, also like “Toy Story,” this fourth installment is the worst of the quadrilogy.

That said, there is one noticeable positive consistency between this film and its predecessors, and that is Jack Black as Po. Obviously, having done the amount of material he’s done in the past, Black has the Po character down to a bit of a science. When it comes to “celebrity” voice actors, I think Black is one of the most talented working today. He is dynamic, upbeat, and always in the moment. He spews every line like he knows there is no tomorrow. There is always a sense of passion with his delivery. As I will highlight in this review, this movie does not have the best storytelling or writing. But Black makes the most of what’s in front of him.

While the main storyline with Po definitely has its moments, one of the most noticeable problems of “Kung Fu Panda 4” is a subplot between the two dads. You have Po’s biological father, Li (Cranston) and his adoptive father, Mr. Ping (Hong) getting into an adventure of their own. Something I have come across a lot through this movie and my recent rewatch of the other three is that these films tend to highlight lessons and experience that can tie to parenting. This one is no exception. An enormous heartbeat that drives the subplot involving these two fathers are their worries for their son. While something like this may come off as relatable to an older audience, perhaps a select few adults who saw these movies as kids and passing the torch to the next generation, it is the weakest part of the film.

In fact, the balance of comedy and drama is not the only thing that seems to be missing in this film. You know who is also missing? The Furious Five. Now, the film does establish they are missing for a reason. They are off on other missions. But a huge part of the “Kung Fu Panda” franchise is seeing Po interact with these five warriors. Unfortunately, co-director Stephanie Stine said on a Discord Q&A they were not in the movie due to the costs of the original actors. I missed them throughout this film, they have great chemistry together.

Instead, the closest thing we get to a side warrior in this film is Awkwafina as Zhen. I will give this character one thing over the Furious Five. Unlike the Furious Five, this new character is not just named after its respective animal. Imagine if I had a kid one day and I named it “Human.” That’s a choice if there ever was one. Moving onto more important characteristics, I will also note that this character very much represents someone who has seen a lot through urban life. Yes, we have seen Gongmen City in “Kung Fu Panda 2,” but “Kung Fu Panda 4” introduces a different kind of city in Juniper City. The first connection I can immediately make with this city with something in our lives is New York, particularly Manhattan. Everyone’s on the move, it’s crowded, and the film goes on with the fitting notion that you cannot trust everyone.

As for Awkwafina’s performance in the film, I had similar feelings regarding it to how I felt watching her performance in “Migration.” I was pleasantly surprised with it. Unlike “Migration,” Awkwafina plays a much more central character this time around so we see much more of her, but I was delighted to have my expectations exceeded. Her performance is definitely enhanced by some okay writing and layered storytelling. Again, compared to the other installments, the story and writing is not as good. But Zhen’s character is one of the script’s highlights. I was kind of worried that she was going to be an annoying sidekick who would get my nerves real fast. And while she is far from the franchise’s best character, the way she is handled in this movie gets my approval.

As of now, “Kung Fu Panda” is a multigenerational franchise. There are a fair share of gen y and z individuals who likely found themselves invested in some crevice of the property at least once when they were kids. Some of those people probably know or have children of their own now that they can share this movie with. Additionally, they made a television series on Netflix called “The Dragon Knight” that some younger viewers likely watched, so the age range this movie is targeting is slightly diverse. As someone who was introduced to the first movie by watching it at the IMAX at eight years old, I have a bit of a nostalgic connection to this property. And a big selling point of this movie is the nostalgia factor. Not just having heroic faces like Po and Shifu back, but also having the franchise’s villains return as well.

…Kind of.

As mentioned earlier, this movie features the Chameleon (Davis), who can turn into other beings, including Po’s old enemies. This means we see the return of Tai Lung (McShane), even if it is some grade B variant of the character because this Tai Lung does not necessarily come with the same depth as the one we saw in the original film. Not that I’m saying this character’s depth is supposed to be exactly the same. The chameleon is the main antagonist this time around. This story is more about her. That said, I liked her motivation to copy as many kung fu masters’ abilities as she can. On paper, it sounds enticing. Voice-wise, Viola Davis was a decent pick to voice the character. She does a good job with the role.

That said, it is nice to see McShane come back to voice Tai Lung, especially when this movie features other characters from the franchise’s past, both heroic and villainous, and we don’t even get a line out of them. We also see Lord Shen and Kai, the villains of “2” and “3” respectively. But they don’t make much of a contribution to the final product. They’re just there. This movie runs at a tight 94 minutes, which is consistent with the previous installments, and the runtime of DreamWorks Animations in general. I know there appears to be a formula to making these movies, but I would not mind them expanding the runtime just a tad to get a little more out of the other movies’ villains, especially when we see as much of Tai Lung as we do. For all I know, their respective actors said “no,” were busy, or they were never in the plan to begin with. But this could have been the “Spider-Man: No Way Home” of the “Kung Fu Panda” franchise where we get an epic return of the franchise’s villains. Maybe that was the plan all along, it did not fall into place, and the crew had to work with what they had. They had to work with no Furious Five, and a couple of wasted villain cameos. At a certain point it could have been too little too late. Is the movie still watchable with the material we have? Sure. But it could be better.

Much like “Kung Fu Panda 3,” the humor seems to be mile a minute. Unfortunately, the jokes are not enough to save the movie. The problem with having quite a bit of jokes is that not all of them are going to hit. They are quite off and on. There are a fair few that land, but there are also many that don’t. The jokes that miss in this film are by no means the worst I have ever heard. I was never offended. They just didn’t work for me. Despite the movie’s flaws, tonal differences from its predecessors, and lack of Furious Five, I am still glad I saw it. I had a good time with what was given to me. But I will not deny that unlike the franchise’s previous weakest link, “Kung Fu Panda 3,” which I had an urge to watch a second time as soon as I left, I do not think “Kung Fu Panda 4” sits in the same camp. That said, give it a shot and see what you think. For all I know, it may be a better experience for you.

In the end, “Kung Fu Panda 4” is a fun movie, albeit a slightly forgettable one. This movie comes with the pros of its predecessors from a polished animation style, flashy action sequences, a great score composed Hans Zimmer and for the first time in this franchise, Steve Mazzaro. To top it off, the movie delivers a spectacular voice performance Jack Black. Having seen this movie though, I do not know if I want to see a fifth installment. That said, if another “Kung Fu Panda” gets made, I hope that they can bring back some of the dramatic flair of the original two movies. I do not mind humor. I am not saying “Kung Fu Panda” should not be funny. If anything, it is a franchise that lends itself to comedy. I just wish the jokes we got were better. Also, between a continuously likable protagonist with Po, an okay supporting character with Awkwafina’s Zhen, and a somewhat well realized, but noticeably gimmicky antagonist with the Chameleon, the characters serve the story sufficiently enough for it to be halfway decent. “Kung Fu Panda 4” is a chance to introduce the franchise to a new generation. But I think a better way would be to put on one of the first two movies. But that’s just me. I am going to give “Kung Fu Panda 4” a 6/10.

“Kung Fu Panda 4” is now playing in theaters everywhere. Tickets are available now.

Thanks for reading this review! If you want to see more reviews, you’re in luck! Stay tuned for my thoughts on “Ghostbusters: Frozen Empire,” “Snack Shack,” “Godzilla x Kong: The New Empire,” and “Monkey Man.” 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 “Kung Fu Panda 4?” What did you think about it? Or, did you see the other “Kung Fu Panda” movies? Tell me your thoughts on them! Let me know down below! Scene Before is your click to the flicks!

Drive-Away Dolls (2024): Margaret Qualley and Geraldine Viswanathan Sparkle in a Quickly Paced, Splendidly Realized Thriller

Posted on by Jack Drees

“Drive-Away Dolls” is directed by Ethan Coen (The Big Lebowski, No Country for Old Men) and stars Margaret Qualley (Once Upon a Time in Hollywood, Fosse/Verdon), Geraldine Viswanathan (Blockers, Miracle Workers) Beanie Feldstein (Booksmart, Neighbors 2: Sorority Rising), Colman Domingo (Ma Rainey’s Black Bottom, Rustin), Pedro Pascal (The Mandalorian, The Last of Us), Bill Camp (The Queen’s Gambit, The Night of), and Matt Damon (Oppenheimer, The Martian). This film centers around two women who find themselves intertwined with crime-riddled shenanigans during their last minute road trip to Tallahassee, Florida.

So far, February has not been kind to yours truly. At least in terms of the movies we are getting. Shoutout to “Madame Web” for literally slapping me across the face, kicking me in the shin, and gouging out my eyeballs. Then again, it’s February. I should not be surprised that we are getting some underwhelming sacks of crap. But even over the past decade there is often at least one film in February that not only stands out, but ends up being a contender for best film of the year. In 2014 there was “The LEGO Movie.” In 2016 there was “Deadpool.” In 2019 there was “How to Train Your Dragon: The Hidden World.” But in this instance, it seems that February is back to its usual shenanigans of destroying any chances of good times at the movies unless the movie you’re seeing came out in the previous year.

Well, “Dune Part Two” happened, but that’s another story for another time.

Speaking of “Dune Part Two,” I have to say of all the movies coming out in February this year, “Drive-Away Dolls” takes my second place position for my most anticipated title of the month. That is one spot below “Dune Part Two,” so at least I had something to look forward to the week before that one came out.

And thankfully, I would have to say “Drive-Away Dolls” is a delight. It contains two likable leads, a well-rounded supporting cast, and plenty of intriguing moments that are accentuated by good characters. Many of the film’s wins perhaps would not be possible if it were not for Ethan Coen’s vision. I have not seen all of the Coen Brothers’ movies, regardless if they are solo or together. That said, this one works because it successfully delivers a big bang in such a short runtime. The scenes fly by partially because of fast-paced dialogue and fairly tight editing. There are moments to breathe, but I will not deny that the movie gives quite a bit in just 84 minutes including credits.

Technically speaking, this is one of the most vibrant films I have watched in recent memory. This film is colorful, bright, and polished. One film I watched earlier this month was “Lisa Frankenstein,” and in that review I say the film “looks like something from another world.” When I look back at that movie and compare it to “Drive-Away Dolls,” they sometimes feel similar from a looks perspective. Both offer spectacular lighting that offers a bit of variety from scene to scene. Some of the costumes in both projects stand out. And there are moments where even the sets are easy on the eyes. There is a particular hotel in “Drive-Away Dolls” that not only looks exquisite, but beautifully fits the tone of the movie. Every moment we spend in this hotel with our two leads is worthwhile.

Speaking of the two leads, not only do Margaret Qualley and Geraldine Viswanathan give solid performances that allow the duo to be as dynamic as possible, but I cannot see anyone else playing them. I have respect for both of these actresses. I have not had a ton of experience with Margaret Qualley, but I thought she shined like the sun in “Once Upon a Time in Hollywood,” one of my favorite Quentin Tarantino flicks. I noticed some of her mannerisms from that movie seem to make their way into her role of Jamie as well. And while I would not specifically call “Drive-Away Dolls” a comedy per se, there are plenty of comedic elements. There is a natural goofiness, if that is even the correct term to use, to the main duo that is incredibly palpable. The movie does a good job at fleshing this duo out and authenticating them. They feel like they belong in a world like the one this movie presents.

And of course, Geraldine Viswanathan plays the other leading lady, Marian. Sticking with the comedy aspect, I think Viswanathan also does a good job at playing up some of the more comedic parts of the film. I should not be surprised though given her background. She was in one of my favorite comedies of 2018, “Blockers.” She was also a regular in TBS’s “Miracle Workers,” which is a fantastic show. Viswanathan is a natural when it comes to matching her personality with the movie’s tone.

But just because there are comedic moments in the film, does not mean the it refuses to get serious for a moment or two. Multiple tones intertwine beautifully and in no way feel inconsistent. That said, knowing what this movie is about, how the events progress, and the way everything unfolds, of course comedy is to be expected out of something like this. I do not want to give any spoilers as to certain things that happen in the movie as the marketing shrouds some things in secrecy and I was admittedly surprised when certain things come up, but this movie gets wild.

On top of Qualley and Viswanathan, you have an amazing group of supporting actors. Need any more proof this film scores big in the comedy department? Watch Beanie Feldstein play Sukie the cop. Perfect is a word I wish to use sparingly in life, but Feldstein’s performance comes close to perfection. Bill Camp as Curlie has a notable presence throughout the picture. And Matt Damon easily makes the most of his screen time. Similarly, I think I made the most of my time watching this film. I would give it a thumbs up.

In the end, “Drive-Away Dolls” is quite good! In fact, sometimes, it delivers a flair only a movie of its kind can bring to the table. Great acting. Great directing. Eye-popping aesthetics. What more could you want? “Drive-Away Dolls” is not the most surprising movie of all time, and when it comes to quality I have to admit there are better movies from the Coens, not to mention in general, but if you want a good movie that could make for a decent one time watch, “Drive-Away Dolls” is an entertaining ride. I am going to give “Drive-Away Dolls” a 7/10.

“Drive-Away Dolls” is now available to rent or buy on VOD.

Thanks for reading this review! If you liked this review, I have more coming! Stay tuned for my thoughts on “Bob Marley: One Love,” “Dune Part Two,” “High Tide,” “Kung Fu Panda 4,” and “Ghostbusters: Frozen Empire.” 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 “Drive-Away Dolls?” What did you think about it? Or, what are some good road trip movies that come to mind? Let me know down below! Scene Before is your click to the flicks!

Lisa Frankenstein (2024): Kathryn Newton Shines in a Forgettable John Hughes-Esque Coming of Age Story with an Edge

Posted on by Jack Drees

“Lisa Frankenstein” is directed by Zelda Williams and this is her feature-length debut. The film stars Kathryn Newton (Ant-Man and the Wasp: Quantumania, Blockers), Cole Sprouse (Five Feet Apart, Riverdale), Liza Soberano (Trese, Make It with You), Henry Eikenberry (Euphoria, The Crowded Room), Joe Chrest (Stranger Things, 21 Jump Street), and Carla Gugino (Night at the Museum, Spy Kids). This film is a coming of age story showing the love connection between a young girl and a corpse who returns from the dead.

When it comes to the February 2024 cinematic lineup, “Lisa Frankenstein” is one of those films that had my attention from the moment I heard about it. While it did not look like the next big thing, the marketing showcased plenty to savor. For starters, the idea is kind of clever. I like the concept on the surface. The vibe the film seems to be going for definitely screamed kooky, but with a pinch of romance. This film was set to release the week before Valentine’s day making it an appropriate watch for such a time.

You also have a writer like Diablo Cody behind the scenes, who has not only written films I have enjoyed in the past like “Tully” and “Juno,” but she also has horror experience with “Jennifer’s Body.” I have only seen a bit of the film, but I didn’t dislike what I saw. I think it would be unfair of me to give a score on “Jennifer’s Body” without having seen the whole thing. That said, I recognize it is not Shakespeare.

This film is also the directorial debut of Zelda Williams, a name that I knew for years thanks to the Internet. But for those who do not know who Zelda Williams is, she is Robin Williams’s daughter. Yes, that one. I am not always the biggest supporter of nepotism, and I say that knowing that the film industry is sometimes notorious for it. But I was curious to see if Williams had a knack for this kind of work. While doing research for this review, I found out Williams has a history of making music videos, so she is not new to this industry. And having seen “Lisa Frankenstein,” that makes complete sense. Everything in this film is nicely framed and looks like something from another world. The lighting throughout the film comes in quite a variety. It’s also easy on the eyes. The color grading has this weird pixelated-like gloss to it that I found rather appealing. When it comes to this film’s aesthetic, it is a job well done. At times it felt intimate. At others it felt roomy. At others it feels downright fantastical. I am not sure if this is a proper tech demo movie for say a big screen TV, but maybe it will be serviceable for a 32 inch model.

Unfortunately though, the movie is almost all looks, with little personality. The script has a couple decent lines, but the vibe delivered between said lines feels inconsistent. I understand that this is a movie that blends the reality of the 1980s with the fantasy of a man coming back to life. But it is not enough to make a decent package. If anything, this film feels more like a mish mash than a proper horror comedy at times. It doesn’t really know what it wants to be. Now I say that knowing that we have gotten a decent number of movies over the years that combine genres. “Everything Everywhere All at Once” is a proper example. But I also recognize that I would probably not have this complaint if there were anything that would make those genre increments stand out. Sure, this movie has a bit of a throwback feel to 1980s John Hughes coming of age movies like “Weird Science” or “Pretty in Pink,” but it is not as good as those. If I watch “Lisa Frankenstein” again, there is less of a chance that I would finish the film and say “That was fun, another round,” compared to me going “You know what’s a good watch right now? A John Hughes movie.”

Kathryn Newton does an excellent job playing a somewhat twisted, but also kind of innocent lead role. There are a lot of layers to unpack with this character as the movie goes along and while I am not sure what roles Newton will take following this picture, this film goes to showcase her range. She can be dark, she can be down to earth, she can be otherworldly. She can do it all. Going back to the film’s aesthetic, Newton’s hair and makeup are on point. I have no idea if “Lisa Frankenstein” is even going to be considered for any makeup awards during next year’s awards season, it is still too early to tell, but I would say in regards to 2024 cinema, “Lisa Frankenstein” is this year’s first notable contender in that category.

The rest of the cast all do a decent job with their roles. Cole Sprouse proves silence is golden with his portrayal of The Creature. Liza Soberano gives a fine showcase of her talent as Taffy. But aside from Newton’s layered protagonist, I think the character that stood out to me the most in the movie is Carla Gugino as Lisa’s stepmother, Janet.

For some young people, it is hard enough to adapt to a new parent or guardian. “Lisa Frankenstein” presents a reality for our protagonist that makes it come off as near impossible for her to adapt to her stepmother. The movie presents a rivalry between these two that is probably more riveting than it needs to be. And a lot of it is in the performances between these two. Of course, the shenanigans our protagonist gets into plays a significant role as well, but nevertheless.

Once again, this film is directed by Zelda Williams, and despite my negative comments for this film, I am not going to tell her to give up on filmmaking. I think she does a fine job with this movie in terms of bringing various sets and talent to life. Some frames from this picture still linger in my mind because of how stylish they come off. But when it comes to characterization and writing, that is where the movie needs work. It has a great concept but it just doesn’t stick the landing. But I also cannot entirely blame her, because she did not write the film. That job belongs to Diablo Cody, who I like as a writer, but this is not her best work.

In the end, “Lisa Frankenstein” has good intentions, but comes off with lackluster execution. Despite some inklings of quality, I will not deny that this movie could have been better. As a horror movie, it is not that eerie or terrifying. As a comedy, it does not have many laughs. When you take these ideas together, the movie kind of falters in both genres. There are good things about it, yes, but those good things do not justify a rewatch. Those good things barely stand out. That is if they do at all. Kathryn Newton’s great. Sure. Carlo Gugino is terrific. Sure. The design across the board almost couldn’t be better. Double sure. But I also think that if you are at the movies right now, there are better options for your choosing. “Lisa Frankenstein” is not offensively bad. But it could be better. How better? Well, judging by my score I think “Lisa Frankenstein” could be better than a 5/10.

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

Thanks for reading this review! My next review is going to be a fun one. It is for the most anticipated film in the history of the world, “Madame Web!” Boy oh boy! I am sure everyone is expecting Scene Before’s first EVER 11/10 score on this one… We shall see. Speaking of film reviews, pretty soon I will be dropping my thoughts on “Drive-Away Dolls,” “Bob Marley: One Love,” and “Dune Part Two.” Stay tuned! If you want to see these reviews and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lisa Frankenstein?” What did you think about it? Or, what is your favorite Diablo Cody script? Let me know down below! Scene Before is your click to the flicks!

Argylle (2024): I Lost One of My Nine Lives Watching Matthew Vaughn’s Latest Spy Flick

Posted on by Jack Drees

“Argylle” is directed by Matthew Vaughn and stars Henry Cavill (Man of Steel, Mission: Impossible – Fallout), Bryce Dallas Howard (Spider-Man 3, Jurassic World), Sam Rockwell (The Bad Guys, Three Billboards Outside Ebbing, Missouri), Bryan Cranston (Malcom in the Middle, Breaking Bad), Catherine O’Hara (Schitt’s Creek, Beetlejuice), Sofia Boutella (Atomic Blonde, The Mummy), Dua Lipa (Barbie), Ariana DeBose (West Side Story, Wish), with John Cena (Peacemaker, Blockers), and Samuel L. Jackson (Kingsman: The Secret Service, The Avengers). This film centers around a notable spy novelist named Elly Conway who finds out the events she happens to be writing in her next book are similar to those that are playing out in front of her.

I have not seen all of Matthew Vaughn’s work, but I am a fan of the “Kingsman” movies. Particularly “Kingsman: The Secret Service.” I have nothing against the second one. I had fun with “The Golden Circle” even though I think there are one or two moments I would rather have not sat through. Elton John alone was worth the price of admission for me. But I would rather honestly forget about Vaughn’s latest feature film, “The King’s Man,” a prequel to those two other movies. If you asked me what the heck happened in that last movie, I honestly would not be able to tell you. I was immensely bored with it and I cannot believe it even got made.

Nevertheless, I was looking forward to “Argylle.” Vaughn’s been on a bit of a downward trend lately, but I figured a fresh idea could give him a boost. You have new characters, a fresh story, but you also have some of Vaughn’s directorial trademarks making a comeback. “Kingsman: The Secret Service” definitely has a flashy, glitzy, in your face style, but it does not mean the movie lacks a good story to back it up. The good news about “Argylle” is that if you like Matthew Vaughn’s style, you will find it here. The bad news, the story ends up falling flat on its face.

I will be fair though. The story is not all bad. If anything, the first act of the film is easily my favorite part. It is the part where I had the most fun, emitted the most laughs, and not once was I ever taken out of it. I like how they handled Elly Conway’s mannerisms and point of view throughout between how she visualizes her stories, how she puts one thing and another together, and there is also a neat first-person perspective shot gimmick that comes into play. I like those techniques. There is also some good action. There is a fight on a train that is nothing short of a thrill ride. It also introduces us to my favorite character in the film, Aidan, played by Sam Rockwell. I have not seen everything Rockwell has done, but one of my favorite works of his is his performance in “The Way Way Back,” a coming of age comedy where he plays a waterpark employee. Having seen “Argylle,” his mannerisms here reminded me of how he executed his more comedic lines in “The Way Way Back.” He is very much a scene stealer and while it is in the trailer, the way he utters, “I love this book!”, got a genuine laugh out of me in the film.

Unfortunately, once the first act concludes, the whole movie enters this spiral of madness that almost gave yours truly a headache. I saw the film in IMAX, and while I love the IMAX experience, I must say that this one was on the verge of breaking me. It was almost too loud, too zany, and too rambunctious. I love when a story keeps you guessing, when it is full of twists and turns, but there is a sense of novelty that is lost once we find out where the movie is taking its characters. The movie is twisty. No doubt about it. A tagline for the film is “FROM THE TWISTED MIND OF MATTHEW VAUGHN.” But the movie throws so much at you all at once that is overwhelming. It is like sitting through ten AP classes at once and being forced to digest those subjects at the same time! I could only take so many notes! Yeah, there are elements to this charade that stick the landing, but there are plenty of others that leave a bit to be desired.

Also, if I have to be real, while the movie has great action in the beginning, I felt it became too much to handle by the end. Going back to “Kingsman,” one of the reasons why I find “The Secret Service” to be a better movie than “The Golden Circle” is because “The Secret Service” had action sequences that appeared to consistently exist in their own reality. They were ridiculous, but they were fun. “The Golden Circle” still has good action, but there are moments where the movie tends to jump the shark that lack a sense of heightened realism. It’s almost as if they broke some sort of rulebook. By the end of this film, “Argylle” felt more akin to “The Golden Circle” than “The Secret Service.” Yeah, there were a couple stylistic moments that pop, but there are others that are too flashy and do not emit much emotion.

There is a moment at the end of the film where it basically pulls a “Batman & Robin.” Unfortunately, as far as I can recall, there is not a single ice pun in the entire film. That’s not cool at all. But what I mean is, if you remember “Batman & Robin,” there is a moment that the titular characters conveniently emit ice skates from their boots to take down some baddies. There is a moment in “Argylle” that instantly triggered a memory of that, and how stupid that instance truly is. There is something involving skates in “Argylle” that is so played up, so over the top, so ridiculous, that it had me shrugging angrily in the middle of the theater! I was dumbfounded by this! How is this convincing?! You kind of have to see it yourself to fully embrace and grasp the feeling I got as soon as it came up. I wanted to roll my eyes.

Unfortunately, “Argylle” basically feels like an adolescent girl’s cringeworthy spy fantasy brought to life, but they gave the keys to Matthew Vaughn to tidy up the writing and make a $200 million movie out of it. It’s flashy, it’s shiny, and everything is all over the place. There’s cats! There’s good-looking men like Henry Cavill and John Cena! There is a kind-hearted, but somewhat shy woman in the center of it all! But unfortunately, those elements do not come together to make a neat package. The film kind of reminded me of Guy Ritchie’s “The Gentlemen,” which from a filmmaking perspective, looks nice, but I cannot say I appreciated the story.

At the risk of beating a dead horse, if you want a fun spy movie with Matthew Vaughn, watch “Kingsman: The Secret Service!” In fact, here is another thing that movie does better! Let’s talk about animal companions! Remember how in “Kingsman: The Secret Service” all the spies had to have a dog alongside them? The way they went about that story tactic was essential and delivered plenty of emotion to everyone’s journey in the film. “Argylle” makes it clear that our character is a cat lady, but when it comes to the cat itself, it was almost like watching a Disney animated film trying to utilize its most merchandisable character to the point where the film essentially becomes a commercial. For the record, I am not much of a cat person. So you could say I am biased in my assessment here. But I will also remind you that I am the furthest thing from a dog person! I am even allergic to dogs! Despite that, I can say that “Kingsman: The Secret Service” does a significantly better job at utilizing its animal companion than “Argylle” does in spades. If you want me to be real about “Argylle,” when it comes to fare prominently featuring cat characters, this is not as catastrophic as 2019’s “Cats.” But, this movie certainly had me angrily hissing by the time it was over.

In the end, “Argylle” is just plain bad. This movie has so much gloss and glamour to the point where they just put a bunch of people on sets and forgot to make a movie. I like the cast. Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Samuel L. Jackson. These are all big names. And I imagine much like some recent action fare on Netflix such the intolerable “Red Notice,” this could factor into why the film has a $200 million price tag. Honestly, for all I know, Apple is a great streaming service. I have never used it to watch a show. But I have heard titles like “Ted Lasso” and “For All Mankind” are worth seeking out. But their movies are for the most part, forgettable. The one exception was “CODA,” which despite some cliches, was one of the most emotionally powerful movies I have seen in the past couple years. It was perfect. But from “Killers of the Flower Moon” to “Napoleon” and now this hot mess, Apple needs to get their ducks in a row and unleash a good movie. If you know me in real life, you know that I use an Android phone. I use Windows computers. I stream most of my music through YouTube. To get me to buy or invest my time in an Apple electronic would be like getting Howie Mandel to shake my hand. It would be nearly impossible. I wonder if the same fate could be coming to Apple’s movies if they continue to be this sloppily executed and poorly contrived. I am going to give “Argylle” a 3/10.

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

Thanks for reading this review! My next review is going to be for “American Fiction!” I have seen so many titles in 2023, but this was not one of them. I had to wait until this year to watch it. But I will have my review up very soon! By the way, I will not give away my final score on the film, but let’s just say that it has already been nominated for a couple Jack Awards! Which leads me to say…

THE JACK AWARDS ARE NEXT SUNDAY, FEBRUARY 25th! If you have not already done so, cast your vote now for this year’s Best Picture! Hope you tune in! Be there or be square! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Argylle?” What did you think about it? Or, what is your favorite Matthew Vaughn movie? Let me know down below! Scene Before is your click to the flicks!

Night Swim (2024): The Best Movie of 2024! Because It Is Unfortunately the Only One I Have Seen So Far.

Posted on by Jack Drees

“Night Swim” is written and directed by Bryce McGuire and this is his feature directorial debut. This film stars Wyatt Russell (22 Jump Street, Overlord) and Kerry Condon as a couple who move into a new house, they settle in with their family, and they quickly become accustomed to their surroundings. Only thing, there is a haunted swimming pool in the backyard.

To start things off, this is my first review of a 2024 film. I just saw “Night Swim” over the weekend. I did not get around to it the weekend before as I was a bit busy. But as we cannonball into this review, I thought the idea for this film had potential of working. There have been numerous titles over the years that have used water environments and turned out to be really scary. Look at “Jaws” for instance. Despite the shark looking fake, that movie continues to make people not want to go in the ocean. Shark movies like that one have been a cinematic staple for years. Not many films have lived up to that 1975 original classic, but I cannot deny that even lesser shark movies understand how to make the ocean or sharks scary.

When it comes to “Night Swim,” it is a much different scenario. There are no sharks, and there is also no ocean. Instead, we have a swimming pool. But again, there is potential. If you learn how to swim when you are young, that can be scary. Sometimes there are cases where people never learn to swim. Depending on the direction those people’s lives lead them, it could induce anxiety. I like a good pool. But I am just saying, the potential to make pools terrifying is there.

And I can confirm something about “Night Swim” was absolutely terrifying indeed. No, it was not the pool. It was the fact that the movie somehow released!

Then again, I should not be surprised that we are getting a throwaway horror film at the beginning of January. This is an unfortunate tradition in cinema as infamously consistent as showing all the funniest parts of a comedy movie in the trailer.

I want to be fair though, because this film is directed by Bryce McGuire, and this is his first feature as a director. He has done a number of short films in the past, and for all I know, he has a knack for filmmaking. That said, “Night Swim” is based on a previous short film he did of the exact same name. As someone who has made short films himself, I have often thought about maybe one day turning them into a feature. I made a short film in college that I am still proud of to this day. I consider it some of my finest work as a creator. But part of me wonders if taking that movie and making it longer would sacrifice some quality. I feel like that is what happened here. It’s not like this is a completely new thing. This is not a short film, but take “The Lion King” for example. The 1994 animation was short and sweet. There was no filler whatsoever. So when I watched the so-called live-action remake that came out in 2019, I was not afraid to point out that one of the biggest critiques I had was that the new material, which extended the movie’s runtime, dragged the product as a whole. Longer does not always mean better.

You might be thinking I am pulling these statements out of my butt. You might be thinking I did not watch the original short film. This link I pulled from YouTube may suggest otherwise. Having watched the film, it is very simple in premise and effective in what it is trying to convey. I think as a horror short, it’s not bad. But this new feature inserts all sorts of concepts that honestly don’t work only to make the runtime somewhat reasonable.

It is not that the entire movie fails to make sense. In fact if you want me to be real, much of the movie’s story and structure derails for me mostly in the second half. The first half is serviceable to some degree. The reason why I enjoyed “Night Swim” is because I feel the film did a decent job at establishing Wyatt Russell’s character, Ray Waller, a former professional baseball player. I like the little hints they drop about his backstory. There is also a part of the film where we see him playing baseball with a bunch of kids and that made for one of the film’s highlights for me. I liked the scene overall. It felt rather wholesome, nostalgic, and fun. But as I am watching this film, I got the sense that Ray Waller probably ended up being the only character I was remotely interested in watching. It is not that the other characters were incomprehensible, poorly structured, or the banes of my existence. It is just that when it comes to putting these characters together, explaining their backstories, and what makes them tick, the movie almost refuses to go above the bare minimum. Even in moments where it feels like it tries to, they just cannot stick the landing.

For example, there was a decent subplot about the character of Izzy, played by Amélie Hoeferle. She, naturally, decides to join the swim team, develops an instant crush on this one boy, and that becomes a driving force of the plot. I think their chemistry is in a word, acceptable. It is a fine depiction of puppy love to some degree. But when I am looking back at these characters, some of them feel cliché. Or, I did not care about them that much to recall everything about them upon leaving the theater.

But characters and story aside, I must ask the million dollar question. Is “Night Swim” scary? Kind of. It’s got a few neat tricks up its sleeve. I think the film gets rather creative with what random ideas they could utilize regarding the pool every once in a while. Sometimes that feels inventive. But again, by the second half of the movie, I just stopped caring. One thing led to another where I lost any and all interest in the plot, the characters, and whatever events could follow. When I reviewed “Godzilla Minus One” a month ago, one reason why I gave that movie such high marks is because it knew what to do with its characters. I said a large part behind why that movie was horrifying was because I cared about the characters and did not want them to get hurt. While the story in “Night Swim” makes sense, its characters kind of go off the rails to some degree by the movie’s end. There is a certain flair that they are missing as the movie progresses.

The film features a character named Kay, played by Jodi Long. Knowing what I am watching, I should be shivering during the moments in which she happens to be on screen. But knowing what is happening in the scene in addition the visuals and sound that could potentially make the scene eerier, I am watching it feeling more annoyed than terrified. It reminded me of when I watched “Midsommar.” I didn’t find that movie scary. If anything I found it annoying in terms of how they went about executing certain scenes. I was not amused. “Night Swim” is the first major movie to release in 2024, and as far as I am concerned, the cinematic calendar this year can only go up from here.

In the end, “Night Swim” dives head first and hits the ground hard. The first two thirds are mildly interesting and somewhat compelling. It is not perfect, but it had my attention the whole time. I like the main dad character, but everyone else took a back seat for me. That said, the film is not that scary. There are occasional scares, do not get me wrong. But at the end of the day, there is nothing to write home about. And by the third act, I tuned out. This film is cliché, tonally inconsistent, and I had my arms crossed for a good portion of the runtime. If you are looking for a good movie at the cinema to start off the new year, maybe pick something from last year. I am going to give “Night Swim” a 3/10.

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

Thanks for reading this review! I want to end this post by saying that you may have noticed something missing from me this year. Specifically, my most anticipated movies of the year list. I do not do one every year, but I did them for 2021 and 2023. Sadly, I am not doing one this year. It is a bit late and when I was making one, my head almost burst open because one movie switched its release date as I was making it and I had no idea. So I am just going to say that my most anticipated movie of 2024 is “Dune Part Two.” I will leave it at that. But if you are interested in knowing my thoughts on the movies of the previous year, check out my countdowns for the top 10 BEST and WORST movies of 2023! If you want to see more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Night Swim?” What did you think about it? Or, what movies are you looking forward to seeing in 2024? Let me know down below! Scene Before is your click to the flicks!

Migration (2023): Illumination’s Second Barely Passable Animated Flick of 2023

Posted on by Jack Drees

“Migration” is directed by Benjamin Renner (Ernest & Clementine, The Big Bad Fox and Other Tales) and co-directed Guylo Homsy (Despicable Me, The Lorax). This movie stars Kumail Nanjiani (Silicon Valley, Eternals), Elizabeth Banks (Press Your Luck, The LEGO Movie), Keegan-Michael Key (Toy Story 4, Keanu), Awkwafina (Renfield, Raya and the Last Dragon), and Danny DeVito (My Cousin Vinny, Jumanji: The Next Level). The film is about a family of ducks who leave their habitat with the intention of migrating south, much to the resistance of their overprotective, closed-minded father.

Of the major animation studios out there today, the one that interests me the least is Illumination. “Despicable Me” never struck me as a franchise I tended to enjoy. “The Secret Life of Pets” has one average movie followed by a painfully awful sequel. “Sing” is the one notable saving grace the studio has delivered over the years. “The Super Mario Bros. Movie” is about as barely passable as movies can get. Granted, it is major step up from the 1993 live action adaptation of the iconic video game franchise, but when it comes to Illumination’s legacy, I have never found myself attached to it. Illumination is no Pixar, which has banger after banger after banger. Well, until they released “Elemental” this year which was one of the most disappointing animated features I have seen in my entire life. That said, this has been a great year for animation. For those who do not know, little preview behind the scenes at Scene Before, I am currently working on my top 10 best movies of the year, and I have not reviewed or seen everything I wanted to see yet, but a good portion of the titles contending for that list are animated.

I have good news and bad news. Let’s start with the bad news first, “Migration” is not going to join the top 10 best movies of the year for me. The good news is, “Migration” is nevertheless a decent movie. I was quite surprised with this film. I honestly thought the movie would not only be bad, but it would completely suck on every level. The marketing has been underwhelming, and ever since it started, I have not had the best impression of it. I remember when they dropped the first teaser back in the spring and half the trailer was just Illumination patting themselves on the back for all the movies they created so far. Now, I am a bit of a hypocrite because “The Boy and the Heron” just came out, which had a trailer close to the film’s release looking back at many of Hayao Miyazaki’s films. But one, I like most of those movies. And two, given the long time it took to make Miyazaki’s latest film a reality, the trailer in that campaign felt somewhat earned.

But you know what? I was pleasantly surprised. I did not pay to see this film, I ended up attending an early screening less than a week before the film came out and I had some laughs and smiles. The film does not reinvent the wheel and is far from the best animated film released this year. If anything, it is somewhat predictable and cliché, but as I said before on this blog, a movie can be predictable and done well. “Godzilla Minus One” has some predictable moments, but as long as they make sense or feel earned, I can forgive them for being there.

All around, the voice acting is decent. Not the best of the year, but when it comes to Illumination, it is collectively better than what we got in “The Super Mario Bros. Movie.” Jack Black as Bowser is the glaring exception. Kumail Nanjiani does a good job as Mack (right center), the lead duck who happens to be stuck in his ways. Elizabeth Banks as Pam (right) is a standout amongst the cast. Banks traditionally has a lively, often upbeat voice that lends itself to roles like this one. As husband and wife, I bought into the duo immediately. Their respective voice actors were well paired.

One voice actor I was shockingly entranced by was Awkwafina. I have not seen everything Awkwafina was in throughout the past few years, but she has built a reputation of being particularly unlikable amongst some people. I never found her that way, but in the past few roles, she seems to be typecast and relying on previous schtick that is not quite old yet, but is getting there. That is why I am pleased to say that Awkwafina, despite my reservations from the trailer, is a fun standout in this film as Chump the pigeon. Her lines landed perfectly within the context of the film. She voiced the character well. And I felt that almost every scene she was in enhanced the picture in the long run. When it comes to Awkwafina, this is obviously nowhere near as memorable of a portrayal as the one she gave to Billi Wang in “The Farewell.” I will also say she is better in films like “Shang Chi and the Legend of the Ten Rings,” but I always like a good surprise.

And that is kind of what this movie is. I watched the trailer months back and absolutely hated it. Then I watched the movie a couple weeks ago and ended up liking it. I am not going to pretend this is Illumination’s best work. “Sing” is a step up from this, though this might be a tad better than “Sing 2.” But like those movies, “Migration” has its flaws.

The most prominent flaw for me, and this may strictly be based on personal preferences, I did not like how the movie portrayed its antagonist. The antagonist in this case is a restaurant chef. It kind of reminded me of another Illumination title, “The Secret Life of Pets 2,” where the villain basically overembellishes everything. I understand this is an animation, but there is a certain threshold that this movie crosses with the antagonist at certain points that I was not able to buy. I do not want to dive too deep into spoilers, but there are select moments where I saw the antagonist do certain things or act in certain ways that did not feel authentic.

However, like other Illumination titles, “Migration” has a nice polish in its animation. The color palette is pleasing to the eye. The film looks good. Much like the studio’s previous effort, “The Super Mario Bros. Movie,” the animation is one of the top tier qualities of the entire film. But also like “The Super Mario Bros. Movie,” “Migration” tends to suffer sometimes from its screenplay. In fairness, the screenplay makes sense and everything lines up. But it is full of cliches. Sometimes it feels safe and familiar. There are some creative decisions here and there, and there is one scene involving herons in the first act that was quite good. It was tense and had some laughs. But I am not going to remember this movie as one of the best of the year because it does very little to lean away from predictability. I think “Migration” is a good family movie. And if you are looking for something to do with the kiddos for the rest of their winter break, this makes for a fine time at the cinema.

In the end, “Migration” is one of the biggest surprises of the year for me. I think it is probably my second favorite title from Illumination. But then again, that is not saying much, because I have not seen every single film from them (I do not give a crap about “Despicable Me”) and when it comes to the films I have seen, their collective average when combining my final scores is not that great. In fact, the film is quite flawed at times. It is utterly nonsensical in terms of its overall story and how some scenes play out. Again, I know this is animated, sometimes there is a ceiling the film needs to avoid cracking. But the film has a couple of chuckle-worthy moments, likable characters, and it is nice to look at. There is not much more to write home about, and there are significantly better animated movies I have seen this year. I could name a bunch of them. but this film was a pleasant surprise. I am going to give “Migration” a 6/10.

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

Thanks for reading this review! If you enjoyed this review, good news! I have more coming! Stay tuned for my thoughts on “Aquaman and the Lost Kingdom” and “Poor Things!” Also coming in January, it is that time yet again! I will be revealing my best and worst movies of 2023! If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Migration?” What did you think about it? Or, what is your favorite animated movie of 2023? Right now it is kind of a tossup for me between “Spider-Man: Across the Spider-Verse” and “The First Slam Dunk.” Let me know your picks down below! Scene Before is your click to the flicks!

The Holdovers (2023): A Hearty, Homey, Comforting Throwback to the 1970s

Posted on by Jack Drees

“The Holdovers” is directed by Alexander Payne (Sideways, The Descendants) and stars Paul Giamatti (Sideways, Billions), Da’Vine Joy Randolph (The Last O.G., High Fidelity), and Dominic Sessa in a film set in the 1970s where a cranky history teacher and a troubled student are forced to remain on a school campus together during the holidays.

I have been looking forward to “The Holdovers” for a very long time. Granted, I have some bias in this notion because I live not too far from where it was shot. In fact, one of the filming locations is about five minutes away from my house. More on that later. But of course, that sort of attachment should not be an indicator of whether the film is good or bad, but it is one of the reasons why I got in the door. But there are many other reasons why I got in the door as well. The film itself looked fairly wholesome and relatable. I have never attended a prep school, but I think many people regardless of where they have received education may have had a troubling connection with a teacher. And the same goes for teachers, I imagine just about every teacher had some trouble dealing with students for one reason or another, even if it is for a reason beyond their control. But even with the troubling dynamic, this just looked like a fascinating slice of life picture that would come out at a perfect time.

And that is exactly what it is.

I have said this phrase in the past, and I have heard other people say it too, but it needs to be said here. “The Holdovers” is the movie we need right now. I feel like ever since COVID-19 began I have always been finding myself in a need to go to a “happy place,” and I imagine a lot of other people reading this feel the same way. Ever since the virus began to spread, few movies have took me there like this one did. In fact, going back to the COVID-19 aspect, it sort of took me back to 2020 when the disease first got traction in the United States. This film coincidentally is set, mostly, in a singular location where our leads are basically in quarantine. Nobody’s sick, nobody’s spreading any infections, there’s not much on that front to worry about. But a good portion of the movie, specifically the first half, is set at this one prep school. When we get to the second half of the movie where our characters start venturing out, there is a feeling of joy and excitement in the air. It reminded me of when June 2020 rolled around and restaurants near me started opening up for outdoor dining. There was a sudden liberation in my veins when that opportunity arose.

But that does not mean the first half is uncomfortable. Although one of the lower points of the movie just so happens to be the relationships between the students. That said, it is not like the students have a ton of screen time. They ultimately serve their purpose. But when it comes to our three leads, we spend a ton of time with all them to the point where each one is adequately established. It also helps that I like all of them and when it comes to our core duo, specifically Paul Hunham and Angus Tully in a divided teacher/student relationship, their time dominating the screen makes for some incredible moments together. The movie brilliantly displays their strengths and weaknesses and uses them to make each one all the more likable. All the characters have phenomenal chemistry together, and I cannot imagine another soul in their shoes.

Sticking with the idea of isolation, this helped me appreciate the Angus Tully character. Because as someone who had to deal with the outside world closing off at the age of 20, I felt like any semblance of my life getting started was out of reach. As this movie progressed, I was watching this character deal with his personal issues and I could not help but feel bad for him partially because he was stuck somewhere he clearly did not want to be for an extended period of time. I understand that feeling because I lived through it. And much like me staying home in 2020, Tully stayed where he needed to stay for a reason, but I understood how agonizing it can get the longer you’re there.

I have not reviewed many Christmas or holiday movies on Scene Before, partially because I have not had much time to visit classics, and I feel like there is a shortage of them nowadays. Or at least a shortage of Christmas flicks that tend to stand out. Although I somehow managed to tackle a couple Christmas movies last year between “Violent Night” and “The Mean One.” “The Holdovers” is probably one of the best Christmas movies I have watched in the past number of years. And it is not exactly preachy to the point where everything is Christmas central. It is one those movies that takes place at Christmas but it can probably be an appropriate watch at any other point of the year. All due respect because the movie is entertaining, but I cannot remember the last time I wanted to watch “Elf” in the spring. It’s just not that kind of movie for me. “The Holdovers” is perfect for any time of year, and when it comes to 2023’s calendar, it is a standout of all the films I have seen this year.

One of the reasons why “The Holdovers” is as I describe in the title of this review, hearty and homey, is because of the progression we see with Paul Hunham. I am not going to spoil much for you, but the teacher does not emit the most pleasing vibe when it comes to dealing with his students. Part of that comes into play regarding the relationship between him and the main student in the film, Angus Tully. You have these two people who do not really see eye to eye on everything, but the more they are forced to deal with each other, the more they tend to find themselves having good times with each other. Both individuals, in their own ways, make the best of a bad situation. But they do so realizing maybe they could share a bond if they opened their eyes. Of course, when it comes to Hunham, it also helps that an actor with the caliber of Paul Giamatti just so happens to be portraying him, and it brings forth one of the best performances of the year. The character reminds me of, and I know this analogy may not be the most prominent because not a lot of people saw this movie, Alice from the 2020 movie “Summerland.” By the way, watch “Summerland.” It’s fantastic. But I use this as a comparison because both films have a main character who appears all tough and mean, but when she is placed together with someone younger with her for a period of time, we see more and more that she kind of has a heart.

The film does a great job at showcasing the flaws of these characters and having them come into play throughout the runtime. And when it comes to Hunham as a character, we see his flaws from the beginning, how they are adjusted to some degree, but his positives and negatives as an individual make him one of the most compelling characters of the year.

On a little sidenote, much like the George Clooney-directed “The Tender Bar,” which came out at the tail end of 2021, this film features my local candlepin bowling alley, Wakefield Bowladrome in a couple minutes of screentime. And unlike “The Tender Bar,” which is set in New York, it actually makes sense that it is in here because the film is set in Massachusetts, where candlepin bowling just so happens to exist. I think what they’ve done with the place is rather impressive and adds to the throwback feel of the movie itself. Though if I have one nitpick, there are occasional moments where I hear pins falling down, but the sound effects match the sound the pins would make in tenpin. But of course, this is why I put the “moron” in Movie Reviewing Moron.

In the end, “The Holdovers” is an utter delight of a film. Its main trio make the story worthwhile. The film is a sensational throwback to the 1970s that is as charming as it is inviting. The film is rated R, so I would not recommend watching it with younger viewers, but if you are with loved ones this holiday season, this could be a good watch. The characters are spectacular. The locations are beautiful. The set design is very well done. And I think Paul Giamatti could be in the running for an Oscar nomination. Also, one more thing, there is a particular scene in the film that includes “The Newlywed Game” where I was in a trance until the moment it was over. I have not watched that show a ton, but I have often watched clips of it on YouTube, and it is legendary. Bob Eubanks is a treasure. I am going to give “The Holdovers” an 8/10.

“The Holdovers” is now playing in theaters everywhere. It is also available to buy on VOD.

Thanks for reading this review! My next review is going to be for the brand new historical epic, “Napoleon.” Also coming soon, I will have my thoughts on “Godzilla Minus One,” “Ferrari,” “The Boy and the Heron,” and “Dream Scenario.” 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 Holdovers?” What did you think about it? Or, what is your favorite Christmas movie? Yes, “Die Hard” counts. Let me know down below! Scene Before is your click to the flicks!